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Friday, September 25, 2015
Cool Ways to Style Your Moto Jacket
Fashion Review: Fendi and Ferretti Find a New Muse
MILAN — There's a new muse in Milan this season, and she's not a rock star or a movie idol; she's Mother Nature. With an unseasonal storm battering the first day of Fashion Week, and Pope Francis acknowledging the reality of climate change — and counseling action — what could one expect?
Designers are doing what they can to address the issue. Or dress it, if you will.
"We all feel the conflict between nature and urban life," Sil via Fendi said backstage before the Fendi show, an overt play on such oppositions staged against a backdrop of concrete trees.
See, for example, supple leathers in coral shades, smocking and Tyrolean shapes; full, midcalf skirts with oversize rustic corset lacing that snaked around pockets and up the sides; intricate lattice-woven "summer mink" jackets; and flowers cut from glossy skins and nailed onto shoes, bags and strapless chiffon bubble dresses, hemmed in ribbed knits.
If the contrasts created some awkward, uncomfortable moments — most notably the inexplicable inclusion of bloomers, a garment that should simply never appear on a grown woman, with everything from a floral harness halter to an olive-green high-necked satin romper — they were nevertheless a pretty accurate reflection of our own discomfort with the whole subject of global warming.
Continue reading the main story Slide Show Fendi: Spring 2016 RTWCreditGio Staiano/Nowfashion
You might not want to wear some of it (a leather minidress with macro lacing circling up from the ribs being a notable exception) but the point was expertly made.
Still, warmth was also on the mind of Alberta Ferretti, who referenced the Nevada desert and its Burning Man festival in her show notes. She eschewed the technicolor peacocking that is a hallmark of that event, however (suggesting, in fact, that she probably has never been to it, at least as far as I could tell while watching on a screen post-Yom Kippur) for an earthen palett e of sand, ochre and umber, and a silhouette of frayed and shredded chiffons.
Continue reading the main story Slide Show Alberta Ferretti: Spring 2016 RTWCreditRegis Colin Berthelier/Nowfashion
Bodices were basket-woven, like haute macramé; daywear was safari- sleek; and decoration came in the shape of metal rings and hammered brass jewelry. The goddess gowns of previous seasons had been transformed into field nymph smocks with tribal geometries or subdued topographic layers of chiffon and lace, all of it culminating in a dress of rough-hewn gossamer leaves, fallen from a tree.
Meanwhile, MaxMara and Fausto Puglisi looked to the waters for their inspiration — though not the melting ice caps of the north.
Continue reading the m ain story Slide Show Max Mara: Spring 2016 RTWCreditRegis Colin Berthelier/Nowfashion
Instead, the first took an anchors aweigh approach via a chorus line of sailor stripes and pants, captain's jackets and nautical rope prints, all in classic shades or red, blue, white and yellow (with some gold and silver thrown in for four-star measure), giving new meaning to the term "naval gazing." As for the second, it was an under-the-sea parade of seashell-studded harness-topped minidresses and Poseidon prints.
And it was all very Little Mermaid- grows-up-and-gets-gaga, with purple and turquoise combos so lurid that even a few simple draped black and white gowns could not alleviate the feeling of drowning in an ocean of overdone 1980s memories.
By contrast, in his debut collection for Emilio Pucci, Massimo Giorgetti swam up from under the weight of history (or at least the Pucci print) — though he, too, used the shore as his starting point, specifically the coasts of Capri and the Côte D'Azur where the house's founder first made his name.
Continue reading the main story Slide Show Emilio Pucci: Spring 2016 RTWCreditGio Staiano/Nowfashion
Not that the result was what anyone would categorize as "beachwear," however: T-shirts and dresses were composed of tiny blue or green or pink paillettes sewn on a single layer of black tulle and roughed-up to create asymmetric patterns, or topped hip-slung silver trousers.
Continue reading the main storyOn-the-ground, around-the-clock dispatches from the spring 2016 shows, brought to you by the editors of Styles and T.
Starfish, coral and clam shells were cut out, appliqued and caught in mesh net sheaths. Line drawings of mermaids and sailors in various states of embrace were printed on scarf dresses that dangled pompoms of oyster pearls; seagulls were woven into lace T-shirts and worn under white slip-dresses; and silk trench coats were made in Mediterranean blue.
Even the sunglasses were scuba- themed.
Some of it was a bit literal, to be sure (as were the "Emilios" scrawled across the backs of shirts and embroidered onto frocks, which were a logo too far), but the clothes also had a new slouchy ease that refused to take itself too seriously.
"The world is changing; we need to grow with it," proclaimed Mauro Grimaldi, Pucci's new chief executive, as he watched happily from the sidelines. "Grow" being, as Gaia might say, the operative word.
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