Describing his latest collection, Gary Bigeni used words like ageless, feminine, fearless and wearable.

Using cottons from Italy and Japan, Bigeni showcased his fine drapery skills, using folds and volume to create a polished collection that was subtle but assertive.

String-based instrumental soundscape, which for the finale turned into Robyn’s I Keep Dancing on my Own.

Glossy and perfectly straight.

Electric blue eye shadow, nude lip and dewy skin. Delicate gold bullrings in the nose, and fine teardrop hoops in the ear.

Key pieces: 
An exquisitely tactile skirt that had the appearance of being fashioned out of black and white shredded paper. Slouchy trousers in a seersucker-esque stripe, worn with a long, languid white shirt. A boxy, electric blue leather sweater worn over a white shirt with cuffed cream shorts.

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Overall feel: Contemporary Far East refinement. A serene, hypnotic soundtrack set the tone for Bigeni’s crisp, textural daywear, which was occasionally hurtled into the future by flashes of shiny high-tech fabric. He wrapped cotton shirts, dresses and jumpsuits in obi-style sashes, while Mao collars adorned oversized cap-sleeve shirts in various shades of blue. Even the more revealing garments – mostly-sheer trousers and shirts with translucent gussets at the back – struck an elegant and urbane tone. The colour palette may have been restricted to whites, creams, blacks and blues, but Bigeni’s skillful use of texture, shape and pattern meant there was plenty of variety on show. “If it was without reason,” Bigeni informed attendees, “you won’t find it in this collection.”

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