Nevermind if Hurricane Florence disrupted some flights, and if the air is so muggy and humid that hair stick out in odd waves on everyone's head and even the best foundation melts and starts flowing down faces in big – unflattering – drops. Fashion Week calls for the city to be on its best behaviour and for the fashion crowd (still hangovered from the finale party in London) to be in their best outfits.
So off we go.
Two are the main news: the first is that Alessandro Michele has decided to do some travelling and orphaned Milan of the Gucci show, which will take place next week in Paris. Everyone is heartbroken. Everyone except, presumably, Alessandro Michele's fellow designers and competitors who can finally enjoy a Gucci free stage which might leave them a bit more room to shine. The second big news is that the Italian fashion chamber, which organises fashion week schedule, was probably concerned with our overweight and lack of physical activity and took the matter in its hands by dislocating shows all over the city and forcing us to run pretty much all the week: Thank you guys.
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Back to the shows. Spring Summer 19 sees the return on board of, Byblos under the shiny new art direction of Manuel Facchini. Facchini decided to celebrate by putting together a show which paid homage to freedom of expression: inspired by the Burning Man – the infamous festival that has been rocking the Nevada Desert every year since 1986, the collection mixes hippie references and futuristic tech garments, fringes and parkas, psychedelic elements and fluidity, in a whirl of bright colours and neon tints: “No boundaries, no restraints”.
On the other hand, Arthur Arbesser bought on stage his longing for order, precision and harmony, perhaps as a sanctuary from the challenges of everyday life. Two are the elements which inspire the collection: the perfect geometry of the graphic experimentations of the Viennese traditions of the early 20th century (which link to the personal history of the designer.) and the sculptural works of Fausto Melotti, who enclosed slender figures in an ethereal space following mathematical rules while allowing himself to be contradicted by heterogeneous rhythms. This results into neat lines for jackets, stark in their sartorial construction, soft shapes for velvet dressing gowns and aprons, transparencies and modesty in an ongoing contrast of rigeur and irony. A relaxing collection, intellectualy driven, strongly creative but also chill and unpretentious.
Jil Sander has but one mantra: Less is More. For SS19 however the designer duo Luke and Lucie Meier took this mantra to the next level: Lesser than less is more. Gone are the sculptural layerings of FW18, the warm seaond is characterised by a ferined minimalism which uses unifroms as a starting point to construct a distressed elegance with androginoous elements. Luke Meier comes from Supreme while Lucie Meier from Dior: it is interesting to see how streetwear elements and pure femininity are both somehow embodied in their current work for Jil Sander. Japanese traditional and contemporary couture could be spotted in details such as Issey Myake- like pleats and giant zori (platform wooden sandals).
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Moncler did us all a favour by serving sake cocktails at its evening party, instantly whiping away the fatigue of a day spent running around. For the second season in a row the brand nailed it by showcasing not just products but also a strong artistic vision, by collaborating with different designers and allowing them to present their work in an experimental manner.
This year all artists used video as a medium: Simone Rocha offered sensuality garden by letting petals and leaves and flowers unfurl on screen. Craig Green explored the sculptural tension and sense of protection of his pieces by unleashing them into a video-space. Noir Kei Ninomiya reconstructed a 3D virtual garment model, while Hiroshi Fujiwara created a cinematic animation that describes an adventure through elements and seasons.
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