Marni’s slightly off-kilter heroine seems to have developed a sense of adventure to match her relentless sense of humor and style, falling in with a band of gypsies and getting swept up in a pirate ship on the high seas. Designer Consuelo Castiglioni’s usually rich, textured fabrics have given way to draped layers of fluid silks, chiffons and sturdy cottons, in a mostly vegetal palette of terracotta, peach, spinach green, squash yellow, indigo and tan. Structured pieces had brass turn-key closures, reminiscent of the kind used by iconic 50s designer Bonnie Cashin. Men’s pajamas were deconstructed into robe-like jackets, slouchy harem pants and tunics. A treasure chest was pillaged for jewels to embellish a chiffon shift; a tunic was made from laser-punched lace. For those awaiting the next big accessory, heads were wrapped in hand-painted scarves, ears were hung with chunky gems, necks were semi-encircled with collars covered in flesh-toned paillettes, and simple web belts were knotted over everything from sleeveless blazers to soft duster coats and printed cardigans. Jailhouse-striped leggings or slim knitted bike shorts were worn under almost every look. No matter how far our heroine has strayed, classic Marni charm remains — a sheer burnout floral dress with raw edges, softly flounced collars, a dimensional bouclé shift-dress printed with watercolor blossoms — all had just enough feminine appeal and quirky styling to uphold Castiglioni’s unique brand of ladylike individualism.

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