Milan Fashion Week 2017: Round-up
The highs and lows from the fashion week in Milan.
BY Eugene Lim | Jan 18, 2017 | Fashion
With the huge wave of fashion gushing out from Milan Fashion Week, it can get a tad much. Esquire’s Fashion Stylist, Eugene Lim, is on the ground to cut the noise and bring you the crème de la crème of shows from a week that ended yesterday. Here are our finest selects from the Italian fashion capital. Paris is next.
Their newly appointed Artistic Director, Alessandro Sartori, made a triumphant return to Milan Fashion Week, and they didn't disappoint. The first task at hand for Sartori was a reclamation projection—one meant to bridge the divide between the house and their customers—that melds sportswear and tailoring.
Sartori started this engineering of desires with the most impactful medium he had at his disposal—the clothes. The collection was desirable. Yet it was meant to be lived it--beautiful but not overly precious. It’s a fine line that’s hard to grasp but expertly navigated by the Zegna’s Artistic Director.
While the tailoring remains sharp, the overall silhouette is softer. Jackets were worn with baggy trousers and tailoring, blousons, waterproof leather coats, and parkas, sans shirt, worn instead with polo-tees and turtleneck pullovers.
Zegna also stepped up their accessories game, with a wider offering of sneakers, leather shoes, and bags (our favourite is the Pelle Tessuta where fine, thin strips of leather, is woven like fabric, resulting in a bag that is durable, yet soft)
It's only the beginning but it was a good one.
Dolce & Gabbana
Who runs the world? If the show at Dolce & Gabbana was anything to go by, it is the social media influencers, as they sent the king and queens of the millennials down the runway. This collection took a distinctively younger slant.
The collection features furry hoodies with leopard heads, complete with gloves in the likes of paws; massive down coats with floral patchwork; varsity jackets and denim with appliqué and jacquard three-piece tailoring, sneakers and not forgetting the crowns.
While it is the casting that would draw most of the attention, and rightfully so, what is brilliant about this collection is that it captures the essence of what it means to dress up when you are a teenager—and it is to have some damn fun.
Featuring his signature take on tailoring—with roomy pleated trousers, unlined soft shoulder cropped jackets, knits and blousons—the Emporio Armani A/W17 collection was a massive one comprising of 93 looks. All fit for the wardrobe of a jet-setting modern man.
The colour palette is distinctively Armani: of navy, greys and blacks. This season, he added greens and camel, as well as jacquard, geometric lines, and hints of fur to the collection that lends texture and depth to the collection.
Starting with a casual grey double-breasted look, the Emporio Armani man goes from a casual day out and into the great outdoors, with shearling sweaters and coats, before heading up for a ski trip. Here, Armani worked with oversized parkas paired with slim joggers and finishing off the night with a variety of velvet tuxedo looks.
Not groundbreaking, but when it ain't broke, why fix it?
Presenting this debut show for Salvatore Ferragamo was Guillaume Meilland. He honed his craft under Stefano Pilati at Yves Saint Laurent, then to Lavin with Lucas Ossendrijver, before taking over the helm as Ferragamo’s newly appointed men’s Design Director.
He started with the silhouettes of their tailoring where the trousers were cut slimmer and sits higher on the waist. Paired with shorter jackets, the look was completed with sweaters and polo tees. Then it was on to a variety of coats, blousons and denim jackets—the navy one, paired with an orange sweater, was particularly stunning).
While the clothes weren't billowing, there was a certain lightness and fluidity to the entire collection. It all boiled down to the emphasis Meilland placed on the fabrics used. While he didn't tear down the codes of the house and rebuild them from his vision, he is off to a good start.
Logos have been a huge trend in fashion. It is almost comical how easily it has been made into a money-grabbing exercise by most brands. Just look at how Kanye made a fortune off turning a two-dollar white coloured T-shirt, with words printed on them, into a 60-dollar masterpiece. (This writer is one such victim, a buy which he deeply regrets).
Silvia Fendi recognises this power of the written word. But instead of using it to push her commercial agenda, she picks words that would inspire.
I know what you are thinking: words of inspiration over something looking beautiful sounds like a walking line of Tumblr quotes, but that's where the similarities end.
Drawing inspiration from the ’90s sportswear and its clean silhouette, the collection is big on colour blocking while a variety of materials, from usual suspects like fur and wool to technical fabrics and quilts, found their way on the clothes.
Pragmatisms was also a huge part of Silva's DNA, with jackets featuring zipped sides, which opens to reveal more pockets hidden, and a backpack that comes with a folded camping chair.
Oscar Wilde once said that “fashion is a form of ugliness so intolerable that we have to alter it every six months." Well, he is wrong, it's something we alter every three months now. As fashion gets more chaotic—just look at the diverse styles on the streets of Milan, it’s as though no one knew what look they are going for—Mrs Prada looks at rebellion.
The result is a collection that is borderline normal. Case in point: the first look—a wool v-neck sweater, button down shirt and corduroy trousers.
But with Mrs Prada, it is never as straightforward. She champions the idea of looking normal, yet completes the look with a fur belt. A luxurious angora knit sweater—printed with a painting and made possible with a new technique—wasn't a collaboration with an artist like Christophe Chemin, but rather it was made to look like art from any random street artist.
Normalcy as an innovation? Perhaps we need to look a little closer and pay attention. Maybe that's the point.