Inspirations of the Roberto Cavalli Man for the Autumn-Winter 2012/2013 collection unfold like a fable. Oneiric, ironic and philosophical, with touches of Tarantino; it is narrated as if by an ancient parchment, given to the fashion show. With dream like accompaniment by the blues chords and dissonances of one-man band Son of Dave, performing live on the runway amidst this shadow play. His music bewitches like a snake charmer, enchanting four animal-like men; incarnations and metaphors of the natural elements: air, earth, water, fire; definite personifications of the multifaceted soul of next season’s Roberto Cavalli man. The elements transform the wardrobe, giving life to the various themes of the show.
It begins with animalier patterns- the starting point of the collection – which in spires the design of patterns, prints and embroidery, shaking up the customary sartorial habits. Fabrics and patters are renewed through the use of three-dimensional effects that resemble imperceptible natural tattoos.
Crocodile skin is used not only as a material for extremely precious smoking jackets—the scales themselves are printed on velvet, also lending their texture to the smoking jackets, and giving new life to jeans. Tiger print, on the other hand, abandons its theatrical presence, plays a more low-key role: cutouts and stitching on matelassé bikers, cashmere capes, or the jacquard from the knitwear. Snake is still present, used for profiles and snake print details.
Feathers play a significant role, revisited in black and white photographic prints, micro to macro, on silk, often rendered even more precious by the application of real feathers and aigrettes. At times magnified, creating a new kind of spotted-pattern with a graphic and masculine allure.
Cheviot stripes are still present, as are pinstripes (appearing this time out on denim), English wool and the more classical chevron. Lapels of dinner jackets are embroidered with crystals, returning to their traditionally smaller form in silk and cashmere, or recreated directly on the garments through skilful sartorial cutting.
Suits and urban-suits take inspiration from traditional tailoring. The silhouettes however, present an abrupt lightness, as if caressed by a desert wind, the same wind that influences the choice of textiles and wearability, unexpectedly more fluid and relaxed compared to the formal precision of the past seasons. There is an evolution – rather than a revolution – of the fit: underlined by a slightly narrower shoulder, trousers sitting looser on the thighs, refined shirts from pashmina, and destructured coats with raglan sleeves.
The hint of a sophisticated oriental zephyr. Found also in particular details: the fine threaded embroideries, or the cornelly profiles gently worked like ottoman calligraphy. The palette is composed of nocturnal and eerie tones inspired by blues music, which fade into nuances of saturated colors darkly tinted, like blacks, grays and blues, harmoniously clashing with unexpected flashes of acid yellow, antique pink or sugar cane.
Essential leather Chelsea boots, which are also worn over the pants, and slippers, entirely embroidered with real feathers, as are the sashes and thin scarves that are left gently draping under the smoking jackets. Braided leather, snake, fabric and metal belts like Berber jewels, felt hats and necklaces with rock crystals, onyx and solid stone with the tressé python emblems.
Special thanks to Simone Rizzo Photographer