Milan – It’s human nature to try and extract themes from something as multifaceted as fashion. After all, the species generally favors order over chaos.

So, after a wild day on the catwalks of Milan, I’m throwing my hat in the ring for democracy as Wednesday’s subtext. It was at least a topic of conversation while, in the wider world, Joe Biden presented democracy’s position at the United Nations against Vladimir Putin’s nuclear arsenal, and New York Attorney General Letitia James filed a civil lawsuit against the Trump family. announced to do who are accused of defrauding the state of at least $250 million. It is certainly the will of the people at work.

Meanwhile, in Milan, Glenn Martinez performed his latest show for Diesel in front of 5,000 people who stood up to the roof of the massive Aliens Cloud arena.


“Everyone can be a part of Diesel,” he declared, in a democratic response to the notion that fashion is where the elite come home. Of course it helps that the Diesel has medium denim from Martins, the people’s fabric. But what he does with it — and for it — is anything but basic.

The denim was woven on a sheer base to create a décolleté effect for a corset paired with low-slung jeans. It was “part solarized” (translation: sun bleached) to create the ombre effect on the floor cleaning coat. And the disturbing effect that was probably Renzo Rosso’s unique selling proposition when he launched the diesel four decades ago has been taken to a logical limit by their lining. Denim was plasticized, roughened and cut into pink feather pieces, often abused in every way in the name of an almost couture-level artistry, although Martins emphasized that the effects were industrial. were obtained as


Filling the center of the arena was a giant inflatable sculpture of four figures, recognized by Guinness as the world’s largest object. It was a bit Rorschachian in that everyone saw something different. My neighbor thought it was a woman giving birth, I saw a man (well, invitation.) what come up with a glass bit plug—and please tell me it wasn’t just my active imagination). In reality, it was four figures arranged in a physically impossible combination.


But as the models moved through the sculpture, each the size of a figure’s ear, it took on a fairy-tale element. And Martens’ take on Diesel is a fairy tale. He described his post-apocalyptic tribe of sandblasted children – some of them with green or purple skin – “ready to nail life, f*ck you and entertain you. are ready.” Lost boys and girls grumbling to the end of the world, with a newly blonde Martin as their wild shaman.

Rio has always been its own subversive democracy, which means the last place you’d expect to find it would be in Fendi’s atelier. Unless you take into account that Sylvia Venturini Fendi has always had a perverse hidden inside. As she says herself, Fendi’s Double F is a logo-based duality, and under Karl Lagerfeld, the brand has seen quite happily between past and future, classical Rome, fin-de-siècle MittelEuropa and outer space.


His successor, Kim Jones, is producing a much less ambiguous signature. It’s true that the sweeping, long lines occasionally have a classical sculptural effect, lending themselves to a sci-fi aesthetic, but Jones’s frame of reference is much more immediate. Namely, the Fendi women and how they dress, especially how Delfina brings to life clothes from her mother Silvia’s wardrobe. There is a past and a future, but it is a development between generations rather than centuries.

Jones insisted that the silhouettes in her latest collection are pure Delphina: long dresses, baggy trousers, skirts worn over trousers. The straps had utility that used these pants (now That may be a theme for spring), the racer-backed dress had a playfulness. The trompe l’oeil of the twin set with one-shoulder sleeves reflects the casual style that Delfina wore her sweaters. There were quotes from Karl, because Jones is a past master of staying close to the ethos of whatever brand he’s designing for, just like his baguette celebration in New York two weeks ago, specifically Fendi circa was about maximum liking. 1997, the year the bag was released. Here, the rose print that inspired a sheer tank dress in technical organza came from the 1996 collection. His athletic underpinnings have had sports logos since 2000.

“We always bring a little bit of history into it,” Jones said, but his work often gets really interesting when it’s his own history that he’s bringing into play.

The collection took an earthy palette from the last couture show, but was interrupted by pinks, blues and a vivid synthetic green that hit the catwalk as a pair of rubber platform shoes. , soon followed by a green jean jacket that looked like terrycloth. (Actually, shearling is made to look like this by the Fendi atelier’s master craftsmen) and some green chunky-soled shoes. Jones name-checked Daniel Pool, the original streetwear brand whose DP logo was hugely popular in the early ’90s. On the soundtrack, Gat Décor’s classic club track “Passion” highlighted the reference. Jones himself reveled in the moment in British club culture, and channeling it towards Fendi’s satiny luxe feels like his own quirky addition to the idiosyncratic lexicon Lagerfeld has compiled for the brand.

Schizy? Jones scoffed at the idea. “These are just simple answers,” he said. It was left to Sylvia to remind us of the dual essence of DoubleFF. “Simplicity And complexity,” he added.

The democracy Fausto Puglisi had in mind after Roberto Cavalli’s show was far less abstract. Italy’s general election on Sunday threatens to install Giorgia Meloni as prime minister, Italy’s first far-right leader since Mussolini. Puglisi sees Meloni’s strongly defined positions – anti-EU, anti-immigration, anti-LGBTQ rights – as a threat to Italian democracy. These concerns, however, had no bearing on the collection he displayed (I admit, at this stage of the story, my theme is a bit of a stretch) until his most decorated ceremony in Hollywood was heavily political. Not to be construed as an escape from The facts

Backstage, Puglisi raved about Adrienne’s costume designs, Tony Duquette’s jewelry, and Hitchcock’s films, especially “Marnie.” She opened the show in a white silk felt dress that Tippi Hadron would have done justice to. “I wanted that simple freshness,” Puglisi said (though I remember Marnie as a dark, brooding character).

He claimed he “wanted to go classic, my way.” It meant a spirited, campy collection that had hints of vintage Cavalli in its use of leopard and python prints — in the same dress, even — but mostly expressed Puglisi’s winning spirit. The leitmotif was a pineapple straight out of the Duquette playbook (apparently Fausto’s first obsession). It was delivered as a sweet retro print on a 50s circle skirt, or a shiny cocktail carapace. Puglisi has mastered the flow of classic Cavalli — those long, messy gowns — but he accentuated his precision with pleated tops and skirts that struck a cappucci chord.

“An Italian way of relating to America,” he explained. More deliberately Hollywood was a long pleated skirt over matching shorts with a bandeau top. Poolside, Beverly Hills, Slim Erwin ready.

#Free #thinkers #fashion #world #unite

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