Get it? Because there was a horse on the runway?
; I like this similarity of spirit between us, now and across time," Viard said in a release. "In addition to creating the show décor with its references to the avant-gardes of the 1920s and 1930s, Xavier wanted to work with Charlotte Casiraghi. His artistic universe is full of horses and Charlotte is a skilled rider."
Veilhan's set design made Viard feel "very free" and inspired her own work, the designer said: "These geometric shapes made me want contrasts, a great lightness and a lot of freshness: ethereal dresses that float as if suspended. Lots of flounces, fringes, macramé, bright lace, iridescent tweeds, colorful jeweled buttons."
In general, Viard seems to do her best work in the couture collections, in which she attempts the fewest thematic tricks. Here, there's streamlined tweed suiting, which actually works well with the kind of loose, wide-legged pant Viard prefers, thanks to jackets with slightly nipped-in waists. Her full-length jackets continue to be a dream of elegant proportions, and they work equally well when cropped up into a minidress format.
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