Scott’s first show at Proenza, led by the Jamaican designer, was awaited like the dawn over an open sea. The signs had already appeared: a preliminary show, a campaign devoted to authenticity, preludes to a promised metamorphosis.

She approached the house with an almost monastic fervor, studying its colors, its materials, the gestures of the atelier, as one deciphers the remnants of a civilization. The founders had loved women; she, herself a woman, gave them an inner voice.

The first dress, a pale blue, light as vapor, set the tone: a silhouette flared at the waist, echoed throughout the collection like a recurring motif. Everywhere ran the modern tension between hand and machine: orchids first captured by the lens, then by the brush, finally by code, becoming emblems of a new elegance.

She listened to her clients as one consults a discreet oracle, gathering their confidences on cut, shoulders, the confidence a garment can bestow. From these voices emerged tailored suits, a reinvented sailor pant, textures born from a living houndstooth.

The spirit of Proenza survived in the eyelets, the disciplined coats, the reinterpreted shoes, the bold bags where tradition allowed itself to be seduced by adventure.

And the final dresses, floral, asymmetrical, fringed, layered like memories, sealed the vision: that of an urban woman, free and multiple, moving through the crowds of the world’s capitals like a modern heroine among the ruins of the future.

FM