Vogue International Editor Suzy Menkes is the best-known fashion journalist in the world. After 25 years commenting on fashion for the International Herald Tribune (rebranded recently as The International New York Times), Suzy Menkes now writes exclusively for Vogue online, covering fashion worldwide.
#SuzyMFW A Phantasmagoric Dreamland
Gucci leads the way to fashion fantasy, while Cavalli and Ferretti are also part of Milan's fashion renaissance
26 Сентября 2016
Gucci: Michele's Fashion Revolution
"Phantasmagoric" — meaning fantastical, deceptive, dreamy — was the word Gucci designer Alessandro Michele gave to his collection of Baroque meets Rococo, embracing history from pre-French Revolution in 1789 to tailored trouser suits from the 1970's.
Except that the 20th century tailoring came in silken pants suits in vivid shades that occasionally dissolved into soft Chinoiserie pyjamas.
So it was no wonder that the collection was titled "Magic Lanterns" and its invitation an illusion in paper of a theatre stage with birds and serpents inside.
The concept of "snakes and ladies" is not new to Michele's oeuvres, it was his starting point two years ago. That might seem as though the designer were stuck in the past with his gorgeous fabrics and painterly colours — vivid yellow, grass green, orange and royal blue - but his skill is in the way that the collection breaks into pieces.
With a magpie eye, an audience of eager shoppers can focus on a decorative handbag, an elevated shoe, a daisy patterned jacket, a bold jewel or a pair of glasses. They came with a nerdy look that grounds the too-much-is-never-enough aesthetic.
"I went to the Hollywood Forever Cemetery.
"It's such a nice place — I've been to a party there and it is the most glamorous place I've been in my whole life," said the designer.
Hmm! I did not feel I had leaned much from this conversation. But Alessandro Michele has the most important thing for a designer — a unique vision.
Impossible, perhaps, to communicate, but with a powerful influence on the way fashion is moving. And unlike his vision of the cemetery, I cannot imagine him laying to rest the wild mixes of colour and cloth that have made Gucci the hottest brand in the luxury world.
"I don't remember my starting point — I saw some fringes I really loved and when I started looking, that looked like a Norwegian embroidery on Fair Isle — so that is where all the mixing came in," he said.
"It was a patchwork of all the things I liked."
Given that a show's normal mood board was on offer as the Moorish fabric hung on every wall of the show, the message was clear. And so were the clothes — his and hers holiday wear, meaning a decorative jacket and skinny trousers — and fancy bras for women only.
This was Dundas back on form, compared to the tentative start of pallid jeans when the designer took the reins of Cavalli, where he had worked previously between 2002 — 2005, before moving on to Pucci.
This time the brand message was in full throttle. When blue jeans came out, they were embroidered with glittering suns and snowflakes and worn with an intensely decorated top and a skinny scarf. Or the jeans might have been smothered by a floor length cape that looked like it had been formed from a carpet of an Arabian tent.
These clothes were not earth shattering, but they had the Cavalli touch in the intense handwork and in a seductive glamour. Dundas has always been a designer who celebrates having a good time and there was really no outfit — from satin trousers and a sand suede jacket through to long skirts patterned with gilding — that you couldn't party in. Especially if on vacation in Ibiza.
So with Dundas, Cavalli has found once again its place in the sun.
The underlying sexiness was not really about exposure, even if there were a split chiffon skirt and a visible lacy bra top. It was sensuality in fluidity, as the soft fabrics poured over the body.
"I wanted to introduce passion into my fashion narrative — expanding my vision of femininity," said the designer.
The fabrics, always an Italian masterclass, were soft and inviting, but, above all, they seemed to have no fixed position on the body, slipping and sloping by design.
One gesture told the whole Ferretti story, as much as the cut, colour and the delicacy of the work. Buckled leather belts, often two or a trio, pulled the outfits together as the delicate dresses swayed on the catwalk in the church-like building.
The sense of loosening and tightening, with a frisson of sensuality, added a new dimension to Ferretti's always impressive workmanship.