Franceso Risso embraces individuality like no other at Marni. Here, at the the most conceptual, Milan-based brand next to Prada, he distorts volumes, combines the most unlikely (peacock feathers as earrings! felted coats made from compressed, recycled textiles!) and has… fun. I bet a word like ‘trend’ doesn’t exist for that immensely talented guy, who can do lady-like cat prints and equally chic plastic wind coats in one collection. I loved everything about this collection, from the heavy dose of bold colours and stylishly cumbersome totes to the bubble-like pumps and 30s-isnpired dresses made, or rather classed, from contrasting materials. Undoubtedly, it’s Milan fashion week’s dessert.
Actually, when was the last time you’ve heard from Salvatore Ferragamo? To me, as to most of the editors, insiders and potential customers, the Italian brand seemed to have lost its identity long, long time ago. What does Ferragamo stand for? Does it even matter today?
Fortunately, the brand didn’t end as another ‘Made in Italy’ label with airport stores, even though the verge was very near. Paul Andrew, whom you might know for his namesake footwear brand, and Guillaume Meilland (Ferragamo’s menswear designer) joined forces to create an impressively consistent, chic and, most importantly, covetable collection of autumn-winter essentials. Leather and silk foulards are Ferragamo’s biggest codes, that’s why the collection was filled with incredible suede coats, ostrich leather boots and dresses covered in archival prints. The tailoring, for both men and women, was powerful as well. Katharine Hepburn, a Ferragamo fan of the past, and her style influence were obvious – a crisp shirt, a blazer, a perfect pair of pants. It’s important that the designers develop the new Ferragamo by embracing the brand’s heritage. Even though some pieces, like the big poncho or belted maxi-dresses, felt very Phoebe Philo, that isn’t the collection’s drawback. Quite opposite – those who will not find themselves comfortable in the Hedi Slimane-era Céline should switch for Ferragamo (which you might have never expected!). Bravo!
Backstage of the show, Angela Missoni explained that “this is Missoni’s 65th anniversary; I thought, ‘Let’s start celebrating.’” Not only was a sense of laid-back felt all over the collection, that contained of both womenswear and menswear. It was a delightful, effortless play with the brand’s heritage knitwear. The Missoni nomads had something of Scottish, African, Italian and Jamaican reminiscence. But the nonchalantly tied shawls around the neck and the heavily Jean-Michel Basquiat inspired colour palette was a reference to 1970s New York, as the season’s moodboard suggested. Angela’s recent ways at Missoni make the family label even more relevant that ever, with its relaxed styling and remarkable ad campaigns lensed by Harley Weir. Not forgetting about the model diversity present in the autumn-winter 2018 show, which is something to be learnt by other Milan designers.
Colour, Gianni prints, 80s sexiness – this couldn’t be more Versace. After her major spring-summer 2018 tribute collection, something has opened up for Donatella Versace. She seems to feel even more freed. And finally happy, against all the odds the designer met after her brother’s murder. Versace of today is her success, undoubtedly. She understands that the brand’s cult should be embraced – that’s why the Medusa and the brand’s logo are wherever you look. She makes the word VER-SA-CE sound like a vision of delightful, hedonistic and extrenely Italian dolce vita. But at the same time, she smartly injects her style into the house codes. I adore the contemporary sportiness to what she does lately – the eveningwear is glamorous, but comfortable; vintage-y animal spots and Clueless checks land on puffer jackets. Even though I can’t say I’m an ultimate fan of Versace aesthetics, I’m a fan of Donatella. She’s a woman to respect, and love.