This is about to come to an end Milano Fashion Week, perhaps a little concentrated in time (there were four days of shows in attendance, to which is added a Sunday almost entirely digital), but full of positive feelings and cautiously lukewarm enthusiasm from the press and professionals. Everything went smoothly, no accidents, the pandemic remained outside, uninvited. On the catwalks they have been the masters, really everywhere, color e sensuality. In short, a good sign means that many have chosen to remain optimistic.
The most interesting, complex, articulated and spectacular show of the fourth day of Milan Women’s Fashion was the one staged, or rather aired, by Moncler Genius. Live from the Milanese television studios here Alicia Keys in flesh and blood present Mondogenius, in contemporary connection with 5 cities in the world (as for Prada, on Friday, the Milan-Shanghai axis is the cornerstone, where Victoria Song did the honors: as if to say, if the East does not come to Milan , it is Milan that goes as far as the Far East), to unveil 11 different collections, born from as many collaborations with brands or stylists, which have given vent to 11 different creative visions, live on more than 30 platforms, including social media, and -tailers, websites and media channels. Interconnection in the purest and most elevated state, heterogeneity of interpretations of the brand’s canons, guest stars – from Solange Knowles to Luca Guadagnino – each committed to their specific art, for a substantially new way both of thinking about fashion collections and of giving them meal to a more omnivorous audience than ever. That is, with what is called an “experience”.
The day was then pitted alternating the polite but hyperfeminine creations of Ermanno Scervino, who has pointed arrows in his bow like sequins, feathers and of course lace, to strike straight at the heart of his women, at the more conceptual ones of Salvatore Ferragamo, in the vision of the creative director Guillaume Meilland, concrete and practical, but with small quirks in the construction of the garments (the shorts wrapped in culottes are all to be metabolized) and with a bohemian touch ensured by fluttering black scarves knotted around the neck of the models.
ALL STARS IN FRONT ROW:
Dolce & Gabbana they stage an anthology of their purest and most original creativity, returning precisely to the “origins” of their history. There is no real explicit and declared theme, explored in all its ravines, as happened in the latest collections of the creative duo, but there is a lot of carefree and almost wild sensuality, a lot of opulence, a lot of crystals, a lot of gold, very camouflage. Much of everything: boots and bras, miniskirts and fringes, glitter, floral prints and ham sleeves, laces and bustiers, lace and denim. Yet there is no ostentatious exaggeration: everything is measured, perfectly in the lines of those that have always been the strong points of the brand. A collection that screams all its optimism to the world, and does so loudly. Perhaps because it has been suffocated for too long.
Unequivocally, the collection designed by Giorgio Armani. Fluid and impalpable like the sea, light and crystalline, ethereal like a perfume that cannot be described, but also capable of surprises colored in geranium pink and soft volumes like hot air balloons.
Closes the day Marni, with a show on the show: Francesco Risso’s creations are not only on the catwalk, but also in the highly selected audience, also fully dressed in the brand’s hand-brushed garments, an integral part of the staging.
The show inside and out. From the catwalk, from a television studio, from the present. Fashion increasingly seeks a different form of communication, possibly unprecedented, to reach if not everyone, at least to those who have tuned antennas to grasp it. There are, there we are.
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