The models emerged from the crypt-like gloom of a vaulted arch decorated with Nico Vascellari’s illustrations of a claw-legged frog (a bit Santa Cruz screaming hand) and a grafted-together Janus-snake and candle. There was a great deal of light and dark, whether via meshed dark suiting or line-inlaid leather blousons and bombers that revealed the lightness of the pieces worn beneath, or the flocked shearling fronted pulls that had the appearance of weight but the hand feel of—shazam!—nothing at all.

The silhouettes were consistent with current-iteration Fendi: a terrace-casual dream catalog of bucket hats and fanny packs and Cuban shirts and tracksuits and sports sandals (sometimes fetchingly matched with toe socks that spelled out FENDI on each digit). The current logomania trend inspired by Fendi showed no sign of slowing down.

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