In a gloomy atmosphere of apocalyptic news, or just plagued by words that sound like office but contain all the fear in the world (inflation, recession, Lagarde), and in the days before an election in Italy that could give the government extreme right, the fashion shows of Milan fashion week, like the cabarets of interwar Europe, respond with a forceful proposal: keep dancing. To do this they cling to other times, real or imaginary.
Four hundred colored resin chairs on a resin floor like a child’s doodle, this is the small room, the world itself, that the Italian industrial designer-artist-philosopher Gaetano Pesce, an 81-year-old revolutionary iconoclast, created as the setting for the second collection by Matthieu Blazy at the head of Bottega Veneta, presented this Saturday in the Italian city. Blazy, the fashion industry’s go-to man, showed his knack for getting the hard part right: making it look easy. A collection of technical virtuosity (which simulated flannel were very fine layers of superimposed leather) hidden in an aesthetic that mixed the everyday of denim and checked shirts with chiffon evening dresses and appliqués, the leather worked as if it were light and ductile , the jacquard knit with applications and a new technique with which he attached fringes to a wool fabric, which serve as a continuation of his first collection. Blazy is not the designer of it girls, but he knows his power and has enough of a sense of humor to propose Kate Moss walk in an anonymous sixth showing.
More informationKate Moss (on the left) and three other models at the fashion show for Bottega Veneta’s next spring collection, on September 24 in Milan.MATTEO CORNER (EFE/EPA) / Filippo MONTEFORTE (AFP)
If Blazy imagined a room, an entire city of twins, Twinsburg is the refuge proposed by Alessandro Michele for Gucci in the most emotional parade of the whole week. The game played by the Roman designer brought some attendees to tears when the supposed wall they were looking at was lifted to reveal an identical parade, but not, on the other side. Something like looking in a mirror in which 136 twins dressed the same and parading at the same time were reflected, accompanied by the voice of Marianne Faithfull reciting a children’s song.
Gizmo, in four of the exits at the Gucci show at Milan Fashion Week. Cosimo Sereni / Riccardo LaValle
A mystical delirium accompanied by a collection that invited, as Michele’s always do, to escape from the time that occupies us through other times, other places and even other beings (Gizmo, the endearing Gremlin, will be an object of desire the next spring). This time the flight is more justified than ever: “The elections in Italy show that our freedom has been eroded. I am talking about the fact that we should not take any rights for granted, ”he said at a press conference after Friday’s parade, in which he showed prints with the acronym FUORI! (Fronte Unitario Omosessuale Rivoluzionario Italiano), an organization founded in 1971, to claim LGTBI rights, in question if the extreme right comes to power.
Giorgio Armani does not need to invent anything because he already created his own universe almost 50 years ago that he continues to expand based on classics. This Sunday he presented the collection of his line of the same name, in which not a single one of his references was missing. In the Armani world, women wear iridescent silks, chiffon cuff pants, floral appliqués, rhinestones, resin necklaces and in ink blue, earth, pink and beige. It is a comfortable, elegant and peaceful world. I wish.
Parade of the Giorgio Armani line, this September 25 at Milan Fashion Week. Vittorio Zunino Celotto (Getty Images)
Nor did they invent anything, although it gave that feeling, Stefano Dolce and Domenico Gabbana in their collaboration with Kim Kardashian. The review of 20 years of history of the Sicilian house is also the review of the history of Italy, which now the most famous celebrity imagines in black and white, beige and maroon. It was not the only review of the brand file. If Kim Kardashian had a nemesis, an antipode, it would surely be Matty Bovan. The Yorkshire designer presented his work this Sunday in an old garage on the outskirts of Milan with the support of Dolce&Gabanna and also reinterpreted a selection of the firm’s corsetry, denim and accessories turned into a fantasy collection shown in a much more contained parade than Kardashian’s. It wasn’t difficult. The one from the day before became a spectacle from the entrance, with groups of fans. She projected on the screen while eating spaghetti served as a background for the models who brought the rich imagery of Dolce & Gabbana to 2022. One of the objectives of the “curator” of the collection, as the designers pointed out, was to vindicate the duo as creators of many of the trends that the craze for nostalgia is bringing back into fashion, but in other hands. “My little sisters are going to go crazy for the pieces from the early 2000s,” she said at a press conference on Saturday before the show.
The collection for next spring by designer Matty Bovan, who presented his work this Sunday with the support of Dolce&Gabanna.Alberto Pezzali (AP)
The hedonism, abundance and carefreeness of those years is not only bait for the little sisters of Kardashian, Kendall and Kylie Jenner: Kim Jones at Fendi and the vindication of the logo created by Karl Lagerfeld in 2000, Nicola Brognano at Blumarine, Glenn Martens at Diesel and Donatella Versace, who even invited Paris Hilton to close her show, traveled back in time, to the delight of their sales, perhaps.
The alliance formed by Miuccia Prada and Raf Simons does not seem very interested in the years of bling bling. His collection is a raw reflection on the need and the trap of withdrawing into the domestic. The sober, uniformed garments, with fixed wrinkles as if they hadn’t had time to iron, or didn’t even matter anymore. The house is present as a concept that protects and suffocates, but also the idea of running away with what is on with those coats wrapped in gauze dressing gowns and in the use —precious in its extreme simplicity— of paper in coats and period.
Parade of the Prada spring/summer 2023 collection, on September 22 in Milan.ALESSANDRO GAROFALO (REUTERS)
The debutantes, and there were quite a few at this Milan fashion week, were brave and did not cling to the security of reviving past successes. Maximilian David at Ferragamo reinterpreted all the totems of the house: from the corporate red to the logo. The decision to clear the way for a 28-year-old designer fresh from the talent lab that is London’s Fashion East runway allows the house to reach out to a new audience, where the alternative to despair (and the boredom) of institutions and power. In his press release, Matty Bovan wrote a quote from the poet Theodore Roethke that says: “In a dark time the eye begins to see.” Same is that.
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