Once again, Plaza Eserbee served as a Quintic Melani background for the Elisbeta Franchie’s show. However, this time, he invited his guests to step into his world. Known called “Devil’s Home” was affected by the brightness of the mystery, he tried to respect his history, imagining his future, and turned it into a brand’s Baruk drawing room. “When I first saw this place, I was immediately attracted to it, because I imagined my next woman here, it is not a matter of feminine, magnetic, self -esteem and frightening.”
With its spring ’26 combination, they came out to find the mutual interference of the light and shadow contained in human nature, which focused both the feminine powder pleasure and the deep attraction of greed. For this purpose, she used pink neon as a filter. As usual, the sensation of sensationalism was expressed, expressed by the formation of symptoms, the flow of movement, the celebration of the shape, and a pardoned downplay. The designer said, “If there is a dress, I will never give up, it’s more trench than the length of the floor.” The trench completely surrounds the idea of its functionality. The new ideas of the season were made pairing with Capri Pants with a suited suit, their sharp lines were presented by the Blazer, whose wide shoulders dramatically harassed the waist. There were jerseys who fought the edge of the masculine, which were looking for the body-it is mentioned through the details of read, cut-out, and kaul. It was only through the acquisition of this movement that tripolino, leather, and sheer organs came to different conditions, which were applied to skirts, fabrics, tips and biker jackets.
Standout techniques include a hand -packed nets on the troll or crochet, the effect of a shottering skin was presented on the satin, and the upset, denim was reduced. The palette moved between black, butter, nude and bodwer pink, while a bold turned on the decorated metal bracelet.
