Handshakes, hugs, pats on the back, even just the cheek brush that kisses the air – these basic modes of human interaction have stopped it in the epidemic, the yellow alternative of elbow bumps, replaced with waves and glimpses six feet away Of loved ones through glass. We feel a hunger for physical contact, a skin-on-skin feeling – often referred to in fashion as “touch of the hand”.
Such sensory contacts are few and far between these days, which probably suggests that Italian designers have doubled the enjoyment of touch this season in Milan. Clothes can be a poor replacement for a full body clasp, but they lie next to the skin, and facilitate comfort in their sheer physicality; Drowning in sensation.
“I didn’t want to create something like this,” Francesco Risso, Marney’s creative director, spoke about his wish on a zoom call (as the current equivalent of a backstage post-show interview). “To lean into intimacy.”
This may sound like a designer gobbledygook, but then Mr. Risso opens his door to the world, watching (Kovid-tested) creative friends / musicians / artists / models at his home cooking breakfast, lunch, and dinner. Invited for Among other adventures. Of course, while they were being filmed wearing their new collection, which was as clever and oddly homemade as the menu.
Sneaker Soup, anyone? A table as a runway?
Okay, what about the puffer coat turned into a capelike poncho so large that it swallowed the torso completely, puffed feathers on the neck, or a sherdress with a paint on the front and a spew of ruffles on the knee? The faux furs are dyed black, then splattered and become solar and red making the fabric itself like layers of digging, blackness gives way to lightening completely? Crocheted tracksuits? Mylar blankets turned into evening gowns, so crisp can you practically hear them moved?
It was like DIY chic on steroids. You wanted to believe it.
Perhaps because many Italian brands, such as Marni, started life as textile or leathergood makers, arguing in design as an opportunity, they often compared the silhouette or style of the vernacular to an apparel challenge. Focused more on construction. In earlier times, this may have meant that the resulting collection seemed safe or clunky (or just plain boring), but in terms of the moment, focusing on the physical gives them a relevance that comes from the cool light of a computer. Also echoes.
It is transforming into swaddling clothes; Of adult snugglies and tenderness; They are so squeaky of clothes like a portable form of self-care. In Toad, parchment hats and bags converged to fuzzy blanket coats and butter leather bombers. In Etro, patchwork brocades rubbed against the collegiate knits and boho piceils. And in Giorgio Armani, deep-heeled iridescent velvet and cotton draped silk pants suddenly had a terrible look like a pajamas deluxe.
Even in Salvatore Ferragamo, where Paul Andrew used virtual reality to transport his runway to Starship Enterprise (which hadn’t been at some point in the last 10 months, wished they were in another dimension? ), Were the layers of sci-fi motorcycles? Quilted, and left long tenders of nabby knit fringe.
If Oily PVC ponchos and sheer chain mail sounded… well, foreign to the brand, they delivered less shock than Dolce & Gabbana, a neon and corset-pied of the 1990s music-video genre Is down memory lane. Between the power shoulder, crystal minis, and leopard prints, however, some nevet-shaped techno puffers and ostrich feather chutes were practically made for nesting.
You know when you are Piarappolo Picicoli of Valentino, one of the great color workers of fashion, conquering lime green (Cynthia Erivo’s dress) and yellow (Dan Levi’s suit) Golden globe red carpet, Produces almost entirely … a collection in black and white.
Filmed with an audience of musical solos and none, the show was held at the Piccolo Teatro in Milan. Valentino usually has events on his catwalk in Paris, but Mr. Picicoli decided to make the place when it was frozen in Italy by the epidemic. Before the theater was rebuilt and revived, Mr. Piccioli said, there was a place where fascists were persecuted, and in its transformation it came to represent freedom and humanity, starting again.
“I wanted to do something minimal in size, but deep in dimension,” he said of the collection, which had a cape and cropped trousers, ultrashort skirts and round, oversized tops that looked like turtle shells – precise, Simple forms that are multi-faceted implicit on the second look.
The chunky sweater was cable-knit and dusted in gold; Wavy skirts were pebbled for texture and crisp white shirts with lace. Things were never as they felt, so the fishnet resembled a mesh net, a jacquard plaid was actually strips of fabric sewn together, and crochet dresses were made from individual floral costumes.
You just had to look up, and then bend over nearby.