Innholdsfortegnelse for Spring - Summer 2017 i SHOWDETAILS PARIS+LONDON

Why does fashion keep looking back instead of forward? Why this insistence on skipping from one decade to another, from a mini-skirt to bell bottoms, a Victorian collar to a sky-high split, instead of grounding us in the here and now, exploring it and finding all-new inspirations that don’t look like déjà vu? What is preventing designers from tuning in to their own time? A lack of courage? A dip in creativity that makes it easier to look back and reinterpret the past, rather than breaking the mould and traditions and opening up to the new? The Paris runways did include some influential and courageous attempts, but the overall trend was once again to rework past decades for the delectation and, above all, the consumption of new generations. The ’80s,…

Hermès focused on practical, functional luxury that nodded to workwear by borrowing its style and details. There were zipped shirts with reinforced shoulders and diagonal zipped pockets tucked into high-waist trousers with side bands, jumpsuits with collar and zip, and long skirts with maxi pockets. Pink tones were in some cases used to soften the workwear edge. The perfect mix of utilitarian elements and romanticism featured in Isabel Marant’s collection, which offered youthful clothes such as crop tops, little pleated skirts, jumpsuits and high-waist trousers with large and small pockets, visible stitching, zips and laces. Floral prints, flounces and fluid lines gave everything an eye-catching bohemian feel. The Studio 54-style glamour packaged by Lim and Leon for Kenzo had a fundamental practical character inspired by work uniforms, despite the dancefloor…

PARIS October 2, 2016 Finnish design took to the Paris stage with Marimekko, with over half a century’s experience in vibrant prints which it didn’t hold back on for next summer. Long tunics, masculine shirts, cassocks and comfortable trousers all featured patterns ranging from mini to macro floral, graphic to classic stripes, all-over or combined with one another. Eyecatching colour combinations came in yellow-green, yellow-blue, orange-green, orange-blue or black and white. The bold colours and the mainly loose lines were the perfect combination for breezy summer clothes, while more structure came in the form of leather pieces, such as a flared mid-calf length skirt worn with a t-shirt that resembled colour swatches. Il design finlandese e di scena a Parigi con Marimekko, popolare da piu di mezzo secolo per le…

PARIS September 30, 2016 The Shirtaporter season was well defined. There was a holiday vibe in the womenswear imagined by the Italian brand, which preferred to think of a large suitcase packed with sporty yet chic outfits. There were stripes of all types and dimensions, Hawaiian plant and flower prints, light solid colour coats, Chanelstyle suits and old-style basketball socks. Botanical overprints were in cotton and silk jacquard, hibiscus were in silk satin, outerwear came in furniture fabrics such as linen and cotton with regimental ribbons and accessories. The red and white and green and white stripes were exquisitely summery, embellished with floral designs that gave blouses and trousers a touch of elegance and greater versatility. The lines were comfortable, suited to everyday wear and those off on a journey.…

PARIS October 3, 2016 According to creative director Cecilia Bonstrom, the “patron saints” of Zadig & Voltaire’s new collection remain Mick Jagger, Iggy Pop and Jimi Hendrix to continue the rock dna. Garments and coordinates appear to have been designed for a Glastonburytype music festival: shorts, mini-skirts and skinny leather trousers worn with pointed toe ankle boots, blazers and fringed sweaters, embroidered denim separates, little floral dresses clinched at the waist with leather belts. There’s no lack of military inspired pieces, such as certain coats and jackets, sporty clothes including zipped sweatshirts and trackpants (worn, however, with jewelled sandals) or pyjama or gold lame trouser suits taken from the men’s wardrobe. Il dna rock di Zadig & Voltaire e rispettato anche in questa nuova collezione di cui, afferma il direttore…

PARIS September 29, 2016 Sebastien Meunier from Ann Demeulemeester focuses on a destructured, tailored look, constantly varying light and shade with a contrast of black and white, glossy and matt, transparent and opaque. Taking to the catwalk are mostly destructured masculine tuxedo jackets and suits worn with one-sleeve shirts or sleeveless crop tops, slashed into long strips floating down around the body or topped with severe looking beltsgirdles. Trousers have shredded hems or open up to become skirts, whereas transparent blouses are mixed with knitwear with the same lacerations as the other garments. This is a style with an asymmetrical, layered look to set the mood. Il sartoriale destrutturato e al centro del lavoro di Sebastien Meunier per Ann Demeulemeester, insieme ad un costante gioco chiaroscurale che contrappone bianco e…

PARIS October 2, 2016 Fashion that is conceptual yet still wearable and creative. As always, Phoebe Philo for Celine let the clothes do the talking, presenting them in a space designed by artist Dan Graham, with a series of metallic screens delimiting the areas but allowing freedom of movement. The runway as a metaphor for Philo’s style, then, which this time featured comfortable oversize shapes, especially for the outerwear - men’s jackets and coats worn with trousers rolled-up to reveal airy chiffon beneath. Dresses were also mainly fluid and airy, with loose sleeves and pleated or draped skirts, some decorated with contrasting crocheted breasts while other had cuts over the abdomen. In some looks sneakers replaced the heeled half boots and sandals were worn over socks or opaque tights. Una…

PARIS September 29, 2016 Less adventurous and more urban than last season but always carefree, the Chloe girl loves the lightness of fluid, and in some cases oversize, shapes: from comfortable boxy blouses with wide, extra-long sleeves to soft bermuda shorts with drawstring waist, from harem pants to plisse dresses held up by rope shoulder straps or maxi-bows, everything was made of airy and crisp fabrics that danced around the body without constraining it. Cassocks, dungarees and trousers had a sailor appeal, adding poetry to the wardrobe that won’t sacrifice a touch of masculinity and workwear or that hippie allure that continues to feature on the runways, including floral motifs, flounces and lace, as seen in this finale. Meno avventuriera rispetto alla stagione scorsa e piu urbana ma sempre spensierata,…

PARIS September 28, 2016 Just like the flowers encased in great blocks of ice by artist Azuma Makoto lining the Dries Van Noten runway, so the Oriental floral motifs imposed their poetic delicacy on oversize coats, structured jackets, silky bombers and tailored masculine trousers. Contrast is everything for the Belgian designer and he demonstrated it here by mixing blouses with high Victorian collars with loose bermuda shorts and ‘Japanese’ style flip flops, or dress trousers or extralarge jeans, basic t-shirts with jewelled ruffs, athletic tops with double-layer tulle skirts. The palette also contrasted, pitting black against vibrant shades of yellow, orange and blue, producing Japanese combinations. Come i fiori sono incastonati nei blocchi di ghiaccio disposti a torre ideati dall’artista Azuma Makoto per la passerella di Dries Van Noten, cosi…

PARIS October 3, 2016 After 35 years in business, King Giorgio took his Emporio Armani line to Paris for the first time, celebrating an ideal journey that stretched all the way to India. The symbol of the collection was a little lucky elephant taken from the archive and featured on all-over decorations on crop tops, neck scarves and pyjama-suits with soft drawstring trousers. It also appeared as a tiny detail on shoulder straps and the bodices of fluid dresses, on the edges and cuffs of jackets, on pockets, as a band on the hems of trousers and as a buckle fastening bags and body belts. Another ethnic touch came in the form of multi-coloured fans decorating jackets, coats and jumpsuits, which were later transformed into extraordinary pleats in the finale.…

PARIS September 28, 2016 “Simple things, when very well done, can make a big difference.” This is how journalist Alessandra Codinha described Andrascik’s simplest clothes yet for Guy Laroche: a second-skin knit vest top, loose plasticised trousers, a beige trench, some of the fluid sinuous dresses worn with short jackets. The transparent grid fabric was also used for linear mini-skirts, tops and mini-dresses, while more complex, structured pieces were in metalized fabric or glitter effect dark denim, featuring asymmetry, overlapping panels, pleats and metallic appliques. “Le cose semplici, quando molto ben fatte, possono fare la differenza.” La giornalista Alessandra Codinha parla cosi dei pezzi appunto piu semplici della collezione di Andrascik per Guy Laroche ovvero le canotte in maglia seconda pelle, i pantaloni ampi proposti anche in versione plasticata a…

PARIS September 29, 2016 For this show there was no particular inspiration other than everyday life, so the clothes were functional and combined street and sportswear, utilitarian pieces and bohemian romanticism. Isabel Marant, who counts many Millennials among her clientele, knows how to blend practicality and frivolity, so there were pockets large and small, visible zips and seams on the one hand, and ruches, romantic floral prints and floaty puff sleeved blouses on the other. The clothes and combinations were all very youthful: crop tops, minidresses, shorts and tiny skirts, jumpsuits, workwear trousers with very high waist and sporty outerwear with drawstrings and hoods. Footwear ranged from toe post sandals to open-toe pirate boots, some of which were silver-coloured. Non ispirazioni particolari ma la vita di tutti i giorni, per…

PARIS October 4, 2016 Carol Lim and Humberto Leon recreated the atmosphere of Studio 54 through the illustrations of artist Antonio Lopez, who frequented the club at the same time as Kenzo Takada. His polaroids of well-known faces such as Jerry Hall and Pat Cleveland were reproduced on loose t-shirts worn as a dress, on tops and skirts with a plastic effect and in the form of big black and white sequins. The ’80s were referenced with glossy nylon and vinyl for coats cinched at the waist by drawstrings or belts, jumpsuits, split skirts and trousers with ankle ties and continued with metallic shirts with puff sleeves tucked into glossy minis and sequinned slip dresses. The rough touch of denim and camouflage prints did nothing to tone down the glitzy…

PARIS September 28, 2016 Everything and the opposite of everything from John Galliano for Maison Margiela, but there was a leitmotiv in this collection and it was the futuristic look of the models, resembling so many space creatures with asymmetric egg-shell headgear, earpieces and big crystal earrings similar to Spock’s ears in Star Trek. The rest was subversive chaos. Trenches worn as dresses with the lining acting as a skirt; suits and coats trimmed with clusters of black rubber, technical k-ways teamed with straight skirts. These were sometimes worn with vinyl leggings made from the most disparate materials, from wetsuit neoprene to bath towel terry and plastic crystals to rubberised lace. Everything came with sky high platforms alternated with walking sandals, backpacks and big fluorescent belts. E tutto e il…

PARIS September 29, 2016 The future at Paco Rabanne is here and now! It was in the ’60s, when the eponymous founder introduced ‘metallurgy’ into fashion, and it is today thanks to Julien Dossena, who is passionate about science fiction and was the natural choice to reinterpret the brand’s signature style codes. The show opened with crystal-covered dresses worn over or under hooded ‘future servant’ t-shirts. These were followed by zipped mini-dresses, tiny tops paired with flared trousers, jersey sheaths with interweaving and cutouts, and k-ways, some of which were sleeveless, while the brand’s signature chainmail dresses also appeared. The sportswear feel gave the entire collection a contemporary, young appeal - very here and now as we mentioned. Il futuro da Paco Rabanne e qui e ora! Lo era negli…

PARIS September 27, 2016 A 1982 dress with puff sleeves; following the departure of Hedi Slimane, Anthony Vaccarello chose to go back to Eighties Yves Saint Laurent and give it a hyper-sexy, aggressive edge. Black leather, patent and lame dominated the runway on mini-dresses with belted waist and tops with low sweetheart necklines teamed with boyfriend jeans or tiny mini-skirts, all worn with stiletto heels and ankle strap. Even the tuxedo jacket was reworked with a sensual, strong-willed drive, cropped over a white t-shirt or nude shirt, as a sleeveless or one-sleeved dress, as a jumpsuit or worn with trousers so skinny they looked like leggings. Daring lace transparencies, oversize shoulders and sleeves, and a good dose of asymmetry featured in all of the looks. Un abito con le maniche…

PARIS October 2, 2016 The first solo collection by Pierpaolo Piccioli for Valentino marked a new direction for the brand, although passions and inspirations remained the same as ever, i.e. Renaissance art, represented here by images from Bosch’s triptych ‘The Garden of Earthly Delights’ and reworked by the ‘princess of punk’ Zandra Rhodes. So hearts pierced by swords and country scenes became embroidery and prints on long dresses with fitted bodices and fluid handkerchief-hemmed skirts, topped with little shoulder bags and clutches. Other long dresses were in lace, with high waist and long sleeves, while yet others were in hippie off-the-shoulder style with ruffles and plisse. Trousers were in Venetian brocade treated like denim, while tulle and chiffon transparencies dominated the finale. The colours were powerful and powdery, from pink…

C’era curiosità e attesa sulle passerelle londinesi per queste prime sfilate dopo il voto che ha portato la Gran Bretagna fuori dall’Unione Europea. Era legittimo chiedersi che influenza avrebbe avuto la Brexit sulla moda, non considerando solo il mercato ma anche le idee messe sul piatto dalle Maison dopo un tale scossone. È noto che a Londra la maggioranza della popolazione era a favore del “remain” così come lo sarà stata la quasi totalità dei designer, ben consapevoli che la creatività si nutre di contaminazioni di cui la capitale inglese è sempre stata regina. In questo quadro, alcuni stilisti hanno scelto di rifugiarsi in un passato glorioso benché rivisitato. Come ha fatto J.W.Anderson che si è lasciato ispirare da Enrico VIII, in un certo senso antesignano della Brexit, a cui…

LONDON September 20, 2016 The reference for the Isa Arfen collection was Keith Haring’s art on Grace Jones’ body. The artist’s tribal pop came to life in this collection of classic shapes adapted to everyday life. The brand, designed by Italian Serafina Sama, proposed a chic, earthy woman. White was used for airy shirts, vests worn under off-the-shoulder dresses with intarsia geometry. Masculine shirts came in tidy patchworks and the dresses, of all lengths, were soft without sacrificing femininity. Decorative knots were a key feature while movement came from voluminous ruches, feathers sprouting from shoulder straps or pockets and big bows falling down one arm. Trousers were high-waist, loose, cropped or cigarette shaped revealing the ankles, and cinched with a belt. A pvc mac was even on hand for wet…

LONDON September 18, 2016 Deconstructing and mystifying is imperative with this brand, even with Maison Margiela’s second line designed to propose the same irreverent style for everyday life. The main motif was taken from the internet: the cavorting kittens seen in videos every time we check Facebook appeared on knits, shirts and skirts. The idea behind the collection was to shine a light on the B side of couples: some of the tops and skirts were worn back to front to illustrate this. The ’90s made a return with ripped, frayed jeans – some of which were red - and long denim skirts. Head-to-foot camouflage was followed by visible lingerie. Some of the most interesting pieces were the transparent pvc jeans and skirt, the shirt built with Ikea-style instructions and…

LONDON September 19, 2016 Christopher Kane says he loves a challenge and calls himself an alchemist. And the Scottish designer put a range of references into his alembics this time, mixing haute elements with domestic, intimate pieces. One immediately visible feature were the crocs embellished with semi-precious stones worn with lace or lame dresses. Even a deformed knit for lounging around at home managed to be glamorous. Indeed, the entire collection will no doubt be much sought after for everyday wear, especially the t-shirts with little saints and metal loops. This show had everything: fur, scribbled embroidery, applique flowers, tulle, animal, marbleized effects and black leather. Reworked classics included a tiger striped pvc mac and a bon-ton jacket or soft suit worn as though it had fallen onto the model,…

LONDON September 17, 2016 Bringing the mood of Henry VIII’s period to today would be easy if it were just a sterile allusion. This is not the case for J.W.Anderson, who reinvented a style by taking the moves of the past and making an extraordinarily contemporary collection. The British designer played with movement and colour. Jackets mixed elaborate shirt sleeves, ruches, matelasse and buckles, but also came in zipped leather and paired with asymmetric skirts, which were loose and uncovered just one knee, or else resembled voluminous, rounded jackets. The soft, fluid dresses showed their references clearly. Striking knitwear was given sausage-shaped rolled cuffs, collars and hems. This extravagance was Anderson’s take on the ruff. The colours were as natural as the fabrics: linen was the most often used in…

LONDON September 18, 2016 Paul Smith is obsessed with flowers. The English designer returned to his classic motif, making it the symbol of friendship and good company. The collection was practical and comfortable at the same time. The clothes rested softly on the body and came to life as the models moved. The colours were natural and most of the outfits kept faithfully to the colours of a field of sunflowers. Glossy and matt met in a loose orange suit, trousers were wide-leg and kneelength and jacket sleeves were rolled up. Jumpsuits were adapted to day and evening, long shirts featured maxi embossing and overcoats were loose, wraparound or elegant with flared sleeves. Modern kaftans were a mixture of elegance and practicality, either in solid colours or florals with zip…

LONDON September 18, 2016 Topshop Unique pays homage to the new wave and to London punk by revisiting them in an almost middleclass version compared to the scene which made history in fashion and dress. The design in this key is desirable (and immediately accessible thanks to the see-now-buy-now) for those who are a little more daring in style, without exaggerating with decollete and transparency. Transgression is assigned to the skirts slashed to the thigh: legs are in the foreground, thanks to the mini skirt and dress lengths. Trousers, on the other hand, are tight-waisted and worn with slightly loosely shaped blouses. Boiler suits are worn tied around the waist, whereas the jacket has a masculine cut and the coats and jackets include the trench coat and bomber jackets. Grey…

The iconic tweed suit was reworked for ‘Millennials’ – with oversize lines, contrasting edges, Velcro straps in place of buttons, skirts with front zips – and worn over visible underwear; this was Karl Lagerfeld’s revolution for Chanel, which featured lace slip dresses peeping out from under skirt hems or even replacing the skirt altogether. Tops were also mostly camisoles with thin shoulder straps and lace insets in delicate pink tones. Giambattista Valli’s collection centred on a black lace bra, which was worn over tops or on its own, paired with pleated skirts or masculine trousers. The main lingerie garment appeared under floral dresses, sheer blouses, little zipped jackets and overcoats, paired with matching panties, as the bodice in slip dresses and even in the evening outfits, such as the long…

Perche la moda non va piu avanti ma continua a guardare solo indietro? Perche questo insistente rimbalzare da un’epoca all’altra, da una minigonna ad un pantalone a zampa, da un collo vittoriano ad uno spacco inguinale, invece di fermarsi nel presente, qui e ora, setacciandolo e trovando ispirazioni ex-novo, che non sappiano di deja vu? Cosa impedisce ai creativi di sintonizzarsi con il proprio tempo? La mancanza di coraggio? Un calo di creativita per cui e piu comodo ripescare, reinterpretandolo, il passato, piuttosto che rompere con schemi e tradizioni aprendosi al nuovo? Di prove autorevoli e coraggiose sulle passerelle, in questo caso parigine, se ne sono viste ma la propensione e ancora quella a prendere come punto di riferimento determinati periodi e rielaborarli in modo appetibile, ad uso e consumo…

PARIS October 1, 2016 Relaxed elegance sums up Alberto Biani’s new collection, which focuses on fluid lines and wider proportions constantly alluding to men’s tailoring. In fact, here we have numerous single and double-breasted, or long and sleeveless blazers, worn over a plain or patterned blouse, occasionally with a waistcoat and with mainly soft trousers of varying lengths. Pyjama suits in a single colour palette or as separates, and robe coats with daring patchworks of floral and tie patterns are borrowed from the men’s wardrobe. Colours include the classic black and white, as well as unusual of mixes of rust, dark blue and turquoise that duet with one another, as do light blue and violet, burgundy and grey, confirming the slightly eccentric mood. E un’eleganza rilassata quella della nuova collezione…

PARIS October 2, 2016 A vertical, floating silhouette following the lines of a letter A, which widens at the bottom and billows into oversize proportions. This is Martin Grant’s vision of his woman for next summer, slightly ethereal and a bit “comic-strip” thanks to the graphic prints, which include a “labyrinth” and sailor’s stripes to decorate the surfaces. High-rise and belted, the super-flared trousers are worn with floating blouses and masculine shirts and sleeveless jumpsuits have a close-fitting top and extra-large bottom. Skirts and mini-dresses of various lengths are flared and/or pleated, whereas a few slender, black sheath dresses slip in between one exuberant garment after another to remind us that the exception confirms the rule. The collection concludes with a long, asymmetric yellow dress, with a puffed, pleated, crinoline…

PARIS September 29, 2016 Tsumori Chisato’s recent trip to Cuba provided the inspiration for her new summer collection, which featured fluid midi length dresses with asymmetric hems or knotted at one side, packed with ruffles and bold patterns. The first looks were in checked ivory cotton with sparkling organza embellished with contrasting ruches. These were followed by bright dot patterns, handkerchief or fringed hemlines, embroidery, Cuban motifs featured on tops and skirts, some with the same knots pulling the fabric to the side. There were several Josephine Baker-style ’20s looks paired with fringed gold caps - a reference to the dancer’s five-week residency at the American Theatre in Havana before returning in ’66 upon receiving an invitation from Castro. Un viaggio a Cuba e per Tsumori Chisato ecco trovata l’ispirazione…

PARIS October 3, 2016 The runway strewn with hand-woven rugs dictated the mood for Sarah Burton’s new collection for Alexander McQueen, inspired by the harsh, wild beauty of the Shetland Isles, with its landscapes, nature and traditions such as the ‘crofters’ - a small community that has been making wool lace shawls by hand for centuries. That same lace was used to make sinuous dresses, cropped knits with loose sleeves and bodices, while other dresses featured wild flower embroidery and/or studded leather bodices with a fetish feel. These were alternated with tailored looks that were a mix of punk and Savile Row, comprising checked suits worn with kiltlike skirts. The beautiful finale with sheer, densely embroidered long dresses recalled the waves and the sea. La passerella coperta di tappeti tessuti…

PARIS October 2, 2016 Demna Gvasalia’s latest collection for Balenciaga again featured statement shoulders, here extended further by whalebone rods that made for ‘monstrous’ proportions in trenches and boxy jackets. The real news was his use of Spandex, the synthetic stretch fabric invented by DuPont in 1958, which Gvasalia used to cover the entire leg from the pointy stilettos to the hip in office looks but also with draping ’80s blouses with jewelled brooch or vintage floral print dresses. Multi-pocketed gilets and sleeveless down jackets were also oversize, not to mention the big market bags. The finale with latex and patent leather capes confirmed the fetish edge to Gvasalia’s couture, emphasised by bright colours including red and purple. Tornano le maxi-spalle di Demna Gvasalia per Balenciaga, qui ulteriormente esasperate da…

PARIS September 30, 2016 Accessories fitted with sensors that monitor heart rate, breath rate and brain waves. In collaboration with Intel, Chalayan presented a collection boosted by ‘wearable technology’, i.e. a pair of glasses and a connected belt for dynamic stress management. The clothes, developed alongside the devices, were inspired by kimono featuring loose sleeves and fluid shapes, making the smart belt a kind of obi. Elsewhere, blue and white striped fabrics were used to make jumpsuits with waist sashes and knee pockets. Shirt-dresses with short or extra-long sleeves featured horizontal cuts, while a series of black dresses in the finale were destructured and asymmetric, followed by a few ‘inflated’ looks. Accessori dotati di sensori che controllano la frequenza cardiaca, quella respiratoria e le onde cerebrali; in collaborazione con Intel,…

PARIS October 1, 2016 Rei Kawakubo for Comme des Garcons continues to challenge the fashion establishment with her creations that transcend fashion itself to become containers of meaning, which is not always comprehensible or unequivocal but nonetheless interesting and sophisticated. Much like the shapes in this latest runway show, which were exaggerated volumes almost entirely concealing the models’ bodies, veritable moving sculptures resembling costumes from other ages or imaginary worlds, from Napoleonic maxi-headpieces to a baroque coat constructed with enormous sleeves bursting with white ruches to crinolines to schoolgirl dresses with maxi contrasting collar. There were also black & white polka dot or lacquer red total looks expressing Kawakubo’s passion for a fashion that resembles a great theatre of unending inspiration. Rei Kawakubo di Comme des Garcons continua a sfidare…

PARIS October 1, 2016 “It’s about dancing — the disco, the seventies!” Elie Saab’s enthusiasm for the seventies translates into garments with a star as the main thread decorating various types of multicoloured, glossy, asymmetric minidresses, covered in glitter with matching jacket, with ruffles and/or flounced or transparent lace inserts. There are also jumpsuits and flowing bell-bottom trousers, mini-shorts and a series of long, pleated goddess dresses, with plunging decollete and high split, all with a sparkling fringe or with a matching baseball cap. Stars also prevail among the accessories, from necklaces to earrings, from tiny shoulder bags with a chain strap to leather sandals, all brightly coloured, sequinned and with added metallic flashes. “Si tratta di ballo, di discoteca, di anni ’70!” L’entusiasmo di Elie Saab per i Seventies…

PARIS October 3, 2016 A lace bra is turning out to the iconic piece for next summer and Giambattista Valli chose a black one to show off under floral mini-dresses, jackets and zipped overcoats, and long sheer chiffon dresses, which also revealed matching panties. But that bra was also worn over tops or on its own, as a bodice paired with a little pleated skirt or masculine trousers or else worked into slip dresses - the important thing being it has to be seen or at least glimpsed through a sheer lace blouse. In the few looks in which it didn’t appear, the cheeky innocence of the Valli woman came through in the embroidery and floral appliques, high splits, bare shoulders and mesh with jewelled bee appliques, as seen in…

PARIS October 1, 2016 “Order and chaos”. This is how Haider Ackermann summed up his summer collection backstage - far from the enveloping shapes and draping seen in his usual work. Here Ackermann focused on exact tailoring, with masculine suits featuring structured jackets ranging from cropped to long with rounded sides, belt and horizontal cuts at waist height, stiff bustiers worn with high-waist tuxedo trousers. The play of contrasts between masculine and feminine continued with biker jackets and sporty t-shirts over long plisse skirts. The real news in the designer’s style were these metallic Miyake-style pleats, while the black and white palette also had dashes of electric yellow, orange and bordeaux splatters. “Ordine e caos”. Dietro le quinte della sua sfilata, Haider Ackermann riassume cosi la nuova collezione estiva, lontana…

PARIS October 2, 2016 Revealing the underwear without being vulgar. A success story for Bill Gaytten for John Galliano, who collaborated with Velvette, the Parisian lingerie label, to produce triangle bras and panties in silk satin clearly visible under Thirtiesstyle sheer slip dresses and through the necklines of shirts worn with loose, slouchy trousers or little pleated skirts. In addition to all this boudoir poetry, the designer also added military, with long johns taking the place of trousers, boxy double-breasted jackets and sailor details such as stripes or rows of buttons, while brown leather harnesses and multiple belts tempered the romantic allure of asymmetric cocktail dresses. The palette featured lots of white and touches of sea blue and powder pink. Svelare l’intimo senza volgarita; ci riesce benissimo Bill Gaytten per…

PARIS September 28, 2016 A new debut at Lanvin, where Bouchra Jarrar reworked the brand dna by applying her own tailoring skill to a mix of masculine and feminine with plenty of incursions into lingerie. The end result was a series of fluid looks playing with white and/or black, with dashes of electric blue and metallic touches in the most elegant looks. Striped pyjama-suits were layered over long shirts, paired with thin lingerie tops, long slip dresses revealed matching panties and came with biker jackets with contrasting lapels or edged with feathers and dress shirts were also worn with wraparound skirts. Evening dresses came in glossy satin further embellished with chainmail and crystal jewellery. Nuovo debutto da Lanvin, dove Bouchra Jarrar ridisegna il dna della Maison applicando la propria abilita…

PARIS October 5, 2016 The optimism of the ’60s and early ’70s was the backdrop at Miu Miu’s show, which featured a rich, colourful mix of vintage prints ranging from floral to abstract on coats and dresses. The intention was still to upset the bourgeois wardrobe, so there were chaste pleated skirts knotted in the centre but open at the front to reveal embroidered panties worn with childlike cropped blouses with round collars, shirt-dresses, overcoats and slim trouser suits, with bright patterns and thin belts worn high on the waist. There was a lot of one- or two-piece swimwear, often decorated with ruches and accompanied by colourful plastic sliders with a maxi bow or platform sandals and swim caps covered with pvc flowers. Terry coats with colourful intarsia also followed…

PARIS September 29, 2016 Drapes and twists. Rick Owens focused mainly on these two details to transform dresses into swirls of tulle that climbed and wrapped around the body. The sculpted tops were reinforced by ‘wings’ made of buckram cloth, a material used in book binding, which added solidity to the shoulders, while asymmetric cloaks boasted fur appliques. Other draped and twisted evening tunics were covered with ostrich feather capes, while splits revealed boots of various lengths, some stiff other slouchy. The colours were powdery lavender, yellow, grey, white, black, with unexpected colour blocking on zipped cassocks. Drappeggi e torsioni. L’esercizio stilistico di Rick Owens si concentra su questi due dettagli tessili che trasformano gli abiti in volute di tulle che s’inerpicano lungo il corpo avvinghiandosi ad esso. I top…

PARIS October 3, 2016 Dedicated to Sonia Rykiel, who passed away on August 25, the new collection from Julie de Libran celebrated her bold free spirit with loose, comfortable shapes. Drawing inspiration from work uniforms, oversize cassocks with extra-long sleeves and little dresses were worn over loose trousers with contrasting horizontal stitching over the calves. The same proportions were used for the outerwear - zipped pea coats with big utilitarian pockets - and for the sailor-style knitwear, with gigantic bellsleeved sweaters dangling with long laces. Blouses and dresses had a hippie allure with contrasting embroidered Greek frets, while the finale featured sheer lace and airy florals in increasingly oversized proportions. Dedicata a Madame Sonia Rykiel, scomparsa il 25 agosto scorso, la nuova collezione di Julie de Libran celebra il suo…

PARIS September 30, 2016 In 1937, Jean Cocteau staged ‘Oedipus Rex’. Coco Chanel, who designed the costumes, wrapped actor Jean Marais in bondage-style white bandages, which featured in this show in black around the arms and chests of the early exits. But the peaked caps and braces holding up loose masculine trousers of various lengths worn with combat boots clearly brought to mind Charlotte Rampling in ‘The Night Porter’. Both are unsettling images, which the all black and all white helped create, while destructured jackets and suits, asymmetric one-shoulder dresses and shirt-dresses with random hanging pockets were typical of Yohji Yamamoto and his fluctuating ‘mood’, expressed by rough brushstrokes on some of the surfaces. Nel 1937 Jean Cocteau porto in scena ‘L’Edipo Re’; Coco Chanel, che si occupava dei costumi,…

LONDON September 16, 2016 An other-worldly atmosphere for the Aquascutum collection, the first designed by Kasha Crampton who reinterpreted the brand’s history while respecting its tradition. The trench was obviously a key piece but was anything but a simple garment designed to keep the wearer dry in the rain. Here it became sensual, extremely elegant, an object of desire -just like the woman wearing nothing but a three-quarter length mac with kimono sleeves or cinched at the waist with a black leather belt. The evening dresses were long: flowers were borrowed from Araki and bold red was the dominant tint, combined with white and blue in a sailor touch. Splits were sky high and necklines were generous. Everything was tremendously sexy yet never vulgar. Like the white shirts, seemingly borrowed…

LONDON September 18, 2016 The designer himself calls his style “charming with a dark soul”. Manuel Facchini is comfortable with being gothic and loves to draw on romanticism. Floor-length or above the knee dresses recalled the lightness of flowers and butterflies yet concealed great skill in crochet, laser-cut lace and embroidery, ruffles and impalpable details that fell over the clothes like a light mist. Facchini is fascinated by the relationship between nature and architecture, and it shows: just look at the intarsia patterns seemingly taken from an entomology or botanical handbook. Aside from bright white and midnight black, the colours looked to water and flowers for inspiration. The trousers, if long, were slightly flared at the bottom, while lace culottes resembled a skirt and came with matching tops. E lo…

LONDON September 19, 2016 A fascination with the unfinished was the leitmotiv of Antonio Berardi’s collection, which drew inspiration from the words of Leonardo da Vinci: “Art is never finished, only abandoned”, to offer a night & day women’s wardrobe. Office outfits and evening dresses had the same unfinished hems and fringing, which appeared throughout. Berardi likes his layering and overlapped fabrics asymmetrically over one another. Various styles of jacket were cinched at the waist, as were the corset tops and gilets with shawl lapels and damask outfits in pastel tones. Trousers were slightly flared and for the evening were half-covered with crystals. The alternative were dresses with marabou feathers. One of the standout pieces were the light silk and organza shirts with long puff sleeves tied with a bow…

LONDON September 18, 2016 Ruffles and studs, rigid lines and exagerated volumes, sensuality and modesty. David Koma brings a collection of perfectly mixed contradictions to the catwalk. The Georgian designer, bred in St. Petersburg, has not betrayed his style, especially in his cuts and metallic details. Nevertheless, he has allowed himself an incursion into history and is inspired by the clothes of the Russian court at the beginning of the 20th century. This is the line of thought behind the balloon sleeves, the toggle fastenings reminiscent of the uniforms, the extremely delicate pleating, the fluttering ruches and the Romanov collars. A fluorescent, acid green bursts into the collection making it all become contemporary, with the complicity of the high split skirts, mesh, bands and stripes which cross the garment. Black…

LONDON September 17, 2016 The catwalk is the natural home for Julian Macdonald’s collections, who re-imagines a woman cinched into evening dresses embellished with swarovski, beads, sequins and sparkling leather. The few colours used – black, white, silver, gold, gunmetal and ivory – highlighted the figure-hugging dresses and outfits. Animal motifs and references to African Maasai were not overstated but worked into shine and metallics, such as the chains, fringes and rings used to finish or decorate the pieces. Light was always the desired effect, both in the wet-look coatings and what looked like fish skin dresses for these elegant sirens. The hemlines varied: longer lines tended to be transparent while legs were shown off in minis and shorts. Trousers were highwaist and cigarette shape. Necklines were generous, plunging Vs…

LONDON September 19, 2016 The long-standing Scottish brand took its history and made it extraordinarily up-to-date by presenting a rustically refined collection. Pringle of Scotland is obviously designed for city women but the selection of materials, colours and lines had an air of a Sunday afternoon picnic in the countryside about them. Long ribbed knit tank tops had grandad shirt-style buttons and came in solids or colourful stripes. Buttons were often decorative rather than functional, as were the knots used to add movement to dresses and pretty shirts. White exploded in all of its naturalness: incorrectly fastened cardigans uncovered the shoulders, knitted dresses, drawstring jumpsuits and maxi T-shirts looked borrowed from the underwear drawer. Patchwork was used discreetly on tartan dresses and in comfortable denim outfits. Patterns included check and…

LONDON September 17, 2016 Clubbing, in style. For Versus, Donatella Versace has taken motifs dear to the Medusa - night-time atmospheres and streetwear elements - and shaken them into a collection that manages to have a bon-ton feel. The biker jacket was a main feature and came in various guises: classic, sleeveless, elaborated. It was paired with a plisse mini, with big-buckled bandeau tops and with black leather trousers. There was also a chic Top Gun version in military green, a colour also used for stretchy dresses, bombers, tight trousers and zipped skirts. A shirt was made of waterproof nylon and track pants were worn with heels. Other standout features were a warm sunny yellow used for workwear and a collage print of hand-painted fragments, animal and vertical stripes. Shine…

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The iconic tweed suit was reworked for ‘Millennials’ – with oversize lines, contrasting edges, Velcro straps in place of buttons, skirts with front zips – and worn over visible underwear; this was Karl Lagerfeld’s revolution for Chanel, which featured lace slip dresses peeping out from under skirt hems or even replacing the skirt altogether. Tops were also mostly camisoles with thin shoulder straps and lace insets in delicate pink tones. Giambattista Valli’s collection centred on a black lace bra, which was worn over tops or on its own, paired with pleated skirts or masculine trousers. The main lingerie garment appeared under floral dresses, sheer blouses, little zipped jackets and overcoats, paired with matching panties, as the bodice in slip dresses and even in the evening outfits, such as the long…

Focus su spalle e maniche chez Emanuel Ungaro, dove Fausto Puglisi ripropone il massimalismo anni ’80 arricchendolo di ruche iper-decorative che ‘gonfiano’ i profili di mini-abiti, top e gonne. Queste ultime, dal mini al midi, hanno, in certi casi, profondi spacchi e sono portate con cinture alte con maxi-fibbia a cuore. Pois e macro-stampe floreali e grafiche sono quell’elemento ornamentale in piu che conferma l’esuberanza del mood. Da Louis Vuitton Nicolas Ghesquiere riscrive invece l’eleganza francese attribuendo ai suoi Eighties un tocco tagliente; i long e short dress sono caratterizzati da lacci chiusi ad anello che imprigionano il classico drappeggio a volte aperendo squarci geometrici sulla pelle nuda. Spalle rinforzate per le giacche sartoriali e in generale per tutti i capospalla ma anche per le mise del finale, abiti trasparenti…

PARIS October 4, 2016 This year Escada is celebrating 40 years in business, so it’s no wonder that the new collection looked back to the ’70s, when the brand was founded. Creative director Daniel Wingate added elements of African landscapes, such as spicy and earthy colours used in horizontal stripes to evoke exotic sunsets or white on black floral motifs that spread up and down the fabric like climbing plants. A long cardigan was given movement with fringes along its edges and a sleeveless coat came in woven brown leather, but most of the clothes were clean and smooth, such as loose high-waist trousers, split fluid dresses, blouses with one dropped shoulder and an impeccably cut, immaculate trouser suit with a woven belt. Escada celebra proprio nel 2016 i 40…

PARIS September 29, 2016 Neil Barrett revisits the 70s with a fusion of elements which have always marked his style: clean cuts, menswear and graphic patterns. Vintage brown, already used in other collections, is back not only for jackets, biker trousers and leather miniskirts with contrasting intarsia patterns, but also for structured blazers and military-inspired suits with star appliques on one pocket. The combination of red, white and black is used for the bold graphics, a throwback to the rodeo prints on tight t-shirts, worn with classic, high-waisted trousers with turn-ups, and sinuous curve t-dresses of varying lengths. All worn with sneakers to emphasise the sportswear side of the collection and with typical seventies sunglasses. Neil Barrett presenta una rilettura degli anni ’70 fondendo gli elementi che sono da sempre…

PARIS October 2, 2016 At a time when the prevailing trends are aiming for maximalism and extreme embellishment, Vanessa Bruno goes against the flow to present a clean “no frills” collection, of simple pieces with a vaguely seventies allure: bohemian blouses with soft sleeves, off-the-shoulder tops, dresses of varying lengths with a matching Japanese-inspired obi belt, slouchy knits worn with wide skirts. Some garments have a stronger, more volatile taste, such as the leather, knee-length skirt with a double central zip. Others give the nod to the men’s wardrobe, such as blazers, even in a tuxedo version, worn with flowing trousers with a side strip. Generally, however, it is a delicate, airy collection, designed for a holiday, for a carefree trip without a fixed destination. In un momento in cui…

PARIS October 1, 2016 A declaration of love “for the women who have taught me everything I know, for Italy, for my mother and for Vivienne Westwood.” The new collection from Andreas Kronthaler, who has been heading the brand for over a year now, is packed with references and homages to his educational and creative journey. From the sundresses pulled down to reveal a bikini, souvenirs from holidays in Italy, to the ‘market-stall awning’ complete with framework and multi-coloured lurex cover evocative of street markets in Forte dei Marmi, to the jewellery such as the penis-shaped pendant necklaces - a homage to the bronze phallus given to Andreas by Vivienne. The rest was classic Westwood - asymmetric, draped dresses with high splits alternated with looks that mixed masculine and feminine,…

PARIS September 29, 2016 While turning away from sinuous and hyper-sexy lines, Olivier Rousteing for Balmain showed a collection that was still designed for proud, bodyconfident women, as revealed by sky high splits, deep necklines, cut-outs and transparencies. The lines were generally loose and fluid. Kaftans and tunics fell vertically, elongating the silhouette, and were belted with thin belts to body shields. Skirts were also long and fluid, high-waisted yet open over the legs, while trousers too were slit up the leg. There was lots of layering and asymmetry but it was colour that turned out to be the key component - a palette of oranges, greens, blues, purples and metallic tints emphasised the knit, python, suede and silk. Pur rinunciando a linee sinuose e ipersexy, Olivier Rousteing per Balmain…

PARIS October 4, 2016 After supermarkets, bistrots and airports, what was Karl Lagerfeld lacking if not a giant mainframe computer complete with coloured lights and cables? This provided the backdrop for Chanel’s ladies, or girls rather, given that the collection seemed to be targeting Millennials such as Lily-Rose Depp, the brand’s new muse. The iconic suits were oversize with contrasting trims, Velcro strips and rubber details in place of the usual buttons, skirts with front zips and visible lingerie and baseball caps turned to the side. The fluorescent-coloured wires were turned into patterns on structured jackets and fluid handkerchief-hemmed dresses, while maxi earrings, medallions, strings of pearls and chain belts perfectly complemented the multi-coloured vortex of tweed, lace, crystals and plastic at (Lagerfeld) Chanel. Dopo supermercati, bistrot e aeroporti, cosa…

PARIS September 30, 2016 As one of the t-shirts on the runway proclaimed, the ‘Dio(r)evolution’ has begun. Maria Grazia Chiuri’s first collection for the label was inspired by fencing, a largely gender-free sport. For Chiuri this was a feminist wardrobe that went beyond stereotypes and tempered sensuality with clothes and details taken from the elegant sport. White fencing tops with bib-fronts, padding, corsets and visible lacing were paired with romantic pieces such as sheer tulle skirts, some embroidered, worn over matching panties and leather sneaker-boots, sometimes topped off with a biker jacket or iconic Bar jacket. The dresses ranged from mini to maxi with stiff bodices and shoulder straps bearing the lettering ‘J’adore Dior’, in a homage to Galliano’s sport couture. Transparencies and embroidery reproducing tarot cards and Monsieur Dior’s…

PARIS September 30, 2016 A homage to the ’80s with its excesses and hedonism. Fausto Puglisi for Ungaro translated the maximalism of the age into exasperated volumes, putting ruches onto shoulders, trims and collars that were so lofty in some of the looks that they touched the models’ chin. The same went for the tops, worn with highwaist mini-skirts or second-skin trousers with a maxi belt with jewel buckle, while the legs were tucked into pointed monochrome or polka dot ankle boots. Later, graphic prints in black and white and floral motifs in vivid combinations of purple-yellow and red-blue featured on one-shoulder mini-dresses and bandeau top outfits. The longest skirts had high splits, confirming the sexy, assertive image of the Ungaro woman. Un inno agli anni ’80 con i suoi…

PARIS October 2, 2016 The new Givenchy collection was shown in the gardens of the Natural History Museum. Riccardo Tisci purged it of any gothic or dark elements, showing only big agate pendants and geometric prints alternating with designs of semi-precious stones sliced into sections. Spirituality and nature, then, but the shapes were still very feminine and sensual. Tank dresses were layered over slip dresses, glossy sinuous sheaths or t-dresses, which had big white pointed collars and, sometimes, a few ruches. The jackets in the masculine suits had big zipped pockets at the sides, while the trousers were flared. The same utilitarian inspiration also spread to the trenches shot through with long zips, while the evening was dressed in iridescent jade. Nel giardino del Museo nazionale di Storia naturale sfila…

PARIS October 3, 2016 Even Hermes luxury goes hand in hand with everyday life, so a certain practicality does not go amiss, especially if it is also on-trend, as seen with all the workwear and utilitarian details on the latest runways. So there were zipped shirts with reinforced shoulders and diagonal zip pockets tucked into high-waist utilitarian trousers or jumpsuits and dresses with the same zips and functional pockets. More feminine fare came in the form of belted tops worn with a pleated midi skirt and long Renaissance dresses, the high waist emphasised by elastic, or the slip dresses in the finale, doublelayered and in bold fuchsia or yellow. However, the real spirit of the brand was expressed in a series of grey-green patchwork leather pieces. Anche il lusso di…

PARIS October 1, 2016 The Berlin aesthetic of cultures and subcultures spanning punk and cyberpunk to goth and neo-hippy met the ethereal three-dimensionality of veiled geometric figures covering part or all of the body. Below (or above): colourful t-shirts with German band slogans, denim mini-skirts and shorts over ripped and frayed fishnet tights, Gothic black total looks, tracksuits, floral dresses, trenches and military jackets. “Neither extreme construction nor streetwear stand alone stylistically. They are complementary and when merged together, become stronger.” Perhaps in Berlin they would be happy to wear nylon tetrahedrons, cones and pyramids on their urban ‘uniforms’. L’estetica berlinese fatta di culture e sottoculture che vanno dal punk e cyber-punk al goth al neo-hippy incontra l’eterea tridimensionalita di figure geometriche velate che avvolgono parte o tutto il corpo.…

PARIS October 5, 2016 Louis Vuitton’s show took place in the future home of the brand’s new flagship store in Place Vendome 2. Whether it was the central location or because Ghesquiere says “I didn’t explore that much yet the sophistication part of Louis Vuitton,” the looks definitely reflected the elegance of Parisian women with their long onesleeved asymmetric jersey dresses or sensual cuts at the hips, with a hanging loop belt cinching the draping. A monochrome and black & white series of these dresses featured glitter details, followed by tailored destructured check suits which also had cuts and asymmetry paired with black leather pieces. Lace was used even for trousers while the finale was dominated by sheer long dresses with reinforced shoulders and crystal appliques. Louis Vuitton sfila in…

PARIS October 1, 2016 A touch of purple in Guillaume Henry’s collection for Nina Ricci, which celebrated Parisian allure by transforming the brand’s romantic, bon-ton bourgeois elegance into sporty casual with touches of street and workwear, though no less sensual. The starting point was a football jersey with vertical intarsia stripes. Henry reworked those stripes and reinterpreted them, tone-on-tone, on lace blouses and vests, tank tops, masculine shirts, slip dresses, velvet trousers, either sequinned or in stretch jersey with added cut-outs, paired with animal or in all-black & white. Everything had an echo of the ’80s about it, with long split skirts and high-waist trousers, glossy surfaces and big pointed collars. Tocchi di viola sulla passerella di Guillaume Henry per Nina Ricci, che celebra l’allure parisienne trasformando l’eleganza borghese tutta…

PARIS September 28, 2016 Alessandro Dell’Acqua’s first big message from his new Rochas collection was ‘colour’, which he said he took from artist Erwin Blumenfeld, one of the first photographers to experiment with colour in the ’50s. So there were pastel colours but also saturated tints combined together on fluid, dreamy dresses in a nod to that decade. Bodices were fitted, waistlines high and pleated skirts fluttered over a tulle underskirt. One-shouldered or one-sleeved, these dresses came with long gloves that completed the vintage effect. Ruches and draping were the most recurring details, but there were also basic linear pieces such as t-shirts, cardigans and short-sleeved masculine shirts featuring the letter ‘R’, worn with romantic plisse skirts and silky slip dresses. Il primo messaggio di Alessandro Dell’Acqua che arriva dalla…

PARIS October 3, 2016 What do today’s women want? A little lightness would certainly be good, and if a dress can do it, then why not? Stella McCartney has a special talent for understanding women’s desires, and she caters to them in this new ecosustainable collection with ‘no leather’, ‘no fur’ and ‘animal free’ slogans on t-shirts, jumpsuits, loose trousers gathered at the (high) waist with drawstrings, tanks and t-dresses. The shapes were mainly soft, even the more fitted dresses had puff sleeves and loose skirts, while corset jackets had a more structured snug fit. Jute tops, skirts and dresses had a natural, almost rough, effect, which were at times worn with maxi scarves with fringes falling off one shoulder. Cosa vogliono le donne oggi? Sicuramente un po’ di leggerezza…

There was a sense of curiosity and expectation on the London catwalks for the first shows since the Brexit vote. It was legitimate to wonder what influence it would have on fashion, not only considering the market but also the ideas presented by brands after such a shock. It’s well-known that the majority of Londoners voted to remain, as almost all of the designers will doubtless have done too, well aware that creativity feeds on contaminations, in which the UK capital has always specialised. Within this framework, some designers chose to take refuge in a tried and tested glorious past. This is what J.W.Anderson did, drawing inspiration from Henry VIII, his famed split from Rome to form the Anglican Church making him a forerunner of Brexit in a certain sense.…

LONDON September 18, 2016 A collection dedicated to two motorcycling heroines who rode their bikes coast-to-coast across America one hundred years ago. Looking at the outfits imagined by Belstaff was like seeing Augusta and Adeline Van Buren on their epic ride. Practicality and femininity lived side by side in the understated white shirt worn with a drawstring leather skirt or a white flared shift cinched at the waist with a black leather belt. In addition to the brand’s signature jackets with pockets, there were also napa leather and suede trenches and black biker jackets, checked boucle cotton outerwear. Leather trousers were lean yet practical, suitable for riding on a motorcycle. Una collezione dedicata a due eroine delle due ruote che per prime cent’anni fa intrapresero in America il viaggio coast-to-coast.…

LONDON September 17, 2016 Full of life, eternally teenager, ironically elegant. This is the woman imagined by Markus Lupfer, who succeeded in proposing a refined collection despite the clear intention to play around with styles and patterns. One of the motifs on show was the rabbit, printed on the sweatshirts, skirts and k-ways used to construct outfits in layers of colour that offset one another without looking redundant. Flowers were another delicate recurring feature, seen on bombers, shirts, bon-ton dresses packed with ruches and jumpsuits, mainly on black but also red and antique pink grounds. Some of the wallpaper-style patterns created the same effect whilst never looking like pyjamas. Everything was romantic, no matter whether it was lace or sporty nylon inset into the rain jackets. Neck scarves, bows, chains…

LONDON September 19, 2016 There were no genders or seasons in this Burberry collection. A homage to Virginia Woolf’s Orlando was mixed with the brand’s history, culminating in the masculine meeting the feminine and the past the present with no distinction between elegance and practicality. The signature Burberry trench was completely reinvented whilst retaining traces of its tradition. Other outerwear included shearling jackets, reworked bombers, tasselled cloaks and a fascination for uniforms. Knitwear was worn with gigot sleeves and belts tightened at the waist. Landscapes were used as patterns on brocades and damasks alongside sweatshirts worn with a ruff and white shirts with jabots. For the evening, pyjamas and lace were layered over dresses to give a cheeky touch. Colours were autumnal: after all, this collection is available on the…

LONDON September 17, 2016 Special women, part saints part warriors. Gareth Pugh’s heroines strode the catwalk comfortably dressed in sculptural clothes that harked back to the decadence of the Roman Empire. Volume is imperative and geometry is an elegant obsession for the British designer who has theatre in his dna. Black was resplendent in gold mosaics set into dresses, jackets and cassocks, which later gave way to divinities enveloped in purple or white transparencies. The sharp lines of a milk white suit were softened by a sculpted amethyst drape. The rigour of some of the shapes looked to Japan and its kimono, but here they were given deep V necklines and sharp, never banal, cuts. Ecru met black in an ethnic yet futuristic mix: metropolitan uniforms for a walk in…

LONDON September 18, 2016 An optical take on ancient Greece. Mary Katrantzou’s collection encompassing two worlds was extremely up-to-date. It was a journey to the designer’s Greek roots and reinterpreted the symbols of her culture. The prints were a clear reference: divinities were set into graphics that captured the eye without abandoning it. Discreet crystals embellished the clothes and blended perfectly with big sequins used to recreate designs and rounded skirt hems. A wide range of bright colours were used. Dresses rarely uncovered the knees and there were no plunging necklines. The lines followed the body in both the floorlength dresses and the slightly flared trousers, turning these women into pop priestesses. L’antica Grecia in chiave optical. E estremamente attuale la collezione di Mary Katrantzou che fa incontrare due mondi…

LONDON September 17, 2016 Simone Rocha imagined a romantic woman jumping over puddles in her pure white dresses. The designer managed to reconcile the elegance of lace and needlework with practicality, placing her models in rubber boots perfectly suited to the outfits. An abundance of broderie anglaise layers was worn with trenches that revealed the party dresses beneath. Knots were a recurring theme, as was harmonious asymmetry which added movement with lace insets and ruches. Alongside the dominant white, a Prince of Wales was irreverently used in outfits with puff sleeves and trousers ruched at the knee and hem. Elsewhere, gingham was used as a background for floral patterns. The transparencies were innocently seductive, thanks to the use of pvc. The combination of yellow and green was reminiscent of the…