Men’s – Francesco Risso. Marni AW17

January 15, 2017 | Design & Culture by Ed

In the fashion industry, and precisely in Milan, there are two types of debuts. Like Alessandro Michele at Gucci, where he scored ten marks out of ten from the editors and buyers; and like, for example, at Roberto Cavalli or Jil Sander, where even the term ‘debut’ doesn’t make anyone ecctatic. Francesco Risso‘s debut collection at Marni falls into the latter camp – in fact, some of the least-informed guests could have thought it’s just another great Marni collection, without any big changes going on. A Prada alumni, who was raised on Miuccia Prada’s and Consuelo Castiglioni’s (Marni’s founder) neo-Italian aesthetic, presented his first collection for the conceptual brand in form of a menswear show. Lanky-looking models with long hair wore fluffy shearling coats, checked sweatpants, too-big trousers and 70s striped knits. Lemon-yellow sweatshirt with a fur lining looked equally Marni-geek, as the colourful beanies and pajama shirts. You can’t judge a designer by his first collection, but I’m quite sure Risso’s Marni won’t go through collossal rebranding and major advertising campaign, like Gucci or Balenciaga did in the past months. It’s quintessentially Marni – and who doesn’t love Marni as it is?

#2016 – Alessandro Michele

December 22, 2016July 22, 2020 | Design & Culture by Ed

The old new identity implemented by Alessandro Michele for Gucci is well-known to all of us – and within the autumn-winter 2016 season, the designer has his first year as the creative director of the womenswear line behind. The “renaissance” mood Alessandro brings back to fashion deserves applause and praise. Noting that he has utterly revamped the pretentious sleek Italian empire into a brand, which considers Italian craftsmanship as priority, makes Michele’s warm softness more than a trend. It’s about his personal style, and his adoration to old, Italian paintings, antique rings and 70s / 80s attitude.

Just a few weeks before Britain’s choice whether to remain or stay in European Union, London has suddenly become the capital of resort 2017 collections. Firstly, Dior showed its mild collection in Blenheim Palace; secondly, Alessandro Michele, the creative director of Gucci, proved that Italian fashion goes in pair with anglomania. Covered with dark-green, needlepoint cushions, the famous Westminster Abbey was transformed into a venue for the most eccentric Michele’s show up to date (note: every show by Gucci gets even more peculiar and twisted…). Gucci girls and Gucci boys went down the Gothic church, all bold and playful, reivisiting cult fashion tribes of London. From Camden Market loving geeks to Rolling Stones fanatics in slim denim trousers and t-shirts (with old-school GUCCI logos – next season’s must-have), Alessandro praised Britain’s biggest style eras in this extremely non-chalant outing.

“To dive in this gothic sea of inspiration!” he began. “The punk, the Victorian, the eccentric—with this inspiration, I can work all my life!” The former, origing from Vivienne Westwood’s rebellious times of SEX boutique and Sex Pistols costumes, was reflected in tartan ball gown and badass, yet classy attitude of the clothes. One of the jackets was a perfect Victoriana sleeve sample, but all in baby-pink astrakhan fur; Thatcher-era Kensington grannies crossed the abbey during the show, wearing printed silk dresses and foulards on their heads; there was even a Spice Girl moment which will be remembered for long in the industry – rainbow striped platform sneakers HAPPENED, spicing it all up. It’s not a surprise that Alessandro thought of Scottish kilts, too – they were worn casually with lady-like, blue pea-coats. Chic, right?

Glittering with over 250,000 mirrored sequins, the all-pink venue of Gucci spring-summer 2017 collection reminded a high-profile striptease club. The released mist reassembled cigarette smoke, while the velvet stools and sofas suggested one thing – Alessandro Michele is not a step closer to such thing as “minimalism” this season. Indeed, the collection had something to do with trashy chic – just have a look at the extremely platformed footwear. “Prostitute in Venice used to wear these“, the designer said backstage, while discussing his references and inspirations. Red latex tights, worn casually with knitted skirts, screamed “sex”, too. Alessandro’s mind is not that innocent, after all.

There are different types of “love”, and there is a variety of romantic accents in Michele’s kitsch-appealing clothing. As always, the outing featured a line of polished and refined ready-to-wear, which has a lot to do with alta moda, as the Italians tend to say. Knitted cardigan featuring a monkey embroidery illustrated by artist Jayde Fish; satin gown with pineapple style sleeves, detailed with sequins and intricate embellishments; tulle dress with tapestry-like florals and a leather corset. Each piece might become a go-to for a fancy date, a boudoir night or an intoxicating night-clubbing. Michele never keeps himself distant from emotions in his fashion. This collection is connected to the intense topic of love, even if we mean a wounded, broken heart. One of the evening dresses had an embroidered, red heart in the front, stabbed with a dagger – is the ethereal woman wearing it ready for a night out, but without her parter? She’s sad, but she looks spectacular and very dramatic. A bamboo fan is even more ambiguous. The slogan on it stated “Blind for love” in gothic font, and Alessandro definitely relates to that as a designer searching for beauty, and a person in real life.

So Fetch, Fake & Fine. Gucci Pre-Fall’17

December 15, 2016 | Design & Culture by Ed

Observing Alessandro Michele‘s creative narration at Gucci is absorbing, even if you know you would never ever dress like that. Or maybe… you would? Looking like a charming, yet edgy granny entire week is hard – but for one day, a bunny-embroidered cardigan, layers of floral brooches and a patchworked midi-skirt sound quite mind-blowing on the background of your daily-routine wardrobe, even if they are far from the term ‘new’.

Alessandro’s pre-fall 2017, forgetting the beautiful chaos, tells one clear thing: brands like Gucci, to stay on ground in 2016 (and 2017, which is ahead of us), should recycle. And I’m not speaking about ecology right now. Keeping the consistency of collections; forgetting others and going your own aesthetically path; enriching every single detail, from branding to logi size on a shoe’s buckle. Similar eveningdress silhouettes, but in new colours, are on demand, and all the time in stock. Last season’s floral prints and this season’s Donald Duck become unexpected friends on an adorable blazer. Instead of creating a new ‘it-bag’, why not revive an oldie from the archives? Just like the shoes (extra-dramatic this season, but that’s not a surprise anytime with Michele). Working with such scheme is quite likely a guaranteed success, and Gucci’s monthly turnovers are the best prove for that. But will this take on nostalgia and chic kitsch get boring at some point? Becoming bored is a human’s nature, sorry.

Ignoring reason – this so fetch look-book was shot in Rome’s two historical locations. First is the Antica Libreria Cascianelli, an old bookstore specializing in art history. The second is the Antica Spezieria di Santa Maria della Scala, a 16th-century apothecary. Mind-blowing. And whatever I’ve written in the paragraph above – Alessandro Michele keeps on surprising and the look so fake tights with GG logo are really the thing.

That Look. Prada ’08 Goodness.

November 23, 2016November 23, 2016 | Design & Culture by Ed

You know, there are those certain looks that stuck in your head for longer than one season. Miuccia Prada‘s genius autumn-winter 2008 collection, which was a subversive take on a Sunday-at-church look (I was drooling over it here), is filled with lace pieces and ruffled heels that will never, ever, become outdated. Look 22 is particularly impressive, from the top to the bottom. Every detail counts. Vlada Roslyakova wore a beige turtleneck with a kind of mini-collar, layered under a soft, same-colour knit. The knee-lenght skirt, kept in a pale shade, looked fantastic, styled with gold pumps and a matching, cute ruffle bag. If you ask me, what’s a Prada look, then I will show you this picture. 101% sure.

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Beauty corner! Charlotte Tilbury ‘Kate Moss’ Lipstick, Charlotte Tilbury ‘Eyes to Mesmerise Kit’ & Byredo ‘Mojave Ghost’ eau de parfum .

Art Deco, Ca & Lou.

November 3, 2016November 3, 2016 | Design & Culture by Ed

Carolina Neri and Bérengère Lux are long-time friends and business partners simultaneously, standing behind Ca & Lou – a brand focused on timeless, yet “stealing the spotlight wherever you are” jewellery. This Milan-based label co-operates with one of the best Milanese jewellery workshops, seeking for a balance between clean forms and love for opulent ornaments. The designers behind Ca & Lou draw inspirations from Art Deco era, constantly refining their intricately embellished necklaces, bracelets and rings with minute attention to geometric forms and details. Moreover, Neri and Lux have always been obsessed with excessive costume jewelry – that’s why their autumn-winter 2016 moodboard is filled with archival photographs of Elizabeth Taylor playing Cleopatra, or the one-and-only Greta Garbo. Blurring the lines between retro and contemporary, owning a piece by Ca & Lou is like owning a treasure (surprisingly, in a pretty affordable price, if you compare to other luxury brands).

Available at Concept 21 Store.