Midi

An organza bow neck tie brings soft contrast to this black velvet midi dress. Self-covered buttons trace the back seam, framing its sleek, tailored silhouette.

A soft drape gathers at the shoulder of this prune cady midi dress for graceful movement. A removable flower brooch and self-fabric belt add a refined flourish to the sleek silhouette.

A 3D tulip appliqué brings sculptural drama to this cream crepe midi dress, cut with a sleek high neckline. At the back, a cascading waterfall drape frames the fluid column silhouette.

An ankle-length dress in printed jacquard in green, ecru and salmon, worked with a Hibiscus Raining motif. Long fitted sleeves and a self-tie at the neckline create a refined, covered silhouette. It comes with a removable bow.

Oscar de la Renta works a multi-floral knit jacquard into a rich, woven botanical surface across this short-sleeve knit dress. The intricate jacquard construction renders the floral motifs with a tapestry-like depth and precision, sprays of tulip and blossom set against a deep cigar ground.

Elie Saab's pre-fall collection turns to knitwear for this halter-neck midi. A black and cream irregular-dot print runs over a finely pleated cotton-blend knit, gathered into a ruffled high collar that fastens with buttons at the back of the neck. The pleats move with the body and hold their line all the way to the hem.

The sleek staple every closet needs. Crafted from a softly ribbed stretch knit, the Elthea is a classic midi dress that's fitted at the bodice before flaring into a pleated A-line skirt. A knit skinny belt gently cinches the waist for an even more polished feel. Style this black midi dress with everything from ballet flats to boots.

The sleek staple every closet needs. Crafted from a softly ribbed stretch knit, the Elthea is a classic midi dress that's fitted at the bodice before flaring into a pleated A-line skirt. A knit skinny belt gently cinches the waist for an even more polished feel. Style this heather grey midi dress with everything from ballet flats to boots.

Stephan Janson works fine wool the way other houses work silk, and the Illico falls straight from the shoulder to let it do that. Long sleeves finish in fluted cuffs that drop to a point, the only interruption in an otherwise unbroken line. Safran carries the whole dress on its own.

Bela in a mid-weight piled velvet, gathered once at the front waist and left to fall from there. The neckline is round at the front and cuts to a V at the back, with the silk in the blend giving the pile its shift. Navy holds the light without turning it to shine.

The Aria twists at the waist and lets the rest of the dress follow, cut in a crepe-back satin that drapes close and finishes on an asymmetric hem. A round neckline and cap sleeves keep the front quiet; the back drops to a V. Unlined, so the fabric is the whole structure. Marsh green suits its restraint.

Alaïa's sculpting pointed dress is shaped entirely in the knit. A sheer high neck and yoke sit above a close ribbed bodice; at the waist the ribs open out into a voluminous pleated skirt whose hem drops to points at either side. Black keeps every eye on the shape.

Alaïa calls this the sculpting pointed dress, and the knit does the sculpting. A sheer, fine-gauge yoke and high neck sit above a close ribbed bodice; below the waist the ribs widen into a full, pleated skirt that falls to deep points at the hem. In burgundy the rib reads almost like pleated silk.

Alaïa's rib is engineered rather than simply knitted. On this sleeveless dress it runs vertically through a crew-neck bodice, then turns at the hips and fans out horizontally into a flared skirt. The change of direction does the tailoring, drawing in the waist without a seam in sight, and the wool blend has enough weight to hold the flare.

Alaïa lets the rib do the tailoring on this sleeveless skater dress. Vertical ribs hold the crew-neck bodice close, then turn horizontal at the hips and flare into a full skirt, the seam lines curving like the panels of a corset. The weighty wool blend keeps its shape, and lime makes each change of direction easy to follow.

An ankle-length dress in printed shiny double-sided jersey in navy, butter and rose with a Hibiscus Raining motif. A ruched V-neckline with a self-tie at the front creates definition at the waist, while long fitted sleeves balance the fluid skirt below.

A sleeveless satin dress cut clean at the front, then broken by a diagonal seam that wraps the hip and fastens on a single ball button. Below it the skirt opens into a soft A-line and the satin catches light along the fold. Old pink is dusty enough to keep the sheen from reading as evening.

Samantha Sung's Audrey is a 1950s-inspired shirt dress, cut here in printed velvet. It buttons all the way down the front under a shirt collar, with three-quarter sleeves, pleats sewn down at the waist and pockets in the side seams; a belt in the same velvet closes with a covered buckle.

Here the crushed pile breaks into veins of teal over a burgundy ground.

Samantha Sung's Audrey is a 1950s-inspired shirt dress, cut here in printed velvet. It buttons all the way down the front under a shirt collar, with three-quarter sleeves, pleats sewn down at the waist and pockets in the side seams; a belt in the same velvet closes with a covered buckle.

In raspberry, the crushed pile flickers between dark red and bronze.