Moschino Fall/Winter 2017: Materials girl
For Fall/Winter 2017 Jeremy Scott presents a Moschino woman who is so enraptured with fashion that she wraps herself in every material to bring her closer to it. She is the antidote to the unsustainable cycles of consumption. Her cure? To take materials the rest of us reject and wear them with Moschino panache.
The collection opens with a series of looks we’re calling “Cardboard Couture” – these are uptown-elegant silhouettes for day crafted in what appears to what most people rip open then throw out when their online orders arrive: packaging! “Fragile” stickers, “This Way Up” stamps, “Do Not Crush” warnings, duct tape trims and tracking dockets provide the functional equivalent to floral on Scott’s special delivery pieces. Her oeuvre extend from cardboard into a soignee skirt suit and off-color camel coat hewn in gray packing felt with duct tape accents, to a skirt of frayed newsprint fringe, and looks in boldly opaque bubble-wrap.
She’s so wrapped up in fashion – and a committed recycler – that she takes the gateway drug for her fascination with fashion magazines and turns them into clothes. Glossy editorials featuring previous Scott for Moschino collections are printed in trompe l’oeil tear-sheet prints. She crafts suits, pants, dresses, and even a “fur” coat out of her glossy collages along with all the accessories needed to compliment these haute papier looks!
As the collection develops so too does the source material. A broader and broader palette provides the fuel for a reiteration of classic tropes of style via radically unorthodox delivery systems. The Moschino bag dress is reimagined in plastic as a mini-dress, and dry-cleaning sheaths become the raw material of poised full-length cocktail gowns. Why are diamond earrings classier than those hewn from tin cans? Why should organza be any more permanent than trash-bag plastic – with a half-life of forever – when under consideration as the raw material for an evening dress?
This is the ultimate high-low collection. Candelabras, carpets, tissue boxes and even the curtains are called upon for her to adorn herself with. Fashion is powered by desire, and this collection acknowledges the overlooked physical consequences – the fall-out.
Because we are what we wear.
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Tags: FALL WINTER WOMEN 2017-18, MOSCHINO, MOSCHINO FW 2017-18
Sat, April 15 2017 » Fashion Blog
Fast. Glaring. Dazzling.
Glamour and bling, with the quintessential Pucci ease. Solid hues that move and swing. Asymmetries and jersey. Graphic cuts. Cut-outs. Cloth cut as little as possible and left glowing in its owing glory. Caftans and capes.
Fringes that utter, making hats, dresses and trousers dance. Well-to-do, on the move. Sequins and a suitcase. A cape and a trolley. Paisley and a hatbox. Psychedelic textures. Melting patterns on velvet. Shaggy furs. Teddybear. Chenille. Glazed chiffon. A trail of paisley.
Decoding the Pucci codes of color. 526 Cioccolato, 254 Verde Mela, 326 Arancio, 399 Rosa Bon Bon, 179 Pervinca.
Dazzling. Glaring. Fast. Glam, with a Pucci slam. NOW.
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Tags: Emilio Pucci, EMILIO PUCCI FW 2017-18, FALL WINTER WOMEN 2017-18
Sat, April 15 2017 » Fashion Blog
It’s the morning after the night before.
The FENDI muse for the Fall/Winter 2017-18 Collection emerges at dawn: a cinematic character pacing the streets of Rome. Framing her free spirit, the graphic heritage of FENDI rises to the fore. Geometric patterns are inspired by Viennese woodblock printing and 18th century Italian papiers dominotés, which come to life in an array of mosaic techniques, from cut-out knitwear to marquetry furs and acanthus leaf-printed silk. Colours exude autumnal warmth: from carmine red like sealing wax to camel, cobalt and petrol blue, optic white or palest blush pink, they highlight the Collection’s decorative, modern hand.
Codes of fine craftsmanship abound – a nipped waist is tucked with a giant ‘X’ appliqué, hemlines are framed in a bold topstitch and encrusted tulle stripes frame collars and cuffs. In felt cashmere, patent leather, Prince of Wales checks and herringbone wools, tailoring is cut with a double shoulder – from a structured plane it drops to create new volumes. That doubled effect evolves throughout as interlocking and overlapping sartorial textiles, FENDI ‘double F’ logo-trims and a layered exercise of cotton shirting and soft A-line skirts. It continues through transparency: sheer dresses are constructed in diamond ruched tulle whilst embroidered spirograph daisies and organza florals embellish long-sleeved gowns, both underpinned with the season’s patent red cuissard boots inset with elastic ribbing.
The Fall/Winter 2017-18 runway show debuts the new Run Away double handle box bag in two tone nappa leather and inlaid python, while the Baguette, Peekaboo and Kan I bags appear in an opulent array of striped python, ‘double F’ logo print and patchwork velvet, striped mink and leather fringe. They are paired with interchangeable Strap You shoulder straps in shaggy fur, jewelled velvet and cut-out autumnal flowers.
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Tags: FALL WINTER WOMEN 2017-18, FENDI, FENDI FW 2017-18
Sat, April 15 2017 » Fashion Blog
Classic by design
From Vitruvius to Rasmussen; the architectural greats have made a habit of assembling their ideas into high-minded treatises. After more than 65 years in the game, Max Mara could feasibly eld a design manifesto to rival any of them. That reverence for the guiding principle is somehow more Nordic than Latin and there’s something about the quest for luxury within reach (just about, if you work hard enough) that chimes with Scandinavian ideas about democratic design.
In mid-century Sweden, the Slöjdföreningen coached edgling couples setting up house. Spreading the credo that beauty is hon- esty they laid down the rules: a linoleum oor should look like linoleum, not stone; the construction of an armchair should be clearly expressed, not hidden beneath extraneous upholstery; super uous decoration should be shunned. Max Mara has no argument with any of that – after all, why would you want to make cashmere, camel’s hair, yak or alpaca look like anything other than what they are? Not that the strict Swedish design canon (or its icy climate) produced a nation of cold ascetics; to wit Ingrid Bergman and Anita Ekberg.
Their frosty looks combined with utterly Italianate temperaments inspire Max Mara to recast of the Milanese sartorial tradition with a Nor- dic spin. The mood is captured by Johnny Dynell, whose soundtrack – Vivaldi set to a Scandi dance beat – pulses through the Palazzo Del Senato’s restrained neoclassical colonnades. Executed in colours from the Max Mara Pantheon – camel, cognac, casha, grey, and emphatic red – the look is at once discreet and head-turning. There’s Bergmanesque swagger in a new full skirted silhouette, pleats aring from the waist, slouchy glamour in a double face camel hair sweatshirt, insouciant elegance in the knits which are the key to this season’s mood; rich cables and ribs.
The principal argument in Max Mara’s thesis? Il cappotto – the coat; each one a perfect conjugation of material, form, nish and tness for purpose that would delight even the Slöjdföreningen. The newest of all are signature classics realised in intriguing hybrids; camel hair artfully tailored with shearling and bonded knit – cardigan coats that articulate a chic, youthful elan. Their deceptive simplicity the fruit of over half a century’s know-how. A modernist take on cat eye sunshades, a deconstructed bag with a shearling liner that spills over to the outside, and a pointy toed pump complete the look.
Max Mara has long championed the modern heroine in her climb to the top – no matter how tough the going, the brand helps her to make it look easy. Cool, cultured, un appable and highbrow; Max Mara anticipates her nal push to the summit.
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Tags: FALL WINTER WOMEN 2017-18, MAX MARA, MAX MARA FW 2017-18
Sat, April 15 2017 » Fashion Blog
Fri, April 14 2017 » Fashion Blog
FROM NEOREALISM TO THE AMERICAN DREAM
Glamour meets physicality to tell a story about sensuality and personality. In both movie screens and real life levels, two different, dovetailing dreams intersect in the N°21 fall/winter 2017-18 collection: Italian Neorealism à la Anna Magnani and her exuberant femininity and the American Dream of U.S. college campuses. Each concept emerges through the magnifying glass of a courageous and innovative aesthetic that comes from an elaboration of sensuality and of a keenly aware femininity that finds expression in the most natural of ways.
«What initially inspired me were images of Anna Magnani, not only because she’s my favorite actress, but above all because she embodies a physicality common among Italian women – one exuding a sensuality that’s neither artificial nor affected, that has a conscious element of drama yet materializes with perfect unawareness, natural ease. Her Hollywood days captured my imagination most, back in 1955 when she did The Rose Tattoo, Daniel Mann’s film adaptation of the Tennessee Williams play of the same name. I wanted to describe the moment where she – so feminine, so Italian – crosses paths with another type of femininity, the vision of gender equality taking hold on college campuses at the time, a fine male/female mix of aesthetics and references that led to a glamorous attitude which I see as very modern,» says N°21 creative director Alessandro Dell’Acqua.
The American dream of an Italian woman in Hollywood comes to light in a tale about a strong, resolute, passionate personality who reflects her sensuality in red or nude tone crepe de chine dresses with crystal encrustations and other embellishments or with little chiffon shirts in counterpoint on the open back. Also, in the mannish fabric coats complete with crystal and small mother-of-pearl button embroidery; the mannish fabric tube skirts paired exclusively with crepe de chine blouses, and the damask ones worn with loose-fitting sweaters and faux-sheepskin anoraks; the mannish fabric pantsuits with gathered-shoulder jacket; the chiffon dress & micro cardigan looks; the floral print/campus lettering bomber & micro sweater twin-sets; the jacquard knit skirt & pullover outfits with sequined California beach designs; the cross-twill coats with synth fur trim and long thick faux fourrure. All featuring a silhouette underscored by the sure, sensual stride and the confidently mysterious allure that come from sporting knotted satin bow high-heel sandals, ultrasoft leather bellows bags, and the striking shades, fruit of the brand’s licensing partnership with Linda Farrow.
«I sought to tell a story that would go beyond pure feminine beauty and that would take into consideration the determination, constancy and force of character of a type of self-aware woman who in recent times has disappeared a bit from the scene but who for me has a distinct and interesting pertinence to today’s world,» Alessandro dell’Acqua concludes.
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Tags: FALL WINTER WOMEN 2017-18, N°21, N°21 FW 2017-18
Fri, April 14 2017 » Fashion Blog
Fri, April 14 2017 » Fashion Blog
The necessity of dreams and the inevitability of reality. The attraction of beauty and the awareness of workmanship. The Alberta Ferretti fall/winter 2017-18 collection tells a story through images of the history, culture and beauty of Italy. Images of Venice and portraits of women by Giovanni Boldini become part of this story about artisan craftsmanship and creativity. Romantic sentiment establishes a dialog with courageous innovation in this collection that expresses a romantic dream that has come true and is full of pride.
“I started out reflecting on what is happening in the world and I realized that we often forget how beautiful our country is and that we should be prouder to be Italians. I wanted to promote the beauty of Italy through images of Venice with its extraordinary opulence and mysterious moods, creating an image of a woman with a romantic appearance and innovative personality like the women portrayed by Boldini. This led to a story about a dream come true that is only affected by the extraordinary power of beauty,” says Alberta Ferretti.
This concentration of wonders that is Italy has inspired prints of the narrow streets and canals of the extraordinary open-air museum that is Venice, while the Lion of St. Mark’s, its symbol and standard, has been transformed into gold embellishments. Landscapes and symbols, prints and decorations are often combined on chiffon dresses printed with a paint-like effect and on capes embroidered in gold or printed with a lagoon landscape and lined with blue and white striped breitschwanz.
They appear on pea coats with golden embroidery, on printed velvet pajamas worn under hand-painted sweaters, on print chiffon dresses with intarsia lace, on a velvet robe with luxurious embroidery, and on dresses trimmed or entirely made of feathers and accompanied by earrings and pendants portraying the Moretto [Little Moor], another symbol of a city nurtured by its mystery.
In an atmosphere suspended between dream and reality, a romantic feminine silhouette appears, emphasizing the mystery of the story and making it real through fashion that expresses personality and recognizability. “Making one’s uniqueness recognizable is more important today than in the past. This collection is my declaration of love for Italy and its culture, for my work and for fashion. I am increasingly convinced that women can and must express their personality through the fashion they choose,” concludes Alberta Ferretti.
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Tags: ALBERTA FERRETI, ALBERTA FERRETTI FW 2017-18, FALL WINTER WOMEN 2017-18
Thu, April 13 2017 » Fashion Blog
Thu, April 13 2017 » Fashion Blog
Thu, April 13 2017 » Fashion Blog
