Vivetta Ponti knows that to speak about Lolita, today as part of your, she’s to arm herself with irony. For the complicated world where in fact the ladies who might wear her clothes live, that cute, graceful, and naive style may seem outdated with out a touch of surrealism. Surrealism it really is, then. From the hand-neck blouse onward, I really do not tire of playful femininity, said the designer.
The garment Ponti described has turned into a sort of icon of her style, something every creative aspires to, especially in the first days. Here, the classic collar was transformed into two hands with lacquered nails in the gesture of fastening the initial button. I usually repurpose it, obviously, with different cuts and variations, she said. Built around that classic, her collection was focused on violets, planting season flowers, built from die-cut fabric and put on skirts that followed the construction of classic mini models with pockets, but manufactured from powder-colored chiffon. Then there is the shirt that escapes, because the designer called it, in poplin with chiffon inserts developing a breakaway influence on the sleeves. There have been also skirts printed with the file name of the image submitted for processing, in addition to a gigantic handbag and a wide-brimmed hat with laser-cut eye holes.
Hearts were everywhere: fluttering on leading of microscopic skirts, acting as pasties on micro bras, playing peekaboo on a midriff-baring shirt. You can start to see the influence of the Y2K aesthetic in low-waist jeans (often studded with crystals) and shoes that appeared as if candy. The show was staged in a bare, industrial space to emphasize a move from the clich of hyperfemininity. Also to seek the evolution of this iconic collar.