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понедельник, 28 сентября 2015 г.
#SuzyMFW: Missoni — Energised by Africa - Vogue
"My father always joked; India, Africa — Missoni did it first!" said Angela Missoni backstage, referring to her late father Tai, and to the zig-zag patterns that are the company's home territory.
And how! Basing her show on an African palette and patterns, from the orange blocks of flooring to the wavy blue/yellow/red stripes on lean knit dresses, the Missoni show for summer 2016 was an odyssey that was both joyous and respectful.
Sport was another theme, with knitwear for skinny dresses, elongated cardigans, body suits and even swimwear. Sneakers and flat, ribbed sandals gave the models a long, lolloping stride.
Programme notes spelled out the spirit of this energetic show in pithy phrases: "dynamic colours, broken lines, colour blocks, stacked rings".
The jewellery seemed especially tribal, yet the show in general was not overtly ethnic, but rather streamlined and modern. Its focus on knits both took Missoni back to its roots and was aimed at international youth.
Angela seemed surprised at the enthusiasm surrounding the show, saying it marked the twentieth for which she had been in charge of her family's brand. I have seen the long fashion journey that the designer has travelled. And this African excursion seemed especially fruitful.
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«Мы бегали по сцене в пачках, но босые — педагоги считали нас предателями искусства» - Vogue
Как Анна Абалихина вывела современный танец на большие площадки — на шоу «Большой балет» телеканала «Культура» и на фестиваль территория, который стартует сегодня
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Cинтез моды и искусства фотографии в книге Bottega Veneta - Vogue
Bottega Veneta: Art of Collaboration — более 1000 рекламных снимков, сделанных лучшими фотографами мира
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#SuzyMFW: Salvatore Ferragamo — Nobel but Sober - Vogue
Wild applause came before the Ferragamo show started. It was for audience member Flavia Pennetta, the tennis ace who beat a fellow Italian in the US Open and is now a national hero.
But the mood of the show itself was less festive. A runway of white Carrara marble — from creative director Massimiliano Giornetti's home city — paved the way for a grand collection.
"Unexpected austerity" was the designer's take on regal black dresses and narrow monkish capes that seemed noble and elegant - but unusual for a summer collection. Only a few seasons ago, the designer was showing a fashion idyll of outfits fit for Italian beach resorts.
There were some colourful and summery dresses, long, but with a deep frill at the neckline, and perhaps layers of the same for a skirt. The hemlines ended just above the ankle — the better to reveal elegant sandals laced up, on one occasion with colourful orange, pink and blue straps, while some had soft thick trainer soles.
And therein lies the eternal conflict of Ferragamo's position: it is known globally for its footwear which a marble foundation suits to perfection. The clothing side is nice enough, but it does not have the killer serve you need in fashion, as much as in tennis.
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#SuzyMFW: Dolce & Gabbana — Loving Your Selfie - Vogue
Snap-happy heaven! And it was not just the audience at the Dolce & Gabbana show that was rhythmically raising an arm to capture a moment. Click! Sicily! Click! Portofino! These place names were mixed with flower patterns on saucy summer dresses.
The models themselves, carrying their cell phones, took selfies as they walked the runway. This twenty-first-century dream then appeared on Two huge screens above the catwalk.
That was not the only thing that sent the audience into a jolly mood. There was also the music: Dean Martin singing those corny 1950s Italian songs "Buonasera Signorina" ("It is time to say goodnight to Napoli") or" That's Amore!"
The backdrop was of a 'molto Italiano' sidewalk complete with fruit market, ceramics store and café called "Italia is Love".
And what were the clothes that went with this merry romp? They were pretty familiar — with the accent on both words. Silken caftans looked fresh as a Moroccan tile pattern slid over the body. Ditto for patterned silk pyjamas.
But the charm of the show was not in seeing how the dynamic duo had changed register by putting the curvy black short dress in mild competition with soft dresses with longer hemlines. Or how intense the decoration was on a coat, a straw basket or a pair of decorated earphones.
A Dolce & Gabbana show — especially after the shuttering of their other label, D&G — is about exquisitely made clothes getting the fun treatment.
Ever since the designers started to create Alta Moda and show it in different Italian cities, they have incorporated witty interpretations of those settings. So here a dress with a small waist and short bouncy skirt would announce "Portofino" across the breast. Others were dedicated to Rome or Sardinia. The finale — it is a brand ritual to bring all the models out together like a fashion army — collected these different travel picture books together on various dresses.
Dolce & Gabbana may have become predictable, but the clothes were also on message, while other famous Italian houses such as Emilio Pucci and Roberto Cavalli are trying out new designers. Consistency is looking good.
I rushed backstage to take my own selfie with 'the boys', who had appeared on the screens posing with the models.
In the melee, I forgot to ask if what looked like lipstick strokes on dresses were interpretations of the Sophia Lauren No 1 lipstick Dolce & Gabbana has just launched. Whether or not it was, I took a selfie with my face against the dress.
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Чувственная короткометражка Оливье Зама для Santoni - Vogue
Основатель французского журнала Purple снял серию мини-фильмов для итальянской обувной марки. В кадре — красивые туфли и полуобнаженная натура
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Черный очищающий бальзам Omorovicza - Vogue
Хит венгерской косметической марки, который очищает все — от кожи лица и глаз до зубов (при необходимости)
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Черный очищающий бальзам Omorvicza - Vogue
Хит венгерской косметической марки, который очищает все — от кожи лица и глаз до зубов (при необходимости)
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Детали показа Salvatore Ferragamo - Vogue
Жемчужные серьги, сандалии-гладиаторы на спортивной подошве, сумки-коробочки и металлические каблуки
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#SuzyMFW: Beyond the Rules — Three Fashion Studies of the Modern Woman - Vogue
Tod's: Photo Shop
Walking into the Tod's show, a raft of photographs were strung up ahead: some I recognised speedily like quirky illustrator Quentin Jones, or the model and actress Lizzy Jagger. I spotted Julia Restoin Roitfeld, daughter of famous editor Carine Roitfeld. All of them looked interesting, modern and independent.
This was designer Alessandra Facchinetti's purpose. Her aim at Tod's has been to make the fashion side as comprehensible as the brand's famous shoes. I was therefore looking in the show for a link between the practicality of a loafer in many colours, bags with so many different textures and the clothes on the runway.
Alessandra's other mantra was: 'Beyond the Rules' - suggesting something more unusual than the streamlined garments made to the theme of nature and gardens that she has shown previously. Models dressed in a biker style were apparently also guitar players, because this instrument might appear as decoration on accessories. But for the clothes the patterns were of vinyl records, although it was more likely to see just a plain pinstriped all-in-one pantsuit.
A sense of sporty energy ran through the show, as though the woman in a mid-calf skirt punched with holes or another with a leather jacket worn with shorts, might be on the way to work via the gym. The silver leather jacket and striped skirt definitely suggested a well-dressed motorcyclist.
Individually, there were appealing pieces and the sporty vibe felt right, while the long hemlines were plausible. But ultimately, there was no big statement for a line that has only put its fashion foot forward because of the success of its shoes.
Iceberg: Hotting Up
Arthur Arbesser is on a roll. A finalist for the LVMH Prize and picked to design Iceberg, the Austrian label working out of Milan, he is now on the international radar.
"I see Iceberg as all about energy, colour and lots of military details — and keeping a sense of humour," said the designer, whose play on stripes and wavy lines had the dynamic appeal of sportswear in the digital age.
It was a smart move to think of Iceberg's 30-year heritage not as a back-to-the-70s vibe, but to focus on the company's relationship with knitting instead.
With the flexibility of knit as a partner to the geometry, the effect as the bodies moved on the runway was striking. Stripes grew into checks and the patchworks of geometric lines morphed into different patterns on long dresses.
I always wonder why designers of sportswear lines seem obliged to make evening offerings. But tufts of feathers decorating simple dresses and a satin bomber jacket were plausible, and Arbesser gave the Iceberg collection a fresh and lively look.
Costume National: Last of the Minimalists
It was no surprise to find that the inspiration at Costume National was "film noir". Black has always been Ennio Capasa's vision.
For summer 2016, the designer played on contrasts - in light and dark colours, with a splash of blood red.
"For me, sensuality is something to discover — it's all about the energy of the body," he said.
But more significantly, he worked with textures and textiles, mixing so subtly silk, suede and crêpe de Chine. Those ever-changing materials contrasted with simple and sharp cuts that defined each silhouette.
The way that silk was mixed with Japanese denim or scarlet with slithers of silver made the collection seem wearable, with an idiosyncratic touch.
Ennio Capasa is a fashion pro, and his methodology should be studied by aspiring designers. Lasting in fashion means having a vision, but also knowing how to swing gently with the times.
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#SuzyMFW: Virgin Territory — Etro, Philosophy, Armani, Giamba - Vogue
Innocence, decency, a love of nature and a youthful sweetness — does this sound like fashion today?
I have seen a shift in the Milan shows for summer 2016 that suggests a changing attitude. The tough carapace, the sexy silhouette and, yes, the vulgarity of clothes we have been seeing for the last decade have melted into something softer, gentler.
Although there may still be visions of skin, it is not bared, but more often seen through a veil of light fabric. Marabou feathers waft across the body or tickle the feet in a way first seen at Céline, but which is now becoming a general trend.
It is possible to speculate that these changes in Italian fashion have a wider dimension. That a Pope who rides though New York in a Fiat 500L and a prime minister, Matteo Renzi, who has only just turned 40, have both contributed to a freshness and youthful spirit in the Italian air.
Historically fashion has been a bellwether, a precursor of change. And at the Milan shows, there is something new on the horizon.
Etro: from Bohemia to Ballerina
In an excellent show, Veronica Etro translated her space into a "nomadic garden", taking influences from what she called "Bohemian craft". Etro, known for colour and complex patterns, moved from earlier Indian inspirations to another country — literally, and in the calm spirit of the entire show.
From the start, when the usually explosive shades were faded to neutral, but with intense workmanship that moulded to the body, this show had a fresh spirit. The designer had taken ballet as inspiration, hence the palette as pale as a pair of satin point shoes and wrapped-to-the-body shapes. The result was that Etro had embraced a subtle summer look that was gently erotic, rather than exotic.
Developing Etro from a fabric house into a meaningful fashion brand has been a steep learning curve for Veronica. But in this collection the dense yet delicate flower patterns and ribbon details brought her craft close to perfection.
Philosophy di Lorenzo Serafini: The Beauty of Innocence
A passion for lingerie as fashion developed in the 1990s when John Galliano was the first to bring visible underwear to haute couture. But that was a deliberate concept to align eroticism with style.
At a delicate Philosophy show, the designer Lorenzo Serafini declared "the beauty of innocence" — and that summed up perfectly his fine collection.
There was Broderie Anglaise used to suggest vintage lingerie, flower patterns that were reinvented from Art Deco designs or from toile de jouy. They all produced the effect of a prairie maiden transported from America's Great Plains to Italy's meadow-sweet fields.
The Philosophy brand is founded on craftsmanship, and in Serafini it has found a sensitive designer who declared his goals to be: "beauty, love of nature" and a "romantic sensibility".
Emporio Armani: A Warm Glow
"Charmant" ("charming") said Giorgio Armani backstage at the Emporio show, where the set and the clothes were both bathed in a soft pink glow like a sunrise.
I would add the words 'innocence' and 'decency' to describe the line-up of sweet young things in tops and skirts, flat shoes decorated with glowing crystals, bags enhanced with flat flowers — in pink, of course.
The show opened with tailoring, the concept of jackets or even coats that seem appropriate for work. They teamed with short — but never vulgar — skirts, some flowered, others in Armani's favourite pinks and blues. That colour palette darkened to a sandy ginger, which was worked in with blue to make awning stripes on a light summer coat; or orange was mixed with pink.
This was a collection where the warming colours spoke for the show's spirit. It was not a fashion revolution but an appealing wardrobe with a feel for freshness.
Giamba: A Fun-Filled Romp
The innocence surrounding the spring 2015 shows was challenged at Giamba, the junior line of Giambattista Valli, whose charming white cotton tops and brief skirts were teamed with ra-ra sparkly striped skirts. They were cute, but looked more suited for Coachella than a morning in church.
The teen-scene obsession with self — not to say selfies — was apparent in the decoration: a pair of well-manicured hands on a sweater; lipstick cases in varied colours decorating dungaree shorts and coloured lips as embellishment for tailored shorts.
Some of the ideas were naughty but cute, as in modest bosoms marked with tiny stars; while the image of a full face with dark hair engulfing an entire bodice was funky, but fun. There was a feeling that many of these ideas could be found at high street stores. But the look at Giamba was elevated, surely, to capture the kids of his clients for the main line and haute couture.
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