The collection captures both the silhouette and the delicate veins of the elegant creature’s wings, with a colour palette ranging from deep purples, greens and blacks, to more subdued pastel pinks, yellows, "vert d’eau”, silvers and whites. Fluidity is contrasted with sharpness: light-weight skirts, some transparent and some multi layered with delicate foldings, flow elegantly, contrasting with bold angles jutting out. Indeed, dragonflies symbolize self realization, independence and strength, just like an athletic ballerina looking effortless and elegant in her movements.
The make-up is kept nude except for the ‘cat-eye’ liner, or should we say ‘insect-eye’ liner - an enchanting, elongated, deep turquoise gradient. Topknots have been subtly adapted by Beppe d’Elia with delicate hairs feathering out vertically from the chignon – once again mimicking the dragonfly’s strong main body versus the fragility of its wings. Now and then, the addition of masks and headpieces by Londoner Dana Markova adds mystery and spectacle to the collection.
Below, Tony Ward evokes the intricacies of a dragonfly through beading and form. Magnificent wing-like shapes jut out asymmetrically from the upper body, contrasting with the languid skirts that flow down the catwalk: the models are transformed into flying, delicate creatures. The mauve gown’s iridescent quality and the pink to white gradient of the wing on the white gown, further bring to life Tony Ward’s idea of a dragonfly.
Here we have a similar asymmetrical body: an angular, folding fabric extends up the front to create an almost one shoulder look. A slit on the side of the skirt exhibits a beautiful textured tulle, comprised of intricate lacing and embellished sequins glinting in the light. Its disorderly entanglements imitate that of nature itself. The look is brought together by a bold insect-like mask adding drama and mystery.
These three form-fitting gowns with boat necks or deep v-necks display the diversity of this collection’s embodiment of the dragon-fly aesthetic. Same silhouette, but different lines, cuts and techniques. We couldn’t pick our favorite!
This strapless gown presents quite a sophisticated and glamorous design with an artful mixture of beading and folded fabric that protrudes on the bustier, a high cut on the leg, and a sheer flowing over-skirt.
The first pink gown presents a softer version of the asymmetrical wing-shape we have seen in the looks above, which fans out over the décolleté. This sheer material continues down to the skirt, which is covered in delicate embroideries.
In the second strapless gown Tony Ward, once again, alludes to the beauty of nature with its folds and layers reminiscent of rippling waves. The models sheer cape that flows regally behind her – as if she’s about to take flight – has a “falling wings” pattern delicately embroidered on it.
In these mermaid fourreau dresses in light yellow, Tony Ward uses openwork and bandaging techniques to reveal glimpses of skin, whilst replicating the delicacies and intricacies of the anatomy of a dragonfly. The gown on the left, with a high neckline and structural detailing, has a far-eastern, kimono character about it. Bands of fabric envelop around the model, whilst see-through slashes, outlined with silver embellishments bring theatre to the look.
The second dress is perhaps the most feminine and spectacular of the whole collection. It is backless with fluffy, light, wing-shaped shoulders. Openwork embroidered leave motifs are sewn to each other with sheer insets. The skirt ends in froufrou organza, trailing majestically down the catwalk.
This gown has a fantastical fairy-tale romanticism about it. With its range of pastel greens and airiness, we like to think of it as spring in a dress! The flowing, transparent skirt with a high slit, contrasts with the more structured, multi-layered, strapless upper-body. One of the most magical aspects of this gown is its iridescence, which dragonfly often exhibits both on its wings as well as its body.
Our favorite in the series of the emerald green dress is this one-shoulder dress with a high slit and green and pastel pink beading reminiscent of the wings of a dragonfly.
The dark green and black dresses channel a more gothic mood. The dress with the short multi-layered skirt, exudes a sense of power and poise, with a witchy headpiece and black embellishments around the neck, shoulders and waist. The fully embroidered long black dress presents intricate motifs. The more transparent lower part exposes the legs and is framed-up by a an overskirt.
This silver outfit doesn’t fail to impress by the mix of full beading and flowing organza that lightens the strapless bustier.
An over-skirt organza train flows regally down the catwalk. Wing-like structures extend out from the bosom over the shoulders, adding theatricality to the jumpsuit.
This all-white masterpiece look takes our breath away with its entangled lines of embroideries and beadings, high side slit and white cape with mille-feuille treatment.
The elegant bride ends the show with beautiful detail work around the décolleté and waist, reminding us of the lace-like outlines of a dragonfly’s wings. A voluminous over skirt train encompasses a more fitted skirt with irregular foldings, whilst the veil completes the bridal aura.