This one’s gonna be short because, well, there’s really nothing to report on. Milan this season was so complacent and middle-of-the-road, NOTHING stood out, for better or worse. There were a few goofy moments, but they really weren’t anything to write home about.
For what it’s worth, here are the collections that kept me from falling asleep, for better or for worse.
Dolce and Gabbana
Well, with the men’s collection focused on the dad, it seemed fitting that the women’s collection focus on mama. I could have used a drop more irony in the line, but overall, it wasn’t a bad outing. A lot of the pieces reminded of the glorious 90’s that Dolce and Gabbana flourished in. The tailoring was on point and the graphic elements, although over the top, worked (save for one of the children’s’ prints that could have stood an edit). As usual, it was dripping with excess, but come fall, some of these pieces will be on the most wanted list.
He really is one of my favorite designers, right now. He has an uncanny ability to blend tradition, modernity and craft into one approachable bundle. His level of detail never ceases to amaze me and this season, with its rich and somber color palette, gave the clothes a dark depth kept his creative momentum going. Everything he shows, even when dripping with gilt embroidery, looks cozy and inviting. This was a nuanced collection and it delivered with aplomb.
Oy vey! I’m pretty much giving up on Jeremy Scott calming down at this house. I honestly have lost count of the times my eyes did cartwheels as each look appeared on the screen. I haven’t nailed why yet, but ever since he took over, the clothes have had a distinct cheapness to them (It was really evident last season with his Barbie nightmare). This season, he went hip hop – a theme he has explored TO DEATH in his signature line. From 90’s TLC rave garb to graffiti print ballgowns, Scott is never one to inject any sense of irony or subtlety into his work and frankly, it’s wearing thin. What sucks about Scott is that he genuinely knows how to cut clothes. The black graffiti ballgown is a perfect example how clean and refined he can be. Unfortunately, anyone who wears it runs the risk of blending into a tagged back-alley wall.
I don’t get the shoes, but honestly, I really appreciated this collection. There was a ribbon of graphic elements that ran through the entire season chez Prada; and as forceful as her delivery was, it worked. Prada is always on the cusp of fabric technology and I’m very willing to applaud her for that. There is a goofy elegance to everything she designs. I’m not sure why any of this works, but I am constantly fascinated by how she blends the mundane with the “now” and conjures up a wearable, desirable emotion, season to season. Is it for everyone? No, but there’s a Hell of a lot there to dissect and crave.
This was Peter Dundas’ last collection for the house and that makes me a little sad. During his tenure, he was able to revive a sagging brand and give it a well-needed injection of life and energy. He was all about the rock and roll lifestyle, and for a house that made its money parading around the decks of yachts and the patios of mansions, I can’t say that was a bad thing. This season had an astrological feel to the ubiquitous prints, but there was nothing metaphysical about their sex appeal; it was pretty much in your face. He did a small group of banded-effect gowns that really nailed the signature of his aesthetic – beautiful, classy and vamp. And the long print gowns with Capricorns and scorpions swirling around the body drove home the point that regardless of his success in the future, he will very much be missed at this house.
OK, Paris is up next. Let’s hope some of them drop the ball… err… I mean, here’s to their success!