September 30, 2012 Paris
Still, her floral print for Spring was not just any garden variety, but rather a cascade of irises inspired by the ones at Giverny. Their purplish blue (cornflower, really, but that gets confusing) appeared more pronounced on satin georgette than on brocade, where the petals mellowed against a golden backdrop. Dinnigan ensured that the print could do double duty for day and night; it was on sleeveless tops and breezy tunics as well as one full-length gown with wrap detail and another with a beaded bustier.
The designer likes paillettes and beading a little too much, although this season, a matte finish made a small difference. On one watermelon-tinged T-shirt dress, pieces grew in size as they made their way toward the hemline. Flattering? Undecided. But it sure was fun to touch. As usual, Dinnigan's knits got some type of special treatment—either they had a chiffon-paneled back or a panel of beaded neck- and hemlines. Most of all, this distinguished them from anything available at High Street shops.
Dinnigan designs for Hollywood's fresh faces and those in high places. One dress with a ring of tuck pleats around the waist had the effect of a softened, built-in peplum. Dream scenario for the designer: It ends up on Kate Middleton and gets renamed the Duchess Dress.
And what would Dinnigan's collection be without a great deal of Chantilly lace? Black cocktail dress, check. Lilac with cappuccino underlay, check. A white and wistfully romantic version, check. But none were as novel as the top in yellow with raffia flora embroidery. With this one piece, Dinnigan flexed her flourish muscles. She's got the pretty down pat, now it might benefit her to consider contrast—an additional jacket or two, perhaps. That way, the collection will grow alongside the baby.