07/10/2015

Paris Fashion Week SS16 – Trends

The wide range of Paris Fashion Week showcased the infinite possibilities looming in the future of fashion. The inspiration was everything – from punk princess to clean minimalism. However, three main trends stood out in terms of materials, technique and accessories.

Seeing Sequins – If you can think of anything to cover in sequins or mosaic – you’re on the right way to mimic what was presented at Paris Fashion Week. Dresses, cardigans, tops and bottoms were all sparkling. Loewe presented a loose fit pant with big mirror mosaic on them that added another dimension to the trend of sporty chic. Lanvin and Saint Laurent both presented sparkling dresses in combination with something more casual like a bomber jacket. Sonia Rykiel blended in sequins on long sleeved tops with a formation that created the illusion of coordinating jewelry. It was an interesting comment to the evolution of street style: adding something that was once considered appropriate only for partying to the everyday wardrobe is now the fashionable thing to do.

Pleats Please – A popular technique used when playing with shape and volume, pleats were presented at several Parisian runways as a way of adding complexity to something simple, a final extra twist to catch the eye. At Vanessa Seward A-line tops and shift dresses were made more interesting with the addition of pleats, making them stand out instead of blending in the crowd. Vionnet stayed true to its roots and experimented with a somber colour scale – letting pleats and more structured parts intertwine brought the notion of what’s going to be important in 2016. Finally Stella McCartney proved that pleats can be a fun way to play with colour and imposed an ombré effect without actually using ombré, producing, in turn, depth without moving from the surface.

In the Middle – The discussion lingering on after Rick Owens’ fashion show was focused on the human accessories hanging from some of the models, but this functioned as a humoristic or critical accent to leather details other models wore around their waist. A wide or asymmetrical obi-belt was viewed at other runways as well, like, for example, Olympia Le-Tan. At Longchamp they also presented a trompe de l’oeil version by belting a contrasting effect of the coat.

Victoria Edman 
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30/09/2015

Milan Fashion Week SS16 – Trends

An explosion of both colour and creative imaginationa were certainly the expectation for the Milanese fashion shows – and we are happy to say that they were delivered. Three trends in particular stood out as infiltrating and pushing fashion forward, without playing it safe.

Mismatch – Letting pieces as well as styles emerge together to create a perfect unity was represented in many ways during Milan Fashion Week SS16. Blumarine married two different colours of the same print with the top having a much sheerer effect than the bottom or keeping everything exposed and adding a biker jacket to the mix. With an accentuating sash, the effect was much more bold and vivid. Roberto Cavalli and Les Copains both brought together mismatched elements of hard and soft. At Roberto Cavalli a romantic drape or ruffle met more rocker-style pieces which, in unison, created a fetching juxtaposition.

More on less is more – This upcoming season, an extra add-on carries all the weight on how to elevate a look from plain to perfectly fashionable. By starting with a rather simple silhouette, such as a blouse and pants at Gucci, a fashion forward look was thereafter created by adding more and more, such as ruffles on the pant leg and frills on the blouse until the finished product was not just exaggeratedly over the top, but interestingly original. Finding key pieces and adding unexpected elements was also a key trend presented at Fay. For example, a navy blue trench coat with an accompanying piece reminiscent of a corset made it go from safe to exciting. MGSM presented dresses in colour explosions and layered them on top of another piece, bringing a new thought to the concept of not only more colours but more layers.

Oceanic theme – By the ocean or in it, several of the Milanese runways showcased preference for nautical themes from stripes and wide brim hats, as seen at Giorgio Armani to sailor and seashell embellishments showcased at Emilio Pucci. This trend was clearly making a big splash.

Victoria Edman 
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08/07/2014

Letting Things Slip

The decade we thought we never would have missed – the feared 1990s – is back with a vengeance. By now, everybody must have noted the relentless shopping-era trends – from grunge to wearing underwear as outerwear – are very much in style. While underwear as outerwear mostly evokes the vision of Madonna and her cone corsets, a much more demure garment was re-introduced in the 1990s, gaining instant success: the slip dress.

A slip dress is a thigh or floor-length gown, first introduced in the 1930s and meant to be worn underneath sheer dresses, preventing them from revealing too much. The slip dress is traditionally cut on the bias, while its key element are the signature spaghetti straps. In the late 1960s, the slip found new popularity especially thanks to Emilio Pucci’s kaleidoscopic designs, which gave the slip a slightly bigger role in women’s wardrobe, though not a leading one. It would take other 30 years for the slip dress to gain fashion momentum, with one of the first John Galliano’s designs for Dior being a lace trimmed, dark blue, slip dress famously worn by Princess Diana in 1996. While the slip dress became a ‘buzz garment’, other designers followed Galliano’s suit, with Calvin Klein and Narciso Rodriguez introducing their own designs. With fashion icons – like Kate Moss – seen wearing the slip dress, it finally became the timeless piece we know and appreciate today.

For 2015 Resort collections, designers like Marc Jacobs, Nina Ricci and Ralph Lauren all presented their take on the slip dress covering it in sequins, creating it from chiffon or sensual black lace – all rigorously kept at thigh-length. The contemporary version of the slip dress is particularly revealing, with a constant play of minimalism and decadence demanding from its wearer not to fear being in the spotlight. At the same time, lightweight fabrics and effortless flair make the dress comfortable and almost casual. In the digital era, making the slip dress work out and about is by layering a contrasting piece. A chunky cardigan worn with a lace trim slip dress creates a stylish and nuanced ‘rolled-out-of-bed’ look, making it more 2014 than 1990.

Victoria Edman 
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26/06/2014

Milano Moda Uomo: Technical Details and Monochrome Looks

If London is considered the rich soil of fashion originality, Milan is surely the one of tradition and craftsmanship. For the next Spring-Summer 2015 season, the breeze seems to bring a more relaxed and comfy approach, not excluding elegance, although giving it a brand new and extremely contemporary twist. Two trends we saw on the catwalks seem to particularly meaningful: technical detailing – often combined with contrasting preppy looks – and monochromatic suits.

Let’s start from the first trend. The adjective “technical” in fashion usually refers to a certain kind of garment – even the most traditional one – made precious and unique by adding sporty details in very technical fabrics. One of the best examples of this trend is Neil Barrett. Clean and pure silhouettes, restricted color palette and digital prints, distinguish themselves thanks to modern materials used on Seventies-style shapes: like the slim jackets or even the elastic bands on sartorial pants. Antonio Marras followed a similar path when he decided to focus on Gigi Riva – an Italian 60s football player – and presented a burgundy tuxedo with waterproof sleeves or simple shirts embellished by hoods. No less technical were the choices of Ports 1961 and Iceberg, where the first played with the contrast between bourgeois looks and flashy clothing, while the second did the opposite.

We already told you about monochromatic looks. This trend is slightly different, since it does not involve womenswear. From Costume National, where Ennio Capasa took inspiration from legendary rock stars and developed a very Seventies oriented collection characterized by vitaminic shades – the total purple look was a step forward –, to Bottega Veneta, probably the most casual collection of the season, where plenty of male models strode down the catwalk wearing ton sur ton looks. Many brands with completely different philosophies, aesthetic appeal or even generational references – like Versace and Andrea Pompilio – were seen embracing the same choices. It kind of makes you wonder, doesn’t it?

Francesca Crippa 
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17/06/2014

Ever Changing Stripes

Stripes are considered both a fashion classic and a fickle trend. Right now light blue and white stripes are the stripe to strive for. In the resort collections of 2015, stripes were seen on the runways of Mulberry, 3.1. Philip Lim and Gucci who updated the famous Breton sweater by introducing embroideries and different colors. However the novelty and classical aspect of the stripe does not change its tragic past: a history of décor that originates in politics and death.

During the Middle Ages – when the striped pattern first appeared – a discontent for the chaos the stripes mimicked grew, thus leading to a restriction in their use. Stripes became known as the pattern of evil, even causing people to be killed simply for wearing stripes, with the only people allowed to wear them being criminals and prostitutes. Then, during the late 1800s a fashion shift occurred and the nautical stripes became widely popular after Queen Victoria dressed her four year old son in a sailor suit with stripes. The Queen’s popularity brought the stripe out of the shadow.

However, we had to wait for the fashion genius Coco Chanel to bring the stripe into the 20th century. Referencing the French marine uniforms, Chanel created a collection which made the stripe a pattern of elegance and sophistication during the 1920s. Artists such as Picasso and Warhol helped immortalize the pattern further, reviving it in the male wardrobe. During the 1960s the stripe became the pattern of choice for hippies and movie stars alike and would become a symbol of the Beatnik Generation. In the 1990s the stripe made a statement of professionalism as it made its way into the business world. However, even though the sophisticated, slender version of stripes could even be seen on suits, its iconic flair remained a symbol of subculture groups, especially when paired with plaid shirts for the grunge-obsessed.

Based on its rich history and stratified evolution, the versatility of stripes makes it interesting even today. From catwalk to street style, the stripe has become timeless, minimalistic and elegant while still representing subtle rebellion, creating unity across genres and styles. The appeal resides in the simplicity and adaptability of this everlasting pattern, undoubtedly keeping it around for many more seasons to come.

Victoria Edman 
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10/06/2014

Did You Say Monochromatic?

The definition of monochromatic in fashion simply means featuring a lighter and darker version of the same color. Or even choosing all the pieces of the exactly same shade. Although we recently saw a big come back of color blocking, the difference between the two trends is substantial. The first one requires creating a bright and effective combination between two different tinctures, which is not as easy as it may seem. In the second case, instead, your goal is just choosing the right hues of the same color and combining them together. It monochromatic trick might be simple and elementary when the colors are neutral, a little bit more difficult if you aim for bolder tones.

For the ultimate inspiration, one should have a look at the last fashion shows,for Spring-Summer 2014, where, in fact, many designers have chosen a monochromatic approach. In New York we saw a sequence of bright colors at Ralph Lauren’s show, from freesia yellow to venetian red; in Paris we took a long calm breath at Felipe Oliveira Baptista who created relaxing shades of green and blue, giving space both to jumpsuits, long dress and extra large coats.

Paul Smith continued on his colorful path, the one started with Autumn-Winter 2013-14 collection, where he showed his mastery in powerful color blocking. This time around he made it simple by combining the exactly same shade of a single color on his masculine and comfy suits. Maison Martin Margiela has always supported the trend and for SS 2014 gave us a few looks composed of trousers and long sleeved shirts, for a minimal yet chic result, especially in burgundy.

Francesca Crippa 
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03/06/2014

The Conquest of Plissé

The plissé has conquered SS 2014 catwalks: taking over just every style and form – geometric shapes, a sporty flair, romantic and metal shades – the trend seems to live one of its golden times. As with almost any other fashion trend, the interest in pleated fabrics has a quite long history. Looking as far back as to old Egyptians and ancient Greeks, one can find interesting images portraying long wrap skirts and tunics. At the beginning of the 90s, Issey Miyake, the Japanese designer most known for his perpetual use of plissé, took inspiration from Mariano Fortuny, the inventor of the legendary Delphos robe, in turn a representation of the charioteer of Delphi.

Nearly two decades later, this year we have enjoyed quite a lot of plissé on the catwalks: we admired the sculptured and refined pleated details such as the decorative frills on the clothing of Dries Van Noten; sporty and preppy lines created by Ports 1961; and, again, shimmering yet minimal choices of Proenza Schouler. For Dior, Raf Simons, keeps digging deep into the Maison’s roots, offering a contemporary interpretation of the New Look collection by making clothes shorter with an added modern twist.

Bringing back the plissé, a technique that requires hours of patience and high ability in craftsmanship, can be understood as a call for bringing the quality back in fashion. Playing with something so hard to obtain, is a sort of a demonstration that deep knowledge and skill should always prevail over colossal industries and low quality.

Francesca Crippa 
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27/05/2014

When Fashion Meets Boardsports

We have already talked about the tricky relationship between skateboards and the fashion world. What we did not yet mention is another, wider, link between boardsports and glamour. In order to frame this highly fascinating trend and uncover its secret language, ideas and origins, we need to travel back in time and start from the very beginning.

Yohji Yamamoto was the first designer who saw beyond clear distinctions between high-end fashion and sportswear and, back in 2000s, started an innovative collaboration with Adidas, breaking down the distance between one world and the other. More than ten years have passed since that first collaboration, a decade where the boundaries have become more and more misty: think about Stella McCartney x Adidas, Alexander McQueen x Puma along with many others.

Even though the focus of the last fashion seasons is more on technical fabrics, there is quite a huge trend on boardsports, too. From big names like Marc Jacobs or Isabel Marant to name just a few, who created their own decks, to Missoni’s catwalk, where we saw male models walking in comfy and relaxed surfer looks, up to Chanel’s sport line composed, unexpectedly, of snowboards and ski attire.

Often, the interpretation of sportswear is only a matter of coolness – fashion brands want to embrace the philosophy and the attitude of sporty people – the way they can be extremely cool without much thought. Other times, they share a very similar vision of the craftsmanship and the authenticity of their labels. This is the case of the last capsule collection created by President’s and Atypical. A high-quality Made in Italy clothing line united its forces with an emerging skateboard brand based on craftsmanship. The final result of their collaboration, aims at integrating a wider concept of quality into the end product, rather than simply mimicking or evoking a far away, distant world.

Francesca Crippa 
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20/05/2014

Runways in Full Bloom

There are certain trends that never disappear, and one of those is certainly the floral prints obsession. Even though we have seen plenty of flower gowns, both throughout the history of fashion as well as on the catwalk, the latest runway shows have managed to surprise us with the introduction of 3D floral patterns.

It’s easy to find the link between newest trends and the traditional embellishment techniques, such as embroidery or appliqué, which see their origins long before the Middle Ages. At that time, its purpose was twofold: firstly, it was used as an aesthetic device in order to make clothes look more expensive and precious than they really were, secondly, it was applied to cover the underlying structure. Even though this use is now long forgotten, the lavish effect still provokes a surprising feeling.

Looking deeper into the trends proposed for Spring-Summer 2014 collections, the upcoming Greek fashion designer, Mary Katrantzou, opted for volumes obtained through the use of structured silk decorated with intricate 3D embellishments. Dolce&Gabbana followed the same line of thought, though in a more classical manner. The show’s atmosphere was particularly delicate and the floral detailing contributed in underlining the romantic mood of the runway.

The real revelation this time was Marni. Designer Consuelo Castiglioni, known for her witty and edgy view of fashion, created tridimensional skirts and dresses that appeared almost like actual blooming bushes. Paired with sporty accessories – slippers at the models’ feet and visors on their heads – this romantic look was given a contemporary and unexpected flair.

Francesca Crippa 
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13/06/2011

The Editorial: Scally Drag, Dandy & Fashion Future

The Editorial: Scally Drag, Dandy & Fashion Future

Under the header “Let’s Push Things Forward” in the current issue of i-D, Jo-Ann Furniss gorgeously summed up the uneasy tension that is men’s fashion. Her jam-packed paragraph touches on fashion’s current state of flux, and brilliantly points out that “There are two big battles to fight here: against the ‘gentleman’s wardrobe’ and ‘scally drag.’” She goes on to say she’d like to say “fuck you” to them both.

Harsh words. Count us in.

So on the eve of Pitti, as Florence’s hotels and bars are filled with international dandies and their punctilious wardrobes, Scott Schuman is likely licking his chops. Florence (especially during Pitti) doesn’t have to worry much about scally drag (unlike London and Milan), but it’s clear on a Pitti stroll through the Fortezza that the dandy paradigm has stagnated. The gentleman’s uniform has gelled around a vague mixture of midcentury, and the requisite neatly buttoned shirts, rich fabrics, formal accessories, and a subscription to Monocle. Pitti is The Sartorialist’s day in the sun. And his photos of the event’s looks are exactly the same from year to year. Yawn.

Now, gentlemanly attire is lovely up to a certain point. The return to formal elegance after decades of slop has been a much-needed swing of the pendulum back in the right direction. And the inspirations for the gentleman’s wardrobe are truly eternal: they are the bedrock of men’s fashion, and the undiluted points of departure from which all mens fashion invariably draws. Just as the Leica rangefinder’s pure, functional form has survived countless iterations (and inspired gorgeous modern interpretations like the Olympus Pen and the Fujifilm X100), classic men’s fashion is a paragon of aesthetic balance.

And just imagine how much more lovely travelling would be if the dowdy, number-crunching, cheap-suit-wearing masses of businessmen roaming the world’s airports looked more like their grandfathers and less like they just hit the bargain bin at Coin or Primark or Sears… But is a constant succession of warmed-over and refracted rehashes the most we can hope for?

Bruna Kazinoti for Quest. Somewhere beautiful between sartorial between dark, dandy and flamboyant.

Scally drag – perhaps the most beautifully succinct way to describe the over-the-top looks endemic among party kids and rampant on Lookbook (bravo, Jo-Ann) – is quite another story. It is clearly symptomatic of our copy and paste culture. We appropriate and share anything from anyone in vain attempts to rise to popularity on networks driven by “hypes” and “likes” and “reblogs.” The new and false sense of individualism social networks bring counterintuitively makes us all less unique. And, logically, since flamboyance is generally the most effective means of standing out, scally drag is the unfortunate result of the whole world resembling a giant high school.

The cacophonous visual and cultural landscape of our generation means that fashion has fewer solid fountains of influence to draw from. Generations are no longer united by one cultural wave or by one group of influential artists. Fashion, by nature is iconoclastic and rebellious, but scally drag makes clear that fashion today isn’t quite sure what it might be rebelling against. And despite its supreme connection to the zeitgeist, scally drag is just too trashy to drive fashion forward . Ashes to ashes. Dust to dust. Trash to trash. Shock is dead.

But to its credit, the flamboyance is a powerful fight against the almost oppressive new elegance of its gentlemanly opposite.

Earlier in her mini-rant, Jo-Ann says, “I want to see something new that completely slaps me around the face and challenges me in the men’s world; a point of view that feels like it’s coming from a new generation and not just following an older one.” She goes on to cite a tension between auteurs and brands, but it’s rather this tension between beige dandy and flamboyance that could prove most important for fashion’s future.

Vicky Trombetta. Remix and masculinity for the future.

We hope that the two poles somehow begin to look forwards, instead of simply backwards (the dandies) and narcissistically inwards (the scallies). “There needs to be something else. Masculinity is more complex than that.”

Here’s hoping for some pleasant surprises from Pitti this year.

Tag Christof – Images courtesy 2DM / Bruna Kazinoti & Vicky Trombetta
  

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