“My shoes are Rossi, Sergio Rossi”. Here’s what we could be saying next winter.
The FW 2016/2017 collection designed by Angelo Ruggeri is almost completely black and clearly inspired by secret agents, spies, soldiers and trekkers.
This is going to be the perfect line of accessories for a charming man in need to go to an exclusive party, run away, fight, catch an helicopter jumping from the terrace, climb a mountain, kill the evil guy and then lay in front of a fireplace.
Maybe this is not daily life, but for many a daily dream.
The show we saw a few days ago in was Milan truly a surprise. Despite it felt undoubtedly “Costume”, this time around Ennio Capasa painted his dark canvas with sporadic touches of flashy colors like fire engine red, cobalt blue and chlorophyll green. Not to mention the artisanal “couture” touches, intricate embroidery as well as an elaborate use of studs.
Like in a rock show, the colors acted as spotlights, and spotlights make you discover something that was hidden, underlining once again the mysterious power of darkness.
With the current SS collection Paula Cademartori is showing that she’s not just an “emerging designer” anymore, but a full grown-up creative and entrepreneurial mind.
Bags, shoes and small leather accessories are slowly and inexorably creating a real fashion world, ready to be expanded in several directions. Her vision is clear and her approach is that of an established brand.
It’s not anymore just about color and fun, but here we’re seeing style, class, elegance, irony, something pretty rare and unusual in the landscape of young fashion.
“Detachment, introspection, distance” are the keywords of the new collection of Lucio Vanotti. And those are also the anti-keywords of the social media age, the perfect antonyms of “sharing, visibility, contact”.
Is this the antidote to the overexposure that fashion is experiencing these days? Probably this is what Giorgio Armani thought when he had to chose one young designer for his initiative in supporting young talents.
Vanotti’s collection is mature and down to earth, perfectly fine-tuned with the contemporary world but courageous and experimental when it comes to shapes, cuts and proportions. After the catwalk, many people in the theatre thought that Lucio would make a very good heir to the design legacy of Gorgeous Giorgio.
Once upon a time, there was young tailor who decided to move from Naples to Soragna, a small town in the north of Italy. Thanks to his skill and passion, the tailor’s little workshop grew and eventually became a factory capable of making beautiful suits for the country’s most elegant men. Caruso CEO, Umberto Angeloni, understands the story to be a real life fairytale, and has turned it into a pop-up book. “Manufacturing Renaissance” is a vibrant tome, conceived by Angeloni himself and curated by Sergio Colantuoni with illustrations by Evelina Floris.
The first portion of the book is dedicated to the beginning of Raffaele Caruso’s adventure. He left the sunny shores of the Naples in 1958 to open a small laboratory in the foggy flatland of northern Italy. Computers and fabrics explode from the pages of the book, reflecting the way Italian menswear is able to fine-tune itself with the latest technology. The Caruso Boys suddenly appear in the book as the true protagonists, and the leads in recent evolutions of the brand. The modern characters of this fairytale are a cosmopolitan melange of contemporary globetrotters that also appear in the latest Caruso advertising campaign.
The final chapter is dedicated to the brand’s new identity—recently becoming Fabbrica Sartoriale Italiana, a conglomerate of 14 manufacturing realities that consists of 600 people, able to produce more than 120,000 pieces of outerwear a year. The once small workshop with one master tailor and two assistants is now a bonafide global fashion force.
“Manufacturing Renaissance” is availably at the new Caruso flagship store in Milan, via Gesù 4.
Arthur Arbesser has some interesting ideas about fashion, and it’s getting clearer and clearer with each collection.
For the next Autumn/Winter he’s proposing a delicate balance of lengths, balances, volumes that really feels out of time. Who cares about the main trends, who cares about the season, who cares about moments and occasions. Arthur (who is also competing for the LVMH Prize) shows there’s an independent and alternative way to get things done, without dramas, chocks and peacock-like costumes.
Difficile parlare di moda e cultura oggi. È difficile citare senza copiare, difficile raccontare il già visto senza sembrare noiosi, difficile affrontare le icone senza essere leziosi.
John Varvatos fa eccezione. Da buon americano non ha paura di raccontare il passato con la giusta distanza, riesce a prendere il suo heritage e a giocarci. Per la collezione PE 2015 è partito dai Queen, in particolare da “A Night at the Opera“, portando nell’abbigliamento da giorno quello che di solito si trova di sera. Così ha usato tessuti chiari e stropicciati, ma con le forme tipiche delle giacche e dei gilet che si possono vedere alla Scala o al Met.
Il risultato è credibile e divertente, fatto di costruzioni ben studiate, forme lineari e nette, che ben si sposano con uno tocco leggero e rilassato. Ma soprattutto abbiamo visto uno stile genuinamente maschile, per niente ambiguo, in cui anche i fiori di stoffa applicati al bavero della giacca non ricordano Chanel, ma un deciso gesto rock, al limite del punk, capace di dimostrare una profonda conoscenza di quello di cui si sta parlando.