MFW | Autumn Winter 17 | Day 2
| Max Mara |
You can feel like a broken record saying how fantastic Max Mara’s coats are season after season. This is what people want from the brand. Natasha Poly walked in a velvety, crimson oversized tailored coat, followed by Gigi Hadid in a long crimson shearling. Then came Lily Donaldson in red ribbed knits over a red velvet pencil skirt. Isabeli Fontana and Eniko Mihalik enhanced the swagger innate to the collection’s arch bombshell silhouettes.
Underneath the coats, which went on to include more intense shearlings, long cashmere capes, fuzzy teddy bear styles, a pinstriped trench, and tailored hybrids of shearling and bonded knits, were chicly conservative separates, such as a turtleneck and full tailored skirt or trousers. Each look was tonal, done in crimson, brown, gray, camel, gold and black.
| Luisa Beccaria |
Luisa Beccaria and her daughter Lucilla Bonaccorsi portrayed fairies living in an enchanted forest for their fall collection. Leaves appeared as prints, embroideries and also as jacquard motifs on a wide range of beautiful dresses, from fluid designs to voluminous ball gowns, all crafted in tulle, silk chiffon or opulent brocades. A more daytime approach resulted in the flared skirts, culottes and blazers in mannish tweed fabrics; they had an old-school British feel that beautifully contrasted with the hyper-feminine pieces punctuated by delicate flowers. Blown Murano-glass tiaras decorated the hair of the models, adding to the air of grace and romantic sophistication.
| Fendi |
Silvia Venturini Fendi unpopped the lid of her Lego box for this playful collection of sports-inspired silhouettes in primary brights and animal patterns with a Pop Art spirit. The designers this season are determined to keep things real. Fendi being one of them. Backstage before the show, she discussed her approach to fall in what could be the mantra for Italian designers this season: “It’s very simple — desirable clothes for everyday life.”
| Emilio Pucci |
Eager to expand beyond Pucci prints, Massimo Giorgetti has been digging into the “total color” side of the house.
“I will always love print,” he said before the But Emilio Pucci can be a color brand, optimistic and positive.” - Massimo Giorgetti
An orange wrapped dress with a smattering of long fringe for swing, just enough color and movement. The split-pea green sequined top cuffed with fringe so long it dragged on the ground alongside mint green pants. And the various looks worn with floppy-brimmed cashmere hats trimmed in floor-length, fringe that covered the face like a jellyfish. These pieces were “fun,” but the silliness landed neither here nor there within the theme of the show.
| Les Copains |
Talk about La La Land: The show notes at Les Copains announced that its fall collection revolved around a woman who “exists between a dreamy world filled with stars and butterflies and the nightclubs where she lives out her fantasies.” It compared this fictional heroine to Alice in Wonderland or Dorothy in “The Wizard of Oz.” Creative director Stefania Bandiera worked a faintly retro vibe with items including a bustier dress topped with a barely there, filmy black crop top. She played with contrasting textures, working spider’s web mohair knits into featherlight dresses, or pairing a chunky cream ribbed sweater with a sheer nude wrap skirt embroidered with stars.
| Prada |
It was fabulous. Let’s get that out of the way early. Miuccia Prada is a great designer with big thoughts in her head, a combination that makes for compelling runway action. She is committed to a belief system centered on feminist issues and the ways in which women are perceived, her first priority is to deliver major fashion.
The set featured an undulating wooden partition creating small spaces furnished with benches and random beds with posters and signage of women in various capacities covering the walls. It was all likely sprung from deep, meaningful thoughts, but nothing too obviously political.
| Moschino |
Oh, to be a fly on the wall for the professional conversations that must go on at Moschino. There were many rewarding sight at Jeremy Scott’s “cardboard couture” collection built around the idea of a rich clotheshorse who’s gone dead broke.
The show opened with models in neat suits and jackets made to resemble packing materials: a cardboard suit trimmed in packing tape; a sack dress that was literally a sack; boots that looked like corrugated cardboard and suits made out of moving blankets, all of it done in riffs on classic lady silhouettes. Then, came wildly printed ensembles meant to be torn up Moschino magazine editorials fashioned into fashion. That was actually the most underwhelming portion of the show, but Scott kicked it into high gear for the finale.
Scott’s concepts are familiar, perhaps formulaic. Asked what put him in the mood for a down-and-out moment.
“I mean, look where we are. If these ain’t hard times, I don’t know what they are. It’s a very astute time in politics in America.” - Jeremy Scott.