CONTRAST

PANCALDI

ZAN ELLA

LA MATTA

ENEGILDO
ZEGNA

CANALI

BRECOS

ANTONIO
FUSCO

UMBERTO
GINOCHIE

DANIEL
SCHAGEN

LORENZO
BANFI

L'EQUIPE

MIMMINA

MARINA
SPADAFO

AMULETI

MARIELLA
BURANI

VARIABILE

MESSORI

GASTON
JAUNET

DIXTACCO

PALZI LERI

FRANCO
ZICHE

FENZI

SPIRITO

SERGIO
PI UMATTI

REPORTER

BORELLI

RTEGAN I

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terns used for daywear come in
soft, muted colors.
Evening styles are uncluttered
and sophisticated. They include
a loose white crepe jacket worn
over a matching blouse, teamed
with a flowing ankle-length skirt.
A black crepe calf-length dress
tops black pants. Armani also
teams suede or tweed tailored
jackets with calf-length print or
velvet skirts. Brown velvet is an
important fabric, used in fitted
jackets over full skirts and in a
square-neck long sheath dress.
Romeo Gigli — This
designer's "chaste taste," as it
has been called, is responsible
for a major direction. From his
snug jersey dresses with
mummy-wrapped torso to his
unconstructed coats and
jackets, Gigli's star is rising. In
the collection he designs under
his own name and for the
Callaghan collection, he favors
paisley patterns for coats,
jackets and long stoles. Knee-
length skirts are ultra-tight, as
are jersey dresses that some-
times have wrapping and drap-
ing for extra interest. Other
skirts with turned-up hems are
quite full. Heavy wool is
crocheted into cardigans and
pullovers, and Gigli likes a new
fabric that resembles corduroy
but is actually cashmere, which
he uses for unconstructed
coats. Like other Italian design-
ers, he prefers flat shoes for
daytime.
Slim cashmere dresses have
touches of Chantilly lace at the
neckline or wrists. Ethnic over-
tones to the collections are
seen in Chinese-looking short
padded jackets of tussah silk,
and in the Middle Eastern-
looking jewelry which includes
silver bracelets, and silver
combs and stickpins in the hair.
Also shown are red amber
beads. The color palette is dark
berry colors lightened with
powdery pastels.
Luciano Soprani
Along
with other Italian designers,

Continued on Page 132

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