Milano Day 2: The Strength and the Romance of Today

To see the models crying on the Fendi catwalk was really touching. It seems also that the soundtrack of the show was the same one used during the shooting of the last advertising campaign, and this added feelings to feelings. As the whole world knows, Karl Lagerfeld passed away two days ago, and so this show was the most awaited also because of the common sentiment that when an iconic person like him leaves us it marks the crystallization of a myth. His almost 54 years at the helm of the Roman Maison is something unique in the history of fashion, and a devotion like this is only similar to a family business, which actually Lagerfeld became part of: he was welcomed in the Fendi dynasty as if he were born into it. The collection was the summation of his deep passion for this high craftmanship job which he turned into what I would call the “art of fashion.” Fashion should not be considered art; but the way he lived it and narrated it is reminiscent of something more elevated.



Fendi Fall/Winter 2019 show in Milan. Phoyo by Guillaume Roujas for NOWFASHION.


The collection itself was beautiful and light with the romantic trace of the silk foulard counterposed to the architectural constructions of the pagoda shoulders that were on both jackets and dresses. The new Baguette, one of the iconic Fendi bags, was transformed in embossed pillow patent, a topstitched vegetal leather object and multistrap utility harness.   



Emporio Armani Fall/Winter 2019 show in Milan. Photo by Alessandro Garofalo for NOWFASHION.


Emporio Armani freed the women from the pre-set schemes of the wardrobe and pushed them to a liberating aesthetic freestyle. Opposites that harmonise in individual combinations: feminine dresses combined with latex-effect leggings. Micro and macro collides with small bombers over classic suits or big puffy duvet jackets on cute short cocktail dresses. The lengths were captivating; most of the looks had short skirts or wide athletic short pants paired with ultra-high socks boots or just with bare legs that elongated the silhouettes. The evening itself is a big part of the collection: precious, but the feeling was easy and fresh. White, black, and red are colours of integrity which were used to restore the aesthetic order and purity: embroidered or silk short dresses with bows and belts with the redesigned Emporio Armani signature eagle as buckles. Also, the EA initials have been interpreted with street art letterings.



Max Mara Fall/Winter 2019 show in Milan. Photo by Alessandro Garofalo for NOWFASHION.


This freedom of thinking is pervading the fashion week in general and today’s shows more specifically. The Attico duo, Gilda Ambrosio and Giorgia Tordini, presented a frivolous girl that perfectly embodies today’s power woman 2.0. The two designers themselves are the symbol of this strong statement: their woman is not afraid of being uber feminine (let’s say sexy) without losing her confidence; exposing and provoking with their own beauty is the best way to be feminist and not be afraid to look like something else. The brand is designed by two women that built their own success by being determined, all without losing their sense of humor. For this reason, power today means not just being bossy, but being assertive about what we want. The Max Mara woman, designed by British Creative Director Ian Griffiths, also has the power; she has the energy to seduce while not being afraid of her glamourous side, but combining it with impeccably tailored wide, boxy, and leggy suits. There was also office workwear and utility workwear with pocketed vests and the wilderness of the zebra decorations came together with masculine tweeds and checks.


 

Prada Fall/Winter 2019 show in Milan. Photo by Regis Colin Berthelier for NOWFASHION.


The anatomy of romance was then the title of the Prada collection. Signora Miuccia divided, instead of mixing, the opposite concepts of horror and beauty. It was a way to show that both evil and good exist, but neither one wins over the other; it’s just a way to display the two faces of the world in which we are living. On one side, the horror part of the story, with the classic scary comic movie protagonists – the Wednesday Addams braids, “Bride of Frankenstein” by Boris Karloff – printed on tops and dresses, and the military details and boots reminded us of functional war uniforms to recall the fear that comes hand-in-hand with war. The cute part polarized the sense of romance with lace details, delicate and weightless dresses, and silk flowers applied to military wool skirts. The collection is undeniably beautiful and continues the proposal of the last men’s collection, but the sign does not distance itself from what we saw in the recent seasons and makes me recall when every Prada show was unexpected and trendsetting.



Moschino Fall/Winter 2019 show in Milan. Photo by Alessandro Garofalo for NOWFASHION.


The Jeremy Scott Moschino Game Show took place in the prime time at 9 pm: a way to escape from the daily routine by imagining a life made from sparkling and golden evening dresses and over coiffured hairdos, taking inspiration from the TV quizzes. Housewife life with laundry detergent package and cereal box graphics printed on sweaters and dresses, then the funny fake fur coats which were inspired by the furry up-combed hair of the Good Luck Trolls, the famous dolls created in Denmark in 1959.


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