Instead of the same Easter-basket pastels, Azria chose an unusual palette featuring a twenties color scheme of deep rosy pink, aquamarine, pale chartreuse, black, and ivory. He added big floral prints reminiscent of Dagobert Peche’s Wiener Werkstätte designs, and balanced retro-looking fabrics like lightweight cotton voile and washed twill with modern nylon and Lycra blends. The silhouettes were clean and easy: A-line dresses that skimmed the body, cropped pants, short jackets with three-quarter sleeves, and thigh-length coats.
Azria delivered charm aplenty—particularly via the tiny ruffles that he stacked on the pretty bikini tops and bottoms, scattered on a minidress, and used to line the edges of a camisole neckline or hem a pair of Clamdiggers. Like a good cook with a tricky recipe, the designer knew just when to stop fussing with his fashion.