There seems to be a strong element of prettiness on the Milan catwalks this season. And considering that Fendi was historically a furrier, it does seem rather refreshing that they are able to embrace an altogether more ‘folksy’ look for spring/summer 2011.
The folksy, bordering on gypsy, theme manifest itself through drawstring waists and collars, off the shoulder ruffles and summer colours of turquoise, tangerine and cobalt blue. Mixed together with some prints in graphic blue and white, and some intriguing floral needlework, it made for a surprising departure from the hard leathers and soft furs from Fendi’s usual signature collections.
Summer is the season that enables designers to rework lasting favourites and white linen is, of course, a perennial favourite, but puffed and flounced sleeves? It was these shapes that seemed new for Fendi. Or perhaps Lagerfeld has just reinvented them this season after so much time away. The emphasis on the shoulder, that angle of strength and power over the last few seasons, has shifted, down the arm, to the sleeve and it was this, together with cocoon skirts, wide shift dresses and floaty georgettes, that made the collection very fluid and light. A chic, wide sleeved, shirt dress was particularly indicative of this sinuous theme and the return of many other looks: tulip wrap skirts, orange lipstick and cuffs and shoes in primary colours, nodded to another influence that we’re seeing a fair bit of: the seventies
Suffice to say that Fendi’s woman still has that alluring yet dominant edge, but it seems that this season, she has gone on holiday and relaxed a little.
Friday, 24 September 2010
Thursday, 23 September 2010
Addicted To Glamour - Gucci
Oh to be a Gucci woman! Those glossy scarlet lips, that slicked back hair; so reminiscent of Robert Palmer’s video for Addicted To Love. She surely answers that need in women to flex some feminine power; but then Frida Giannini is just such a woman. This season, her brilliant use of colour from the vivid lilac and Seville orange to the emerald and black at the start of the show, demonstrated that she meant business and that even though this was a collection for the summer, she was not going to compromise on the high octane glamour that Gucci is known for.
Gold cummerbunds and clutches and body skimming jumpsuits in silk jerseys and satins interspersed with classic black daywear, reinforced the authoritative theme. But there was a slightly safari feel to some of the collection too; with buttoned pockets and woven leather straps on shoulder bags. However, it was current and did not labour the point. It merely referred to the wildlife, with hard polished croc leather jackets and African plain toned separates.
Of course, Gucci started as an artisan leather manufacturer and here, they excelled. Python holdalls, fabulous black, leatherworked peep-toe boots and sleeveless jackets in soft, nude colours. All Gucci elements were represented. Fringing and tassels, sometimes both at the same time, were juxtaposed with the quiet palate of expensive looking neutrals that Gucci does so well.
She closed with some bright cocktail wear in shimmering emerald and gleaming midnight. These will be popular with Gucci’s celebrities, even though most won’t know how to wear it and will be unable to carry it off. But it was another triumph for Giannini nonetheless.
Gold cummerbunds and clutches and body skimming jumpsuits in silk jerseys and satins interspersed with classic black daywear, reinforced the authoritative theme. But there was a slightly safari feel to some of the collection too; with buttoned pockets and woven leather straps on shoulder bags. However, it was current and did not labour the point. It merely referred to the wildlife, with hard polished croc leather jackets and African plain toned separates.
Of course, Gucci started as an artisan leather manufacturer and here, they excelled. Python holdalls, fabulous black, leatherworked peep-toe boots and sleeveless jackets in soft, nude colours. All Gucci elements were represented. Fringing and tassels, sometimes both at the same time, were juxtaposed with the quiet palate of expensive looking neutrals that Gucci does so well.
She closed with some bright cocktail wear in shimmering emerald and gleaming midnight. These will be popular with Gucci’s celebrities, even though most won’t know how to wear it and will be unable to carry it off. But it was another triumph for Giannini nonetheless.
Edwardian Fairytale - Alberta Ferretti
There was a slightly historical feel to Alberta Ferretti’s latest show. Faded colours and delicate layering, gave an almost out-of-the-attic feel to the clothes.
Beginning with a sweeping, sheer floral dress, Ferretti marshalled a fairytale mood onto the catwalk. Gone were the smart, contemporary separates of last season and in their place were a whimsical Edwardian dessert; with lace, crochet and romance as the ingredients. Sheer blouses with lace panels, either randomly spread or deliberate in their placing, and softly falling silk chiffon gowns, glided peacefully down the runway. Everything ushering in a garden freshness that shouted young and dewy.
The other side to this assemblage was the distinct 70’s vibe that prevailed throughout the collection. This was shown by the centre parted, ungroomed hair and the wide brimmed, slightly fraying, floppy hats. But it wasn’t a particularly youthful group of garments overall. They were clearly made for a woman, not a girl; and this was demonstrated by nice touches such as floral linings in jackets and elegant lace-up-the-leg sandals. It was as if the 70’s flower child had grown up to be a woman, a sort of serene hippy.
So who’s going to wear this? Well, Ferretti’s corporate breathing customers may well lap it up, as it will be a new thing for them, but I think this will also appeal to the gentler, homespun woman who spends her days in the country under sunny skies.
Beginning with a sweeping, sheer floral dress, Ferretti marshalled a fairytale mood onto the catwalk. Gone were the smart, contemporary separates of last season and in their place were a whimsical Edwardian dessert; with lace, crochet and romance as the ingredients. Sheer blouses with lace panels, either randomly spread or deliberate in their placing, and softly falling silk chiffon gowns, glided peacefully down the runway. Everything ushering in a garden freshness that shouted young and dewy.
The other side to this assemblage was the distinct 70’s vibe that prevailed throughout the collection. This was shown by the centre parted, ungroomed hair and the wide brimmed, slightly fraying, floppy hats. But it wasn’t a particularly youthful group of garments overall. They were clearly made for a woman, not a girl; and this was demonstrated by nice touches such as floral linings in jackets and elegant lace-up-the-leg sandals. It was as if the 70’s flower child had grown up to be a woman, a sort of serene hippy.
So who’s going to wear this? Well, Ferretti’s corporate breathing customers may well lap it up, as it will be a new thing for them, but I think this will also appeal to the gentler, homespun woman who spends her days in the country under sunny skies.
Monday, 20 September 2010
Beach Easy - Michael Kors
With show notes going on about a ‘sunshine state of mind’ it was not surprising that Michael Kors’ latest offering was heading to the beach. White jersey, chunky knits and sun kissed leather accessories, all added up to an effortless dressing. It was easy to interpret it as eliminating one of the stresses of modern living, but still answering the woman who had to keep going with her life.
Ribbed marl sweater dresses, frayed edging, satin separates and bright slouch jersey columns worn with wavy hair, pulled into low swept ponytails, conveyed a nonchalant and above-it-all air.
Despite this, Kors managed to retain those smart elements of his label by including polished leather coats, fresh green shift dresses, crisp white shirts and oversized blazers with skinny belts. Particularly stunning was a saffron a-line shift dress with three quarter length sleeves. Its simplicity epitomises Kors’ mood at the moment, one of nostalgia, perhaps for relaxed and easier times.
But mostly it was sweater dressing. Comfy basics that sit in your closet for years because they match everything and wear well, in fact, they’re better with age, but overwhelmingly because they’re comfortable. Made for the woman who is on the run for most of the day or the girl that needs simple smart basics for a trip to the Hamptons, these clothes will need little attention and allow carefree, minimal packing; even that smart leather strapped swimsuit.
Ribbed marl sweater dresses, frayed edging, satin separates and bright slouch jersey columns worn with wavy hair, pulled into low swept ponytails, conveyed a nonchalant and above-it-all air.
Despite this, Kors managed to retain those smart elements of his label by including polished leather coats, fresh green shift dresses, crisp white shirts and oversized blazers with skinny belts. Particularly stunning was a saffron a-line shift dress with three quarter length sleeves. Its simplicity epitomises Kors’ mood at the moment, one of nostalgia, perhaps for relaxed and easier times.
But mostly it was sweater dressing. Comfy basics that sit in your closet for years because they match everything and wear well, in fact, they’re better with age, but overwhelmingly because they’re comfortable. Made for the woman who is on the run for most of the day or the girl that needs simple smart basics for a trip to the Hamptons, these clothes will need little attention and allow carefree, minimal packing; even that smart leather strapped swimsuit.
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