new days of disco

new days of disco

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new days of disco

Climate Week just kicked off in New York, when half of the city’s fashion journalists, retailers and related style professionals boarded a Delta flight to Milan – for the first time since February 2020, just before the world came to a halt due to the virus. . . Despite all the buzz about sustainability in the industry, especially once the pandemic called for a re-evaluation of old practices, no one mentioned carbon credits. People were too busy to be excited and a little worried about traveling again.

“It’s disturbing,” Jonathan Anderson said via Zoom earlier that day. He wasn’t talking about flying, but about “the idea should go back to what it was before.” The two are not unrelated. He was explaining why he had decided to drop a show for his JW Anderson brand and, more broadly, what fashion represents: an attempt to spoil the mood of the moment.

“How can we come out of this pandemic that hasn’t changed?” Anderson said. “I didn’t want to rush.”

new days of disco Max Mara, model backstage during the Spring 2022 show, during Milan Fashion Week in Milan on Thursday. (Valerio Mezzanotti/The New York Times)

Instead they created a sort of “Black Mirror” version of the Pirelli calendar — you know, the one you hang on an actual wall — painted by and starring a bikini-clad Juergen Taylor, as well as highly ruffled knits, patented by JWA. The collection includes slip dresses with shoe-buckle straps and sheer lace shirting, all set among tiered plants.

Peekaboo is not what it used to be. There is a lot that really isn’t.

However, as the Milan show debuted, the first full in-person European ready-to-wear season in a year and a half, you wouldn’t know it.

It’s that simple – so much fun! So little of a downer! – Jumping back to the deep end with clothes and peacocks on the road; Not to wrestle with the awkward questions of what it means to sell goods and maintain sustainability at the same time; The willingness to question intentions and replace a robust system that is extremely profitable for some.

It’s more fun to eat pasta and bask in the sun, as Italy is mostly open to those who can show proof of vaccination, and Italians are really good about wearing masks and, at least on shows, socializing. Chairs are set up from the far side.

And honestly, it was fun watching Kim Jones’ first live show for Fendi. A quasi ode to the new days of disco, this made dancing on the lip of a volcano—or a table, for that matter—sound like a great idea. It made all those predictions about a coming era that echoed the 1920s that inspired the ’60s and ’70s. Or leeks, really.

On the Marathon Fendi runway at its headquarters — the longest in Milan, according to the brand — Jones had built giant metal arches, reflected in a mirrored wall, to create an endless aisle of glam. and sleek tuxedo tailoring and kaftans with swirls of black brushstrokes to better reflect that; Strapless pastel scarf gowns and cocktail dresses, dripping tiers of silk fringe, even shearling chubby, most of the collection engraved with Pop Art profiles of women drawn between 1969 and 1972 by illustrator Antonio López (López ex Fendi Has been a favorite of designer Karl Lagerfeld) )

Faces were embodied in interracial squiggles in thigh-high leather boots and a thigh-cropped leather mini; in mink with a few polka dots of red lips; in lame and silk; In a conceptual game of hide and seek. It was the lightest show in both mood and content that Jones has done since joining the brand, and was an undeniable invitation to the party.

Wow?

That’s also where Fausto Puglisi was going with his first Roberto Cavalli collection: for some big fantasy bash in the wild kingdom, with leopard spots and tiger and zebra stripes. Often all in the same apparel, spaghetti-strap gown or body-con mini or pantsuit, no matter what—all the way up to the claw-heeled shoes. The brand has a history of animal print, so you can understand what Pugliese was thinking. Although at this point it was hard to see so many animal prints and not even think “Joe Exotic”. Which probably suggests that it was time to think twice.

At least when it comes to the natural world, Alberta Ferretti remained a bit more abstract, using butterflies as a metaphor and crochet and macrame as a medium in an easy play on sueting and chiffon.

A model poses at the Spring 2022 show Alberta Ferretti during Milan Fashion Week in Milan on Wednesday. (Valerio Mezzanotti/The New York Times)

However, there were Luke and Lucy Meier in Jil Sander, engaged with the ambivalence between the utterly gravitationally drawn-back and monotonous sense that it is necessary to rethink how things are done. or worn.

(Max Mara summed it up in his show notes as “luxury hotel survival,” whose runway featured athletic netting and ’60s minis, dark denim printed with the brand’s name in ornate block letters and deck chair straps, Was hooked up to the luggage straps. All.)

The oversize sander isn’t so much into tailoring – the jacket is cut to cover, with a sort of exaggerated priest’s collar-cum-bandana – or even white shirts with their own built-ins. Shirt corsetry hugs the hips. But the combination of two puff-sleeve organza shift dresses embroidered with fuzzy pastel paisley and glitter like a fairy-tail nighty and canvas painter’s pants. Hems are already scorched.

“Stress is an energy,” Meyers wrote in her show notes. Making it appear attractive rather than confusing is a skill. This is a way to fly.

This article originally appeared in The New York Times.

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