Innholdsfortegnelse for Fall - Winter 2019 i SHOWDETAILS MILANO+PARIS+BEST BRANDS

Milan takes the form of a story. It writes, describes and rewrites on pages. The collections were film scripts, screenplays or scores for solo voices. Subject matters. Monologues. Stories. Fairy tales. Narratives. Words were stitched into fabrics as basting stitches, repairs and embroideries. Clothes were visual alphabets, material syllabaries, lyrical, poetic, filled with ideas, images and suggestions. Designers made their apparel statement, a reading-book of textile, spiritual and sartorial stimuli. Every artist named his or her work and every collection had a title or name entirely similar to an idea from a book, novel, film or concept album. Sounds grew on the runway. Distorted riffs. Guitar. Bass. Drums. The shows were a homage to music and to disorder. They presented the chaotic scores of an Elevated Grunge. Revealed piercings, studs,…

Far North. Polar aesthetic. A region without boundaries. Ocean surrounded by the lands of Europe, Asia and America. Latitude 66° 33’ 44’’ North. The Milan runways were glacial and reflective. Bright and crystallised. A new Pop Arctic Region. It shone with the colours of the aurora borealis. Optical phenomena with an earthly atmosphere rested on the clothes, on mini-dresses and structured trenches. Luminous bands, ranges of changing colours, magenta, intense green, yellow and sea blue. Auroral arcs. These were the reflections of Byblos: glacial, icy, dream-like. Outerwear was like a protective wrapping. Fox faux fur came in neon tints. The clothes were dotted with plastic crystals and fractal geometry. Iceberg relayed the fairy tales of the North with neon accessories, crystal-covered bodysuits, royal blue jumpsuits and glitch effects. The landscape…

Carillon e scatole magiche. Scrigni. Portagioie. Minuti uccelli canterini. Fiori, boccioli. Dolci melodie. Il défilé è un’esperienza innocente, tenera. Un cantico al romanticismo. Una ninnananna. Un’ode all’infanzia e alla femminilità. Sfilano bambole di porcellana, dalla pelle bianchissima, per Vivetta. Si coprono di pizzi, broccati, tulle, tessuti tappezzeria. Sono preziose, con lampadari di cristallo come orecchini, con cappelli a tesa larga decorati con perle. Indossano abiti floreali, bluse con fiocchi, nastri, maniche gonfie, orsetti di peluche. Sono sognanti e poetiche, avvolte dentro federe di raso ricamate. Sulla passerella di Antonio Marras, passano nostalgiche donne di Modigliani. Sono fanciulle ritratte in una domenica mattina. Eleganti, eteree, nei loro abiti rammendati, nei pizzi e nei broccati rabberciati insieme. Cosparse di rose, ramage, boccioli argentati. Il collo lungo, avvolto nella lana. Il passo senza…

MILANO February 21, 2019 Extravagant, vain, independent. The Attico woman has no fear of being daring. She now drives a white sports sedan. She loves to have fun with colours and wears sparkling, electric trousers. Dressed in a kaleidoscopic, multi-layered strapless mini-dress made from multi-coloured, pleated flounces in metallic fabric. She plays with shapes, choosing Eighties jackets with broad lines and big shoulders. She favours silver, sparkling fabrics. Multi-coloured feathers come in bold fuchsia, emerald, purple and garnet. She is playful and over the top in jewelled bolero jackets, sequinned dresses, magenta bodices with relief details, witty knitted pieces, long gloves, and belts with shiny buckles. Daring and maximalist, she wears an enormous gold plissé heart over her chest. She is eclectic, covered with crisp materials, velvet, silver jersey and…

MILANO February 20, 2019 Brunello Cucinelli mixed neutral colours with noble yarns. He told a story of high quality craftsmanship, love of tradition, and in-depth knowledge of materials. He chose exclusive, premium materials in earthy shades of sand, dust, stone, vanilla and tobacco. He shaped a collection with a milky, thick consistency. The airy, soft and fluffy knitwear came in flour and yeast tones. Thin tapered belts cinched the waist. Generous turtlenecks enveloped the neck. Outerwear came in cosy cream colours, in cashmere similar to shearling. Trousers fastened asymmetrically at the waist and fell in refined pleats. Skirts featured skilfully calibrated reliefs. Light, with plissé and pleating. In leather with moderate splits. There were also jacquard cardigans, suede shirts, little bombers with precious embroidery or soft fur. It all made…

MILANO February 21, 2019 Emilio Pucci drew inspiration from a Japanese garden for this collection. The brand produced textile sculptures, material inflorescence in watery tones, dusty sky blue, mint and orchid. The collection was fluid and sensual with plenty of oriental evocations: shirt-dresses with loose kimono sleeves, zen coats in compact colours, exotic silver suits. The evening dresses featured beautiful embroidery, sequins, fringes and prints. Breezy frocks made from plissé neck scarves were draped, wraparound and gently asymmetric. Prints recurred over the surfaces in soft pastel tones or iridescent, opalescent colours, as though covered with light rain. They echoed the brand’s archive. Light from the East radiated throughout, expanding over glossy pleated skirts, shiny bomber-jackets, satin tops, metallic silk maxi dresses with a rigorous obi belt at the waist. Emilio…

MILANO February 20, 2019 Dominant white. Total white. Absolute white. Full and complete. Universal. At times despotic and tyrannical on slightly out of proportion slip dresses and long trousers, on tights and tight turtlenecks, gloves, bags and sky high boots. Unconditional white. Unlimited, rounded white. Puffed up, padded, enveloping and warm for outerwear like enormous cocoons, coats with amplified dimensions, refuges of unspoiled cloth, immaculate swellings, circular clothing with flawless tailoring. The comfortable white of cloud-like down jackets that were minimal and understated with rounded shoulders and airy volumes. Abundant, copious white for extralarge vests with wide weaves, and for cardigans with jumbo ribbing. Extra-large T-shirts featured big logos and raised lettering. Tunic dresses had wavy hems and thick straps tied at the shoulders. Skirts were calf-length and plissé or…

MILANO February 24, 2019 Poetic, nostalgic. Antonio Marras drew inspiration from the story of Flaminio, the father of Italian painter Amedeo Modigliani, who had mining interests in Sardinia. Amedeo moved to the island for a few years, living alongside the miners and falling in love with the place. The collection celebrated Sunday, when the workers enjoyed some leisure time and wore their best clothes. The show had a humble, simple elegance: fabrics were patched and mended. Lace, brocade, satin and embroideries were amalgamated in apparent disorder and disharmony. The tights featured a female face drawn by Marras and inspired by Medea, a young Sardinian woman who Amedeo Modigliani met, loved and painted. Dresses and parkas had a retro elegance. The poetic knitwear featured melancholic intarsia of faces, roses and foliage,…

MILANO February 20, 2019 Glacial, Nordic, polar. But above all ecological and sustainable. Manuel Facchini’s collection for Byblos is entitled“Byblos Crystallized”. The set was a dream-like, Arctic landscape. The clothes shone with the colours of the aurora borealis. Icy, frozen, snowy tints illuminated by flashes of orange, green, fuchsia, magenta, purple and blue. The clothes were close-fitting and constructed in defined volumes like protective sheaths, or else fluid and sleek as though ruffled by a North wind. Fragments of recycled plastic bottles became crystals on skirts and blouses. Bodies were hidden and protected inside neon faux fur and animal-free eco down with a sporty-chic allure. Futuristic mini-dresses and padded garments featured geometric fractals. The space jumpsuits and long evening dresses were covered with silver encrustations, as though frozen in the…

MILANO February 23, 2019 Elisabetta Franchi travelled in time and space. Her collection was full of retro elegance seen through a contemporary lens. Sixties ladies walked towards the future. Tweed with multi-coloured weaves evoked the colours of the galaxies. Ivory and butter vinyl was a homage to space uniforms. Precious materials were woven in mysterious embroideries similar to lunar encrustations. Long furry threads, spangles and sequins gave a stellar allure to the silhouette. Miniskirts, flared trousers and sharp shoulders had the lines and volumes of the elegant ‘60s. Shearling-trimmed pieces, sack dresses and jumpsuits alternated on the runway. The logo was transformed into a jacquard chain print. Helmets similar to the one Twiggy used to wear were fastened with a chinstrap. The palette included neutral and bright colours-fuchsia, kermit, bottle…

MILANO February 22, 2019 Arias by Nabucco and Trovatore, punk by The Clash. Etro’s aristocratic, grungy winter show was staged at the Conservatorio Giuseppe Verdi in Milan. Veronica Etro looked back over the brand’s past and infused the collection with an exclusive essence packed with history and craftsmanship, and Victorian, British and bohemian influences. Archive shawls were blended with soft punk elements. Heritage turned anarchic. Loose cardigans were cinched at the waist by wide leather belts. Jackets came in richly decorated fabrics with preppy contaminations. Shoes had double buckles, studs and piercings. Dresses featured laced-up corsets, embroidery, fringes, lace, paisley prints, and sculptural, airy or very long sleeves. Capes, ponchos, velvet jackets and long dressing gowns completed the look. The palette teamed scarlet and natural shades of vanilla, beige, sea…

MILANO February 21, 2019 Genny’s women were icy goddesses. Cool, dream-like, fairy-tale divinities. Elegant, light snow priestesses wrapped in layers of organza and chiffon, like waves from the North Sea. Frosty caryatids dressed in crystals and stalactites. Ethereal creatures in white dresses with jewelled details, lightly woven sleeves and long gloves. Wrapped in soft white outerwear. Then, the frost melted and the clothes turned sea blue, dusty sky blue and fleur-de-lis. Fluid dresses fluttered, as though driven by currents. A ribbed suit was iridescent. Satin and draping were then tinged with warmer, even hot, red. But just for a moment because the big freeze then returned. An icy night called for dark dresses covered with spangles. The finale reflected the glimmer of dawn, bringing new light to an Arctic, poetic…

MILANO February 22, 2019 Snow White goes pop. James Long showed an athleisure take on the tales of the brothers Grimm. He rewrote the stories, contaminating them with neon colours and fluorescent accessories. He mixed chiffon skirts with cycling shorts. The new Snow White merged innocence, glamour, sporty appeal and a rock attitude. She wore soft cardigans with lace-up boots, royal blue jumpsuits, windproof bombers, sporty-chic dresses with bubble sleeves, black bodysuits with crystals and glittery details. Chains, studded belts, leather harnesses, and belted waists then brought the Wicked Queen onto the scene. Knitwear featuring Walt Disney illustrations was paired with military-inspired trousers and sporty boots. Iceberg proposed a metropolitan fairy tale that played with contrasts and interferences. The logo was distorted in an unpredictable glitch effect. The finale included…

MILANO February 22, 2019 Decomposed jackets. Reptile trenches with plissé insets. Detached and reattached sleeves. And a chain with padlocks around the waist. In Marni’s latest collection entitled“Neuroerotik”, Francesco Risso proposed a map of the places of pleasure. It was all about cerebral, never obvious, eroticism. The clothes were explosions of material, meetings and clashes of neurons and hormones, conceptual stimuli and drives. Coats were destructured and held together by metallic details. Bias cut satin dresses were shaped with pleats, draping, gathers, pixel motifs, layering, fetish cages, and punk accents. Blouses were edged in red. Stitches were visible, white sutures. White panels were held together by rows of engagement rings. Skirts were asymmetric and worn with high boots. Fluid outerwear fell sleekly to the ankle with long sleeves covering the…

MILANO February 21, 2019 Jeremy Scott teamed fashion with television, bringing game shows to the runway. The Moschino show was turned into the TV studio of “The Price Is Right”. Dresses and sweatshirts featured the packaging of consumer goods, household cleaner prints and cereal boxes. Everything glittered in a whirl of embellishments, sequins and crystals. Fun and playful, the collection shunned boredom and monotony. Silk organza, embroidery and starburst spangles dazzled and radiated from every piece. Silk jersey dresses were elegantly cut and draped. Biker jackets and skirts were jewels scattered with big bold crystals. Denim and leather were used for the more casual pieces. Fake furs were decorated with game boards. Images of slot machines, gold dollars and coins were confirmation of how ironic and full of winners this…

MILANO February 23, 2019 Lingerie dresses in powder pink, fuchsia and black silk. Long slip dresses in shocking pink or ivory satin with diagonal seams. Glittery leather mini-skirts edged in lace. Glam, oversize jumpers with big collars. Dinner jackets and tuxedos in bright red or black. Glossy, sparkling, silver mini dress and jumpsuits. Pointed ankle boots. Lace blouses with languid ruffles. Asymmetric, bias cut, one-shoulder dresses, sometimes with plunging necklines and flounces. Metallic, super-slim, tapered trousers, some with belted waist. Winter at Philosophy is romantic and sensual. Lorenzo Serafini showed “Hard romance”, a collection packed with nineties-style seduction and sex appeal. Tailored jackets with statement shoulders showcased the brand’s heritage. Faux furs enveloping the silhouette were warm and comfortable in dark or light tints. A hard yet romantic collection. Abiti…

MILANO February 23, 2019 Tobacco, brick, stone. Burgundy, Aztec blue, quartz pink. Bottle green, indigo, sea mist. The Salvatore Ferragamo show was a colour event, a sensory journey. An artistic experience. A kaleidoscopic vision of the brand’s archive. Premium materials such as silk, satin, leather and suede shone with harmony and intensity, skilled craftsmanship and tailoring, and love for tradition. The lines were pure, flared, elongated and enveloping. Volumes were relaxed and vaguely oversize. Neck scarf prints were reminiscent of the eighties and Fulvia Ferragamo’s designs while boots patterns recalled sculptures by Alexander Calder. The collection also paid homage to textile artist Anni Albers. Full skirts with splits, long dresses, jumpsuits and coats featured patchwork effect textiles. A robe coat in fleecy pulled cashmere recalled the genius of the founder,…

MILANO February 22, 2019 Tod’s showed a collection with pure design, Brit influences and Italian refinement. Leather was the key material for winter. Lacquered and sensual for belted trenches and pencil skirts with a front split. Super-light for T-shirts with high necks and boxy shoulders, masculine shirts, shorts and bermuda shorts. Crocodile printed for sharp outerwear. Gutsy in an elongated biker jacket and in the belts. Cosy in the soft down jackets. Sculptural in mini-dresses gathered at the neckline, and wide-leg trousers. Suede leather was used for elegant loafers with metallic details. Coats came also in wool, parkas and jackets in shearling, while oversize cardigans in jacquard wool featured precious palm tree intarsia. Animal prints embellished the surfaces. All this leather came in a range of colours, ranging from pink,…

MILANO February 22, 2019 Versace teamed luxury and grunge. The soundtrack came from Nirvana. The mood was the nineties. The collection was maximalist and sumptuous. It nodded to punk rock. Deluxe fabrics were paired with worn cloths knits, raw cuts, fraying and fringing. Opulent tights in jacquard lace came in acid tones of pistachio and lime. The baroque V stood out on silk and lurex. The looks were loaded with S&M belts, straps, gold buckles, and bondage elements. There were also Courtney Love slip dresses, chainmail dresses and off-shoulder sheaths. Mini-skirts had splits held by safety pins. Versace iconography blended with intense, vivid colours. White T-shirts featured a portrait of Donatella Versace shot by Richard Avedon. Blazers had lace insets with seductive transparencies. Shaped leather trenches, sleek evening dresses, and…

Chissà perché si è abituati ad associare l’inverno ai colori scuri e a quelli neutri, come se il freddo o la mancanza di luce influenzassero anche le scelte cromatiche, mentre dovrebbe essere proprio il contrario, indossare cioè tinte accese ed energiche per combattere l’introversione della stagione. Devono averlo pensato a New York, dove le ultime sfilate per il prossimo Autunno/Inverno hanno sancito una chiara propensione per il colore, quello vero, vibrante, che illumina il viso e trasmette calore, anche nella più gelida giornata newyorchese, che l’inverno lì non scherza, con le sue tempeste di neve e temperature a picco. E insieme al tripudio cromatico si è fatta strada una spinta decorativa che è anch’essa, almeno nel pensare comune, una prerogativa della bella stagione, quando i fiori che sbocciano viene voglia…

NEW YORK February 8, 2019 Jason Wu just launched his second fragrance, ‘Velvet Rouge’, and the new collection is linked to it, with cocktail and evening dresses constructed as though they were overlapping petals, with intentional flaws only confirming the designer’s meticulousness. The strapless neckline of a red dress was embellished with hand-cut, frayed ruffles, a lilac long dress had little asymmetric flounces shot through here and there with layers of black tulle, while the last gown was another strapless piece whose fabric gathered to form a rose at the waist. There were also waves and drapes, ruches and feathers, pale neutral colours and vivid floral prints, but everything was so light and delicate that it conveyed the ethereal fragility of a flower. Jason Wu ha da poco lanciato il…

NEW YORK February 11, 2019 The new Anna Sui collection, entitled ‘Poptimism’, was flashy and at times electric, offering a playful explosion of colours, patterns and chaotic and luxurious mix & match. The 53 looks represented the designer’s story, from her upbringing in Detroit to New York, the ’60s technicolor hairstyles and kohl-rimmed eyes, the flared tunics, fake fur coats, patterned or lurex tights. Nothing was spared an injection of colour. From the bon-ton suits to the evening wear, everything came in bold, mainly floral prints, with the addition of feathers, bows, fringes and ruches. The footwear was also varied and imaginative, from Mary Janes to boots of various lengths embellished with brightly-coloured pompoms at the side. Sgargiante, a tratti elettrica, non si può definire altrimenti la nuova collezione di…

NEW YORK February 12, 2019 Frank Havrah“Kaffe” Fassett is an American artist famous for his super-colourful works whose application knows no limits. Applied to needlepoint, knit, embroidery, patchwork and quilting, Fassett also provided the inspiration for Stuart Vevers’ collection for Coach 1941. With its bold motifs and psychedelic colours, the show brought a cheerfulness and positivity and some very eye-catching contrasts. The brand’s ethereal chiffon mini-dresses were paired with oversize checked bermuda shorts, chunky knitwear, shearling and faux fur (Coach is the latest in a long series of brands turning away from natural fur), alternated with blazers and coats, which were also oversize and with contrasting insets. Lace-up ankle boots and creepers hybridised with sneakers completed the look. Frank Havrah “Kaffe” Fassett è un artista americano famoso per i suoi…

NEW YORK February 11, 2019 After a year and a half away from the runways, Helmut Lang returned with the creative direction of duo Mark Thomas and Thomas Cawson. The former came from Givenchy and Neil Barrett, while the latter, a denim expert, headed the global creative direction of Calvin Klein Jeans under Raf Simons. The result was a collection that tried to be as‘Lang-ian’ as possible, inspired by the ’90s in which the German designer was one of the authorities on fashion with his tailoring and chromatic minimalism. In basic shades of grey, black and white, and hints of red and pink, masculine suits and coats with a few dinner jackets were worn with a white or transparent shirt, some of which featured a horizontal silver stripe. The most…

NEW YORK February 13, 2019 Tomo Koizumi is a Japanese designer whom Marc Jacobs’ stylist Katie Grand discovered on Instagram. Excited by his clothes, she and Jacobs decided to help the designer put on a show at Jacobs’ Madison Avenue store. And in some way the American designer’s collection felt the influence of Koizumi’s generous volumes and cocoon shapes, though Jacobs has been exploring hyper-proportions for a while, via the ’80s silhouettes of Yves Saint Laurent. The show included coats and cloaks taken to extremes and further pumped up by flared skirts and dresses enlarged by layers of crinolines. Feathers, ruffles and ruches all emphasised the volumes, while cone-shaped and/or feathered hats by Stephen Jones added even more height to the models. Tomo Koizumi è un designer giapponese che Katie…

NEW YORK February 8, 2019 Francesco Ragazzi brought his Palm Angels brand to the Big Apple for the first time and took the chance to move away from his signature streetwear because, he says, “I wanted to bring it to New York but I didn’t want to give New York something that it already had”. After all, his creature must be allowed to grow and become more elegant. This came through in tailored riding blazers with two-way zips the two halves of which were joined by a solid silver chain, paired with glossy sporty trousers midway between skiing and biker pants, quilted mini-skirts or midi length skirts with side bands. There were also protective, sculptural leather mini-dresses, some in jacket form, whose zip fastener merged into an asymmetric peplum skirt,…

MILANO February 11, 2019 For their latest The Row collection, the Olsen twins once again showed off their love of enveloping yet clean shapes with an almost monastic but terribly sophisticated quality. A new focus on the waistline produced jackets and coats that gently inflated before nipping inward to the centre and flaring out again or falling straight down. Everything was worn with soft, high-necked blouses and fluid, tailored trousers, or with long dresses with the same high neck. The total lack of details and embellishments drew the eye to the precision of the cuts, the verticality of the silhouette, the understated colours ranging from beige to grey, white to black, and the footwear - a kind of riding boot with a mostly flat solid rubber sole and a super-minimal…

NEW YORK February 11, 2019 Runway looks do not live just on the runway; quite the opposite, in fact. The way models and athletes dress when they are not ‘on court’ is closely followed and much imitated. At this show, Cecilia Bönström at Zadig & Voltaire dressed her models as though they were off-duty, in comfortable jeans paired with formal clothing - all in comfortable loose sizes. The first look was significant: a black tailored coat, mannish white shirt, untied bow tie and faded grey jeans puddled over studded boots. The subsequent looks offered the same mood, with dinner jackets, formal shirts and bow ties along with leather jackets, T-shirts and denim, tuxedos worn with denim shirts or shiny party dresses with military-inspired parkas, down jackets with neon details, woollen…

Milan looked to the nineties for a broad mix of influences. Changeable and dark sounds. Distorted riffs. Defined shoulders. Waist cinched by belts and chains. Hybridisations. Impure canons. Brocades and worn fabrics were mixed and matched, without any kind of style unity, elevating chaos to an aesthetic, cultural, musical and material model. Leather and velvet, tartan and patent: the combinations were anti-melodies on the guitar, bass, drums, unusual rhythms, hypnotic compositions. No frills, no fuss or technical artistry. The clothes were contemporary, gritty texts. Similar to post-grunge poetry. To new Nirvana references: “it’s fun to lose and to pretend”1. Nocturnal voices, tartan and vinyl notes were stitched by Alessandro Michele for Gucci. These were clothes forged for unresolved creatures. They wore masks on their faces and spiked studs around their…

Milano prende la forma del racconto. Aderisce alle pagine, scrive, descrive, riscrive. Le collezioni sono script cinematografici, sceneggiature, partiture per voci sole. Soggetti principali.Monologhi. Storie. Fiabe. Narrazioni. Le parole vengono cucite nei tessuti, sono imbastiture, rammendi, ricami. Gli abiti sono alfabeti visivi, sillabari materici, lirici, poetici, densi di idee, immagini, suggestioni. Stilisti e designer compongono il proprio testamento vestimentario, un abbecedario di stimoli tessili, spirituali e sartoriali. Ogni artista battezza la propria opera ed ogni collezione possiede un titolo, un nome, del tutto simile ad un’idea di libro, di romanzo, di pellicola, di concept album. Crescono i suoni in passerella.Riff distorti. Chitarra. Basso. Batteria. Il défilé annuncia un elogio alla musica e al disordine. Presenta i caotici spartiti di un Grunge Elevato. Rivela piercing, borchie, catene e lucchetti. Ostenta tessuti…

Estremo Nord. Estetica polare. Regione senza confini. Oceano circondato dalle terre d’Europa, Asia, America. Latitudine 66° 33’ 44’’ Nord. La passerella di Milano è glaciale e catarifrangente. Si illumina e si cristallizza. È una nuova Artide Pop. Si tinge dei colori dell’aurora boreale. Fenomeni ottici dell’atmosfera terrestre si posano sui capi, su minidress e trench strutturati. Sono bande luminose, gamme di colori mutevoli, magenta, verde intenso, giallo, azzurro. Sono archi aurorali. Sono i riflessi di Byblos: glaciali, gelidi, onirici. I capospalla come involucri protettivi. Le eco-pellicce di volpe, al neon. Gli abiti, cosparsi di cristalli di plastica e geometrie frattali. Iceberg racconta le fiabe del Nord, con accessori fluo, body decorati con cristalli, tute blu royal, effetti glitch. Il paesaggio si fa notturno, inospitale. I giubbotti antivento sono XXL. Le…

MILANO February 19, 2019 The Au jour le jour woman is irreverent and glamorous, affirming her personality while singing “Everything is wrong”. She dressed in light tulle, silk and satin organza or with cracklé patent touches. Mini-dresses sparkled with sequins, crystal chains, jewelled embroidery and bows of all sizes. Ultralight dresses with tiny plexiglas fringes played with light and reflections. Disco exerted an influence here. Loose blazers and fur coats came in lilac hues. Some fun was had with volume. Shapes were amplified and destructured. Proportions were messed with: jeans had an exaggeratedly high waist, gilets and T-shirts had defined shoulders, necklines were deep. Warm knitwear was knitted with plumetis effects in neon tints. This was femininity injected with an urban spirit, as seen in the nocturnal shades and unexpected…

MILANO February 21, 2019 Corinna Caon’s collection favoured soft lines and oversize silhouettes: palazzo pants fell softly down the body paired with basic knits with large pockets; loose-sleeved T-shirts left one shoulder bare creating soft pleats that ended on low crotch Turkish-style trousers. Shirt-dresses cropped at the knee with offset pockets also had loose sleeves, extra-large denim shirts and tropical patterned kimono cassocks were held at the waist by a bow. The black and white palette was shot through with geometric brushstroke prints: multi-coloured circles burst out of a bed of black & white stripes on trousers or T-shirts. A touch of blue invaded the collection in the form of a denim patchwork midi-length dress and an oversize suit with balloon trousers slightly tapering to the ankle. Nella nuova collezione…

MILANO February 22, 2019 Les Copains celebrated the Bauhaus, founded a hundred years ago by architect Walter Gropius in Weimar, Germany with a simple, measured, no frills collection of artisan authenticity. The pieces followed pure, understated lines. Compact blue, black, vermilion, brick and cream tinged the surfaces. Knitwear was sculptural with sophisticated reliefs. Long cardigans were wrapped around the body and cinched at the waist by strips of fabric and double metal buckles. Crew neck jumpers featured chunky weaves and ribs. Wavy scarves wrapped around the body and shoulders with long fringes at the ends. A delicate animal print gave a gutsy edge to the collection. Graphic motifs and stripes added movement with geometric designs and harmonious chromatic compositions. Jackets were embellished with tasselled zips and lapin collars. Pinstripe and…

MILANO February 27, 2019 Florida and the Art Deco Historic District of Miami Beach were the starting points for Shirtaporter’s Autumn/Winter 2019.20 collection. The clothes offered a vital, eclectic and colourful mix of fabrics and prints whilst maintaining the sophisticated appeal of refined details. Pleated skirts with large stars and dresses cinched at the waist peeped out from under checked or printed coats decorated with winged-horse patches. Mono-colour blazers and leopard print cardigans were also cinched with a belt with sequinned Miami lettering. Knitwear with worn edges or animal patterns alternated with the tartan and checks dominating the collection, teamed with romantic plumetis fabrics and floral prints. Red, fuchsia, black, saffron, leather and green were the colours chosen by the strong, determined Shirtaporter woman with an explosive soul. La Florida…

MILANO February 22, 2019 The Blumarine show was all about romanticism. Deep necklines, lace, ruches and transparencies. Organza and taffeta. Furs and argyle sweaters came in soft tints of candy floss, sea blue, pale pink and sea mist. Super-light cocktail dresses in velvet, chantilly lace and chiffon came in innocent monochromes. Evening dresses were brightened by hand-embroidered bugle beads and fluttering feathers. Big bows added movement to necklines. Cashmere jumpers evoked the cosiness of a winter season. Cream-coloured coats with cosy fur collars were comfortable and slim-fitting, packed with charm, luxury and seduction. Leopard prints were light and never excessive, sliding over blouses, trenches, pencil skirts, skinny dresses and bags. Romantic red roses featured on airy day and evening dresses, languid trenches and knitwear. They were bold touches of crimson…

MILANO February 24, 2019 The set featured a draping red theatre curtain, vases of flowers and a crystal chandelier. The clothes included dinner jackets, mannish suits with pronounced shoulders and a cinched waist. Silk baby-dolls, long elegant slip dresses, sheaths with thirties-style fringes, sophisticated feathery dressing gowns. Precious brooches, jewelled bow ties, crystal appliqués, lacetrimmed pop-socks. The materials were fit for a Cinecittà star - brocades and sequins, tweed and chiffon, organza, check, houndstooth, animal, surrealist and floral prints of roses and primroses. Colours such as emerald, sapphire, pink quartz and ruby were worthy of a Renaissance dame. Or the women of Botticelli, Leonardo, Michelangelo and Piero della Francesca. White, airy, delicate, romantic and vaguely retro dresses were ideal for young brides. It was a celebration of Italian beauty, tailoring…

MILANO February 21, 2019 Charm, balance, freshness. Entitled Freestyle, this Emporio Armani collection burst onto the runway in all the shades of red. It was a homage to the freedom of dressing and expressing oneself. The pretty, elegant vibe featured dynamic volumes and variable lines. Short pleated dresses, one-shoulder tops, satin bombers with puff sleeves, long fluid outerwear, blazers and mini-skirts. But also T-shirts with the EA logo, faux fur coats and latex trousers. Dresses were a whirl of reflections thanks to glossy crystals, sparkling sequins and bugle beads. Transparencies were sensual and dotted with spangles. Velvety surfaces alternated with quilting. Contrasting floral motifs invaded jackets and mini-dresses. Pastel graphic details stood out on A-line coats. The palette was unusually bright. Red dominated in glossy or thick shades, from vermilion…

MILANO February 21, 2019 “Love Karl” was written on the runway in homage to Karl Lagerfeld two days after his death. He led the Roman brand for fifty-four years and this collection is the last love letter he signed. The new Fendi logo in graceful italics appeared on tights, furs and underneath fluid dresses. Jackets were extralarge, linear and masculine, and had pointed collars and big bows similar to bow ties. The clothes showed off the brand’s masterful craftsmanship and tailoring. Furs were a key part of the collection: long and cosy with stripes or logos. Mink and sheepskin alternated on the runway. Skirts came in elegant plissé or mesh with soft transparencies. Understated coats, suits and white shirts teamed rigour and simplicity. The palette spanned browns, pastels, yellow, pink…

MILANO February 23, 2019 Ultramarine composition. Nocturnal elegy. Indigo and slate-grey epic. A poetic tale. Giorgio Armani’s collection was a“Rhapsody in blue”. Deep and sophisticated. In shades of blue and black. Imbued with velvet and crystals. Fluid and vibrant. The feminine silhouettes were sinuous. Long blue-black evening dresses sparkled like comets. Sculptural jackets and outerwear had languid reliefs, romantic drapes, a couture or bon ton allure, minute bon-ton crystals and beads, graphic waves, straps, buttons, flounces, velvet roses, gathered necklines and mandarin collars. Graceful one-shoulder tops included sweet transparencies. Velvet plus fours and long skirts relayed a timeless elegance. The symphony of materials included iridescent satin, changing silk, shiny velvet, soft leather, trompe l’oeil prints, lamé intarsia, asymmetry and points of light. It was an ode to the vast horizons…

MILANO February 20, 2019 A lesson in simplicity, rigour and restraint. The Jil Sander collection was poetic, understated and minimal. The lines were clean, the volumes relaxed and the shapes pure. An alternation of impalpable and structured fabrics was skilfully worked with couture techniques. Suits in Japanese wool and felt were extra-large. A silk jacket was padded, soft and enveloping. A deconstructed poncho was paired with wideleg trousers. A sharp, sleeveless coat was worn over a loose-sleeved shirt. Layering was given a sense of comfort. Fresh tunics and white dresses were worn over airy trousers. Lightweight surfaces featured delicate prints of herons and swallows. Dresses were shaped to the body thanks to corset-inspired constructions and an exclusive tailoring sensibility. The pieces revealed their essence in shades of cream, milk, parchment,…

MILANO February 21, 2019 The magic ingredient at the Max Mara winter show was glamour. Brightly-coloured coats burst onto the runway. The classic teddy bear coat unleashed energy and vitality in cyan, turquoise and corn yellow. The palette then turned softer and more neutral. Long trenches, tailored gilets, jackets with multiple pockets and zips, and utility skirts came in sophisticated sand or elegant black. Camel coats and cloaks with loose volumes and emphasised shoulders enveloped Max Mara’s“boss lady”, who dressed in glen plaid, check, alpaca, cashmere, leather, faux croc and zebra. A luxurious reworking of the puffer featured camel wool padding. Skirts were short, revealing high boots, while trousers fell sleekly to the ankle. Soft cardigans and body-con turtlenecks showcased some archive prints. It was a homage to glamour and…

MILANO February 22, 2019 The MSGM show was a colour film. A cinematographic narrative. An imaginary movie entitled “Heart-breaker”. The plot was dark and funny. Chic and cartoon. Pop. Massimo Giorgetti composed a collection with a thousand hearts. Hearts printed on mini-dresses, billowy blouses and full skirts. Hearts intarsia’d onto the necklines of little sweaters. Broken hearts on jacket lapels. Digital and optical prints covered the surfaces in a colourful dance. Covers from the Italian art magazine, Flash Art, were turned into all-over prints on shirts and trousers to mark its fiftieth anniversary. Dresses in faux leather or tailoring fabric were brightened by crystal reflections. Coats played with two-colour effects and asymmetry. Balloon dresses, giant flowers, XXL shoulders and bubble sleeves came straight from the eighties. The bold, bright palette…

MILANO February 21, 2019 In “Anatomy of romance”, Miuccia Prada used fashion as a social language, a contemporary voice for speaking about opposites and putting together fragments. She brought together the forces in every human being and in every society. Fear, weakness, evil. Optimism, idealism, strength, romanticism and goodness. The collection was an invitation to unity, inclusion and mixing. So, military jackets, coats and cloaks featured big cargo pockets and rough, tough broadcloth fabrics to react against the violent reality. Contrasting those, in a homage to love, were dresses with big printed and patched flowers and lace-on-lace bustier dresses with voluminous plastic overlays, and suits whose jackets were nipped at the waist for added femininity. Jackets had holes at the sleeves bursting with light fabrics. In another reference to love,…

MILANO February 22, 2019 Sportmax was looking to the future. The show was all about innovation. It mixed classicism with dynamism. Tailoring was the focus: feminine and futuristic, it played daringly with unexpected compositions. Trenches were convertible hybrids with built-in leather vests. Coats and bombers came in new shapes with oversize curves at the shoulders. Dresses were fluid and comfortable. Pleated or wraparound mid-calf length skirts had daring splits. Knitwear featured bright colours. Sportswear influences and athleisure accents were injected into light padded nylon dresses, quilted shirts with graphic motifs, and baseball caps and sneakers. Synthetic fabrics alternated with pinstripe, striped and herringbone tailoring. Wool, leather, shearling, and matt and glossy surfaces were also included. The palette was grey with delicate touches of white, beige, champagne, sage, sand and leather.…

MILANO February 25, 2019 Traffic noise provided the soundtrack for the show staged in the Sala delle Cariatidi at Palazzo dell’Arengario in Milan. Street sounds, car horns and traffic lights. The show was an urban jungle. Ultràchic blended urban with animal, offering a gutsy, ironic collection entitled “#atthetrafficlight”. The clothes were designed for dynamic, cosmopolitan, globetrotting women. Cashmere, satin and shiny velvet were used like street signs. Surfaces were emblazoned with“For sale” signs. Bags had a playful spirit, sporting glam, funny phrases such as“Caution - Catwalk in Progress”. Headbands repeated words like“Joy”, “Fun” and “Like”. It was a raw, feline show. Animal prints covered shocking pink and neon dresses. Tigers appeared on scarves and jumpers. A leopard print calf-length skirt was paired with a sweatshirt that read“Paparazzi at Work” and…

MILANO February 21, 2019 Vivetta’s clothes were like dolls’ dresses. Like treasure-troves. Wunderkammer dresses in lace, brocade, tulle, velvet and upholstery. Clothes with a wealth of floral patterns - roses, buds, white bellflowers, herbs, delicate shoots, laurel sprigs, leaves, berries. And as such, they were filled with unexpected surprises - teddy bears, oversize bows, soft flounces, wide-brimmed hats decorated with pearls, earrings similar to crystal chandeliers. Puff and balloon sleeves were paired with plissé and airy transparencies. Mirrors and little embedded stones reflected the light. Patchworks of vanilla, powder pink, apple tree blossom, fleur-de-lis and intense green provided a wealth of colour. Blouses featured big collars and hanging ribbons. Coats came with applied cushions, in faux fur, padded or made from embroidered satin pillow cases. Loose outerwear, similar to portable…

NEW YORK February 11, 2019 The latest of Stacey Bendet’s theatrical presentations was packed with romanticism and magic worthy of a modern fairy tale. Prints and colours, flowers and butterflies were saturated with blue, red, yellow and green on a black background, a chromatic and decorative whirl that almost‘hid’ the clothes, which were long flared dresses, full skirts and jumpsuits with matching jackets and down jackets. But this time Bendet was focused on sexy looks and silhouettes, so she added sky high splits to the hemlines, plunging necklines to the tops, asymmetric shoulders and dense draping that lifted the hems of skirts. The designer also presented a new selection of her T-shirts with feminist statements such as ‘Go Love Yourself’ and ‘Strong Female Protagonist’, worn respectively with a maxi skirt…

NEW YORK February 7, 2019 Marcus Wainwright at Rag & Bone swore off runway shows a couple of years ago. He was one of the first to understand that there was a better (and perhaps less expensive) way of keeping a brand cool. The presentation for his new collection was staged at a happening at Weylin in Brooklyn, which involved installations, dance and guests dressed by Wainwright. Rag & Bone has always presented itself as a brand that thinks about real, everyday life and total comfort, beginning with a pair of jeans. Here, they came in various colours but the common denominator was a high-waisted, calf-length style with a straight, boyfriend cut. These were paired with chunky sweaters, masculine shirts and functional outerwear such as parkas and down jackets. Workwear…

NEW YORK February 13, 2019 Ingo Wilts for Boss took a “curated” approach, claiming to have been inspired by art curators and the New Yorkers who frequent their galleries in smart yet relaxed clothes. Last season, Wilts translated that idea of comfort into light, impalpable fabrics. For winter, he offered loose, cocoon shapes and thicker yet still fluid fabrics. There were extra-long coats with wide lapels worn over turtlenecks and high-neck soft jumpers, masculine suits with long broad-shouldered jackets and flared trousers, long high-neck dresses in sculptural wool or with asymmetric draping, wraparound skirts worn with leather pirate boots that disappeared under the hem. The palette was classic with plenty of camel and a few surprising dashes of bright pink. Un approccio“curatissimo” quello di Ingo Wilts per Boss, che dice…

NEW YORK February 9, 2019 Of all the social media, Instagram is the one most often cited by designers who, in some cases, like to post their looks there even before putting them on the runway. No wonder, then, that the title of this new collection from Custo Dalmau is ‘Insta Glam’, like the classic hashtag, with crystals, gold sequins, coloured fringes and lurex often used all together in a single look. The clothes they accessorised, or clashed with depending on your opinion, were mostly dresses of various lengths featuring splits, plunging necklines and asymmetry, worn with above the knee pirate boots or sock boots. Glimmers and metallic effects in the form of embroidery and insets also embellished the surfaces of long down jackets, while furs were kaleidoscopic. Mask glasses…

NEW YORK February 8, 2019 Black and white from start to finish, newsprint black-and-white to be specific, without even a hint of colour. Jeremy Scott has accustomed his audience to an excess of colour, but his removal of all trace of it from his latest collection was shocking and almost punitively ruthless. The reason behind it was the invasion of fake news into our daily lives, as well as the tabloids screaming horrors, scandals and chaos. And ‘chaos’ was one of the words emblazoned on the clothes, alongside other terms such as‘panic’, ‘page 6’, ‘psycho’ and so on, reproduced like headlines and created in collaboration with artist Aleksandra Mir. The choice of silhouette was also unusual. Less tapered than usual with oversize outerwear and party dresses with layered, flaring tulle…

NEW YORK February 13, 2019 The ’70s are still massively on-trend and American designers, or those with a little history behind them, are happy to draw from it, especially because they lived through that decade. Michael Kors, for example, remembers his nights at Studio 54 and that glamour fills him with optimism, which translated into layered looks topped with feathers and faux fur. Dresses came in various lengths but all had shine, produced by satin, sequinned or metallic surfaces decorated with floral motifs or covered in long fringes, deep V necklines or layered over sailor striped knits. They were paired or alternated with tailored pieces, comfortable yet structured blazers, coats in classic menswear fabrics, and military-inspired jackets. Kors secured the rights to the Studio 54 logo, using it plentifully throughout,…

NEW YORK February 11, 2019 The Proenza Schouler duo have not lost their propensity for deconstruction but in this new winter collection they also experimented with oversize tailoring, playing with assemblies of materials that transformed garments into two or more almost-separate pieces. An overcoat was hybridised with a bleached denim jacket, a blazer with a biker jacket, a trench with incorporated sashes similar to a scarf. The oversize proportions of coats and suits, which had solid shoulders and loose, tapering trousers, were softened by being worn over bare skin with the addition of long, thin scarves attached to the collar. A closer-fitting silhouette came with the brand’s signature dresses in jersey with a sash detail under the bust or cheeky cut-outs at the armpits, or else in mesh and plissé.…

NEW YORK February 7, 2019 Just one season ago, Tom Ford’s show celebrated the glossy world of Beverly Hills with crystals and sequins even on sportswear. This time, the most glamorous designer took a step back from his signature excess with a simpler collection focused on tailoring. In eye-catching and unusual colour combinations, such as sea blue-purple, purple-brown and red-fuchsiapurple, fluid shirts were unbuttoned over a turtleneck and tucked into oversize satin trousers with turn-ups, structured and fitted blazers with firm shoulders and raised collars, extra-long coats with or without a belt. The looks repeated with few variations. What did change were the materials, which ranged from velvet to classic menswear fabrics to faux fur, which was also seen in the big fedoras, to technical fabrics for down jackets paired…

Music and magic boxes. Treasure-troves. Jewellery boxes. Minute songbirds. Flowers, buds. Sweet melodies. The fashion show is an innocent, tender experience. A hymn to romanticism. A lullaby. An ode to childhood and femininity. Pale-skinned porcelain dolls walked for Vivetta. They wore lace, brocade, tulle and upholstery fabrics. They sparkled with crystal chandelier earrings and wide-brimmed hats decorated with pearls. They wore floral dresses, pussy bow blouses, ribbons, puff sleeves and plush bears. Poetic dreamers enveloped in embroidered satin pillowcases. Modigliani’s nostalgic women walked the runway at Antonio Marras. They were portraits of girls on a Sunday morning. Elegant and ethereal in their mended clothes and spliced together lace and brocades. Dotted with roses, foliage and silver buds. Their long necks were wrapped in wool. Their step unhurried. The collection was…

Milano guarda agli anni Novanta, miscela influenze eterogenee. Suoni mutevoli ed oscuri. Riff distorti. Spalle definite. Vita stretta da cinture e catene. Ibridazioni. Canoni impuri. Broccati e tessuti usurati si confondono, si mischiano, senza un’unità stilistica, elevando il caos a modello estetico, culturale, musicale, materico. Pelle e velluto, tartan e vernice: gli abbinamenti sono anti-melodie di chitarra, basso, batteria, ritmi inusuali, composizioni ipnotiche. Senza orpelli, senza fronzoli, né tecnicismi. Gli abiti sono testi contemporanei, graffianti. Simili in tutto a poesie post-grunge. A nuovi richiami dei Nirvana: “it’s fun to lose and to pretend”1. Voci notturne, note di scozzese e vinile vengono imbastite da Alessandro Michele per Gucci. Sono abiti forgiati per creature irrisolte. Portano maschere sul viso e borchie affilate al collo. Sono cupe, inaccessibili. Simili a spartiti occulti, capovolti.…

MILANO February 24, 2019 Impeccable, refined, fairy tale-like. A. Teodoro chose colour. Emerald, aquamarine, fuchsia, magenta, midnight blue. He composed a sophisticated collection of poetic tailoring. Soft outerwear with big sleeves featured heraldic, regal prints inspired by the haute couture tradition. Brightly-coloured suits with double-breasted blazers in brushed wool cashmere were precisely cut into clean lines like new hyper-feminine uniforms. Trenches were very long and padded and worn over tonal tunics cinched with a thin belt. Lyrical dresses had big drapes, gathers and asymmetry. Elsewhere smoother, ankle-length columns came in pure white with high slits on the sleeves and a high turtleneck. Totemic, ink-coloured black dresses had clean, understated, linear shapes. Mini-dresses and suits featured sculptural sleeves. A collection full of elegance and charm. Impeccabile, raffinato, fiabesco. A. Teodoro sceglie…

MILANO February 23, 2019 Peaks and woollens. Mountains and premium yarns. Bally shaped a collection with an Alpine attitude. The brand’s signature craftsmanship focused this time on its Swiss roots. Winter clothes were warm, cosy and comfortable in neutral cream and vanilla. Skirts and cloaks were made from leather with laser-cut lace hems. Bally looked back to a 1955 logo of an Alpine peak. Its jagged profile inspired the zigzag motifs on the cloaks, coats, trousers, shoes and accessories, which came in lilac, rust, orange, indigo, powder blue and sage. Details also looked to the peaks: Alpine stars, Swiss crosses, heart motifs, intarsia’d skiers, jacquard mountain flowers, pixelated illustrations. The influence of Alpinist-inspired technical wear was seen in the shearling bags and hats and trekking shoes. Cime e lane. Montagne…

MILANO February 22, 2019 Party, light, colour. Dondup paid homage to the Twenties and the spectacular parties in “The Great Gatsby”. The clothes were sprinkled with stardust. Slim-fit trousers were covered in reflections. Rhinestones, glitter and spangles travelled in a glam orbit. A white shirt embroidered with sparkling zodiac signs was paired with sequinned jeans. Plissé lamé dresses were radiant and elegant, with plunging necklines and romantic lines in shiny silver tints similar to the surfaces of meteors. Long magenta silk slip dresses featured minute prints of the constellations. Jackets were oversize with crystal-covered collars. Off-shoulder sheaths and tight pencil skirts festooned with fuchsia sequins were paired with a branded black T-shirt. Suits were all-black, refined versions of the men’s dinner jacket, for exclusive parties. Festa, luce, colore. Dondup rende…

MILANO February 20, 2019 Mila Schön returned to its roots. Under the direction of Swedish designer Gunn Johansson, it rediscovered its heritage. Relayed its DNA in a show entitled“Collection Zero”. The coat was the key piece. It came in various shapes and details, revealing an array of styles. Without lapels, white and immaculate with contrasting buttons, or else shaped, double-breasted, with clean lines, an urban appeal, or golden details. It was simple, linear, understated, kimono or wraparound style, gently body-skimming, with a tone on tone fabric belt knotted at the waist. It was rigorously monochrome in black, white or red. Skirts were flared and high-waist in various lengths. Knitwear came in high quality cashmere and premium wool. The brand name appeared in two-colour intarsia details. Blouses featured archive prints. Evening…

MILANO February 20, 2019 Alberta Ferretti’s show was an experiment in light and grace. The clothes started out in milky white before turning to pearl grey and silver. Finishing up with nocturnal elegance. The materials were sophisticated and orchestrated in a symphony of lace, silk and cashmere. Lines and volumes portrayed femininity by day and by night. High-waist riding trousers came in washed denim, leather or patchwork effect lamé. Tulle blouses fluttered thanks to silver ruches, plissé and polka dots, ruffled by a westerly wind. Knitwear was embellished with delicate-coloured intarsia in different shades of grey, white and pale pink. Broadcloth jackets came in loose, mannish cuts teamed with a gaucho hat. Fringes, reflective appliqués, crystals and studs embellished the looks. The long evening dresses were in platinum and silver…

MILANO February 22, 2019 This dark, refined show was staged under the Arco della Pace. It was anarchic yet classic at the same time. Avant-garde and bon ton. On his runway debut for Bottega Veneta, Daniel Lee showed a young and sensual, anti-conformist and underground generation in search of self-expression and attentive to contemporary art forms. The collection was staged on an imaginary Berlin night and featured biker references and new styles and forms. Outerwear, pencil skirts and bags were shaped by geometric leather fabrications, XXL weaving, cobblestone effects with a sensual rigour. Light was provided by crystals on sheaths. Chains were used to fasten coats or edge the necklines of knitwear. Layering, gathers, padding, transparencies and perforations added movement to the surfaces and silhouettes. A homage to unpredictability. Sotto…

MILANO January 13, 2019 Dean and Dan Caten unleashed the brand’s rebellious spirit, turning the show into a sensory rock concert. Colours were electric and prints evoked Metallica and AC/DC. The Dsquared2 logo changed font and character, merging with the lettering of heavy metal bands. The clothes featured lots of tie-dye patterns, neon injections, glossy and multi-coloured fringes. Iridescent tartan, psychedelic patterns, metal chains and studs. Mini-dresses and oversize parkas were dotted with spangles. Micro-skirts and jackets shone with metallic reflections, opalescent coatings, python prints and zips. Shearling coats were adapted for music at high altitudes, so they were soft, cosy, extralarge. Down jackets and padded gilets had rainbow graphics with an urban, street edge. Studded belts cinched the waist. The palette included orange, turquoise, pink and blue. Dean e…

MILANO February 23, 2019 Clarity and darkness. Ermanno Scervino’s show was a shower of crystals. Sparkling appliqués shone elegantly on menswear pieces with sharp shoulders in tailoring fabric, Prince of Wales and houndstooth, over lace slip dresses. Cascades of Swarovski, like very refined encrustations, shine on petticoat-dresses in which lace and tulle dominate the surfaces and on sparkling jumpers in pastel yellow, pink and sky blue. Romantic jewel-collars in broderie anglaise topped little leather coats, wool overcoats in soft mohair and painstakingly intarsia’d faux furs. There were also quilted down jackets, leather duffle coats, fancy one-shoulder dresses, slim or wide-leg trousers, and sleek evening dresses with splits. For a luminous season. Chiarore ed oscurità. È una pioggia di cristalli la sfilata di Ermanno Scervino. Applicazioni luminose irradiano elegantemente i capi…

MILANO February 23, 2019 Iridescent, luminescent, reflective. Techno, pop, underground, funny. But also dramatic, Gothic and dark. Noir. GCDS’s winter show was all this. Creative director Giuliano Calza staged his show at The Mall. The collection was split into two souls: sparkly and fresh yet also dark and nocturnal. There was lots of bold, neon colour: shocking pink, orange, green and lime. Tops, one-shoulder bodysuits, body-con mini-dresses with splits, mini-skirts and space suits came in highlighter colours. Surfaces were glittery and reflective featuring prints, logos, rhinestones. GCDS lettering appeared on precious chains at the waist or like a jewel at the neck. Black later invaded the runway, bringing suits with purple lapels, blazers, shorts and languid and sparkling ribbed suits. A black fur coat lined in red satin was paired…

MILANO February 20, 2019 Unresolved, theatrical creatures with multiple identities paraded for Gucci. They were faceless women. Veiled, occult girls. Masks were worn to conceal the face. Conveying their identity was left to the clothes. Whatever their role was, it portrayed a dark representation filled with mystery. Dressed in light, they wore rhinestone straps, precious buttons and gold jewellery, and yet they were a nocturnal, dark, inaccessible presence. They wore knee-pads and lace tights, or spiked collars and neck ruffs. They were restless harlequins warmed by faux fur. Angelic and baroque inside brocade dresses. Mawkish in lace mini-dresses. Daring in a python suit. Rigorous in a houndstooth suit. They covered up in deep black, sage and crimson. Creature irrisolte, teatrali, dalle identità plurime, sfilano per Gucci. Sono donne senza volto.…

MILANO February 22, 2019 Veiled women paraded for Marco de Vincenzo. Their eyes were covered by a dark strip of fabric. They dressed in dégradé lurex, intarsia wool, plaid and tartan. A little golden fawn glinted on the lapels of jackets. These glamorous, restless children of the night were covered in shimmers, metallic surfaces, crystal-covered veils, lamé knits, glittery tops, suits and dresses. Sparkling fascinators were worn on the head. Gold heels on the feet. These were Hollywood Lolitas dressed in narrow-waisted fifties dresses, wrapped in voluminous fake fur with soft stoles over the shoulders. Art deco coats were worn to shelter from the cold. These glimmering femmes fatales also wore flared, plissé skirts with sparkling fringes that kicked out as they walked. Timid seducers wearing strapless, with multi-coloured lamina,…

MILANO February 23, 2019 Missoni nights are Arabian nights suffused with blue light. The show, staged under the dome of Palazzo del Ghiaccio, was a carpet of stars. The collection mixed elegance with oriental and ethnic evocations. It knew no boundaries. It wove together, joined and amalgamated. Knitwear was made from premium yarns in all shades: ikat-pattern coats, striped tunics, evanescent chevron suits, loose trousers, cloaks, breezy knits, soft capes, pieces richly decorated with sequins. Warm, cosy, never heavy clothes. The outfits and jumpsuits in lurex and lamé were super-light and impalpable with delicate transparencies and tinged blue, ice and purple. The shapes were elongated, sleek and vaguely seventies. Tunics were worn with scarves similar to the chador. Neck hoods were new hijabs. The waist was cinched by wide sashes.…

MILANO February 20, 2019 Erotic, fatale elegance. The sensuality of latex and satin. Alessandro Dell’Acqua’s woman was provocative and daring. She dressed in lipstick red. She hid under a latex sheath. She covered up with gold-coloured destructured trenches or soft, seductive furs in vermilion and emerald. Then she began to bare the flesh, allowing a coat to slide down the body thanks to back zips. She showed her shoulders. Or wore just a little knit bra. Inspiration came from the film “Dressed to Kill”. Lace slip dresses, light veils, nude crêpe, fine, diaphanous transparencies. A loose dress in red satin featured a latex turtleneck. Brightness came from crystals, languid spider-web lace, embroidery, wrinkled sequins and precious ramage. Dresses were forged with built-in bodices and sculptural reliefs. It was a thriller…

MILANO February 23, 2019 Tiger stripes and Technicolor. Roberto Cavalli creative director Paul Surridge dipped into the brand’s DNA and added colour to it. Prints dominated the collection. Zebra and python patterns came in bold ultramarine, beige, orange, sea blue and purple. Animal prints and colours were used like sandy, fluctuating waves or sensual brushstrokes on sleek or tight dresses, slim trousers, double-breasted coats with rounded shoulders, and soft furs. Shine came in the form of precious mesh, gold mosaics, panels, sequins, crystals, beads and bugle beads. Monochrome and solid fabrics were used for fluid, breezy dresses, saffron mini-dresses with a nipped waist and sculpted sleeves, all-white dinner suits, fuchsia pleated skirts and black leather jackets. For a wardrobe packed with luxury, elegance and sex appeal. Donne tigrate, fanciulle in…

MILANO February 24, 2019 You don’t need a map or coordinates to find your way. This show was an adventure into material, a textile and colour exploration. Stella Jean went on a Grand Tour of striped and tartan fabrics. She drew inspiration from the cultural trips to Europe made by the upper classes in the XVIII and XIX centuries. But also from the light of tropical destinations like French Polynesia, Haiti and Africa. The collection blended oriental influences, literary and artistic contaminations from across the globe. The show was full of imaginary explorers. No luggage or bags were needed. The clothes worn included fluid trenches tied at the waist, long jacquard coats, tiered dresses, blouses with gathered sleeves, jumpers with naïf tigers, loose trousers and bubble skirts. Belts with big…

MILANO February 9, 2019 Yellow. Red. Blue. An exaltation of primary colours. A rainbow-tinted triumph. The United Colors of Benetton show, designed by creative director Jean-Charles de Castelbajac, was bold, fresh and sparkling. There was lots of colour. Entitled “Rainbow Machine”, the collection was packed with energy and vitality. The garments came in flamboyant colours. Down jackets were pumped up with maxi logos. Multi-coloured stripes covered padded jackets, sweatshirts, cardigans, hats and tights. Eighties-style nylon boots featured more stripes. Knitwear showed its more playful, carefree side with fun jacquard and Disney designs with Mickey Mouse embellishing the surfaces. The brand’s label, in intense green with white lettering, became an XXL intarsia or a long scarf. Outerwear came in soft sheepskin in multi-coloured fur stitch. Giallo. Rosso. Blu. È l’esaltazione dei…

Who knows why we are accustomed to associating winter with dark and neutral tones, as though low temperatures and poor light had an influence over our colour choices, when the opposite should be true – surely wearing bright, bold tints would counter the gloominess of winter. The designers must have thought the same in New York, where the latest Autumn/Winter shows demonstrated a clear leaning towards colour, real vibrant colour, the one that illuminates the face and warms up even the chilliest New York day, where snowstorms and sub-zero temperatures are the norm in winter. As well as bright colours, designers also explored a decorative drive, also more often associated with summer, when blossoming nature tends to spread onto the clothes, in addition to hints of Oriental culture. Wes Gordon…

NEW YORK February 7, 2019 Derek Lam presented his second collection away from the runway, demonstrating that it is not always a risk to leave the old ways and plough new furrows. As vital as ever, the designer’s American sportswear retained that geometric minimalism that gives clean, aerodynamic shapes to outerwear, such as a trench and an oversize poncho with trapeze volumes in cotton and linen. Skirts were also flared and full, often tied at the waist by a knotted belt and paired with a thin sweater layered over a turtleneck. The tailoring also came in unusual shapes. Wool coats were solid and structured with raised pockets and oversize suits had long jackets. The generally oversized volumes were accentuated by giant bags worn on the shoulder and boots and half…

NEW YORK February 11, 2019 While so many shows were exploding with colour, Phillip Lim chose an understated, neutral palette spanning grey, black and white and a no-frills cleanness comprising basic garments designed to be robust and reliable. Comfortable, durable outerwear included zipped fleece jackets, anoraks with double quilted sleeves, faux furs, overcoats with contrasting utilitarian details, which also featured on cassocks, skirts and trousers. There were two recurring elements: the wide belts built into the tops and the slashed sleeves that allowed more freedom of movement, as well as asymmetry and destructuring. The accessories were also practical and functional, as seen in the flat, elasticated ankle boots and big bags carried under the arm, while the only concession to decoration was a graphic zebra print. Se su tante passerelle…

NEW YORK February 11, 2019 With the first look, a floor-length trapeze dress in a bright yellow and azure floral print, Wes Gordon defined the mood of the new Carolina Herrera collection, characterised by bold colours and generous volumes. Tops, skirts and trousers also had the same airy quality, as did outerwear, with an oversize technical jacket in orange and pink layered over a yellow turtleneck. The evening wear was also confident and fluid, with billowy sleeves and airy skirts. The tailoring included blazers and coats that, in some cases, featured artistic draping to add movement or sashes built into classic black trousers. Intriguing cut-outs slashed horizontally into suits, including dinner jackets. Con il primo look, un abito a trapezio lungo fino a terra in una luminosa stampa floreale giallo-azzurra,…

NEW YORK February 12, 2019 After many presentations, Cynthia Rowley returned to the runway and chose to stage her show at the London Terrace Towers pool, citing her love for surfing and wetsuits. But the mood of the collection had nothing to do with the aquatic setting: save for a few jumpers and sporty outfits, the 33 looks were a series of cocktail and evening dresses with a seventies feel in flashy colours and/or shiny surfaces. From mini to full length, the dresses featured ruches, flounces, draping, deep V necklines or high collars, airy transparent sleeves or ruffles at the shoulders, ribbons fluttering from gathered cuffs or wraparound fasteners with big bows. The brand’s footwear made its debut with sandals featuring floral printed heel and strap. Dopo tante presentazioni, Cynthia…

NEW YORK February 8, 2019 When it was founded in the early ’90s, Kate Spade’s company produced mainly bags - it was called‘Kate Spade Handbags’ - but it soon branched out into clothing and today creative director Nicola Glass affirmed that ready to wear is an opportunity for the brand. The new winter collection sought to capitalise on that opportunity, providing a wardrobe that looked straight out of a ’70s film in which tailored fitted jackets and high-waist flares alternated with fluid mini and midi dresses, styled with refined turbans and lace-up high-heel boots. Both came in vibrant colours further emphasised in some of the looks by the sheen of velvet and animal or floral prints. As for the bags, Glass came up with two formats, one larger and one…

NEW YORK February 12, 2019 Travel is always a big source of inspiration for Laura Kim and Fernando Garcia, who share one of Oscar de la Renta’s passions. The Mosque-Cathedral of Cordoba in Spain, in which Islamic and Christian history meet is the reference point for the decorative elements throughout the collection, but especially the most elegant pieces, the cocktail dresses and evening gowns. The daywear looked mainly to comfortable tailoring in which jackets and outfits in spicy colours were paired with check and herringbone. Daywear quickly turned to eveningwear with a series of carpet prints and fringes. Those prints continued for the rest of the show, appearing as the arabesque tessellations of Islamic decoration on the final long dress, a bustier with a flared skirt in total black. Il…

NEW YORK February 7, 2019 After September’s spectacular event at Central Park to celebrate his fiftieth anniversary, Ralph Lauren chose a more intimate breakfast show at Madison Avenue. But the ‘see now, buy now’ looks parading amongst the tables, including some sailor-inspired daywear, oversize trousers, double-breasted jackets and striped tops with themed details such as epaulettes, gold buttons and toggles, were decidedly elegant. Cocktail and evening dresses and jumpsuits in all black and white featured gold details and/or accessories (including the footwear). Other dresses featured big floral prints or came in gold lurex. Indeed, there was plenty of metallic shine throughout the show, confirming the exclusive, upper class character of the collection. Dopo il maestoso spettacolo di settembre al Central Park per celebrare il suo cinquantesimo anniversario, Ralph Lauren sceglie…

NEW YORK February 10, 2019 Black Mountain College was an innovative college set up in 1933 near Asheville in North Carolina. It taught the arts with an experimental, progressive approach that has always fascinated Tory Burch. Though it stayed open for just 24 years, the designer loves its “sheer creativity” and the confluence of different artists so much that she dedicated this romantic yet exuberant collection to it. The show teamed fluid dresses and vivid floral prints with shearling of different lengths and, in one look, a long down jacket with a contrasting lining. Alongside these exuberant shapes and embellishments were more severe double-breasted coats with gold fasteners and checked tailoring, while cardigans, skirts and jackets featured motifs reminiscent of the geodesic designs of Fuller, one of the college’s artists.…

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