One couldn’t help but think of Valentino upon seeing Criselda Lontok’s collection marking the 35th anniversary of her eponymous label at Rustan’s.

The Italian house is known for ultra-feminine styles, vibrant colors and loosely draped silhouettes for its mature and A-list clientele. Its fall-winter collection is vivid with floral designs.

Similarly, Lontok’s collection exuded romance, with huge ruffles and florals, either appliquéd or printed.

She had her signature top-selling looks such as the dust coats and the cutaway blouses with long tails—called the Celine—that are kinder on fuller figures.

The designs defied conventions of age-appropriate dressing. Bold graphics, once taboo for mature women, were paraded by such muses as editor Mia Borromeo and ex-model Frannie Jacinto. They wore contrasting striped sheaths under Lontok’s signature dust coats in butterfly prints, all in piqué.

 

Can women over 50 bare their legs? Entrepreneur Zelda Kienle came out in marigold neoprene pair of shorts and a tank top, worn under Lontok’s signature Celine top, matched with a turquoise necklace by Carlo Evaristo.

It’s not only Gen Xers such as entrepreneur Rissa Trillo who have the license to wear shoulder-baring ball gowns. Heiress Marivic Vazquez put on a halter top, while socialite Linda Ley donned an asymmetrical top; both matched with jacquard bouffant skirts with graphic prints.

Inquirer columnist Tessa Valdes wore an asymmetrical top and sheer lace leggings under a billowy jacquard skirt.

There were styles suitable for an older client but modeled by younger women, such as Bea Jacinto in a short batwing blouse, and Natalie Peña in a raglan-sleeved blouse. The bright color palette gave the silk gazar collection a fresh appeal.

 

Easy-fitting

Lontok’s collection began with easy-fitting knit separates, lean pants and loose tops with sleeves grazing the elbow. She revealed that women would be more comfortable if the sleeves were a few inches away from the wrist. They were rendered in fruity colors such as lime, tangerine and raspberry with a touch of aqua.

The day-to-night dressing was made of piqué, special cotton with a waffle texture. The designer explained that piqué wears well and is ideal for dressy occasions.

The label, known for rich fabrics, this time had contrasting textures by mixing neoprene with lace.

The linen collection had color-block tents and capelets with pants. “This type of linen doesn’t crumple even if you crush it with your hand,” she said.

She also expressed her penchant for mixing colors, in the magenta and lime collection.

Lontok gave several options for evening wear: printed organza tops with ruffled sleeves were teamed with pants or a pencil skirt.

 

Silk gazar wrap dresses could be worn as jackets over pantsuits. Glamorous women would favor lace dust coats and sleeveless blouses, accented with ostrich feathers. Then there were black evening dresses with blush and magenta floral appliqués.

For formals, the designer favored heavier silks—gazar, known for its smoothness, crispness and matte surface, and Mikado for sheen and structure.

The finale had to be show-stopping—black and silver ballgowns in jacquard, a textured fabric, woven with exquisite patterns.

Lontok took a bow in a stunning satin ballgown with pink embroidered flowers, highlighted by electric-pleated sleeves wound up like topiaries.

Clearly, Lontok’s clothes not only make women look elegant, but also allow them to move freely, without any fuss. The clothes were commercial enough to appeal to the younger customer.

“We’ll keep some stocks of the neoprene shorts and tanks,” she said. —CONTRIBUTED