Milan Fashion Week : The 5 Best Collections From Milan Fashion Week

February 27, 2018





“A procession of transhumans, walking in trancelike step through a suite of operating theaters: Bolted together from the clothing of many cultures, they were Alessandro Michele’s metaphor for how people today construct their identities—a population undergoing self-regeneration through the powers of tech, Hollywood, Instagram, and Gucci. It was sensational—in a disturbing and creepy way—as it set out to probe truths around fashion as a medium for transmitting inner states: a picture of what is happening as human brains have become irradiated in the LED light of the information age.”





“Troubling, dystopian sci-fi experiences are the fashion sensation of the moment; the point of decadence where immersion in ideas seems to supersede or question the validity of the clothes. Prada’s seemed sketchily put together from hefty utilitarian layers of workwear and tulle, assembled entirely from man-made materials, starting with the company’s black Pocono-nylon padded rainwear. What could it mean? Miuccia Prada posits fashion as a live commentary that is eternally suspended in the space between politics, sociology, and commerce, searching as it must for the relevant attractions that will make women buy in the moment. With this collection, she jolted her fashion audience into the realms of performance art; a feminist statement, mashing the bourgeois clothes of her brand signatures to produce a vision that she described as ‘for the strength of women going out in the violence. My dream,’ she said, ‘is for women to be able to go out in the street and not be afraid. I wanted to have the freedom exaggerated.’ ”






“Glamour’s back. The ’80s are being revered. Print and color are in season. Why wouldn’t Donatella be having a great time designing Versace? The Versace archive is a fathomless source of brash, busy, primary-color, pop prints, which young designers revere. The trick here was that Donatella took that encouragement to go all-out with total looks—headscarf to body-con drapery to leggings to print-covered boots. That’s where it got interesting, because while the Versace sexiness is so much a house ‘classic,’ it was the head coverings that refreshed and reinforced the frisson of glamour.” 




“As all fans of Marni know, this is a label that specializes in dresses and vintage-flavored prints. Risso served them up. His ’30s/’40s dresses had the spontaneous air of sampling toiles, perhaps put together from scraps of leftover fabrics lying around the studio—a theme that culminated in two ruched, glittery sequined numbers. There was one moment in this show where Risso did push the aesthetic further along the sustainable route, too. Check out the flecked, felted coat at number 25 in the sequence. It was made from compressed, recycled textiles: a repurposing of carpet underlay or utilitarian insulation material. High fashion needs more of this ethical creativity.”




“Mass marketing took on a holy new dimension in the Catholic ceremony Dolce & Gabbana staged today. The designers called this their Fashion Devotion collection. It was made of everything from exquisitely crafted Vatican City vestment brocades, cut velvet (green, cardinal red, Venetian pink), and sumptuous embroidery all the way down to cheap, profane slogans on sweatshirts and T-shirts appropriated from the aesthetics of the souvenir stall.”


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