In the fall, Zuhair Murad found a starting point in the work of Giovanni Boldini, a portraitist of the Belle Epoque elite, including Consuelo Vanderbilt and Lina Cavalieri. Alongside silks, satins, jewels and updos, the designer captures complex femininity: a mixture of seduction, mystery, confidence and independence that he sees in his clients. In his show notes, he described them as “a journey through a fiery Paris filled with love, sophistication and over-the-top looks” [them] Every movement. “

This season, however, Murad’s unconditional excess of love is fermented by restraint. The collection seemed to be built on productive tensions: floral chiffon with architectural cuts, burnt velvet with clean lines and, of course, the occasional marabou, but only at the chest or cuffs. Of course, there was still some whimsy, with chandelier-like embroideries on crop tops and long black skirts, lush peony and orchid prints, and some intricate feather and lace embellishments on a black halter gown and top.

But in these uncertain times, what is most likely to appear is an elegant crimson dress with a built-in scarf detail and a flower at the shoulder, a round-neck dress with an asymmetrical skirt, a black midi dress with a small tie at the back, made of duchess satin, or a perfectly structured bustier gown with vintage glamour—perhaps accessorized with a rhinestone or two, or a metallic ladylike handbag. The handle and body are covered with small flowers in polished gold leather. Bordini would recognize it all.