The Dolce & Gabbana Spring ready-to-wear show was a good vantage point for observing how the old-fashioned runway system is being questioned—pushed by digital technology to the brink of falling apart.Here to say that Stefano Gabbana and Domenico Dolce were the first enthusiasts of the changing media – live-streaming, bloggers on front row-while also becoming pioneers of the excessively luxuriant “experiential” travel habit and this has now taken over the summer schedule.Anyway, they have been Italian fashion’s best advocates for bringing the outside in and in outside- thanks to the invention of mobile phone cameras, all this details, movement, history, and exuberance can be captured, shared and treasured by all. But back to their spring/summer collection.This was a traditional show. After the real dancers, came the models, walking single file, not much smiling. The looks are demonstrated all of the values of the „Italianate“ house, the prints on the dresses , like a pasta, seafood, gelato and tomatos ( pomodori pelati) and same time the incredible embellishment of the sequined, toy soldier glittering military jackets.
Versace S/S 2017 is about the nylon techno fabrics which are threaded with drawstrings, pulled and ruched into a couple of asymmetrically sexy dresses in green and navy blue.Is about rainwear chopped into an awesome jacket and matching miniskirt diagonally bisected with snaps; leather blouson with souped-up nylon track pants.Versace is a Naomi Campbell on the runway.
But first see the collection, the show review will be posted later.
Plein’s set was a pastiche: of Lewis Carroll magic mushrooms, of a giant garden troll with “pimp” spelled out across his shirt and Plein’s double-P logo on his hat, of ice cream trucks, of a bare-chested landscaper, and of sudsed-up shirtless car wash men. A quartet of young kids scampered around eating candy and knocking over a lamppost, oblivious to the NC-17 lyrics on the sound system. The handymen who fixed that lamppost wore shirts. Giant carnival swings towered over it all. Every Plein’s show is an event, He had a roller coaster on his Fall 2015 runway. A year before that he hired Rita Ora to emerge from a smoking car and sing “Facemelt.” This time it was Fergie and friends who kicked things off, propped up on the back of a low-rider convertible.
Katrantzou’s earliest collections, rich with dazzling trompe l’oeil, created one of the most distinctive design signatures of the past decade, so distinctive, in fact, that her efforts to move on have been dogged by that early success. With her spring/summer 2017 collection, Mary Katrantzou snapped back to own who she is: a great print designer, and a Greek one.“It’s funny, I never wanted to use classical Greek art, because being from there, it seemed too obvious,” she said with a shrug after her show. “But this time, I thought, ‘Why not?’She looked back to her childhood visit to the ancient palace of Knossos, on Crete, the center of the Minoan civilization. Mary Katrantzou transposed the profiles of Minoan goddesses onto the bodices of dresses and printed them onto shimmery chain-mail tunics.
After Couture shows in Paris, Fendi shuttled guests by plane to Rome for their Haute Fourrure fall/winter 2016 show . Fendi secured the Trevi Fountain ofLa Dolce Vitafame for the Event. The fountains turned on, and the models started their march over a see-through runway built on top of its pools.Surely it will go down as one of the most majestic show venues ever.There were 46 looks.The 5,000 hand-cut holes that turned the rose-color persian lamb of a long dress into lace. The lynx jacket in delicate shadows of pink, the absolutely miniscule squares of mink that took 1,200 work hours to stitch together mosaic-style into a magical forest scene,crocheted dresses on a base of tulle were embroidered with swatches of mink and fringed leather.Lagerfeld found his starting point in a 1914 book of fairy tales illustrated by the Danish artist Kay Nielsen.“I called the show Legends and Fairy Tales,because it’s a collection that doesn’t relate to everybody like ready-to-wear, this is very special for people who have a special kind of life.”
In his third couture collection- Schiaparelli Haute Couture F/W 2016– Guyon explored Schiaparelli’s summer 1938 circus show, a collection so iconic he expressed anxiety at the thought of reprising it. The risk paid off. It was his best judged effort so far, faithful in spirit and silhouette to Schiaparelli’s work, but not slavish about it.The collection was rather subdued, with elegant, even streamlined black and midnight blue tailoring and dresses. Guyon said he found many pieces in the archive in that deep shade of navy. The two nods in Schiaparelli’s eccentric direction were the extreme, built-up shoulder constructions and the lighthearted, somewhat surrealistic jewelry.
Donatella Versace presented her Fall 2016 Atelier Versace collection in Paris on Sunday, bringing with her a cast of supermodels and front row celebrities. Everything about Sunday’s show was social media friendly, from the venue to the front row – some names only!-Naomi Campbell,Bradley Cooperand Jennifer Garner- to the casting-models like Mariacarla Boscono, Sasha Pivovarova, Iselin Steiro, Joan Smalls, Irina Shayk, Carolyn Murphy. Bella Hadid and Taylor Hill represented the new guard of modeling It girls on the Versace catwalk.Karen Elson opened the show-wrapped in cashmere and duchess satin coat, casually belted at the waist, revealing only her right shoulder. It was followed by more outerwear, in burgundy and baby blue, another risky colour combination that actually worked. The intricacies of draping, wrapping, and folding were explored in the collection, with pieces curving around the body to crate intricate shapes and silhouettes.There was great tailoring in the shape of two-piece suits with draped portrait collars and duchess satin skin tight overalls and asymmetrical dresses .