The New Myra is Raquel Diniz in an evening mood: a sleeveless fuchsia velvet dress with a draped high neck, patterned with drifts of ivory dots beneath a red dotted yoke. The hem dips to a sharp point, bordered in black velvet and finished with a deep knotted fringe. Cut close through the body, it saves all its movement for the hem.

Raquel Diniz prints her Sam dress on silk satin, setting a broad band of ivory dots across a brown ground and leaving the shoulders and hem plain. The waist is elasticated and the long-sleeved cut loose above and below it, while a narrow scarf in a mustard version of the print falls from the neckline. It has the ease of a day dress and the sheen of silk.

In black velvet, the Giovanna Closed is Raquel Diniz at her most pared back. The collar stands high, ruched at the back of the neck, and the bodice falls in soft gathers to a slim velvet belt before the skirt drops long to a gently flared hem. The velvet, a rayon and silk blend, holds a deep, liquid sheen that shifts as it moves.

Raquel Diniz's Giovanna Closed dress comes here in devoré velvet, a pattern of ivory dots swirling across a deep green pile. The high halter collar gathers into the bodice and a narrow self-fabric belt marks the waist; from there the skirt flares gently to the ankle. The silk in the blend gives the velvet a lighter, more fluid fall than its depth of colour suggests.

Raquel Diniz reworks her Giorgia dress in black satin, pleated from a high halter collar that ties at the back of the neck. A narrow band sets the waist, and below it the pleats release so the skirt falls long and full. The satin keeps a low gleam along every fold, which gives the black real depth under evening light.

The New Samba is Raquel Diniz's short version of her Samba dress, cut in black silk chiffon on fine spaghetti straps. The sweetheart bodice is gathered into soft folds that draw to a small keyhole at the centre, and the skirt falls loose over a lining to a sheer, floating hem. It is a black mini with a softer hand than most.

Raquel Diniz cuts the Elena top in crepe cady, a dense acetate crepe with a faint rib and a dry hand. Strapless, it curves over the bust and narrows to the waist, its panels marked by rows of fine topstitching in the manner of a corset. Over high-waisted pants it makes a clean evening line.