Dean and Dan Caten‘s spring-summer 2017 collection at DsQuared2 is a collage of everything opulent and glamorous, with a good sense of humour. Leopard-print bustiers; leg-of-mutton sleeves (they seem to be everywhere this season) over a glossy taffeta mini-skirt; extremely slim, intricately embroidered cavalry jackets. The Canadian brothers play with volumes, blurring the lines between high-fetched femininity and slouchy masculinity. Sequined, over-sized denim pants worn with big shoulder pads at the top gave an impression of a hilarious exaggeration. The long-legged models looked even taller in those quite cartoonish combinations. DsQuared2 ends Milan Fashion Week in a very Italian way I must say – it’s an endless dolce vita for those two guys!
Marni is like nothing else. Why? Consuelo Castiglioni, same as Miuccia Prada, doesn’t care about others. That’s why collections of these two inspiring, assertive women always feel different from the rest. They are invisibly signed with their own signatures. But exceptionally this season, it’s Consuelo who wins the Italian game: her spring-summer 2017 collection is remarkably beautiful, and I might name it as the most brilliant outing of all Milan-based brands we’ve had an occasion to see. Its drifty, baggy silhouttes in cream white; the “hips don’t lie” pockets on dresses and pantalons; unobvious sexuality concealed in those voluminous, draped pastel-green dresses. I have a soft spot for Marni and its modern concept, but for the last few seasons I had a sense that the ready-to-wear collections were monotonous, and Castiglioni rested on her (well deserved) laurels. Now, it’s different: I’m really into the layered-up looks which reassemble women’s armor for everyday routine. Standing ovations for this one!
Rodolfo Paglialunga is the creative director of Jil Sander for the second year, and throughout this quite long period of time (considering the industry’s pace), I haven’t seen even one, good collection that would stuck in my head. Jil Sander is called the ‘queen of minimalism’, and when she was departing the brand, she left a rich legacy for her successors. Rodolfo’s aesthetic is, honestly, obliged to be all about “less is more” while designing at Sander, but it sadly doesn’t feel authentic at all – it’s not him, and it’s not Jil anymore.
His spring-summer 2017 is an unexpected step forward, as it went under a ‘how-to-be-relevant’ treatment. Paglialunga isn’t revealing nothing but the fact he is obsessed with Demna Gvasalia’s style at Vetements. At least, there’s something to write about – the clothes, and the overall outing, is filled with covetable pieces, like an over-sized men shirt or a buttoned dress/coat. Removable shoulder pads drift between 40s masculinity and 80s Montana, elevating each look. Pinstripe blazers with matching skirts exaggerate the corporate dress-code, looking fairly appealing. However, that’s again an unsung nod to Gvasalia’s work, and specifically his debut collection at Balenciaga, where he did bureaucrat dressing. In the newest collection, Rodolfo plays with pleats, creating voluminous, distorted in proportions dresses and fancy sweatshirts. They are surely fun to wear. Also, the colour palette is well-considered: from pastel blue to carrot-orange, Paglialunga will surely score high points next summer.