KNIT ME UP!
Trompe l’œil marble veining on the body like tattoos. New space-dyed patterns in wide, uneven and blurred bands like television static. Coloured metallic inlaid within the graphic patter of wood and marble. The alluring marquetry of cuts, patterns and textures. Graphics of the materials from postmodern interior design, like works by Richard Artschwager.
These are the markings of the neo-body-conscious Missoni woman for next Winter armed with the dashing and seductive spontaneity of her “deep in knit” ensembles. Tight legging-like trousers combine with one-shoulder knits and deep zippered V necks. Overalls in sheer marbled jersey are worn under metallic mash tank dresses or short tight linear dresses with body-revealing slits.
Soft and enveloping, elastic and versatile, satiny and transparent as a second skin. Long masculine jackets and capes with narrow tuxedo lapels, in which jacquard patterns expand like construction games on horizontal, perpendicular and diagonal levels, transforming the veining and zigzags into something more abstract, spectacular and iconic.
Bands of colour from white to black, from orange to bright red from greens to purple to pastel colours. Space dyeing and zigzags, veined and striped jaquards alternate and interact like the mark of an energetic and playful collection that gives freedom to mix and match.
Illuminated by long and ultralight dangling metal coloures fringes earrings and accessorized with calfskin boots, shoes and sabots with slashed upper and C-shaped heels in resin and metal. Little marbled resin bags feature bands with sides and linings in laminated suede. Large leather bags have two handles and sides in laminated suede.
Thu, May 14 2015 » Fashion Blog » No Comments
THERE WILL BE NO MIRACLES HERE
An enormous functioning rollercoaster dominates the gutted interior of Milan’s historic Palazzo delle Scintille. The black matte structure is covered in Led lights and as the train commences its wild ride, Azealia Banks kicks off PHILIPP PLEIN’S Fall/Winter 1516 women’s fashion show.
Followed by a super cast of models including Lindsey Wixson, Jessica Stam, and Binx Walton strutting to a punk rock soundtrack interspersed with amplified sounds of the rollercoaster making its way around the track.
Parabolic curves and vertiginous slopes as symbols of adrenalinic style and breathtaking glamour that transform outfits into pure, strong and overwhelming emotion.
As seen in the Men’s collection, street style is elevated to extreme luxury. Mink and fox fur basketball jerseys with python and crocodile inserts. Two-tone fur stoles. Wild Mongolian Kidassia coats. Geometric bandeau bras for extreme sports.
Black and white. And just a touch of orange. Couture capes with clean, sharp lines. Close-fitting dresses and python and crocodile jogging pants. Trenches and black patent details. Flat black leather boots with straps. High belts and wide-brimmed hats to enhance geometries and glamour of the look.
Enveloping cady. Fortuny pleating. Luxury and technology characterize the fabrics of the long dresses opened by round holes, tears and cuts. Black, sensual and nightly couture. Illuminated only by embroideries of techno 3D-effect multi-color CRYSTALLIZED™ – Swarovski Elements.
The tridimensional image of a diamond panther that decorates each piece of the collection, from clothes to accessories, represents the symbol of the #pleinwarriors; the show’s hashtag created to launch and share the free, proud and overwhelming spirit of PHILIPP PLEIN’s aesthetics.
Tue, May 12 2015 » Fashion Blog » No Comments
FEMME, story of a leader |Metro – Himalayan style
The A/W 15-16 femme chooses the Indian Himalayas, a place where cultural references often give way to impositions and subordination.
Stylistic disobedience. This irreverence is the starting point of looks where the woman seizes, interprets and usurps moments of masculine routine, such as the off-limits territory of a barbershop, and rises in this opulent setting with the dignity of a gentleman’s club.
This ignites an invasive encounter between genders, with extremely feminine shapes espousing and overlapping with potent masculine forms, disregarding any act of courtesy that would adjust overlooking the courtesy of adapting to create a gentle silhouette.
The encounter is direct, even violent – any attempt to achieve compromise and find middle ground is annihilated as the extreme SHE opposes the extreme HE. This isn’t an identity game, but the awareness of the changeable nature of things.
The Himalayan yak, polyvalent cornerstone and vital resource for the whole community, transforms into a pop symbol, with its gaudy and lively decorum adorning the collection, from overcoats to socks to ribbed wool.
Inspired from the high altitude landscapes is the heterogeneous layering of fabrics and shapes: a functional process rooted in nomadic culture, which initially deceives with its sense of randomness and is immediately unmasked by its high aesthetic quotient. Stylistic anarchy is evidenced in the sudden accumulation of volume and knotted belts.
Originally worn over festive dresses, belts are now seen as passe partout, in various fabrics and colors, to wear on sweaters or overcoats. Wool garments are worn across shoulders.
Hand-painted metal bracelets move from the woman’s wrist to instead be worn on the arm and over the coat sleeve. The final touch is brought to Stella Jean’s woman, as she is crowned Maharaja with a wool turban, embellished with excellent embroidery, and adorned with jewelry depicting the elements of Moghul tradition.
Garments and elements characterized by an individual genesis acquire meaning only through their combination. Styling is the key narrative element of the story. Styling organises the narrative thread: with each item being a word that is carefully placed in a sentence to tell the collection’s story.
In an effort to highlight the beauty, skill and craftmanship of cultural and artisanal productions by populations from around the globe, the collaboration with the Ethical Fashion Initiative of the International Trade Centre (agency of the UN and the WTO) moves forward.
Indeed, it has enabled the introduction of handloom fabrics made by women artisans in Burkina Faso and Mali and jewelry realised by Haitians artisans.
An exemplary aesthetic, ethical and social encounter in which India, England, Italy, Burkina Faso and Haiti dialogue at a fast pace.
Mon, May 11 2015 » Fashion Blog » No Comments
Revolution and harmony: dreaming of femininity
In the Just Cavalli Autumn/Winter 2015-16 collection, a woman’s desire for freedom meets the formal balance of Bauhaus, creating an imaginary place where the warmth of romance and the formality of techno merge.
The silhouettes have a pure, functional design; lines are slim and slightly flared for miniskirts, or diluted and open for dresses, while the woven profiles of velvet coats blend wide lapels with tall collars and feather embroidery. The tight-fitting shirts are in lace, with fur-edged collars. Both the waistcoats in shearling and feathers and the bomber jackets and aviator jumpsuits in silk cady and lace reveal details that are modern yet feminine at the same time.
Untreated wools with a pavé of micro-studs and jacquard with coppered plaques prevail for knitwear, lit up by vanisè lurex and optical-art prints, which also feature on outerwear and trousers. Brocades with Bauhaus inspiration and lightweight patterns of stems and fronds turn into a flight of fading feathers, in embroidery and prints. Showy zips cut through the revolutionary spirit of the collection with sharp geometrics, framed by long angora scarves.
Warm shades such as rust, lead grey, mustard and deep blood red add depth to the lines. Old rose, orange, green and bright airforce blue play with layers and colour filling and variations on a theme of white.
Bags in nappa, velvet or applied ostrich are semi-rigid in three different sizes. Architectural designs also for the ankle boots with column heel, in suede, pony or croc print in plain or patchwork colourways.
Mon, May 11 2015 » Fashion Blog » No Comments
Orderly disorder. Geometry as rhythm, pattern, movement. Rodolfo Paglialunga works around an idea of broken precision for the Jil Sander Fall/Winter 2015 collection. Focusing on timeless staples, he creates an open esthetic code that can be further, individually interpreted.
The silhouette is vertical and tall, with a gentle slouch. Outfits come together jaggedly, with remarkable nonchalance. Instinct guides effortless gestures. The fur coat is casually thrown over satin slacks and a pullover. Tailored jackets draw a lean long line which ends in cropped trouser-skirts. The liquid belted coats have the sophisticated flow of a robe. Tunics are worn over pants.
The neck is always covered by cut-out turtleneck collars, highlighted by a ruche, creating a grammar of shy seduction. The constant tension of straight lines and diagonals is visually engaging. It generates movement: double-breasted closures, outsized mannish checks that draw lines and grids on tailored pieces.
Geometries run rhythmically, further breaking the apparent order: bold stripes and lines on tops and knitted pieces, taped deconstructed checks on coats. Brushed carpet textures and knit robe de chambre cardigans with double-face intarsia provide the displaced warmth of elegant domesticity.
Materials are firm and precious: double-faced cashmere, textured wools, satin. The color palette is proper, with summery ruptures: tones of blue, dark green, white and black are interspersed with dashes of pale pink, yellow, turquoise.
Accessories strengthen the idea of complex precision. Stack-heel lace-ups and boots are constructivist sums of suede, leather, brushed calf. Geometric patterns swarm on boots, matching the outfits. Shoulder bags are functional, the neatness of the design highlighted by bold lining contrasts.
Sun, May 10 2015 » Fashion Blog » No Comments