"We shape our buildings, thereafter they shape us," read the Winston Churchill quote that headed the show notes as Antonio Berardi focused on the architecture of the female form. In a stark white shell of an un-christened office space, French harmonicas cued a soundtrack of Beethoven that played against a back beat. Tall willowy girls balanced on skyscraper heels opened with sleek navy silhouettes and were styled with shots of sunflower yellow floral jacquard that were splashed over blown-out parka jackets. The sculptural shapes created by architect Frank Gehry were used to inform the cut and curve of the feminine form and appeared as blown-out bustles, ripple petal hems and flounce hems that bounced flirtatiously on the knee, and pants were softened when worn with drape knot tops twisted with his fluid cut.
Much like the many moods and many faces of the editors, actresses and musicians seated in the front row, Berardi's clothes are created to empower and embrace all of the contradictions that dress a modern woman. Vibrant neon pink graffiti-like florals rebelled against their black counterpart, adding a toughness to the femininity. Gritty black glitter versus electric blue or neon pink floral embroidery sliced with lace, black fly girl sheepskins, urban sportswear stormed into evening wear. Metallic mesh quilts contrasted with the softest sheepskin and shapes were structured then folded into complex crafted drape in his vision of 'sculptural sensuality'. Berardi described her as sensuous yet chaste, the flashes of Crimson and cerise, heavy beading and rich embellishment bringing fantastical to the everyday. And why not, when you embody the attitude of a modern multitasking Wonder Woman?