Christine Phung’s style for Leonard is asserting itself: the house will definitely owe her the opening up of its iconic floral prints to more abstract and graphic design more a welcomed modernized design that she had already hinted at in her previous collection for the brand. The textile surface explores the form of sinuous and stylized lines. Sometimes bold, the lines continue to stretch and aim at geometric abstraction. Horizontality and verticality renew the vegetal imaginary of the house and is infatuated with an organic geometry. The mineral universe of the marble quarries and its colored striated rocks of the last collection is now softened. The abundance of colors and prints explores all that is marbled, tinted, pleated and sculpted for an inlay effect giving way to a pointillist style punctuated by white for an ethereal and sportswear attitude. The silhouette gains in lightness and fluidity – and in what is presented as the sesame: a younger style fitted to millennials. The sophisticated simplicity that shone through the lurex metallic yarns in the fabrics prefers matt effects. Silk, the house’s most important material, is magnified by the house’s know-how in traditionally made prints. All in all, we attended a successful revival of the art of Léonard prints by a designer that The Daily Couture has been following since her first eponymous fashion show in 2013. Then, she had just won the Andam Fashion Award in the “Premières Collections” category.
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