In Italy, for the male fashion sector, Milan does not hold all powers.The Lombard capital must deal with the Pitti Uomo (the Men's Men's Men's Men's Men's Male Fashion Fair), the other Italian men's fashion meeting, located just before Milanese Fashion Week in the calendar.Note that the Florentine demonstration is attracting more and more major foreign claws or young shoots: two ingredients that are just lacking in Milanese men's fashion week.
Thus, for this eighty-bank edition of the Pitti Uomo, the Belgian Glenn Martens, winner of the Andam competition in 2017, leaves the Paris Fashion Week to parade in the Tuscany city, in the cloister of the Santa Maria Novella basilica, with the Streetwear Y/Project label which he has been piloting since 2013.Guest of honor of the Pitti, he walks in the footsteps of Virgil Abloh, Raf Simons, or Jonathan Anderson, who lent themselves in their time to this exercise.It is also in the city of Medicis that Aldo Maria Camillo decided to present the sober and chic first opus of his eponymous brand.
Conversely, for several seasons, Milan's male fashion week has been weakened by the absence of certain big names, having chosen to pool their male and female collections during women's fashion week (like Gucci and Salvatore Ferragamo since 2017, Giorgio ArmaniFor this season where Bottega Veneta, who will reveal the first men and woman collections of his new designer, the Englishman Daniel Lee, in February).
To a lesser extent, this season also accuses two new losses: the Italian label Moschino, controlled by the American Jeremy Scott, part scrolling in Rome on January 8, and the brand Jil Sander, who had opted for the format of the presentationpast season, this time registered in the calendar of Parisian parades.
In this gloomy climate, the Milanese men's fashion week, organized by Camera della Moda, bet on its Italianity and its Blockbusters brands.In this spirit, brands with international influence offer a more classic score, by focusing respectively on the stylistic martingales that have made their success and on the Sartorial tradition of the peninsula, which has made the reputation of Italian male fashion abroad.
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Le défilé Dolce & Gabbana en est un parfait exemple.First sign of a return to more traditional elegance: influencers and children of celebrities have disappeared from the catwalks and gave way to models of which it is the job.Second clue: the reconstruction of a tailor workshop of yesteryear serves as a decor. Enfin sur le catwalk s'enchainent costumes de banquiers, des tuxedos, des costumes de brocart, dans un esprit très Dolce & Gabbana.
Another example of this modernized Italian elegance: the Italian house Missoni (which opted for the presentation format by appointment), above all known for its meshes in Zig Zag, integrates into its lexicon of parts and materials borrowed from the Sartorial Register.Thus there is both a suitable costume jacket like a multicolored seasoned mesh as knitted with ribbed velvet collars.
Tradition of costume also in Miuccia Prada, who expresses it with conceptual rigor and refinement that characterize his work.Here his men, who evolve on an experimental podium made from sound insulation in black foam, mainly present seventies inspired costumes infinitely remastered.
Another scenario at Fendi, where Silvia Fendi has fun with the codes of elegance, pushing the concept of playful luxury dear at home to her climax..To do this, she invites Karl Lagerfeld, the one who brought in this notion of playful luxury from Fendi in 1965 as artistic director of the brand's female ready-to-wear, to co-signs this collection.Between prints with his effigy and silhouettes made in dark costumes, the German designer serves as inspiration and constitutes the starting point for this creative reflection around the notion of elegance.
At Ermenegildo Zegna, Alessandro Sartori deals with the question of elegance by drawing from the brand's roots.Here the luxurious fabrics that have made the reputation of the house serve an urban cloakroom, which gives pride of place to comfort and functionality.In Giorgio Armani, the question of Italian elegance is innate.It is also - with its consistency - one of the components of its success for more than 40 years.For his Emporio Armani parade, he keeps this course and plays his heritage between relaxed costumes and chic sportswear.
This season will also have been marked by the "new era" Versace.This is the first parade of the Milanese house - except for the pre -pack show organized in New York on December 2 - since its official takeover ($ 2.1 billion) by the American group Michael Kors, renamed from Capri HoldingsLimited.Here Donatella Versace is still the boss.She lets him know by betting on a whole versace eccentricity.Thus, if his men are also displayed in dark costumes, it is with a bondage print shirt or a fluorescent pink sweater that questions the notion of gender.
In parallel, Milanese Fashion Week is also an opportunity to rediscover more traditional Italian brands, such as the Neapolitan tailor claw Kiton, more than fifty years old, which plays the card of excellence on all paintings.During its presentation, the brand reaffirms the idea of luxury tailoring which is expressed in particular via the work of vigogne - the predilection material of the brand and its rich clientele - between innovations (Vigogne treated inJacquard) and more formal partition (costumes).
Here, even the Sportswear offer, offered for the third season by the twins of Matteis, with their KNT line, is part of a very luxury register (like the supervising pants and hoodies in ultralight cashmere).
In parallel, this fashion week placed under the sign of elegance, agrees with the announcement of good financial results presented by Brunello Cucinelli, emblem of discreet Italian luxury for men and women.The king of cashmere, who also presented his men's collections this week, recorded a turnover of 553 million euros, up 8.1%, for the year 2018.Provising thus that Italian know-how and elegance were indeed arguments of sale.