February 14, 2014 London
When the first looks of printed visages appeared, it seemed that Braganza was a little late to the face-print party that Dolce & Gabbana and Prada owned in seasons past. But the designer's references to Artemisia Gentileschi, an Italian post-Caravaggio painter, were a bit more beefy. Artemisia painted powerful women—the work that made her famous was her depiction of Judith, a biblical character that liked to lop off the heads of baddies. "What can I say," Braganza said backstage, explaining why he chose Artemisia's painting of Judith for his prints, "I like women in powerful positions."
Shapes were also a talking point. Braganza's silhouettes were all about the oversized—a lot of cocoon coats, NFL-esque shoulders, and a good dose of judo-like silhouettes in trousers and sweatshirts. It was fierce and slightly intimidating; good thing there was some levity in the form of a bicep pack (a humorous take on the fanny pack), positioned on the arm of a leather jacket. But then it all went a little off piste: Asymmetrical skirts and fluid tuxedo looks pointed to a lack of cohesion in the thought process. Braganza's sharpest pieces embodied his rock 'n' roll DNA. A superb leather top with zipped sleeves and leather skinny trousers showed his skills to their best advantage. For this designer, honing his message a bit more and sticking to what he knows best may just be the ticket to the next gig.