Short or long , the dress dominates MILANO MODA DONNA SEPTEMBER 24th 2011
Usual “Lunch at Bottega Veneta” for the fourth day of MILANO MODA DONNA. Thomas Meyer presented a confident and metropolitan woman. Simple shapes and chaste length. Midi skirts, essential bikers and one shoulder or V-neck sheath dresses.
The construction makes the difference. Matches of haute-couture fabrics, technical canvas and leather. Marble prints go from periwinkle to indigo, from deep blue to underwood green, on a black background. Remarkable are the dresses colored and shaded, very feminine, declining in the hot shades of reds and oranges.
Jill Sander’s total white hall is minimal-Zen. Public wait is palpable. The fashion show opens on sophisticated electronic notes of “Love on the Beat” by Serge Gainsbourg. Then the appearance of algid and ethereal models, dressed in a resolute and severe way. Midi and below the knee skirts, shirt gowns, round-necks, Bermuda shorts, veils. The reference color is optical white, which opens and closes the fashion show.
Mat shades are present: pine green, cyclamen pink, acid yellow. Choice unexpected the cashmere and madras print, purified and simplified in black + white, green + acid yellow, wisteria and light blue. Shoes have heels and tips softly squared. Final ovation for the last walk: the “virgin brides”, in white gowns with flared skirts, waist underlined and shirt necks. Deserved applauses for Raf Simmons, also by a pleased Anne Wintour.
Hyper feminine and 20’ style for Emporio Armani woman. Trouser suits, soft dresses, three quarter flowing skirts. Fluctuating volumes, translucence, edges and crossing of fabric. All black and white. Brim hats give strength.
Chromatic masterpiece that one of Biancamaria Gervasio for Mila Schon that shows at Circolo Filologico. Palettes of full colors, deliberately combined: light coral + goose beak, hazelnut + pale pink, yellow sunshine + dark blue green. European and oriental inspirations with harmonic balance between lines and concept. Clothes develop among impalpable fabric petals, precise folds and graphic patterns. Pant skirts, trapezium dresses, sandals with cone-shaped heels and, for the hair, funny oversize headbands.
Vaguely “gipsy” Emilio Pucci’s woman. Wide large skirts semi-transparent in black and ruby red prints; tribal patterns are far away from classical Pucci, but make sense and solidity. Short and top nude shoulders highlight the rosary with crucifix around models’ neck. Ter Et Bantine revisits the concept man/woman where feminine imagination is suggested by ’50 almost couture shapes, declined on men’s type outfits. Men’s blazer worn as mini-dresses, turned-up trousers, wide shirts and skirts are the main points of the collection. Ecru, mad, lime and clay nuances rotate on blue. Break point are tight shoes colored like marker pens.
Silvio Betterelli, in Pirelli hall in Palazzo Clerici, one of Camera Nazionale della Moda Italiana locations, presents a cautious and never extreme collection. Simple lines define the silhouette while drapes give volume. Spiny flowers prints, micro, macro and matched; black, pale pink, burgundy + cream, chocolate + black, black + sea green, cream + fraises. “Datemi Un Martello” (Give me a hammer) in ghost track version as soundtrack.
Also music chosen by Frankie Morello for his show says a lot: “Ma…Cos’è questa crisi” by Rodolfo De Angelis at the beginning and “C’è crisi” by Bugo at the end. In contrast, the woman the two designers present is irreverent and carefree, to underline a positive look at the future. Historical and artistic wonders of Italy become the theme of the collection. So, “David di Michelangelo”, “Colosseo”, “Torre di Pisa” and “Duomo di Milano” become prints, earrings, clutch bags and sculpture hats: “Souvenir d’Italie”.
Iacopo Crudeli