It was all but official before the show began. This would be Peter Dundas’ last collection for Emilio Pucci. The reasons still aren’t clear, but if we had to guess, it’s because Dundas’ Pucci is more hot-blooded than blue-blooded. Pucci, the brand, was born on the island of Capri in the 1940s, and came to global prominence in the ’60s, when the jet set first impressed itself on the world at large. Dundas, who hailed from Roberto Cavalli (and, according to rumor, may be headed back there), didn’t necessarily break with Pucci’s past, but he had a vision of his own for the brand. His work for the label was unapologetically sexy, and he was in love with rock ‘n’ roll from his bold Fall ’09 beginning right on through to tonight, when Led Zeppelin dominated the soundtrack and a whole lot of legs ruled the catwalk.
“It’s a very personal collection,” Dundas pointed out in a preview. The sporty horizontal stripes on clingy ribbed knits were apparently a reference to the rowing league he belongs to in Florence. The fluttery white and black evening separates were a loving tribute to his mother, a violinist who wore the colors when she performed. Here and there, you could spot callbacks to former hits, like an ombré-dyed body-con minidress or electric-hued crushed-velvet trousers and an equally bright silk blouse. As for the astrology motifs running through the collection, does it get more personal than star signs? They turned up everywhere, from intarsia sweaterdresses to delicate beaded embroideries on a velvet blazer and a floor-scraping cape. For the finale, Dundas sent out his favorite models in long jersey T-shirt dresses, each with their own zodiac sign: Cancer for Anja Rubik, Leo for Joan Smalls, Aquarius for Lily Donaldson. The illustrations were sweeping, strong, and emotional; Dundas also pointed out they were rendered by hand, as Emilio Pucci himself used to do.
He invited his studio team out to take their final bow with him. It was a lovely, tender gesture. Dundas’ tenure at Pucci lasted six years, double that of his predecessor. He made the show one of Milan’s hottest tickets and dressed show business’ best bodies (Gwyneth, Beyoncé, and Rihanna included), in the process giving the Pucci legacy a fresh relevance—and he did it all with dashing good humor and charm. Personnel change every few years is now the norm, not the exception, at fashion houses, and whoever follows Dundas in the creative director role will likely take the label in a new direction, but no one will deny that, for much of his time here, he was a star turn.
Roberto Cavalli’s Ming-vase dress from Fall 2005—the one made famous by Victoria Beckham—is apparently part of the Met Museum Costume Institute’s big summer show, China: Through the Looking Glass. That was enough to make Cavalli look East for his latest collection. But there was more.In the Mood for Love, to be precise. The windowpane-checked cheongsam worn by Maggie Cheung in Wong Kar-Wai’s modern classic sparked a visible train of thought for the designer. The check was duplicated in white string embroidery on micro-sequined evening dresses, in the grid of white paillettes that nestled in a fur jacket, in the pattern formed by silk fringed to look like fur.
Then it was just a question of decorative detail: metal pagoda buttons, heavily beaded floral motifs from the Ming dynasty, sinuous opium-garden embroideries mounted on a faded tiger print, the gold fringing on a jade gilet, the abundant silk fringing that swept the floor in the finale. And the models walked under huge neon reproductions of traditional Chinese lanterns.
But this was potentially the collection that would seal the deal for a sale of the Cavalli company, so there were the signatures that underscored the brand identity, most obvious in the artisanal handwork but also inescapable in the more animal-based effects, like ocelot-printed pony skin, and in the tawny temptress vibe of evening dresses that floated in a cloud of sunray-pleated dégradé chiffon. Cavalli is lucky in that he is his own cliché. Judge him on his own terms, and this collection was a success. Widen the frame of reference, and you get the impression that something has to change.
Ivan Bellanova Couture Fall/Winter 2015 – Milan Fashion Week at The/Space – Via Savona 97 Loft 16 C – Milan
Italian Designer Ivan Bellanova presents his new FW 2015 Capsule Collection and previews the new Beachwear 2016 Collection. The luxury designs, made with love and inspired by his heritage, perfect suit to today`s working women: Elegant during the day and “the one and only” during night.
FW 2015 CAPSULE COLLECTION:
The collection consists of dresses, jackets and skirts. All the garments work as single pieces and can also be combined in various ways – always dressed perfectly for any occasion. The main colour of the collection is grey used in 3 tones, to show the special urban style of today women living a “big city life”. The basic fabrics are winter cotton and wool creating a warm and comfortable atmosphere. Bright details in red, blue and yellow reflects the “lights” of the city nightlife. Decorative elements, inlaid like a marble intarsia, generate a geometrical order that give the garments a unique handmade “twist”. Silhouettes are tight underlining femininity and sophistication.
PREVIEW BEACHWEAR SS 2016:
It is a preview of the SS 2016 Beachwear Collection accomplished by light tunics, promenade dresses and ponchos. The samples are bright coloured with summer prints with various colour combinations creating a happy, sunny and delightful mood. Silhouettes are simple and comfortable for the beach. Garments are decorated with amazing ribbons. www.beechwear.com
Born on the ancient island of Sardinia, surrounded by crystal blue waters of the Mediterranean, the designer soon discovered its artisan treasure, exemplified in jewellery and traditional dresses. The intricate lacework of gold and silver jewellery instilled in Ivan the sense of preciousness. Combining his passion for design in all its facets – from art over fashion to architecture studied in Florence – Ivan Bellanova creates fashion for women who feel young and secure at the same time, open for new experience yet already settled.
For the last couple of years Ivan Bellanova satisfied the most demanding request in an atelier in Florence, his work always passionate and perfect. In this season he decided to do the next step to establish himself as a designer bysharing his métier to the wider public and creating a collection for the whole women`s Fashion World.
Like a breath of fresh air blown in on a warm summer breeze, the last Missoni show reminded the rain soaked audience that this week was supposes to be all about dressing for the summer months.
It’s understandable to think that more then a few of the front row guests might have forgotten that fact, considering all the dark-hued shows and abundance of leather and suede that has shown up on the Milan catwalks this season.
Not so at Casa Missoni.
This up-beat collection, filled with feather-light knitwear in sweet rainbows of color combinations, was truly lovely in its easy nonchalant approach to fashion. Everything was fluid or voluminous and more often then not semi-sheer. The collection was designed by Angela Missoni to lightly caress the body. Think the perfect pieces to wear during next summer’s hot and sticky heat waves.
There was also a hidden feel good element to the show. Missoni teamed up with the WFTO certified fair trade company SeeMe to create the lining for some of the Missoni dresses. They were all hand made by women who have been victims of violence in the slums of Ankara.
But as laid back as this collection was, Missoni was still able to maintain a sense of chic sophistication in her silk oversized men’s shirts, colorful short-sleeved trench coats, palazzo pants and maxi dresses. The silk scarves that bundled up the models hair with a twist only added to the show’s sense of refinement. It was too bad the thong sandals did not.
Nice show and beautiful color. Well done Missoni !!!!!
Designer Miuccia Prada sent the fashion set buzzing when retired supermodel Gemma Ward (who hasn’t walked a runway since 2008) opened the spring/summer 2015 show, wearing a dark fitted double-breasted coat, featuring an outline of contrasting top stitching, and a pair of knee-high stockings and platform clogs.
But it wasn’t just the models (supermodel Lara Stone closed the show) that were bracingly familiar, so too was the collection. It returned the designer to sturdier, albeit it purple, sand-swept ground this season.
Her fascination with perfect and proper ladylike ensembles, that she then proceeds to deconstruct or pervert with sensual undertones, has been a touchstone avenue of expression for Prada since the beginning.
Here that manifested itself in lovely frayed patchworks of antique brocades on dresses, and outlining stitchwork on tailored outerwear.
It was almost as if each of the models had been caught short for time, following an afternoon delight, and slipped their clothing on inside out, thus making the captivating, raw-edged silk seams of a garment its most alluring ornamentation. These naughty ladies were in such a hurry they didn’t even have time to slide on a pair of pants (not one appeared in the whole collection), underneath their covetable lace and leather coats.
The designer returning to one of her preferred decades (the 1970s) was also rather reassuring. But unlike recent collections, this show didn’t feel as literal an interpretation. Instead, Prada found a way to take the sartorial codes of that era and bring them forward to today. So just a whiff of the hedonistic exploration of that period could be felt in the darker color palette and in the artisanal construction of the garments.
The purple Prada desert dunes that dominated tonight’s venue might have seemed like a trippy acid flash back. But Signora Prada was anything but parched of tempting ideas that, just like grains of sand, will creep into the crevasses of fashion’s future.
Contributor: Jessica Michault
There must be something in the water in Milan. How else to explain the groupthink phenomenon this season, when almost every other fashion show offers up its take on the looks of the 1970s.
At Etro, the proposition Veronica Etro gave was of the hippy variety with a strong Native American slant. Her clothing included a much more apparent handicraft element in the designs. It felt more organic and yet refined in all of it’s raw asymmetric edges, feather adorned accessories and woven suedes.
To The Door’s classic rebel anthem “Riders on the Storm,” Etro sent out a collection that showed that even with a theme that centered around worn in well loved, and often handmade clothing, a skilled designer could still make them look exceedingly luxe. The perfect example in this show was look 26, a kaftan dress embellished with intricate beadwork designed to mimic a Navajo Indian blanket. Beautiful too were the raw linen hand painted pieces, and the open weave woven silk sweaters.
One of the most attractive things about this show was how skillfully Etro embedded the brand’s iconic Paisley patterns into the flowing handkerchief hemmed dresses, and then faded them onto printed tank tops and rounded pants.
It’s true that the Boho heritage of the Etro house easily lends itself to the designer’s chosen theme. But it’s a testament to Etro’s talent that she was able to underplay it and blend it so seamlessly this season.
Frida Giannini, creative director for ten years designed a Gucci collection during Milan Fashion Week which looks like a treasure chest full of treasures brought from all over the world. The fashion designer admits to being inspired by the brand’s customers, people who for business or pleasure travel a lot and that enriches their own home, your wardrobe, your life with charms, souvenirs and rare pieces collected here and there. And here’s how the pieces more classic, almost taken for granted, seen by more closely and carefully, they appear as something exclusive, unique. Workmanship, materials, details, renew and make it very attractive brand and its iconic pieces.
The theme of the Ermanno Scervino collection for next spring-summer 2015 is the glamor that defined the days of this woman extremely refined and elegant. Look researched and interesting, both in tissues and in the stylistic details. The jackets are over, the high-waisted skirts are paired with micro top. The long dresses enhance the feminine silhouette gliding sensually on the body……Bravo !!!!
it’s another 70s inspired summer show to add to the long list stacking up here in Milan. But Pucci has a legitimate clam to this territory, as the late 60s and 70s was when this colorful house exploded onto the collective fashion psyche.
Let’s start with the end of this show because that was truly where this collection took off. Dundas came up with the idea of blending iconic Pucci prints with tie-dye patterns and the psychedelic poster art of his chosen era. The combination made for some killer silk maxi dresses. The designer crafted them with bold jeweled necklines that linked the fabric to the body, or stitched the silk onto beaded bra tops or simply gathered the fabric at the neck.
The Flower Power daywear was also well done. Particularly the first few white crochet looks embellished with dainty little brightly-colored flowers. The designer’s ultra slim pants and fitted flower-embellished jackets showed that Dundas could do tailoring just as deftly as he does flou.
It was a blur of accordion pleats, bright patterns and glossy python on the Roberto Cavalli catwalk on Saturday. The fast paced show looked to be going for instant impact rather than reposed reflection.
But isn’t that exactly what women go to Cavalli for- outfits that demand attention?
If the models had ever slowed down enough for more then a passing glance, guest would have been able to spot – and more fully appreciated- the designer’s attention to details and talent for complex embellishments. They surely would have welcomed a closer look at the flirty beaded halter dresses, the pleated skirts, crafted from strips of of sheer organza and the worn-in denim pieces with their strategically placed tears, backed by shimmering jacquard fabrics.
As it was, the show’s message of clothing inspired by travel to distant sunny locations was lost in the rush. Instead the collection felt more like a mishmash of different designs that Cavalli has honed and refined over the years. More a well curated wardrobe of ensembles that one could
For many seasons, Domenico Dolce and Stefano Gabbana have been milking their native Sicily for inspiration to their glorious fantasies. Not so long ago, they even staged that fairy tale on a grandiose scale in Capri. Today, although this had tenuous links to Sicily, Spain provided the same passionate Mediterranean woman archetype, and this was embodied in the fighting spirit of bullfighting and flamenco. From the heavily encrusted waist clinchers, to the blood red of carnations embroidered on lace dresses, and the ruffles and polka dots of flamenco dresses, it was pleasingly theatrical.
The embroideries on tight bolero jackets were pleasingly transcribed from the original, completed with puffy shorts in lieu of skin-tight trousers (it’s summer after all). So were the fringes of dancer shawls, swinging prettily from the summer’s cape, a shape they seem to love perennially. Quirky, and sure to please the snap-happy front row crowd, was a painterly print of bullfighting wrapping around a skirt. Collectors’ appetites will have been whetted by the dolls encased in their windowed carry-cases, figuring the archetypal Dolce & Gabbana women. Somewhere in between there were variations on their corseted black widows, and some decidedly younger transparent black camisoles worn with rhinestone heavy jeans.
As gently romantic they appear, their strength is that of a wounded bull. That contrast has always been at the heart of the Dolce & Gabbana vision of femininity, and comes back to their roots. Everywhere, silhouettes were femininely encased in either curve-enhancing (or revealing) get-ups. As always, their narrative is enriched by the superb work on fabrics and adornment, gilding any idea with the scintillating edge of fantasy. For the finale, the cadre of toreador glamazons paraded on the catwalk, offering the empowered vision of women ready to stand and grab any bull by the horns in the arena of life.
Instead of showing an advertisement for a perfume launch or a new accessories line, as he is wont to do, Giorgio Armani commissioned a short film by Oscar winning director Paolo Sorrentino to open his spring/summer 2015 presentation.
The dialogue free images of a deserted beach, a bobbing view of an empty seaside village as seen from the ocean, the undulating outlines of sandy backs, the sounds of ocean breezes and one frolicking wet dog, all combined to instantly transport Armani’s audience far far away from the hustle and bustle of the city.
Sand – the title of the film and the collection- was Armani’s starting point for this lovely and languid show. Its grainy consistency was transformed into shimmering crystals and beadwork on evening dresses. Its wind sculpted wave patterns transposed onto other light silk skirts and tops. Its warm, golden-brown hues permeated the entire line. Even the beige snakeskin pieces at the start of the show somehow worked within the overall concept.
When Armani wasn’t running the sand idea through his designer fingers, he turned to its symbiotic ally, the sea. It was represented subtly in the rounded easy silhouettes of the show and Armani’s choice of fabrics, which often had a liquid movement to them.
To finish off a collection about sand and sea, the designer transformed his final model into a siren caught in a net of shimmering tulle covered in crystals. As she walked barefoot down the catwalk in her custom Armani gown, it was easy to understand why she gave up living under the ocean for a life on solid ground. Wearing Armani can have quite an effect on a woman.
“This is about a fresh new Versace, one that is contemporary, clean and strong. It is the way women wear Versace now, and in the future,” said Donatella Versace about her spring/summer 2015 offering for the Versace woman. But she could just as easily have said that the brand’s the newly-opened store in the heart of the famous Galleria Vittorio Emanuele II in Milan had her thinking about the purity of form and the beauty of architectural shapes.
For within the sexy, highly-charged world of Versace, this collection was much more controlled and reserved, and therefore impactful on the house. There was also a clear correlation to the work she created with Anthony Vaccarello for the Versus line she showed in New York two weeks ago.
Stripping back never looked so good.
The designer went with sleek, slim shapes and used graphic details like silver grommet holes, contrasting top stitching, laser cut leathers and Versace’s iconic interlinking Greek key motif to give the asymmetrical sliced away skirts and crop tops a sporty minimalist sex appeal.
The brief appearance of geometric, patterned knitwear left the audience longing for more. Color-block cocktail dresses, broken up by swathes of diagonal bands of colored cloth looked thoroughly modern and yet still very much Versace. The same could be said for the shimmering crystal mesh bandaeau evening dresses that used sheer organza to delineate the different shades, and created the sense that the dresses were somehow hovering over the models’ bodies.
This collection was a strong step forward for the brand. Versace’s minimal made for a maximal success on Friday night.