Clothing

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.

Stella Jean's Kuba coat is a wool-blend jacquard in sky blue and rust on black, its pattern stacked in bands of zigzags and fan shapes over a ribbed, corded surface. A shawl collar rolls wide, the shoulders drop, the cuffs turn back and two patch pockets sit low. The cut stays loose and simple, and leaves the pattern to carry the coat.

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.

A refined jacket with a tailored silhouette. The Emy jacket is crafted from supple goat suede and defined by clean lines.

Retrofête's Kourt blouse takes a wrap silhouette in a fluid satin, its wide collar opening into a deep V neck. An intricate paisley print sweeps across the fabric in purple, teal and gold against an ochre ground, gathered into a soft ruche at the hip. Long sleeves finish in a plain cuff, the fabric catching light along every fold.

Retrofête's Aradea top takes a mock neck and long sleeves in burnout velvet, the technique lifting a paisley pattern in soft relief across the pile. A small keyhole closes the back, and the velvet carries the soft sheen and heavier fall typical of a burnout weave. Done in a vivid envy green with gold and olive tracery throughout.

Retrofête's Bellen dress is cut mini and long-sleeved in an all-over machine sequin, finished with a boat neckline and an open, draped back. The sequins sit dense enough to catch the light with every movement, holding a deep violet cast that reads almost black in shadow.

Kiton cuts these drawstring pants from virgin wool with a touch of stretch, in a beige mélange with a soft, heathered surface. The adjustable drawstring waist is tipped with metal terminals, and the ankle-length leg is pressed with a front crease and finished in a 2cm turn-up. It keeps the finish of tailoring on a pair meant for everyday wear and travel.

Kiton puts its tailoring into the simplest shape here: slim pants in black wool with a trace of silk. A clean waistband with belt loops and a fly front opens into soft front pleats, and a pressed crease runs down each leg to a tapered, ankle-length hem. This is the plain black pair that suits a cashmere knit as readily as a jacket.

Kiton's drawstring pants bring the house's culture of relaxed elegance to a soft cashmere flannel. An elasticated waist with an adjustable drawstring, finished with metal terminals, sits above side pockets and a pressed front crease; the ankle-length leg ends in a 2cm turn-up. In navy, the flannel reads close to a suiting cloth.

An authentic must-have from the Kiton womenswear collection, the drawstring pants combine comfort and style, promoting the culture of relaxed elegance. Perfect for travelling in style, these pants with a dart reveal a discerning taste and represent the synthesis of sophistication and practicality. The softness of the cashmere, combined with the flowing fit and elasticated waist, creates a versatile and sophisticated garment.

Kiton's tailoring shows in these wide-leg pants, cut from a wool and cotton cloth with a windowpane check of fine pale lines over a taupe ground. Belt loops and a button tab at the waistband lead into a pressed crease and a straight, full leg. The check reads as suiting, yet the pants sit as readily with a knit as with a blazer.

Kiton cuts these wide-leg pants from the same bordeaux velvet as its single-breasted blazer. The leg falls straight and full from a waistband with belt loops and a fly front, past slanted side pockets, with a pressed crease that holds its line through the pile. They carry an evening look on their own as surely as with the jacket.

Kiton brings its Neapolitan tailoring to eveningwear with this single-breasted velvet blazer. Wide peak lapels faced in satin frame a two-button front with covered buttons, flap pockets and a shaped waist, all in a deep bordeaux pile that catches the light as it moves. Worn with the matching wide-leg pants, it makes a velvet suit for evening.

Blumarine builds the drama of this virgin wool cardigan into its sleeves, which puff high at the shoulder and gather into long, glove-like rib cuffs. A gold-tone B monogram sits at the neck, a keyhole opens just below it, and a glossy rose is set at the chest. Buttoned down to a rib waistband, it sits short, cut to meet a high waist.

Blumarine prints this top with long-stemmed roses in black on an amberlight ground and ruches the stretch tulle from the high waist to the hip along a single centre seam. A deep V-neckline opens above a glossy black rose set at the empire line, and the long sleeves gather down to the wrist. Pale and graphic, it sits well over black.

Blumarine prints this top with red roses and green leaves on a black ground and ruches the stretch tulle from the high waist to the hip along a single centre seam. A deep V-neckline opens above a glossy red rose set at the empire line, and the long sleeves gather down to the wrist. On the black ground, the roses carry all the colour.

Blumarine builds this top from sheer lace and works it over with bead embroidery, paisleys and open flowers traced across the body and down the long sleeves. A high collar fastens with a zip at the back, and the hem and cuffs end in scalloped eyelash edges. In lipstick red, every bead picks up the light.

Pull-on knit pants with cropped, flared leg. Pintuck at front and back and faux pockets at rear. Knit in Italy from Italian cotton and French performance lycra.