The scalding ring of fire that curved around a pool of water at the Roberto Cavalli show ignited a fierce setting for the Florentine designer's tribal infused show. As the models strutted out in vacuum sucked python pants and jackets trimmed with fox collars, one could almost imagine them hooting and hollering on their stiletto pin-heels like ancient warriors giving thanks to the gods before the flames. In reality, the Cavalli woman will shower her thanks directly on Roberto next winter as the designer delivered a fantastic fusion of roaring wild kingdom sexiness and 1920s chic. Much like last season, the silhouettes were planted in the jazz age where drop-waist flapper dresses created a refined, but highly spirited look. Cavalli brought his own unique flavour to these classic shapes by cutting the fringe from every leather, skin, feather and fur he could get his animal loving hands on. Similarly speaking, printing and metal studding created intricate patterns over the clothes, adding to the indigenous vibe. But these clothes were anything but primitive: a chinchilla coat with alligator arms, leather studded flapper fringe, pierced and punched to oblivion, and a finale of crunchy bead-embroidered sheer gowns, all screamed modern civilization.
Photography: Jason Lloyd-Evans
The scalding ring of fire that curved around a pool of water at the Roberto Cavalli show ignited a fierce setting for the Florentine designer's tribal infused show. As the models strutted out in vacuum sucked python pants and jackets trimmed with fox collars, one could almost imagine them hooting and hollering on their stiletto pin-heels like ancient warriors giving thanks to the gods before the flames. In reality, the Cavalli woman will shower her thanks directly on Roberto next winter as the designer delivered a fantastic fusion of roaring wild kingdom sexiness and 1920s chic. Much like last season, the silhouettes were planted in the jazz age where drop-waist flapper dresses created a refined, but highly spirited look. Cavalli brought his own unique flavour to these classic shapes by cutting the fringe from every leather, skin, feather and fur he could get his animal loving hands on. Similarly speaking, printing and metal studding created intricate patterns over the clothes, adding to the indigenous vibe. But these clothes were anything but primitive: a chinchilla coat with alligator arms, leather studded flapper fringe, pierced and punched to oblivion, and a finale of crunchy bead-embroidered sheer gowns, all screamed modern civilization.
Photography: Jason Lloyd-Evans
The scalding ring of fire that curved around a pool of water at the Roberto Cavalli show ignited a fierce setting for the Florentine designer's tribal infused show. As the models strutted out in vacuum sucked python pants and jackets trimmed with fox collars, one could almost imagine them hooting and hollering on their stiletto pin-heels like ancient warriors giving thanks to the gods before the flames. In reality, the Cavalli woman will shower her thanks directly on Roberto next winter as the designer delivered a fantastic fusion of roaring wild kingdom sexiness and 1920s chic. Much like last season, the silhouettes were planted in the jazz age where drop-waist flapper dresses created a refined, but highly spirited look. Cavalli brought his own unique flavour to these classic shapes by cutting the fringe from every leather, skin, feather and fur he could get his animal loving hands on. Similarly speaking, printing and metal studding created intricate patterns over the clothes, adding to the indigenous vibe. But these clothes were anything but primitive: a chinchilla coat with alligator arms, leather studded flapper fringe, pierced and punched to oblivion, and a finale of crunchy bead-embroidered sheer gowns, all screamed modern civilization.
Photography: Jason Lloyd-Evans
The scalding ring of fire that curved around a pool of water at the Roberto Cavalli show ignited a fierce setting for the Florentine designer's tribal infused show. As the models strutted out in vacuum sucked python pants and jackets trimmed with fox collars, one could almost imagine them hooting and hollering on their stiletto pin-heels like ancient warriors giving thanks to the gods before the flames. In reality, the Cavalli woman will shower her thanks directly on Roberto next winter as the designer delivered a fantastic fusion of roaring wild kingdom sexiness and 1920s chic. Much like last season, the silhouettes were planted in the jazz age where drop-waist flapper dresses created a refined, but highly spirited look. Cavalli brought his own unique flavour to these classic shapes by cutting the fringe from every leather, skin, feather and fur he could get his animal loving hands on. Similarly speaking, printing and metal studding created intricate patterns over the clothes, adding to the indigenous vibe. But these clothes were anything but primitive: a chinchilla coat with alligator arms, leather studded flapper fringe, pierced and punched to oblivion, and a finale of crunchy bead-embroidered sheer gowns, all screamed modern civilization.
Photography: Jason Lloyd-Evans
The scalding ring of fire that curved around a pool of water at the Roberto Cavalli show ignited a fierce setting for the Florentine designer's tribal infused show. As the models strutted out in vacuum sucked python pants and jackets trimmed with fox collars, one could almost imagine them hooting and hollering on their stiletto pin-heels like ancient warriors giving thanks to the gods before the flames. In reality, the Cavalli woman will shower her thanks directly on Roberto next winter as the designer delivered a fantastic fusion of roaring wild kingdom sexiness and 1920s chic. Much like last season, the silhouettes were planted in the jazz age where drop-waist flapper dresses created a refined, but highly spirited look. Cavalli brought his own unique flavour to these classic shapes by cutting the fringe from every leather, skin, feather and fur he could get his animal loving hands on. Similarly speaking, printing and metal studding created intricate patterns over the clothes, adding to the indigenous vibe. But these clothes were anything but primitive: a chinchilla coat with alligator arms, leather studded flapper fringe, pierced and punched to oblivion, and a finale of crunchy bead-embroidered sheer gowns, all screamed modern civilization.
Photography: Jason Lloyd-Evans
The scalding ring of fire that curved around a pool of water at the Roberto Cavalli show ignited a fierce setting for the Florentine designer's tribal infused show. As the models strutted out in vacuum sucked python pants and jackets trimmed with fox collars, one could almost imagine them hooting and hollering on their stiletto pin-heels like ancient warriors giving thanks to the gods before the flames. In reality, the Cavalli woman will shower her thanks directly on Roberto next winter as the designer delivered a fantastic fusion of roaring wild kingdom sexiness and 1920s chic. Much like last season, the silhouettes were planted in the jazz age where drop-waist flapper dresses created a refined, but highly spirited look. Cavalli brought his own unique flavour to these classic shapes by cutting the fringe from every leather, skin, feather and fur he could get his animal loving hands on. Similarly speaking, printing and metal studding created intricate patterns over the clothes, adding to the indigenous vibe. But these clothes were anything but primitive: a chinchilla coat with alligator arms, leather studded flapper fringe, pierced and punched to oblivion, and a finale of crunchy bead-embroidered sheer gowns, all screamed modern civilization.
Photography: Jason Lloyd-Evans
The scalding ring of fire that curved around a pool of water at the Roberto Cavalli show ignited a fierce setting for the Florentine designer's tribal infused show. As the models strutted out in vacuum sucked python pants and jackets trimmed with fox collars, one could almost imagine them hooting and hollering on their stiletto pin-heels like ancient warriors giving thanks to the gods before the flames. In reality, the Cavalli woman will shower her thanks directly on Roberto next winter as the designer delivered a fantastic fusion of roaring wild kingdom sexiness and 1920s chic. Much like last season, the silhouettes were planted in the jazz age where drop-waist flapper dresses created a refined, but highly spirited look. Cavalli brought his own unique flavour to these classic shapes by cutting the fringe from every leather, skin, feather and fur he could get his animal loving hands on. Similarly speaking, printing and metal studding created intricate patterns over the clothes, adding to the indigenous vibe. But these clothes were anything but primitive: a chinchilla coat with alligator arms, leather studded flapper fringe, pierced and punched to oblivion, and a finale of crunchy bead-embroidered sheer gowns, all screamed modern civilization.
Photography: Jason Lloyd-Evans
The scalding ring of fire that curved around a pool of water at the Roberto Cavalli show ignited a fierce setting for the Florentine designer's tribal infused show. As the models strutted out in vacuum sucked python pants and jackets trimmed with fox collars, one could almost imagine them hooting and hollering on their stiletto pin-heels like ancient warriors giving thanks to the gods before the flames. In reality, the Cavalli woman will shower her thanks directly on Roberto next winter as the designer delivered a fantastic fusion of roaring wild kingdom sexiness and 1920s chic. Much like last season, the silhouettes were planted in the jazz age where drop-waist flapper dresses created a refined, but highly spirited look. Cavalli brought his own unique flavour to these classic shapes by cutting the fringe from every leather, skin, feather and fur he could get his animal loving hands on. Similarly speaking, printing and metal studding created intricate patterns over the clothes, adding to the indigenous vibe. But these clothes were anything but primitive: a chinchilla coat with alligator arms, leather studded flapper fringe, pierced and punched to oblivion, and a finale of crunchy bead-embroidered sheer gowns, all screamed modern civilization.
Photography: Jason Lloyd-Evans
