Fendi and Diesel open Milan Fashion Week with a sense of renewal

MILAN (AP) — Milan Fashion Week opened on Wednesday with a sense of renewal.

Milan’s five-day schedule returned to near pre-COVID-19 levels with 68 shows, 104 presentations and 30 events. A generation of new designers has emerged, many of which are colourful, for perhaps the most diverse Milanese fashion show week ever.

Among the week’s highlights: Haitian-Italian designer Stella Jean returns after a two-year hiatus; Bally makes his runway debut in Milan with Filipino American designer Rhuigi Villasenor; and Maximilian Davis makes his debut as the new creative director of Salvatore Ferragamo.

Here are snapshots from Wednesday’s runway shows, including Fendi and Diesel.

STRUCTURED COOL AT FENDI

Fendi womenswear designer Kim Jones stripped the usually luxurious Fendi showroom down to polished concrete floors and painted steel beams and bleachers to show off her next collection in warm weather.

He kept the luxe for runway looks. The Spring-Summer 2023 collection was a studied balance of construction, texture and color.

Aprons tied askew in satin created a flowing layer over trousers, while perforated leather versions looked like sweaters over sheer dresses.

Layering was key to the style. Jones played with texture, peeling off an asymmetrical nubby wool coat over a sheer top, both in neutral tones, keeping the color pop for the platform boots. Silk robes were draped and tied to form, and carefully constructed satin coats had peekaboo slits and were elegantly tied in the back, like an elaborate Japanese bow.

The silhouette encompassed bodycon dresses in ribbed knit with discreet slits to flowing asymmetrical silk dresses. Square-necked ribbed cardigans gave a school accent to skirts with sexy deep slits on each side, or silk trousers with utility pockets with back pocket closures.

Sage, copper and white neutrals anchored the color palette, which exploded with accent pieces in cream-infused versions of seafoam green, cornflower blue, tangerine and flamingo pink.

The final look underscored the simple elegance of Jones’ proposals: a race-back tank top tucked into white trousers softened by this season’s half-apron skirt, all in the silkiest white.

“What particularly interests me about Fendi is exploring the notion of functional utility alongside femininity __ because Fendi women are strong women with full, full lives,” Jones said. in the show notes.

Fendi’s smallest bag to date was worn on a chain around the neck. Logos were subtle: knitted into the inside hem of the sweaters and only visible if twisted up, or with the double F logo on the liners or emblazoned as initials on the back of Jone’s new cinched Obi sash.

Shoes featured colorful platform boots or sliders. Jones is moving the brand away from its traditional fur and instead focusing on Silvia Venturini Fendi handbags, which use shiny leather, canvas and shearling.

DIESEL EXPLODES DENIM LOOKS

In a rare open house fashion week event, Diesel made room for the general public on the upper tiers of his show, around huge inflatable dolls entwined in a full trio.

On the ground floor, models walked under a crouching female figure, in front of a reclining man, his head wisely turned.

Glenn Martin’s cohesive women’s and men’s collection has expanded the meaning of denim.

He nailed the low-rise versus high-waisted debate from the start, with his first look offering the suggestion of a low-rise silhouette transitioning into high-waisted culottes – the illusion of having it both ways. The look was completed with a matching bra top.

For him, the pants looked saggy and a distressed faded denim sleeveless sweatshirt was tucked in.

Denim effects were dyed into sheer tank tops, worn open over Daisy Duke-style shorts with matching denim stilettos. The male counterpart was considerably more covered, in a double-hooded trench coat paired with distressed trousers and denim boots.

The denim itself was well-worked in innovative washes that suggested the desert, and could be paired with a bright palette of orange, green or pink separates.

The collection evolved into increasingly dystopian looks that seem inspired by the sci-fi classic “Dune”, in sand-colored and ragged styles, as a soundtrack suggested the call of the sandworm giant. They included layered, flowing halters and skirts secured by multi-notch belts, or a gray hoodie over a tattered skirt. New iterations of jeans had large, floating leg panels, as if to take flight.

Adding to the sci-fi vibe: A model with green-hued makeup wore a glittery reptilian mini dress.

HOLLYWOOD GLAM AT CAVALLI BY FAUSTO PUGLISI

As he looks forward to Saturday’s Italian legislative elections, Cavalli’s creative director Fausto Puglisi was inspired by the glamor of Hollywood’s Golden Age.

“I’m really scared of the new election. We’re going to take a lot of risks,” Puglisi said backstage after the show, expressing concern that a far-right party was leading in the polls.

To calm his nerves, Puglisi created looks from the finest Lake Como textiles, which he draped, pleated and vented for a diva effect. “I wanted that kind of freshness, kinda naive,” he said.

The first look emerged as ‘Ave Maria’ played: an angelic white brocade midi dress with a demure neckline – setting a restrained tone that Puglisi maintained for a few more looks before unleashing the Cavalli DNA on a longer soundtrack. rhythmic.

So: A strapless cocktail mini dress was constructed from a layered pleated skirt and bodice, as if a pinwheel had stopped. It’s a construction that has reappeared on long skirt looks and with dresses with deep slits. The Cavalli silhouette encompassed everything from figure-hugging dresses and bodycon jumpsuits with diamond cutouts on the torso, to pretty skirts and long silk dresses with pastoral museum prints.

The looks were accented with pretty pineapple, grape and palm tree brooches and earrings. The patterns also appeared in prints and in one instance a beaded mini dress was reminiscent of a pineapple down to the spiky leaves at the neckline.

Puglisi said his credentials were “the new Hollywood Renaissance from the 1930s and 1940s. … I didn’t want to overdo it. I wanted to play with colors, with very classic materials.

Lover of N. 21

The “amante,” or lover, of Alessandro Dell’Acqua’s N. 21 brand rushes in, barely dressed, lingerie showing, hair dishevelled and mascara smudged.

She or he wears transparent elements: a transparent shirt tucked askew under a red sequined jacket, itself buttoned carelessly. The back of a gathered skirt is not fully zipped. The haste is obvious.

1940s-style sheer dresses show off a bright red pointed bra and panties, or hang languidly off the shoulder. Masculine touches, like button-down shirts, are meant to be borrowed. One is worn with a full pleated skirt.

Twisted rhinestone necklaces complete the looks. The shoes are cantilevered, an architecture that, according to the show’s notes, makes the heel “superfluous”.

“The collection deals with all the moods of a lover: from love to anger, through sex, eroticism to the deepest passion. The vibe can go from one to the other in no time,” Dell’Acqua said. “The concept is very cinematic.”

Not revealing the ending, but the show ended with tattered wedding dresses made from leftover lace.

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