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Spring 2022

Architecture and design have always strongly informed Silvia Tcherassi’s artistic perspective. As someone who began her professional career in the interior design sphere, her connection to space is an exceptional one. A few years back when searching for the optimal place for brand headquarters in Miami, she arrived upon a stunning spectacle of a location on the second floor of a building in Coral Gables. The noteworthy contrast of geometric volumes in the exteriors, striking mosaics with a degradé effect and theatrical floating columns in the lobby immediately caught her masterful eye. It came as no surprise that the structure was the labor of American Postmodern architect Morris Lapidus in the late sixties. Silvia had first come in contact with Lapidus’ work in her early childhood, spending family vacations in the Hotel DiLido in South Beach—one of his most memorable projects along with the Fountainebleau and the Eden Roc. Making the newfound treasure the creative and operational dwellings for the brand seemed like a natural choice.

A person wearing a long, orange and purple dress stands in a doorway, looking back and smiling.
Woman in an orange and purple gradient dress with a thigh-high slit, posed in front of a bright white background.

For the constant creator, surroundings provide inexhaustible inspiration, and two years later, Silvia’s entire Spring-Summer 2022 collection was conceived and developed in this locale, drawing on some of the remarkable elements of the building as well as others of the architect’s authorship. The outcome is a thoroughly modern one with the presence of classical components similar to those of the MiMo (Miami Modernisn) movement, where stylistic conventions, chronologies, or geographies are expertly blended—not at all different to Tcherassi’s own creative tendencies. Cut-outs and exposed shoulders evoke Lapidus’ explorations with circular shapes and stand out in a surprising color palette that echo the jewel-toned hanging glass lamps he also designed. Some of the prints pay homage to the characteristic waves present in his buildings and the black-and-white floors over his iconic Lincoln Road project. Intricate details in the clothing and accessories honor his perfect balance of tasteful flamboyance and bring back his famously celebrated line: Too much is never enough.

A person in a yellow and white floral gown stands at a bright doorway, looking outside and resting one hand on the frame.
A person wearing a long, off-the-shoulder yellow dress stands in front of a backlit white doorway.
A person stands in a bright doorway wearing a colorful, patterned dress and purple shoes, holding a red purse.
A woman in a bright yellow dress stands in a white doorway, posing with one hand resting on the wall.
A woman in a sleeveless red dress with a pink bow stands in a well-lit doorway, posing with one hand on her hip.
Person in a colorful top and fuchsia skirt stands in a bright doorway, leaning slightly on the frame.
A person stands in a brightly lit doorway wearing a red dress with a pink belt and purple heels, holding a pink clutch.
A person wearing a sleeveless dress with vertical and horizontal blue, white, and yellow stripes poses with one arm resting on their forehead. The skirt features a high-waisted woven belt.
A person in a brown outfit and heels stands against a white wall with hands in pockets, gazing towards the light.
Person leaning against a white wall, wearing a white blouse and high-waisted pants with floral patterns.
A person in a long, beige dress with floral patterns stands in a brightly lit doorway, wearing sandals with wrapped ankle straps.
Person wearing a light-colored embroidered blouse and shorts with pompom detailing, standing against a white background.
Person wearing a flowing black and white patterned dress, posing in front of a bright, backlit opening.
A woman in an elegant black and white dress stands in a bright doorway, striking a confident pose.