The moment London fashion week was reaching its final moments, I was on the way to Italy for a quite impromptu trip to Florence and Rome – two cities I’ve visited when I was a child and clearly needed a sort of revision. Not in scorching, Italian summer, with crowds of tourists that make you remember just a flood of people going through the corridors of Uffizi, and not Caravaggio’s masterpieces. At the end of February, when Italian spring is already in full bloom, but it’s still the perfect temperature outside to wear a trench coat. And, thanks God, nearly no tourists at all. Ideal way of discovering any place, especially in Italy. Of course, I will post my favourite addresses in both of those cities in the upcoming days. Here, I leave you with some of my favourite moments I’ve captured in Florence – Tuscany’s capital, as romantic and delicious as they say.
Baptistery on Piazza San Giovanni; the street that lead to our villa, hidden in the Tuscan hills just two kilometres from Florence’s city centre; patio of the villa; marble painting at Il Papiro; my mum, wearing a Dries Van Noten fur jacket.
On our way to the centre; pink tights at Uffizi Gallery; typical street situation in Florence; inside of Santa Maria Novella; Prada’s headband.
Bottega Veneta clutches that made us all lose our minds; Santa Maria Novella – completely in love with this place; a very ‘postcard from Tuscany’ clichés (which was actually our view from the villa); Medici’s Palace; mum’s vintage Prada tote from the 90s; Campari!
Caravaggio’s Medusa at Uffizi Gallery; Ponte Vecchio (tourist-free as well); a sculpture detail from I can’t really remember where…; another vintage from my mum, 90s Chanel; a street photo booth near the river; Botticelli’s Birth of Venus at Galleria Uffizi – it might cause a heart attack.
Photos by Edward Kanarecki.
For the autumn-winter 2019 prints, Dries Van Noten and his design team went for a ‘field trip’ to the designer’s garden (and it’s not just any garden – you must witness it in the ‘Dries’ documentary on Netflix!) in order to take photos of flowers. The photos were taken last October, so quite naturally the flowers weren’t all that bloomy and fresh. Still, what attracted the designer the most were their imperfections: black spots, visible diseases, dried petals. Don’t expect basic floral prints, but rather, a strangely romantic, darker take on the very unlikely trend of the A/W season. Turtleneck dresses, satin blazers, robe coats and shirts were adorned with these flowers, while the colour palette was kept in deep greys, lilac and burgundy. Many compare this collection to Prada this season – where flowers were as well the key point – but at Dries Van Noten the effect is much different. Styled with long leather gloves, loosely-fitted pinstripe suits and faux fur stoles in extremely bright orange, the feeling was edgy, chic eccentric, but very feminine in an unmistakable Van Noten manner.
Collage by Edward Kanarecki.
It’s one of those sober, darker Dries Van Noten collections, that still has a lot to say. It seems that the Belgian designer asked himself: at time when world politics is in its sad state, how should a civilised, well-cultured adult comport himself? The autumn-winter 2019 collection has the clear answer: dress well, think clearly, keep a sense of what’s important when all around are loosing their heads. You might say its just a bunch of (what seems to be perfectly tailored) blazers, coats and suits, but this outing was a wardrobe of a level-headed man who knows what’s really right. It’s refined, but unpretentious. Wise and mature. Loosely fitted, cropped, pinstriped pants, duvet shawls in monochromatic tie-dye and an elegant, belted cardigan in beige are the items I’m drooling over. It’s not a buzzy Van Noten show, and it never intended to be one. With all the men’s shows getting bigger and more entertaining, Dries kept it rather quiet. But silence is a statement as well, sometimes even more meaningful and deep than thousands of euros thrown into a showy, Insta-worthy venue.
Collage by Edward Kanarecki.