Lots of comfortable clothes to wear. All those predictions about elastic waistlines and leggings and flats and how the pandemic changed clothes forever turned out to be not. When both Gucci’s Alessandro Michele and Donatella Versace (not to mention Dolce & Gabbana and Ambush) opened with a suit – dark, tailored, slightly oversized – something was clearly going on. And it is not the axis of rotation of the lateral mayhem that was ever predicted.
But back then, the world wasn’t such a comfortable place at the moment.
Walter Chiapponi of Tod’s said: “In the last few weeks, I feel like I’m taking myself very seriously, who has also begun her pointless chic tailoring with a dark one-breasted ensemble. gloomy color underneath a dark coat. “I started cutting out all the frivolous things.”
The suit – with its associations with power, status, gender conformity and incongruity, armor and protection (not to mention adulthood) – can be good clothing most appropriate for the times.
It started runway reappears in New York and now seems to be reaching critical mass.
This was the only dominant outfit at Gucci, a brand returning to the Milan catwalk after a two-year absence with a show held on a set lined in fun and lighted house-shaped mirrors. lit with flashes of lightning. Beyond the discord are navy, sky blue, and chocolate brown duo suits; vest with tuxedo lapel and cowhide trim. The clothes are covered with fringed spikes. Suit with thin tie and large bag and equipped with sophisticated accessories. The suits remind you of the appeal of this piece in the first place: the way it can be put on, making you feel instant all day long. One suit for every personality!
So many suits, or styles adjacent to suits (sometimes they involve shorts, or blazers), everything seems like a menswear show, though a show that also features women. Out of 84 looks, only 10 were associated with dresses, tunics, or in one case a lace teddy bear. That’s the point.
Seven years ago, before officially becoming the designer of the brand, Mr. Michele held first show for GucciEnhance the brand image – and to a certain extent, fashion – by filling it with casual feminine items like blouses, pastels, bows and transparent images, and start the conversation. The story of sex and love is still going on.
But despite the tendency to focus on what that means in the context of men wearing what was previously considered women’s clothing, it is in fact rooted in the suit and how women appropriate it. decades ago in the process of climbing to independence and power (ah, the conversation is still going on, by the way). With this show, Mr. Michele is simply reminding people of the truth.
Notably, the only thing that was as ubiquitous as the suit on the show – aside from the excitement pouring in about ASAP Rocky’s presence in the front row and the pregnant, bumpy and hooded Rihanna – was partnership with Adidas. The German sportswear brand has become a favorite non-fashion partner (a short list of its collaborators include Prada, Rick Owens, Stella McCartney, Missoni and the guy who started it all, Yohji Yamamoto). And Mr Michele said in a press conference after the show that he has been obsessed with Adidas since he was a kid.
But instead of vouching for Gucci classics, Mr. Michele turned the tide and revamped the sportswear, adding the Adidas signature of three white stripes to the sides of his vest or the top of his shirt. corset and use its triangle symbol as the family crest. The jacket’s chest pocket, combined with it into a print, braided a blown up version on the pocket.
It’s a message as clear and clear as any about what kind of clothing is really the dominant type.
Suitable for you, sir
It’s perhaps no coincidence that Ennio Capasa, the founder and former designer of Costume National, has made a name for himself with his former sleek black suit. left that brand eight years ago, chose this season to return with a new line, Capasa. Or it highlights (natch) an update on his trademark tailoring, but with some stiffness removed.
After all, there was a reason, in the first place, that the case had dragged on for so long. (This isn’t really a rediscovery of old style by a generation of vintage lovers; tech folks aside, in most power corridors, suits never completely go away. )
One reason it’s a classic is, as Luke and Lucie Meier imply in Jil Sander, scattering Greek and Roman statues around their gallery space, the better to frame the set. sculpted woolen miniskirts and sleeveless jackets, reaching to the calves and held together by a flat bow at the neck. There’s a Zen balance in their work between the minimalism of the lines and the utilitarianism of the materials (also really desirable accessories) that say softly and carry a big punch.
When it comes to dynamics, however, few designers are as relevant as Mrs. Versace. After all, she’s got actress Julia Fox, who knows something about domination (both titles, thanks to her recent feud with Kanye West, and as an early sideline), on the line. her top chair, wide leg pants and pencil skirt, pastel satin outerwear and power 1990s miniskirt ensemble in exaggerated houndstooth tweed on her catwalk. They’re all paired with gender-revealing corsets and body shields, and PVC tights.
Paired with towering twin pedestals, they make the models look like the masters – and mistresses – of an alternate universe. Something worth discovering.
Certainly, one of the more immediate relevance is the escapist party’s parade in the desert in animal print, surplus and the Silk Road in Etro. Or the melee of striped panties and street sales in Missoni – a brand that seems unclear exactly what it stands for, even a runway full of famous models. like Iris Law and Eva Herzigova couldn’t hide their embarrassment.
Or, for that matter, the high-concept claptrap is launched in Marni, where Francesco Risso goes on a quest to get ahead. immersed in the previous season with completely different results.
Held in a dark and cold barn planted with weeds and dust covered with dirt, with some sort of concrete hill/slope in the center and without any seats, the show featured the models were squirming through the standing crowd (including Mr. Risso, who began placing himself in his shows last season, a glamorous surprise that at first began to seem like a project more frivolous). They were each followed by a guide in a cap and a torn jacket, holding a flashlight to light the way, until the two eventually climbed the ramp and returned to the desperately jostling crowd – and often no results – to see.
It’s too bad, because Mr. Risso is a talented designer who really manages his work with emotion. There seems to be a lot of work to do and fix. Some tailoring; some embroidered, smooth ao dai. Lots of quirky looking headwear are handcrafted.
The audience then fled into the backyard and sunshine, where it turned out the models were enjoying a cake feast and were placed on two long tables atop a scattered layer of cobalt sand; performance after show, with Mr. Risso appearing in court with great enthusiasm.
He’s talking about “courage” and “community,” and the fact that all the models have worn personal amulets to incorporate into their outfits, seemingly oblivious to the fact that who in this world know what they are? Or instead of bringing everyone together, staging simply pushes them apart.
In terms of looks, it doesn’t really suit anyone.
https://www.nytimes.com/2022/02/27/style/suits-gucci-versace-marni-milan-fashion-week.html Why Suit is the Shape of the Moment