Rather than a traditional fashion show, Desigual staged a celebration of multiculturalism, a métissage of codes, symbols, and iconographies executed in the brand’s signature playful way. 

For a label that has always promoted a happy approach to life, dance definitely seemed the most appropriate art form to reflect that joy, and the professional dancers who performed on the catwalk managed to express it. 

About collection- there was a little bit of everything in the lineup. There were references to Africa, Chinese influences, Indian symbols, as well as Western staples, such as denim pants and tops recalling the uniforms of American sailors. Knitwear took center stage in the collection, which featured a range of sweaters with lace-up details and hardware, as well as striped dresses and skirts. The black cotton lace of a see-through dress added a touch of sensuality, while the color-blocked bombers with mesh sleeves exuded street appeal

The designer brings the American U: TH culture at the runway, the very typical Selman focused on American ideas, beginning with Georgia O’Keeffe and her gingham shirt. “She said it’s like our only national costume,” he explained. The O’Keeffe references stopped just about there as Selman operates with none of her gravitas.

Clever kitsch is his niche, and he infused it into a sexy pale blue and white gingham baby romper with a cutout back, and an adorable red and blue knit gingham trompe l’oeil wrap dress.

His girl next door wears sweet grosgrain ribbon as a sexy halter bra top with a fabulous white floor-length skirt that riffs on a men’s dress shirt.

Denim is another Selman signature and national treasure, here delivered with the airbrushed Seventies swagger that gives his look a sassy giggle. A white denim utility jean jacket and matching boyfriend jeans were painted with pretty retro blue flowers and long leaves, and a similar look closed the show, but the denim was swapped out for sheer baby blue sequins.

Brock brings back the lost Romanticism on the ramp yet again, women spotted preliminary in white and black lace dresses. This was an amalgamation of dark and modern romanticism.

The key print elements were tiny shape flowers and the vertical lines. The silhouettes were, lingerie focus formed the collection’s core; slip, nightgown and romper shapes in intricate laces and gentle florals seemed to be culled from a grandmother’s attic treasure chest.

These were worked into looks more diverse than the motif might suggest, some of the diaphanous fare cut with natural waists, some Empire-style with alluring wayward sleeves.