A debate launched during New York and London fashion weeks on speeding the delivery of new fashions to sate an impatient public was on designers’ minds as Milan Fashion Week went into its second day.
Yet plans to strut runway creations straight into store windows and consumers’ shopping bags were finding some resistance in the Italian fashion system, with some saying that would hurt Italian craftsmanship and design.
Some highlights from Thursday’s shows at Milan:
Fendi Tsunami
Karl Lagerfeld is creating waves with his latest collection for Fendi, which includes undulating garments, bags and even footwear.
Manifold ruffles in the Japan-inspired collection brought to mind the famed Hokusai prints of waves. Lagerfeld broke the surface with ruffles along the neckline or running down sleeves, stiff waves of leather decorating boots that rose to the knees or thighs, and the scalloped handles and edges of elaborate bags.
The optical effect was prolonged by striped tops with puffy shoulders and gathered elbows, and longer, billowing dresses.
Fendi’s trademark fur coats included a short blue cape-like construction that bore athletic black-and-white stripes along the bottom, and was worn with thigh-high leather boots.
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The overall dark palette was brightened by aquamarine, coral, purple, mustard and turquoise. Bags were furry delights, or stiffer leather with colorful patterns, including one sunset.
Two special guests from Japan delighted Asian visitors at the show, two-meter (6-foot) tall Kigurumi mascots, one a pink female named Piro-chan and a blue boy called Bug-kun. Both are being reproduced in miniature as Fendi’s coveted furry bag bug charms that adorn handbags.
In a nod to the siren call of fast fashion, the bag bugs are being sold immediately on the luxury brand’s website — but with a catch. There is a limited run of 80.
Layered romanticism at Costume National
Costume National creator Ennio Capasa says his goal for next winter’s looks was to was create “timeless pieces” for a woman “who looks to slow fashion.”
The silhouette was long and layered for comfort. Capasa underlined a notion of poetic romanticism by pairing a military overcoat with a dress composed of crisscrossing ruffles, creating a metallic dress for day and silken street-wear pyjamas printed with photos of flowers snapped by the designer himself.
Capasa is known for his deconstructed looks, and the work here was subtle. Lapels repeated themselves down the front of jackets. Deep slits penetrated the backs of jackets and sleeves, conveying openness when the metallic buttons are left unfastened.
The centerpiece jacket with rounded lapels could be left partially unzipped at the waist, conveying ease.
In its most luxurious form, this partially deconstructed jacket was covered with tiny beaded polka dots. A wool crepe version was worn over a sheer black turtleneck that shimmered like the night sky and a satiny skirt that fell below the knee.
Tacked to Capasa’s mood board backstage were pictures of Bjork and Yoko Ono, providing inspiration as “women who have a strong attitude and personality, while at the same time expressing strong emotion,” the designer said.
Platform boots were the favoured footwear, while the colour palate was mostly dark with some jewel tones of emerald, ruby and sapphire.
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