Different Love. Gucci SS17

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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.

P.S. In the show’s soundtrack, Florence Welch read William Blake’s poems. Dreamy.

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Men’s – Voyager. Gucci SS17

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Shocking green carpet with a huge red snake – that was the first thing Gucci’s guests saw, minutes before the spring-summer 2017 show started. But they didn’t have a long break from Gucci extravaganza, though. Just a few weeks after the spectacular anglomania splendour in London, Alessandro Michele, brand’s creative director, presented a show for men which was into this season’s motif, so travelling. Like Prada, Michele challenged himself to make his collection not a literal rip-off of oriental kimonos, but something more eclectic and meaningful. In fact, his “travel” is something totally different. “I hate to travel,” he said backstage, confusing everyone. Still, he loves travelling from aesthetics to aesthetic, mentally, not physically. “You can travel in different ways,” mused Michele. “With a book, you can travel. If I change the tapestry of my chair, I sit and I travel.” To an extend, it’s true – with a whole lot of tapestry, embroidery and embellishment, his menswear collection was a diversified version of a voyager’s wardrobe. Leather bombers with colourful dragon heads, rich, velvet coats, satin kimono jacket, Asian patterns featuring Donald Duck – like a treasure chest of cheesy souvenirs from around the world. Essentials, like biker jackets or turtlenecks, were pimped up with florals and marine stripes, while the classical horse-bit loafers were styled with fish-net tights (nothing surprises me anymore during men’s fashion month, honestly). As eclectic as it could be – that’s Alessandro’s world.

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Men’s – Pack Your Backpack. Prada SS17

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Last seasonMiuccia Prada presented a disturbingly beautiful ode to sea odyssey and distressed sailors, a collection filled with sailor hats and over-sized, sloppy shirts. Naturally, it had a lot to do with the current, migrant situation, which paralyses European countries. But also, there was an idea of travelling (likely to unknown places), not necessarily to luxurious resorts and hotels. This season, Prada continues her travel motif, but back on a slightly safer land. Rather than sailor equipment, models wore durable, weather coats, boldly coloured nylon pouches with Prada torches inside and formal high-heels attached to classic, leather bags. “In case you want to have a beautiful evening,” Mrs Prada mused backstage. Ironically, because all the models were rather into ugly chic (introduced by Miuccia at the turn of 90s and 00s), all in sport sandals and woollen socks. Sleeveless vests had Velcro hoodies, just like at Marni, matching the straps which crossed the waists in slouchy way. Olivier Rizzo, Prada’s stylist, is indeed a master of styling – the outfits were so reliable that you wouldn’t distinguish a Prada model among real camping fanatics and members of an all-American Morgan family from Minnesota. But it wasn’t only about functional, yet pricey essentials for your next field trip to the forest or mountains. If you’re observant, you would have immediately spotted buddhas, palm trees and mariachi band prints on skirts and jackets for the women’s resort 2017 part. Mexico, India, maybe Scandinavian countries – somehow, all these different places on Earth were united in one collection, in one piece of clothing, without being to literal. “The core goal is to share with other people,” Prada continued. “Other cultures, other mentalities.

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Moreover, this collection ispressing hard on Prada’s heritage, so the famous backpack, which revives in new textiles and colours. According to history, in 1984 the first nylon backpack was presented to Prada clients in their oldest store in Galleria Vittorio Emanuele II, leaving behind the dusty, ‘luxury-luggage brand’ past forever. A backpack is the symbol of Prada becoming a major fashion player, breaking the convention of elegance and giving other brands a sign – it’s the new chapter for accessories business. That was the first time when the fashion world heard a very down-to-earth, close-to-masses word: “utility”. And surely, spring-summer 2017 collection is the one which can be called utilitarian from the first look to the last one.

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It’s intriguing to see how Miuccia conveys messages in her clothes. This summer outing for boys (and for girls, of course) might just seem ugly to people, who say a loud NO to any form of socks and sandals (get over it, people!). But to others, it will appeal aesthetically, matching this current “rave” trend present on wild, off-beat parties and streets filled with Tumblr teenagers. However, I’m rather obsessed with the way these clothes are layered and matched in the most off-kilter way, and the attitude behind the whole story. Disparity and travelling from one to idea to another – that’s elusive and very, very exciting.

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Vintage Chic. Philosophy Di Lorenzo Serafini Resort’17

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Philosophy, as a brand, is going through a renaissance with Lorenzo Serafini‘s creative direction. The latest collection for resort 2017 perfectly sums up Serafini and his aesthetic – it’s about a girl, who has a weak spot for vintage, or at least, vintage-looking clothes. The look-book is filled with fringed biker-jackets, French Riviera oozing denim flares and suede overknees. Little, floral mini-dresses are styled with chokers, and the overall style blurs somewhere between Camdem market finds and Siouxsie Sioux’s leather mini skirts. The details, like feather necklaces or studded belts, make Lorenzo’s collection look real and hearty, and real. It seems that Philosophy wearer indeed listens to old Rolling Stones vinyls and dances to Eurythmics. Philosophy di Lorenzo Serafini can be freely added to the list of Milan’s newly beloved labels, standing next to No21 or Stella Jean.

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Love Cavalli

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I think it’s the first time I’m writing about Roberto Cavalli on my blog – ever! Not that I dislike Cavalli’s style – the thing is, the good old Roberto and his extremely Italian, slightly indie chic lost its right path somewhere in 2007, within the appearance of pre-collections and “hate” towards anything “kitsch” (talking of you, minimalism). Even though the designer was at helm of his studio till 2015, the collections didn’t differ much, while the brand wasn’t appealing to a younger clientele. In fact, Peter Dundas initially seemed to be a lost cause. Not only as Roberto’s personal decision, but after his, ironically, Cavalli-style-inspired collections for Emilio Pucci, which didn’t excite either.  After the second season (I’m on fence with the critic-slammed spring-summer 2016 fluo glamorama), however, Dundas catches attention, but not only because of his predictable bling-bling. To a surprise, autumn-winter 2016 collection, for both men and women, was a great nod towards Robeto Cavalli and his bright, golden years – flares, python leather, music band t-shirts and a lot of denim revive from the dust, gracefully. With Jane Birkin’s 70s attitude and a sharp walk, anyone can make these killer, waisted pants look hotter than… hell!

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