Milan Fashion Week: SS19

If London is the rebellious anarchic teenager outfitted in neon clad, Milan is the refined mother who knows best. In contrast to the previous week capturing a youthful electric vibrancy, the Italian fashion capital offered the age old Bottega Veneta mantra of living “quiet luxury”. It is here and now where the preference for athleisure starts to fold, and we turn our focus towards a subtler luxe-leisure; luxurious in quality and craft, leisurely in fit and formality. As a whole, Milan proposed clothing for the career woman; ambitious, driven. To her, craving attention on social media popularity seems desperate - her eyes are drawn to the DOW index and skimming through her brimming portfolio of investments. She is an adult who deserves grown up collections.Appealing to such refined taste would be Salvatore Ferragamo which added considerable oomph to beige, drawing a parallel to Richardo Tisci’svery beige Burberry debut. The Ferragamo palate was however energised with punches of regal aquamarines, pink sapphire and ruby reds. Creative director Paul Andrew elevated repurposed staples, such as the classic button down shirt pairing it with flowy leather Bermuda shorts and thoroughly impressed with the footwear - of course - with sculptured wedges, slouchy wicker boots and sandy fabric sandals. Tailored crisp and clean suiting felt new and exciting due to a degree of coolness extended through loose structures.

Max Mara also expressed muted hues, exhibiting its famous coats in all shades of nude, as well as a cheery parade of sunshine yellows emphasising the cross-generational appeal of their iconic product. Real clothes for real women was also a point made by Alberta Ferretti, although with IT girls like Bella, Gigi and Kendall wearing t-shirts and camis, her target audience is clearly of a younger demographic. After three seasons for Jil Sander, Lucie and Luke Meier proved successful with a mostly mono-chrome collection based on a sculptural slouch; architectural in cut and refreshingly unpretentious. All of these labels captured a sense of refined reality, fashion for the street; not lacking on “the dream” of fashion. Instead of fantasy these collections sparked personal and professional aspiration, which is indeed - to use a very overused term- “empowering”.

Equal to the refined narrative, Milan also proposed a natural tone; one that is not edited with Photoshop or FaceTune so to speak. Francesco Risso did this very well at Marni where the humble imperfections made the collection not only endearing but authentic. The frayed hems, the strokes of paint on skirts and jackets, the colourful collage pasted across an asymmetrical midi dress all spoke to our great desire for the human element- which is increasingly overshadowed by artificial intelligence and machines. A backlash against perfection- hallelujah! Also exhibiting an organic, natural tone was Missoni, which celebrated its 65th anniversary. To commemorate the occasion, Angela Missoni sent out one of her strongest collections to date, composed of delicate gossamer-light pieces. They were physical strands of fresh air, soft and innocent and sweet as they lovingly wrapped the models like a grandmother’s embrace. Similar to Missoni, Giorgio Armani offered a collection also drenched in blues and forms of lightness, albeit with a masculine edge expected from his loyal consumers. Natural ease was also apparent at ETRO, inspired by Bruce Brown’s The Endless Summer, the 1964 surf-cult hit. It radiated the ultimate cool girl vibe, personified literally by female pro surfers, Victoria Vergara and Maribel Koucke who, board in hand, waves in hair were flawless. The collection referenced the skate and surf culture in California as well as the denim and calligraphy of Japan and the Pacific. The paisley prints and blend of coastal culture brought in the sunshine.

On the subject of cool girls - enter Miuccia Prada. Prada continues its winning streak creatively and financially, having exceeded analyst expectations by a 9 per cent rise in revenues to €1.54 bn in the six months to June 30. For this season Prada explored the complexities of the bourgeoisie. She injected radical youth into tame ladylike classics; take a knee length A-line skirt and make it transparent to reveal underwear, a mod Babydoll dress in black leather or a printed bodysuit remixed with a plunging neckline synched with a belt under the breasts. The underlying meaning pointed to a polarised society based on extremes of the political right and left.  The few splashes of Prada’s acidic colours also seeped elsewhere such as at a neon infiltrated Bluemarine, the colourful doodle collection at Moschino and at Versace, who served a particularly inspiring tangy green amongst oodles of printed floral layering.

All encompassing trends are almost impossible to discern nowadays, however I will say that Milan took a more organic tone, it was more refined and modest, it stood for real women today on the street and at the office interested in aspiration. Even at uber-glam houses Versace and Cavalli, there was less La Dolce Vita sexiness and instead a more pragmatic approach- great style doesn’t need to lack utility. Milan brought a powerful whisper of decadence, suggesting that fashion forward women today do not want to hide behind a curtain of shrill colour. The start to a new age in minimalism? The dawn of anti-logomania?

Resort 2019: Back to the Roots

Since the presentation of resort collections first catapulted into the mainstream fashion system a little over 10 years ago, they have evolved into becoming something of an arms race with brands fiercely competing on who can stage the grandest fashion spectacle in ideally the most exotic location. Therefore, it came as a surprise when it was announced that the most influential french maisons - including Chanel, Dior, and Louis Vuitton- chose to keep their presentations local. Was keeping local in France a natural response to global uncertainty? Or perhaps a clear signal of confidence in President Emmanuel Macron and the direction he is leading France?

Last October Macron threw a celebratory reception for French fashion designers at the Elysée Palace declaring his own support for the industry which may have inspired the decision.Even Gucci, the Italian powerhouse, chose to present in the Southern French town of Arles, staging a haunting spectacleupon an Ancient Roman burial ground. Its confidence in France was underlined by the decision to uproot from Milan and present its Spring 2019 collection instead in Paris this coming September. Although not straying afar geographically, the shows were still presented in extravagant measure: Chanel at the Parisian Grand Palais which featured a massive 300 foot ocean liner named La Pausa, Louis Vuitton at the Fondation Maeght in St. Paul-de-Venceat, Dior at the hippodrome of Chantilly. By all means, these experiences were not quaint, but they did lend a sense of authenticity rooted in their own tradition.

This tradition was best when combined with other cultural influences such as Maria Grazia Chiuri for Dior drawing upon Latin American heritage. Kicking off the Dior presentation, was a fearless team of eight Mexican escaramuzas riding sidesaddle on horseback in lightening speed, weaving in and out throughout the entirety of the venue - the pulse of the audience escalating along with the accompanying rock music. What was to follow was a cautious yet beautiful collection based on fine equestrian tradition from both Latin American and European roots. The fusion of natural cotton lace, unassuming frills, and delicate embroidery lent an overall earthy and folkloric aesthetic. For me, the show-stopping element of the collection was featured primarily on dresses; the heavy use of toile de Jouy - a favourite of Chiuri - featuring tigers and bears, giraffes and monkeys and a plethora of other creatures invited to a magical jungle scene. Dior typically represents dresses to dream about, but when worn with rubber combat boots to stomp though the mud, they become very grounded. Tempting earthly delights.

Although some argue that the trend is dead, various themes emerged, supporting preceding collections of Spring and Autumn 2018. Firstly, there continues to be the shift towards gender fluidity, most explicitly championed by Alessandro Michele for Gucci. Here, English checked tweeds, heavy velvets, flamboyant pattern, flared groovy pantsuits, and glitzy retro based accessories suited everyone in equal measure. Secondly, fashion’s love affair with the 1980’s continues where for Louis Vuitton, Nicholas Ghesquière offered oversized silhouettes, a tangy mix of artificial colours, excessive pattern and a healthy dose of hand-painted acid-washed denim. He presented one of his best collections yet balancing architectural structure with the lightness of youthful spontaneity, exhibited for example in a cropped shirt dress slashed at the midriff in a provocative shade of punchy pink. The colour shares the same rebellious freshness as millennial pink, but rather than confused or idyllic it connotes assertion and confidence. Spotted on the major runways, the colour played a leading role in the Chanel collection which benefited from the lively hue.

The colour was also seen lighting up the Prada collection, which pulsed a strong minimalist undercurrent foreshadowing a return of less is more.Overall, resort collections continue to excel by quenching the consumer’s search for luxury experiences. At their worst, they capture marketing at its finest, at best, they bring a brand to life, transcending material boundaries to something more lasting and poetic. Trends have blended together and so have the seasons, with Pre-Fall collections now designed for a range of climates and the everyday, opposed to only catering for that sun-soaked “resort” holiday as they were originally intended. Now there are additional capsule collections such as Chanel’s newly launched Coco Beach and Coco Neige, filling the gap for specific performance and occasion wear. And so it goes, each year seeing more collections, more product.Is it escalating our desire or dilutingoverall meaning?

Milan Fashion Week: AW18

Elizabeth Cady Stanton once said “The best protection any woman can have… is courage.” Designers have a responsibility especially in the climate of #MeToo, in representing strong female figures and offering collections which indeed trigger confidence and courage. Protection of oneself or others, whether male or female, young or old, seems to be the red thread linking together this season’s global fashion weeks.

The point was made most obvious at Milan Fashion Week which kicked off with a captivating presentation by ultimate outdoor brand Moncler and it’s innovative Genius Project. Moncler has taken advantage of the fashion industry’s rapidly changing environment - adapting to the fastening pace of consumer demand offering a range of bespoke, one-off capsule collections dropping periodically throughout 2018. The inaugural presentation included 8 cutting-edge collaborations with some of today’s most inventive creatives. Moncler puffer jackets were reinterpreted by the heightened romanticism of Pierpaolo Piccioli, utilitarian abstraction of Craig Green, and Victorian femininity of Simone Rocha - why not face sub-zero temperatures in style? The project is cutting ties to the restrictive nature of traditional fashion weeks and bringing a convincing alternative to the table.

Another brand which lent protection included Jil Sander, where designers Lucie and Luke Meier chose to focus on a range of tender fabrics and cocoon-like silhouettes. In place of handbags, models carried duvets, or alternatively wrapped them around the shoulders or cinched them tightly around the waist, catering to our need to feel comforted.

Capturing the moment of unsettling macro-environmental developments, a range of collections translated these feelings into the presentations themselves, often into a troubling sci-fi dystopian setting. A meaningful example was the disturbing mise-en-scene at Gucci set in a creepy suite of operating theatres. Fashion’s favourite magus, Alessandro Michele’s explained the metaphor in how people today consciously “operate” on their identities in real life (IRL) or on digital platforms inspired by a mix of Hollywood, Instagram, and brands such as Gucci. “We are the Dr. Frankenstein of our lives,” said Michele. “There’s a clinical clarity about what I am doing. I was thinking of a space that represents the creative act. I wanted to represent the lab I have in my head. It’s physical work, like a surgeon’s.”

Also at Prada the atmosphere suggested troubling times ahead. The setting was surreal and unnatural, with a black-mirrored floor, blinding neon signs attached to heavy plate glass windows - a hovering drone recording the show and audience reactions from the outside in. Big Brother is watching you. The collection was made of an intelligent mix of intriguing contrasts, whether that be a combination of hefty workwear with delicate tulle, romantic cocktail dresses with unforgiving corporate ID cards, digital prints with humble tweeds and knitwear (welcome reminders of a simpler age). Many looks were paired with clunky rubber boots with protective nylon drawstring leg-coverings. Were we protecting ourselves from the rain? Or something lethal which escaped from a top-secret lab, similar to the one in the Shape of Water? I felt this collection successfully married science and art, highlighting through blinding fluorescent colour the sour taste of artificiality and man’s never-ending assault on nature. Like all great art, the collection sparked food for thought and presented an image of a courageous woman who doesn’t have to rely on strong-shouldered blazers to come across as powerful.

With presentations getting more innovative in the hope to generate more buzz, shares, and likes (hopefully leading to an eventual sale), various brands focused on unusual accessories. Various Gucci models glided through the operating rooms holding replicas of their own heads, which has led to the #guccichallenge already trending on Social media. Is today’s fashion intentionally designed for maximum “likes” and e-word of mouth or is social media popularity a welcome byproduct of autonomous creative brilliance? The Tod’s presentation also trended, not due to pet dragons or severed heads in hand, but with the most adorable puppies propped onto the arms of supermodels including Gigi and Bella Hadid. Cuteness overload. Smiles flooded across the audience as these little guys made their runway debuts. A gesture of course to the Chinese “Year of the Dog” however dogs are surely not accessories and should not be seen in the same context as a new handbag or burnt orange leather boots. While yes, Tod’s is known for its accessories, the pups distracted from a rather dull collection.

While London was crowned with the presence of HM The Queen attending NEWGEN recipient Richard Quinn, Milan was linked with the institution of the Vatican due to the launch of the exhibition: “Heavenly Bodies: Fashion and the Catholic Imagination”. For this year’s highly anticipated exhibition at the Metropolitan Museum of Art in New York, the Vatican, Versace, and Vogue are joining forces to show off the Catholic influences in fashion. The exhibition, which opens May 10, will present some of the Vatican’s most precious treasures from the Sistine Chapel sacristy -  exhibited for the first time outside the Vatican.

“Some might consider fashion to be an unfitting or unseemly medium by which to engage with ideas about the sacred or the divine,” says curator Andrew Bolton. “But dress is central to any discussion about religion. It affirms religious allegiances and, by extension, it asserts religious differences.” Also, Cardinal Gianfranco Ravasi, the Vatican’s culture minister, added that clothing oneself is both a material necessity and a deeply symbolic act that was even recorded in the biblical story of Adam and Eve. “God himself was concerned with dressing his creatures,” Ravasi said. Also translated into this season’s Dolce and Gabbana’s opulent collection, religion remained a central topic.

In times of chaos, we are left searching for answers often from higher powers from above. We look for direction, for centrality and grounding. As we continue to proactively protect our bodies, minds, and souls, Milan’s collections offered a range of intriguing solutions; often otherworldly, catering to our direct needs and desires through cultural ingenuity.

Diet Prada: The Influence, The Inspiration, and The Copy

What continues to dominate as one of the most hyped about Instagram accounts for fashion enthusiasts is none other than the sharp-tongued, ever-fierce Diet Prada. The duo behind the influential social media platform has been described by The Cut as the “No-Filter Fashion Critics for an Instagram Age” and by the Financial Times as “Fashion’s most powerful critic”. Diet Prada is celebrated in equal measure by fashion novices and professionals, for bluntly “naming and shaming” established and emerging designers, stylists, photographers, editors and other creatives for "knocking each other off". Results can be equally humorous and humiliating, and never hold back opinion regardless of a recipient’s status in the industry.

Recently, the social media account has recently called out e-commerce brands (e.g Borrow my Balmain) for selling fake Dior dresses, and made the winning case that brands such as Victoria’s Secret are guilty of shamelessly copying the packaging by makeup artist Pat McGrath, hence rightfully giving credit where credit is due and calling out unoriginal thinkers. In an age where it is unfortunately not uncommon for fashion critics to either not be invited to shows, based on an inferior review or bribed to provide glowing commentary in exchange for a nice gift, it is refreshing to have access to a Diet Prada who has captured the ability to call out those who deliver a “diet” version of an original. Diet Prada, among others, has the potential to not only proactively educate consumers and next-generation creatives but to act as a third party regulator, calling out copycats in an effort to encourage more creative autonomy. However, with such great responsibility holds great power.

The notion of radical transparency is seeping across all areas in the industry which is important and appreciated, especially by younger generations such as Generation Z. While calling out the “cheap copycats” is, yes, needed, the tactic Diet Prada employs to point the finger is, at least for me, questionable. Harsh daily accusations oftentimes leave a sour taste on my tongue with chosen words resonating more in the line of mean girl bullying than cultural enlightenment. Not only does it promote a stereotypical reputation that fashion is indeed a cold, snide industry furtively judging each other, but, more importantly, it fails to distinguish between copy and influence where the latter is a cornerstone which defines the essence of fashion.

The platform hides behind an anonymous identity, although according to The Fashion Law it is run by Tony Liu and Lindsey Schuyler, and therefore enjoys the liberty to write and post what it wants - oftentimes lacking much needed professional respect. For example, it has called out Dolce and Gabbana for copying Gucci and directly accused the brand of not being relevant in the course of fashion history. Does hiding behind a screen justify bullying?

Especially during the creative rush at Fashion Week presentations, it is amusing to note how designers are influencing one another as well as establishing which sartorial references have been chosen to emerge yet again as a trend- currently, we see a return of the emphasised shoulder thanks to Balenciaga and sequenced glamour thanks to Saint Laurent. Should they too be publicly shunned for reinterpreting an idea?

It is important to acknowledge that not everything that looks similar on the runway is a stolen “copy.” Considering the industry's archival legacy it is nothing, if not dependent on a design team's ability to take influence from the past and translate it to modern day. Should Coco Chanel’s creativity be questioned as she “only” adapted tweed menswear for women? Should Yves Saint Laurent be scrutinised for adapting ancient tribal prints for his iconic African Queen collection? Is John Galliano a copy-cat for implementing Rococo dresses for his Dior Haute Couture collection? Of course not. Most of today’s collections presented on the runway each season tend to be derived largely from existing creations and reborn to match today's needs.

With many houses presenting more than 4 collections each year, it cannot be expected of creatives that each piece must be a “new look”. There are only so many ways to cut an  A-line dress. Successful design is always prone to feature some already-existing elements.

Today it is easier than ever before, thanks to social media and digital archives (e.g Vogue Runway) to pinpoint a designer's inspiration which at best provides cultural context and at worst unjustly leads to social media call-outs humiliating creative teams which are already under incredible pressure. 

While online call-outs may prove to be particularly “shareable” and spark a general “LOL” - shaming designers for looking to the past for inspiration is not how fashion functions and ultimately discourages experimentation, innovation, and creative autonomy.  I argue that instead of carelessly labeling all familiar influences as a cheap imitation, let’s celebrate familiar references and question why certain codes emerge again back into fashion. Inspiration is a beautiful thing - not an unforgivable crime of plagiarism.

Milan Fashion Week SS18 : Solace Found in the (Fabulous) Familiar

Like London and New York, Milan SS18 soaked us all with a wave of optimism, making way for upbeat and joyful collections. Vibrant colour, overwhelming sequence, sporadic plumage all played seminal roles in lifting next season into an emotional high. Bright colours have been proven to psychologically improve our mood for the better. Case and point: I don't know how anyone could hide a smile from Missoni’s glorious rainbow knitwear! Most notably riding on this surge of excess hues, included Marco De Vincenzo who dedicating his collection to his roots in Sicily, Bottega Veneta which (known for its image of “stealth wealth”) surprisingly was flooded with blingage, and, who I considered the star of the Millan collections, Francesco Risso at Marni who after a shaky start at the creative helm last season, truly impressed in delivering ingenuity and wearability.

Also never shying away from a colourful sensation is Alessandro Michele’s Gucci with a collection of over a whopping 100 looks. While grand in its melange of cultural references and homage to 1980s kitch, was this collection anything different than what we have seen in previous years? Michele truly disrupted Milan with his newfound vision of Gucci in 2015however with each new season, is it all becoming the same narrative and dare I say, predictable? Is a brand’s set unwavering image now everything or do progressive clothes still count? Also, continuing with unchanging narratives was Dolce and Gabbana and Prada who although presented expertly executed pieced, too seemed predictable.

The antithesis of the runway kaleidoscope was the debut collection by Luke and Lucy Meier for Jil Sander. The mostly monochromatic scheme served as a refreshing palate cleanser compared to other shows and injected soul to notoriously sterile minimalism. The collection was varied in style, poetic in taste and served as a worthwhile starting point for the influential brand’s new chapter.

However, the absolute “Fashion Moment” of Milan - heck fashion moment of the season-was Donatella Versace’s tribute to her late brother Gianni, who was tragically killed 20 years ago. The collection paid respect to Gianni’s genius (yes, genius is appropriate in this context) by translating some of his finest work into modern day wear. Fascinating how some pieces - the Trésor de la Mer collection, the Vogue dresses, the Butterfly collection, the Native American feathers, the black and gold baroque prints - now almost 30 years old - seem just as relevant today. This is not a collection to be judged on but to be appreciated - Paying respect to a legend and a different time in fashion. Most obvious in making this point was the supermodel finale featuring Claudia, Naomi, Cindy, Carla, and Helena - strong women with personality. When compared to the often wafer thin, expressionless teenage girls who teetered down the runway before them it showed a drastic difference how the industry changed. From intimate, independent, emotional to disposable, impersonal, and filtered. Of course, that is a much too generalised and gloomy statement but I do think it is fair to state fashion has changed into more replaceable and immediate, attracting a range of consequences.

Overall, there is naturally comfort in doing what we know and it seemed therefore that this is what Milan was emphasising by playing its greatest hits - postmodern counterintuitivism at Prada, magpie maximalism at Gucci, millennial madness at Dolce and Gabbana. But in comparison to what we saw in London and New York, where there is this unprecedented energy to give more chances to younger new talent, this was missing in Milan. Opportunities for the new generation was one of the priorities to the late Franca Sozzani and it would be great for this to play more of a factor in Milan’s future.

Resort 2018: Oh the Places You Will Go

As the sun spreads its rays again across the northern hemisphere, hinting at the delicious promise of summer, fashion’s most respected brands present their holiday inspired resort collections. What intrigued me most with this season was not necessarily the clothes themselves, but I found myself questioning the role of place and its influence within fashion (and on ourselves).  While Dior and Louis Vuitton jetted off to exotic locations, to our surprise Chanel and Prada stayed home - a tangy antithesis to the concept of “resort”.

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Chanel presented on their home turf, the Grand Palais. However instead of celebrating local Parisian style similar to its pre-fall Metier’s d’Art collection, Karl Lagerfeld sent his audience back in time to the natural opulence of Ancient Greece. I found it clever to bring “Greece” to Paris, transporting the mind to an exotic place and time through the execution of narrative transportation. Lagerfeld, notoriously one never to dwell on the past, took us back to the foundation of democracy or how he put it “the teenage years of our world”. It was a convincing thought, revisiting the bedrock of a democratic society - a welcome reminder amidst such a chaotic political climate.

Lagerfeld stated one must sometimes go back in order to move forward.

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Ms. Prada, although much opposed to the commercial crux of cruise collections, returned to the pre-collection calendar after a 5 year hiatus (most likely in response to the struggling financial performance of Prada s.p.a). It was a poetic gesture, showing her collection five stories above the original Prada store, opened by Miuccia Prada’s grandfather Mario Prada in 1913, at the Galleria Vittorio Emanuele II, one of the world’s most magnificent and oldest malls.

The building itself shaped the collection, through its industrial modernity and ornamental elegance. The borrowed influence resulted in a collection regarding the complexity of the female force, with a focus on athleisure emphasising feminine strength and eloquence. I personally liked the idea that the “resort” collection was presented over the heads of the many thousands of eager tourists unaware of the luxury spectacle taking place: a collection ironically intended for the luxury traveler- presented everywhere and no where.

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Dior and Louis Vuitton however fully embraced the rush of heading abroad. Maria Grazia Chiuri, her first resort collection for Dior, headed West. The Wild West that is. Above the glitzy town of Calabasas (home to the rich and famous), lies the wild prairie frontier of the Upper Las Virgenes Canyon Open Space Preserve. The open space and rolling pasture extended relentless freedom to a thematic collection based on the visions of Georgia O’Keefe, ancient cave paintings, and “California Dreaming”.

Nicholas Ghesquiere for Louis Vuitton, on the other hand, headed to the far East along the outer boundaries of Kyoto, Japan: to the Miho Museum designed by I.M Pei. It was the most futuristic modern building imaginable, almost as if it were built by some extra-terrestrial philocalists which too influenced the futurist aesthetics of the collection.

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While many remain skeptical by the true commercial intentions of “resort” collections* it is important to appreciate how place and its culture influences each respective collection.

In 1966 Maurice Broady, a British planner, invented the term architectural determinism: a new term for the architect’s lexicon describing that design solutions have the ability to change behaviour in a predictable and positive way. Also, the greats of the Renaissance including Leon Battista Alberti was convinced that place and beautiful urban planning would benefit all aspects of society as it has the ability to positively affect behaviour. For example, in a beautifully built city the thought was that the super rich would be inclined to spend time in town, not within their private property and all citizens would be encouraged to act communal, respectful and maintain order as we felt a sense of pride for our surroundings.

Buildings and place shape our lives, moods, and as seen through these collections influence design and fashions. If the awe of “place” has the ability to reduce mood disorders of citizens, as well as influence fashion does that mean that fashion too can influence our minds and opinions for the better?

I am very convinced it does.

*Like Louis Vuitton, Chanel will present its pre-fall collection in Japan later this month (for the second time) again affirming luxury’s continuous attempt to impress the Japanese consumer (Japan is the second-largest luxury goods market in the world, you know!)

Milan Fashion Week SS16

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Day 18

Marni

(notes)

Architectural. Lots of movement - fluid. Bold primary colors - bright and dark which interacted well together (love). GEOMETRY CLASS YES. Shapes, colors, sparkle and shine! Lines everywhere. Clearly a protractor was used. Curved, straight whatever floats your boat. Unique, strong silhouette. However, was it perhaps to heavy? Were the materials too much? Too stifling?

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Day 17

Bottega Veneta

Tomas Maier served up a sporty collection (with an ace- hehe) and a took us into the great outdoors! The standout pieces were fabulous dresses made of polyester sail cloth, which made an haute couture silhouette (with a hiked up skirt) out of a humble fabric (similar to Ralph Lauren). I loved how these immaculate clothes didn't have an inch of pretentiousness- they actually fit the theme of being in nature where the materials seemed they had spent their days soaking up the sun with water splashed upon them: they were real. We like the real. on a boat lashed by waves. The show was full of thick trousers, hooded sweatshirts (!) and even jackets paired with brief bathing bottoms. This was a daring, new direction for B.V and if there is anything I can say it’s set sail!

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Day 16

Versace 

Donatella is basically the Queen Bey of the fashion world and it was obvious especially tonight at the gigantic Citylife Palace which played host to a collection which made Naomi Campbell tear up and her good friend Riccardo Tisci declare this was her best collection ever. (Even Tim Blanks said it was “The biggest, best thing Donatella Versace has ever marched down a catwalk”!!) While I am a sucker for her regular razzle-dazzle, this collection was incredible and a definite stand out at MFW. First of all the collection was a tribute to the Equality Now NGO which is dedicated to ending violence and discrimination against women and this initiative and following ambition to tackle this issue is exactly what gave the clothing empowerment. The clothing was militant and the models ready to fight (like we all are) against inequalities and suffering and here we have it: the Versace Army. There was a range of khaki and camo, animal prints and feathered hems for that primal instinct, glazed raffia, all oozing power, independence and a sense of deconstructed utility wear never quite seen before.

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Day 15

(unedited) 

Pucci

Where was Emilio? Where were the iconic prints which define the house? Massimo Giorgetti, the newly appointed creative director and co-founder of MSGM, is sailing through choppy waters with his new vision for the heritage brand. The collection was appealing with modern mermaids scaling the runway, tangled in fishnets and  reflecting the big blue (deep blues, metallics like the shiny scales of a tuna). While too literal in some cases - fish prints and octopus like tentacles hanging off the hem it did add complexity due to a sharp contrast between rock and roll (the slashed skirts and undone hems) and ladylike elegance (classic duster coats) resulting in a poised mismatch. Giorgetti presented a fun, interesting collection, I miss Pucci and I am sure his loyal customers will too. 

Fendi

The soft clothes juxtaposed the hard concrete flower walls, runway (and invitation) and what is important to note is they aren't drawn from any inspiration according to Karl. They have elements of retro and elements of a sci-fi future and don't completely fit into any time period. The skeptics might say thats exactly the problem but isn't that the point of fashion? Always look forward? However, I could analyze a few references from way back when, such as those gigantic Tudor blouses with big mutton leg sleeves (not since Princess Diana's wedding dress has vavavoom- volume played such a key role in fashion!) Smocked milk made blouses were paired with short shorts as well as shown as a leather cropped romper a look which is questionable, but will surely make a splash in terms of general street style (either bare shoulders or oversize mutton shoulders - take your pick). The colors first in deep reds then blacks and army greens gave the collection a military filter, supported by the leather bomber jacket and the python brace covering the torso looked like a bullet proof vest. There was no excess or prettiness except the leather flower embroidery on the handbags but you could sense this collection was very industrial and mechanical - maybe corporate hands had a say what goes on into this collection? There was a lack of surprise and WOW!, a reaction Karl almost always guarantees, but no matter - still it was intriguing and paving the way for a new silhouette in 2016. (Plus: we still see Karl's creations on the runway next week!! I can't wait for the Chanel show! Highlight of the season!)

Moschino

Please don't call me a Debbie Downer. I promise you I do have a sense of humor and enjoy a good laugh as much as the next person and no I am not 97 years old complaining about how the kids are dressing these days. BUT. Hear me out. I know the brand Moschino and I DO think the quality is great, the ideas behind the pieces are innovative, and of course it makes me smile. It is a strong brand. It's loud, it's "funny", it's witty, there's a good pun in most pieces, the symbolism reflects pop culture, Jeremy Scott is fashion's current Andy Warhol. I know. After McDonald's, Barbie, and Looney Tunes the theme for this collection was.... car-wash couture. It was like watching a music video or a short piece at the theater. The music was booming model Anna Vreeland was dancing (again...) down the runway and the setting was literally a car wash spraying bubbles, traffic cones, barricades, signing reading "Models X-ing" oh and the invitation was a builders helmet. Talk about experience marketing. The runway was so complex and there was SO much happening, I honestly can't even remember or to be frank care about the clothing which is a shame as Scott is immensely talented. I simply find it a tragedy that we have reached a point were in the fashion industry, fashion seems to be second place? The fashion that did stick in my mind were the... are they actually allowed to do that? Chanel inspired dress suits and the use of a print of interlocking C clamps. The show was healthily instagramed and I am sure the small leather goods (some looking strikingly familiar to Anya Hindemarch's Traffic sign collection) will sell out like hot potatoes especially to Miley Cyrus and Katy Perry and to those inclined to adding atleast 12 #'s to their hourly selfie post. Ok that might be a little harsh but I failed to see the fashion. Maybe fashion should be next season's "theme".

Prada

Retro Eclectic is back and if I may say so, once again perfected by Miuccia Prada. The refined checks, tweeds, and stripes all came together in a visual feat with multiple textures satisfying every craving. The subversive tailoring which is Prada's competitive advantage (I just came out of my management lecture) gave traditional classics it's modern twist and reinterpreted the swinging 60's for a futuristic space age. Layering seemed to be the key in this collection - however not what you are thinking. While there was the obvious jacket  over sweater over dress over pants, there were also slip dresses worn over chunky kits (!!), colorful mesh bibs over shirts and sheer dresses (??) over bright patterned skirts making them of course more muted. What a brilliant idea! The narrow pixel colored stripes looked very digital while the transparent palliated flowers gave a feminine touch to the incredibly marvelous coat. It was a glorious and an extension from last season's acidic colored, futuristic look.  Bravissimo!! 

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 Day 14

Gucci

Today Alessandro Michele proved his position as the ruling principe of Italian fashion (not just Italy mind you) serving up a rich kaleidoscope of brocade, satin, chiffon, and all that sparkles, leading us on a journey to far away lands. It was a mad mix of contrasts: we saw the old and wrinkly mixed with young, the new and the shiny with the old and tattered, the complete with the unfinished, the poised and the relaxed, but this wasn't a fight of paradoxes - they were complimenting ingredients. The personality of the collection was full of poetic, intellectual romance and warm tenderness - like a frail, high school bookworm crouched in the corner table at the library with massive glasses sliding down her nose, completely emerged in the readings of Charlotte Brontë - but showed a degree of immense power and reason to think twice (the show opened with a BOOMing thunderclap and a 3D like snake was printed all over the runway carpet, suggesting that the Gucci girl is not meek and not afraid of anything! Kind of like the mouse showing the lion who’s boss.)

The genius of Alessandro is that he can make a piece which is at first glance old, 1970s, vintage-y and something your grandmother could wear into one that is hyper-modern, fresh and desirable today in 2015 and beyond. Examples of accessories would be the statement jewelry pieces of embroidered eyes, mouths, and ladybugs (adorable) costume rings, beaded birds, boxy handbags, and the mary jane high heels (Sidenote: while the collection was brilliant, why are super high heels back? I don’t understand. I was just getting accustomed to the furry loafers :(.

Madeleine de Scudéry’s Carte de Tendre from 1654 described as “a map of tenderness, a moving topography of desire” was the starting point for the collection and how the show took us on exotic adventures (one model even held a matching suitcase). Printed on dresses were  ancient maps, Egyptian hieroglyphics, and Japanese style embroidery and other diverse  references including the flora and fauna of exotic destinations. Also important to note - one male model was wearing a Hawaiian T-Shirt - this still does not make it ok for your male loved ones to rock the Tommy Bahama (sorry Dad :) ). Also, with the music of hushed Spanish voices and a setting seemingly very Moroccan, we were taken on a glorious adventure.

Final word- very arts and crafty, very 1970s interior designer’s mood board, pussybow blouses are still all the rage, bigger the glasses the better, longer the skirt the funkier, don't be afraid of color clashes, and the matching printed brocade suit is a must.

Alberta Ferretti

According to Alberta Ferretti, the desert is “free, there’s movement, there are possibilities.” The desert being the set and inspiration of the SS16 collection offered an atmosphere that was adventurous and exotic, setting the soul and imagination free. The color palette was organic with tans, neutrals, and warm cremes, but also of crisp whites which were magnificent in the lacy cotton dresses- a touch of “Out of Africa” with a Victorian spirit reminding us that Ferretti knows what she is doing when it comes down to pretty always-red-carpet-worthy dresses. While it was not in your face glamor, the pieces being real, earthy and slightly frayed, they had an authentic personality and culture which was raw and effortlessly chic. My favorite pieces were the final dresses which looked like the wings of a butterfly wrapping around the torso. Nature really inspired this show and was felt with lightness and ease.

Fausto Puglisi

Amongst the range of seashell embroidery, must have cowboy boots, luscious draped dresses in pop colors, there were mixed feelings about today’s Faust Puglisi show. At least for me, I didn't quite understand where the direction of the collection was taking us- we saw the Wild West, beautiful references from Puglisi’s Sicilian hometown, and flashbacks from Gianni Versace such as the studded bondage strap pieces, which were strong ideas but questionable in execution. Madame Grès and Halston were Puglisi’s reference points and are to blame for the wonderful draped chiffons and jerseys reminding us of classic Roman sculptures but the link from these tender, light, whispers of cloths to the razzle dazzle of the rodeo were Wonder Woman made an appearance- it simply didn't make sense even if they were “good”. While strokes of genius appeared in the embroidery imbedded between seashells and the Swarovski crystals and punk edge, it lacked a flowing theme and that was missed.

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