While Kim Jones is about to present his vision at Fendi, menswear is Silvia Fendi‘s territory. This collection contained both examples of bed-to-bodega attire, along with gorgeous intarsia shearling coats and powerfully colored piumino pajamas. Hidden in plain sight among them was a look that Silvia Fendi laughingly conceded was arguably this season’s most transgressive: a black evening suit that was made extra thanks to its pajama-acknowledging blue piping and a louchely low double-breasted construction, but which was a black evening suit nonetheless. The collection was all about laid-back and relaxed feel, however layered with luxury. Camel hair topcoats; hooded shearlings; mink liner-jackets – that reflected a collection of pieces she called: “very tactile – so soft you can sleep in them – and also very functional. Clothes that make you feel good. Because I do think that fashion can have a therapeutic aspect.” Accessories included slipper-spats for seamless indoor-outdoor footwear functionality, and mini-trolleys to reflect our shrunken but still aspirational physical horizons. As Fendi demonstrated, many of the garments were reversible to double their dosage of potential therapy. And the population of patients who might benefit, she added, was purposefully broad: “To avoid that fashionista attitude, I like to consider menswear through many different men who keep their personality… I think in the future, fashion is going to be more individualistic, and I wanted to keep that idea in the show.” One attention grabbing aspect was the inclusion of artwork (including that cursive Fendi lettering) by Noel Fielding. Probably best known as a host of more recent series of The Great British Baking Show, Fielding is a stalwart of British alternative comedy – see The Mighty Boosh and The IT Crowd – of whom Fendi said: “I like him as a man, and he is a multifaceted talent: writing, comedy, music, art. This is something we all have to do today, I think, to change our own skins. And speaking of therapy, in his graphics you can read what you want to see, like colored yarns that have been thrown on the floor to make a pattern.” What Silvia wants, or at least hopes for, she said, is that this collection “will be something that can be worn on the street next winter, and be enjoyed for its bright colors and tactile feel.”
Collage by Edward Kanarecki.
Silvia Venturini Fendi‘s solo vision at Fendi is sublime – so I really wonder why she has appointed Kim Jones as the co-director of the womenswear. Well, I know why – he’s done commercial magic at Dior Men, so why not do the same at Fendi… But back to Silvia’s spring-summer 2021 – again, it’s incredible and it appeared to be a great start of live-slash-digital Milan Fashion Week. It felt so delightfully Italian, as if taken straight out of a Fellini film. The show opened with prints of photographs taken during lockdown by Silvia Venturini Fendi from her bedroom window, which was a nod to the domestic life we’ve all inhabited in the last couple of months. It closed with Leon Dame and Paloma Elsesser amongst those swathed in snuggly satin quilting and pale lace embroidered linens. “This reminded me of Karl,” said Fendi pre-show: “He had a love for bed linen, he had a big collection.” The loungewear and pajamas and floaty wood-printed caftans had a follow-on relationship to last season’s ‘boardroom to boudoir’ collection; “but here,” said Fendi, “she was a little more… sweet.” Much of the collection was cut in barely-dyed but beautifully embroidered linen, a fabric Fendi said she had chosen thanks to its simplicity and sustainability. Runway bags ran from a sweetly naif rattan version of a child’s beach bag to a wicker picnic basket that was a nod to Fendi’s wonderful recent menswear ‘gardening’ collection, co-designed with Luca Guadagnino. And the model casting was amazing, as well: Karen Elson, Maty Fall, Ashley Graham, Eva Herzigova, Yasmin Le Bon, Jill Kortleve and Penelope Tree were all part of a cast as diverse as the swathe of reminiscence Fendi was mustering in this collection. Naturally there were some sections in fur. Maty Fall wore a loosely woven coat of nappa and mink over a floral-pressed romper, while Aliet Sarah a striking skirt of shaved mink ‘lace.’ “I wanted to talk about values,” she explained. “At this time to just talk about fashion seems not enough. I wanted to talk about the values that are behind fashion, and I can tell you that there are a lot. In my family we have always put great meaning into what we do. Here I wanted to achieve clothes that are about the moment, but which also are part of your life, for your life.” By presenting clothes and accessories that whispered of past manifestations of Fendi’s history Silvia was also looking to a future in which garments function as cherished furniture, ever more redolent with memories and meaning in a long and fruitful life.
Collage by Edward Kanarecki.
I really loved Fendi’s autumn-winter 2020 collection. First, no sight of F logos all over the place. Second, Silvia Venturini Fendi nailed the femme fatale look making it simultaneously powerful and confident. Third, the collection’s model casting is a revolutionary moment for Milan, which is considered the most „conservative” of all four fashion capitals. Jill Kortleve and Paloma Elsesser became the first ever so-called “plus size” models to walk a Fendi runway. They looked incredible. And there were also the „veteran” models: Karen Elson (she had completely elevated her grey knit look), Liya Kebede, Carolyn Murphy and Jacquetta Wheeler. Silvia found it frustrating to always present shows whose casts were defined by the sample size. “Especially because you talk to me and I am not really a prototype of that shape. So it’s liberating for me to portray these clothes in a different way, on different sizes.” Yes, two models in a cast of 50 girls seems not much, but still. Big hopes that this isn’t just a one-season thing. Back to the clothes for a moment. Fendi mentioned liberation, and that was the spirit of a show presented on a curvy, pink upholstered runway. The spectrum of that freedom ran from the liberatedly libidinous to the glass-ceiling smashing, or “from the boudoir to the boardroom” as the show-notes put it. The pieces combined executive chic with a sexual tweak. This was a collection that embraced the double standards of male-eye categorization and short-circuited them via disassembly and disguise: dressing up for self-gratification rather than that of others. Silvia Fendi and Miuccia Prada are the only two pre-eminent female designers in Milan. This season, both of them make significant statements on women and femininity.
Collage by Edward Kanarecki.