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An anti-fur protestor crashed the Fendi runway show on Wednesday, the first day of Milan Fashion Week’s mostly womenswear preview for Fall-Winter 2024-25. A PETA activist jumped into the models’ closing ceremony holding a sign that read, “Animals are not clothes,” and was then escorted out by security. Animal rights groups are pressuring Fendi to join other global fashion brands that have agreed to use synthetic alternatives to real fur.
Fendi was born in a fur and leather shop in Rome nearly a century ago, and fur remains a core part of the brand’s DNA, even if it has been featured a little less in their runway shows in recent years. (Also read: Milan Fashion Week highlights emerging black designers, launches initiative to tackle discrimination ,
Some highlights from Wednesday’s show:
Fendi’s utilitarian approach
Kim Jones created a utilitarian look in a sombre palette with a makeover for Fendi’s next cold season. Outerwear was crafted with large sleeves and arching lines, made comfortable by criss-crossing knitwear, topped with fishermen’s knitted scarves or cardigan shawls, sometimes with sleeves attached.
Suggesting a devil-may-care attitude, the ribbed bodysuit was left open with leather trousers and a shearling jacket. A one-shoulder knitwear with a shiny leather skirt and boots, a bet against climate warming.
Jones said the collection was intended to combine Roman style with 1980s British subculture, epitomized by the brand’s menswear and accessories designer Silvia Venturini Fendi, who was wearing a “very attractive utilitarian suit” at the time of the meeting. Was.
Jones said, “It basically shaped my idea of Fendi. It’s the way a woman dresses, that has something important to do. And she can have fun while doing it.”
Heroic tribute to Antonio Marras
Sardinia-born Italian designer Antonio Marras doesn’t just create a new collection every season. He creates a whole new world. Marras celebrated Sardinia’s most famous heroine, the medieval Princess Eleanor of Arborea, with a conversation with her falcon that was the backdrop for the runway collection: Eleanor in an embroidered cape over an empire waist dress. Falcons wearing kilts, intarsia sweaters and heavy hiking boots.
The models emerged from among the vines in the ruins of the observatory, as if coming from another world or coming out of hibernation. They were covered with protective caps, crocheted helmets and corsets in the form of breastplates. Argyle knitwear was constructed with silver hardware, as if armour; The jackets feature large busts covering the shorts. A huge white headpiece with face-covering mesh doors added drama to a sheer chiffon dress with leaf prints.
The collection was created with a mix of bright florals and strong checks and tartans. Unfinished or deconstructed garments with loose threads or pointed beading gave the collection an organic feel, as if the wearer could mingle back with the natural world.
The motif of the collection was a broken heart, which appeared on tights and socks or as a purse. Tradition has it that Eleonore, after uniting Sardinia, died of the plague, which, according to Marras, forced her to give up her beloved falconry.
diesel boosts it
Artistic director Glenn Martens staged his latest runway show in front of a wall of 1,000 zoomed-in Diesel fans from around the world, some of whom used their moment in the fashion spotlight to apply makeup or literally flex their muscles . At least one mother was hovering in the background.
Cameras began broadcasting behind-the-scenes shots of Martens and his team preparing 72 hours before the show. “Diesel is a fashion democracy, so it’s natural for us to reveal what is usually hidden,” Martens said in the show notes.
Martens continued his experimentation with textiles, creating clothes that seemed to dissolve into something else, transforming a floral into an animal print, or, conversely, a bright red underlayer with a dark floral. It seemed to be bursting. The effects created a sort of celebratory doomsday, clothing-changing, sense of mortality.
The plaid trousers appear to disappear, as if melting, a process described in the show notes as “burned”. A bra top burst out of a disappearing argyle minidress. Whatever the technology, it’s all owned by Diesel, and kept under lock and key at its Veneto headquarters, which is part of the brand’s new mystique.
Daniel Del Cor Cocoon
German-born designer Daniel Del Core dressed his lady in rich cashmere and soft, thick knitwear with protective snoods for an elegant daytime look, before switching to a burst of color and more fitted silhouette for his latest collection .
The Gucci alumnus, who was head of VIP dressing, said backstage that he wanted to create a collection that “could suit many women.” I wanted things to be simple, but still cute.”
A centerpiece of the season was the sleeveless corset jacket, zipped up, sometimes fitted with thick cropped snood sweaters or left casually open at the neckline and layered with crystals. Crocheted long dresses included glimpses of fringe, and oversized hoods created a personal safe space. Del Cor tackled the pointy parts of the human form head-on, highlighting hip bones, knees and nipples with slightly raised points, a tailored version of merengue swirls, most prominently on a sleek bodysuit with a green and red photographic print. Well seen.
“We all have sharp parts. It’s like ‘look but don’t touch.’ “It’s kind of a sexy thing,” he said. “I think we need a little spontaneity.”
Roberto Cavalli’s marble inspiration
Creative director Fausto Puglisi recreated textile versions of Italian marble with every imaginable technique for his latest Roberto Cavalli collection. Cavalli urban rock ‘n’ roll silhouettes included long flowing stage dresses, sexy baby-doll looks, while urban chic mini-skirt and jacket combos and shiny, treated trenches spoke of urban life. A series of beautiful velvet dresses with sexy slits, cutouts and built-in capes closed the show. “In this moment, we need a little beauty,” Puglisi said backstage. “I want to bring something strong but elegant at the same time.
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