Milan opens with Diesel, Cavalli, Del Core and Alberta Ferretti
One day after the dressed up and theatrical London season finished, Milan presented catwalks of sinful chic. Forget all the dramaturgical dressing of the UK, here in Italy they want devil-may-care damsels.
Diesel: Denim restoration
Denim, denim and more denim, and most of it spectacularly good in the debut runway collection by Glenn Martens for Diesel, presented with gusto before five giant inflatable statues attired in jeans, the size of a trailer, all finished with Diesel logos.
Denim in all its worn glory – from the barely there ragged pocket jeans worn with denim brad and the oversized matelassé hipster pants to the carved up faded patchwork cocktails worn with denim dragoon boots and the bad boy western dusters.
The show opened with an Asian beauty in ragged, oversized jeans, boots and mini bra all in washed denim, showing twice as much tummy as seen in any show in London last weekend.
Parkas came covered in linen or lace made to look like plaster, while over oversized coats were composed of denim residue made into a fabric that looked like the shaggiest shearling possible.
Glenn’s naughtiest boldest idea – the new logo miniskirts; scarcely seven inches deep, and consisting essentially of one wide Lonsdale style belt, held on by Velcro, and finished with a big sliding D logo. They came in spongy leather and, of course, denim
“It makes access a lot easier!” chuckled Martens, as he mocked pulling the mini off with a wiggle.
Presented in a giant hangar in south Milan, the show featured a cool Goldfinger moment – a trio of models in figure-hugging dyed denim suits; their legs, shoes, face and hair all in matching colors – first in rose gold, then in cooper and finally in metallic violet. Where was James Bond when you needed him?
Post show, Diesel patron Renzo Rosso greeted guests in an ebullient mood. Last week, his group OTB, whose biggest asset is Diesel, reported a 16.2% increase in annual revenues to 1.62 billion euros. Today, Diesel opened the Milan runway season with its strongest collection in many years.
“It’s been a hell of a lot of work, but we got there. It’s the New Diesel!” said an obviously delighted Renzo Rosso.
Roberto Cavalli: From the Bourbons to bondage
Bondage and black roses at Cavalli, with a bodycon, full-blooded display of posh raunchy glamor by Fausto Puglisi in his second runway display for the house.
A dozen high-end S&M looks – chopped up lycra tops and leggings worn with a naughty multi-strap minis and tough biker boots. The footwear finished with big gold metal roses. Or taught silk tops intersected with “fabric bars”, and loafers finished with more huge roses. Inspired by the porcelain boudoir of Marie Sophie of Bourbon, the last queen of Naples, who rumor had it would receive King Francis II as if he were one of her lovers.
Fausto blended gold with black throughout – with a golden slip dress and choker anchored by black shoes finished with more golden metal and ceramic roses. Followed by a burnished gold biker blouson with mini skirt and tube bra.
Puglisi also rifled through Roberto’s DNA with gusto – sending out leopard velvet dressing gowns and matching skirts cut up the hip; or a cheetah prints bodystocking that blended into sabre-tooth heel booties.
And he passed through new frontiers with cool tartans, culled from classic plaids created exclusively for Queen Elizabeth. And sent out mohair mixed tartan coats and capes.
“I wanted to people to think about the fun they had, and to imagine all the fun they are going to have,” beamed Puglisi in the backstage of the redbrick 19th century warehouse.
Del Core: Futurist society hostesses
On Wednesday, he invited a small coterie of editors and buyers into main atrium of business school Bocconi, kitted out with faux wrought iron statues, all draped in huge swathes of pale green. More like a stage set than a runway, just like the clothes, hyper theatrical looks better suited for a soon-to-be-filmed movie about futurist society hostesses.
Though known as a savvy colorist, most of Del Core’s opening salvo was black, and most of it very haunting.
A blend of art gallery owner, art collector and gallerina. The first in sculptural parkas and rose pink knit cocktails. The clients next in gorgeous jumpsuits finished with Klondike bear white diagonal stripes or billowing gold stripes dress that recalled Brâncuși sculptures. The gallerina gals in black silk brassieres, full-flowing pants, massive Jesuitical sleeves or cutaway sheathes.
Most looks featured Del Core’s ballooning sleeves adding a couture silhouette to cerebral ready-to-wear.
Ever addicted to fauna shapes, Del Core’s finale was outstanding – like the beaten golden silk caban cut like two fronds or the multi-ruffle plissé pink floral concoction sprinkled with jade. Andrea entitled the collection, Chrysalis Corrosion. Modernist bird of paradise at its best.
Alberta Ferretti: Soft feminism with assurance
Romantic and gentle feminine style at Alberta Ferretti, who developed an enveloping silhouette to create a collection a grace and distinction.
Though known primarily as a great dressmaker, this season the heart of the collection were Alberta’s great new double pleated volume pants in royal blue velvet or creamy steel gray cashmere. Velvet trousers in midnight blue and imperial roman purple followed, paired with faux-fur coats and Mongolian pelouche-edged capes.
The cast very much youthful future grand dame in their silvery lurex and wool knits, leather perfectos and velvet intarsia coats.
Presented in a former barracks in south Milan, the collection as far from prim. As the show climaxed with layered black chiffon mini cocktails, sparkling triangular sequined dresses and a brilliantly skimpy pewter silk plissé sheath worn with thigh boots worn by model Lineisy Montero that produced a collective murmur of awe from the audience.
A look that also summarized how light years apart Milan is from London. Long live the difference.
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