Collezioni Donna 174 - Milan New York #a/w 2017/18

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€40,00 (I) - € 62,00 (B/D/E/F/P) - € 67,00 (A/NL) - Chf. 85,00 (CH) - TRIM. April 2017 - ISSN 1120-1975 - Prima immissione: 5 aprile 2017

COLLEZIONI

MILANO_NEW YORK_BARCELONA PRET-A-PORTER A/W 2017_18 FASHION TRENDS_STREETWEAR_CATWALKS_PRE-COLLECTIONS

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COLLEZIONIDONNA EXHIBITIONS

ART OF THE IN-BETWEEN The most awaited exhibition of the year at the Met Museum in New York Al Met di New York la mostra più attesa dell’anno Maurizio Francesconi

Finally, here we are. The long-awaited exhibition on Rei Kawakubo and Comme des Garçons at the Met in New York is no longer a dream but a reality, and it will be a success - as has always occurred for such important events. Embracing a period of time that goes from the beginning of the great Japanese designer’s career, through the early eighties, up until today, the exhibition aims at reflecting on the accomplishments of the brand, which represents the quintessence of conceptual realization in the world of fashion.

The pieces on display are approximately 150, and it is seemingly unrealistic that those creations, which have truly constituted a piece of fashion history - so much so as to become iconic and enter the collective imagination - can be admired, once again. The exhibition is based on the study of the boundaries between good and bad, pleasant and disturbing, fashion and anti-fashion, design and not design, model and multiple. Yet, this does not suffice because within Kawakubo’s fashion philosophy the concepts of object and subject, then and now and, above all, clothes and not clothes are fundamental. During her entire career, she has managed to destroy the imaginary walls between these dualisms, exposing artificiality and arbitrariness. What is “beautiful” is not for everyone. What is giving for one person is not for another. A simple concept, but one that is in juxtaposition with the fashion system, forever in search of absolute beauty. Absolute beauty does not exist, is what Kawakubo seems to be telling us. Beauty is in the eye of the beholder and, again, sometimes what is “ugly” can become “beautiful” when viewed in the correct manner. Thank you Madame Kawakubo. From May 4th to September 4th, at The Met-Fifth Avenue, New York.

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E finalmente ci siamo: la tanto attesa mostra su Rei Kawakubo e Comme des Garçons al Met di New York, non è un sogno, ma è realtà e sarà un successo, come sempre accade in occasione di eventi così importanti. Abbracciando un arco di tempo che va dall’inizio della carriera della celebre stilista giapponese agli inizi degli anni Ottanta fino ad oggi, l’esposizione vuole riflettere sulla produzione di questo marchio che rappresenta la quintessenza della realizzazione concettuale nel mondo della moda.

I capi in mostra sono circa 150 e non pare vero di poter di nuovo godere di quelle creazioni che realmente costituiscono un pezzo di storia della moda, tanto da diventare iconiche e da essere entrate nell’immaginario collettivo. Il percorso espositivo si fonda sullo studio dei confini tra bello e brutto, piacevole e disturbante, moda e antimoda, design e il non-design, singolo e multiplo. Ma non basta perché all’interno della sua filosofia di moda sono fondamentali i concetti di oggetto e soggetto, prima e dopo e, soprattutto, abito e non abito. Kawakubo durante la sua intera carriera è riuscita a distruggere i muri immaginari tra questi dualismi, esponendone l’artificialità e l’arbitrarietà. Ciò che è “bello” non lo è per tutti, ciò che è donante per una persona non lo è per un’altra, concetto semplice ma che è in contrapposizione con il sistema moda alla ricerca perenne del bello assoluto. Il bello assoluto non esiste, sembra dirci la Kawakubo, il bello sta negli occhi di chi guarda e, ancora, talvolta il “brutto” può diventare “bello” se osservato nel modo esatto. Grazie Mme Kawakubo. Dal 4 maggio al 4 settembre, The Met Fith Avenue, New York. www.metmuseum.org

REI KAWAKUBO, COMME DES GARÇONS

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COLLEZIONIDONNA

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Zhuzhu. More artist than designer. From China, founder of the Phaedo brand, he arrives in Milan with an installation-event, “From Things to Form”. At the Triennale during Milan Fashion Week, Zhuzhu presents a collection in which the art of manufacturing reaches surprising levels, thanks to cognitive and emotional process that ennobles natural fabrics, shaping them into garments that embrace all aspects of life: from nature to raw materials, from time to the observation of every transformation.

Artista più che stilista, il cinese Zhuzhu, fondatore del marchio Phaedo, approda a Milano con un evento-installazione (From Things to Form) alla Triennale durante la Milano Fashion Week per presentare una collezione in cui l’arte manifatturiera tocca livelli sorprendenti, grazie ad un processo cognitivo ed emozionale che nobilita materiali naturali plasmandoli in capi che abbracciano tutti gli aspetti della vita, dalla natura alle materie prime, dal tempo all’osservazione di ogni cambiamento.

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PIRELLI IN 100 IMAGES

Beauty, Innovation, Production, a story of one of the greatest Italian industrial hubs

The Archimede Library in Settimo Torinese - among the ten finalist cities named Italian Culture Capitals - is hosting the “Pirelli in 100 Images. Beauty, Innovation, Production” exhibition until May 1st, 2017.

An itinerary that narrates more than 140 years of Pirelli through photos and illustrations: from the factory to its people, from technology to the birth of its products, from its relationship with art to forms of communication, and from the world of racing to its famous calendar. On display is also the first of all images, selected for a future project that Peter Lindbergh - author of the 2017 Pirelli Calendar - took within the Pirelli Industrial Hub in Settimo Torinese

Fino al primo maggio 2017, la Biblioteca Archimede di Settimo Torinese (tra le dieci città finaliste come capitali italiane della cultura) ospita la mostra “Pirelli in cento immagini. La bellezza, l’innovazione, la produzione”. Un percorso che, attraverso foto e illustrazioni, racconta gli oltre 140 anni di Pirelli: dalla fabbrica alle sue persone, dalla tecnologia alla nascita dei prodotti, dal rapporto con l’arte alle forme di comunicazione e dal mondo delle corse al celebre Calendario. È presente anche la prima delle immagini, destinate alla realizzazione di un futuro progetto, che Peter Lindbergh – autore del Calendario Pirelli 2017 - ha scattato all’interno del Polo Industriale Pirelli di Settimo Torinese.

M.F.

Annie Leibovitz, Natalia Vodianova, 2016, New York, United States. Black and white print. www.biblio.comune.settimo-torinese.to.it

COLLEZIONIDONNA

A/W 2017_18 AND PREFALL

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LOOKBOOKS

Un cappotto dalla linea impeccabile, un panna burroso, realizzato in un tessuto importante, segni particolari: revers a lancia e bottoni neri. Un cappottino, smilzo, nel più tradizionale pied-de-poule bianco e nero su un pantalone a vita alta, completati da una maglia dai polsi a volant e una camicia dal timido colletto. Micro il dolcevita, sotto una blusa candida, perchè le camicie sono molto amate dal duo creativo italiano e le disegnano con attenzione estrema, il dettaglio fa la differenza. E poi un tocco di ruggine. Straordinario come le tendenze, in questa pre-fall, vengano sublimate e reinventate secondo un’ottica elegantissima.

Aquilano.Rimondi A coat with an impeccable line, in a buttery cream, created with an exquisite fabric, and distinguishing signs: peak lapels and black buttons. A svelte coat - in the most traditional black and white hound’s tooth - over high-waisted trousers, complemented by a sweater with ruffles at the wrists and a shirt with a demure collar. A micro turtleneck under a white blouse, since the Italian creative duo loves shirts and fashions them with extreme care because details make all the difference. Then, a touch of rust. Extraordinary how, in this pre-fall, trends are sublimated and reinvented according to an extremely elegant vision.

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Per la collezione dedicata all’autunno inverno 201718 il brand Kittima si è ispirato al pittore italiano del Rinascimento Vittore Carpaccio, in particolare al dipinto: Ritratto di cavaliere. La poesia espressa nel quadro si riflette nel fascino delle texture, dei tessuti come il jacquard, l’organza, la seta e la pelliccia ecologica, materie prime plasmate con grande attenzione al dettaglio. I capi giocano su una femminilità accentuata, su concetti contemporanei come i volumi importanti. Le stampe e i colori sono un tocco di allegria per ravvivare le giornate invernali.

Kittima For the brand’s Fall/Winter 2017-2018 collection, Kittima was inspired by the Italian Renaissance painter, Vittore Carpaccio, particularly by his painting: Portrait of a Knight. The poetry depicted in this work of art is expressed in the charm of its textures, in fabrics like jacquard, organza, silk, and faux fur. Raw materials shaped with a great attention to detail.

Pieces play on an accentuated femininity, on contemporary concepts, such as outstanding volumes. Prints and colors are a touch of cheerfulness that brighten up winter days.

www.kittima.it

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COLLEZIONIDONNA EXHIBITIONS

HOUSE STYLE Great Britain As An Example of Style La Gran Bretagna come esempio di stile Maurizio Francesconi Ph. Mario Testino Credit: Mario Testino Stella Tennant and Deborah Devonshire, Chatsworth 2006.

From March 25th to October 22nd, the most ambitious exhibition dedicated to the exploration of the history of fashion and decoration will take place in Chatsworth - House Style: Five Centuries of Fashion in Chatsworth. Hamish Bowles - Vogue USA - curated this historically important event, with the creative direction of Patrick Kinmonth and Antonio Monfreda. House Style offers an unprecedented, more elaborated vision of the Devonshire Collection and of the life of renowned fashion icons: from Georgiana Duchess of Devonshire to Stella Tennant. The exhibition brings back to life the fascinating components of the Cavendish family, including Bess of Hardwick - the 18th century “Empress of Fashion” Georgiana, Duchess of Devonshire - and Adele Astaire, Fred Astaire’s sister. Deborah Devonshire and Nancy Mitford, two of the Mitford sisters, along with model Stella Tennant and John F. Kennedy’s sister, “Kick” Kennedy, also have a central role in the exhibition. House Style looks at the history of art, fashion, jewelry, archival material, design, and textiles and is organized in themes, such as: Coronation Dress, The Devonshire House Ball, Bess of Hardwick and The Tudor Influence, The Georgian Effect, Ducal Style, Country Living, The Circle of Life, Entertaining at Chatsworth. Focal point of the exhibition: the extraordinary couture creations by Jean Phillipe Worth and Christian Dior, complemented by important contemporary pieces designed

by Gucci, Helmut Lang, Margiela, Erdem, Alexander McQueen, Christopher Kane, and Vetements. The exhibition, furthermore, presents family collections that include garments belonging to the current Duke and Duchess of Devonshire, such as the Givenchy bolero worn by the Duchess on her wedding day.

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Dal 25 marzo al 22 ottobre ha luogo a Chatsworth la mostra più ambiziosa dedicata all’esplorazione della storia della moda e della decorazione: House Style: 500 anni di moda a Chatsworth. Hamish Bowles, di Vogue USA, cura questo evento di importanza storica la cui direzione creativa è di Patrick Kinmonth e Antonio Monfreda. House Style regala una visione inedita e approfondita della Devonshire Collection e della vita di note icone di stile, come Georgiana, Duchessa del Devonshire e Stella Tennant. La mostra ridà vita agli affascinanti componenti della famiglia Cavendish, tra cui Bess di Hardwick, “L’Imperatrice della Moda” del XVIII secolo, Georgiana Duchessa del Devonshire e Adele Astaire, sorella di Fred Astaire; Deborah Devonshire e Nancy Mitford, due delle sorelle Mitford, la modella Stella Tennant e la sorella di John F. Kennedy, ‘Kick’ Kennedy, hanno un ruolo centrale all’interno dell’esibizione. La mostra prende in esame la storia dell’arte, la moda, i gioielli, materiale d’archivio, design e tessuti ed è organizzata per temi quali: l’Abito dell’Incoronazione, la Devonshire House Ball, Bess di Hardwick e l’influenza dei Tudor, l’Effetto Georgiana, lo Stile Ducale, il Country Living, il Cerchio della Vita, l’Intrattenimento a Chatsworth.

Al centro dell’esposizione, le straordinarie creazioni couture di Jean Phillipe Worth e Christian Dior, affiancate a importanti capi contemporanei disegnati da Gucci, Helmut Lang, Margiela, Erdem, Alexander McQueen, Christopher Kane e Vetements. La mostra presenta, inoltre, collezioni di famiglia che comprendono pezzi appartenenti agli attuali Duca e Duchessa del Devonshire, come il bolero Givenchy indossato dalla Duchessa nel giorno del suo matrimonio. www.chatsworth.org

COLLEZIONIDONNA

milano_new york barcelona

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TRENDS Sonia Perfetti Decio Vitali Fashion shows and backstage ph. Viero-Zanoni

Santoni edited by Marco Zanini

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Atsushi Nakashima

N°21

Bottega Veneta

New York streetwear

Bottega Veneta

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naturalvibes Phaedo

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Milano streetwear

Zero Maria Cornejo

Calcaterra

Zero Maria Cornejo

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parkshadows Delpozo

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Milano streetwear

Missoni

Aquilano.Rimondi

Victoria Beckham

Antonio Marras

TRENDS_TWEED&TARTAN

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btitishmelody Calvin Klein

Lucio Vanotti

TRENDS_SHEARLING COATS

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Michael Kors

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Proenza Schouler

TRENDS_SHEARLING COATS

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thewarmesttouch Dondup

TRENDS_OVERCOATS

Xu Zhi

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Sportmax

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covered shoulders Max Mara

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Ricostru

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killingmesoftly Alberta Ferretti

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N°21

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embracing texture Zadig and Voltaire

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Jil Sander

Moncler Grenoble

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Tod’s

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wintershell Versace

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Arthur Arbesser

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Giorgio Armani

Fendi

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redrain Damir Doma

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COLLEZIONIDONNA EXHIBITIONS

ERWINBLUMENFELD Monographic Exhibition at the Cité de la Mode et du Design in Paris Una mostra monografica alla Cité de la Mode et du Design a Parigi Maurizio Francesconi ©The Estate of Erwin Blumenfeld

Erwin Blumenfeld can easily be defined as one of the greatest photographers in fashion, who managed to apply a model that almost corresponds with surrealist art, but destined for the world of fashion. A world that, however, has been yearning for innovation and new approaches towards photography ever since. His covers for Vogue - in both the US edition and the French - have made history and are still a role model for many photographers. The Cité de la Mode et du Design in Paris proposes a journey through more than six hundred photos taken from the archives of fashion photographer Erwin Blumenfeld, which also includes about thirty unpublished works. This exhibition is an account of the colored photos from the fashion scenario created by the artist for the print industry and offers a total immersion into the studio of this great photographer - and his experiments. “Studio Blumenfeld New York 19411960” gives us the opportunity to understand the workings of his studio, both during the war and soon after, starting from more than 640 negatives that Erwin Blumenfeld had kept as a memento of his photographic sessions in New York. His personal archives also depict the relationship he had with the fashion and beauty press, as well as his relationship with advertising. The Cité de la Mode et du Design proposes to analyze the artistic journey of the photographer, his constant thirst for exploration, and his search for an identity, passing through the color photography that, during the ‘40s and ‘50s, influenced the United States and the way fashion was broached through it. Until June 4th, 2017.

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Erwin Blumenfeld può essere definito uno dei grandi fotografi di moda che riescono ad applicare un modello quasi combaciante con l’arte surrealista, ma destinato ad un mondo come la moda che, comunque, da sempre è assetato di novità e nuovi approcci anche fotografici. Le sue copertine per Vogue (sia nell’edizione americana che in quella francese) sono passate alla storia e sono ancora oggi un modello di riferimento per molti fotografi. La Cité de la Mode et du Design di Parigi propone un percorso attraverso più di seicento opere dagli archivi del fotografo di moda Erwin Blumenfeld tra cui una trentina di pezzi inediti. Questa esposizione riassume l’opera a colori nel contesto della moda realizzata dall’artista per la stampa di settore, e propone un’immersione totale nella realtà dello studio di questo grande fotografo, e delle sue sperimentazioni. “Studio Blumenfeld New York 1941-1960” dà la possibilità di comprendere il funzionamento del suo studio sia negli anni della guerra che subito dopo, partendo da più di 640 negativi che Erwin Blumenfeld aveva conservato come memoria delle sue sedute fotografiche newyorkesi.

Gli archivi personali spiegano anche molto bene la sua relazione con la stampa di moda e di bellezza, così come la sua relazione con la pubblicità. La Cité de la Mode et du Design propone di partire alla scoperta del cammino artistico del fotografo, della sua costante sete di esplorazione e della sua ricerca di un’identità che passa attraverso la fotografia a colori che, in tutti gli anni Quaranta e Cinquanta, influenzerà gli Stati Uniti e il modo di proporre la moda attraverso il mezzo fotografico. Fino al 4 giugno 2017. www.citemodedesign.fr

COLLEZIONIDONNA

milano_new york barcelona

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Sonia Perfetti, Decio Vitali Texts: Clelia Zanni Fashion shows and backstage ph. Viero Zanoni

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MADE IN GEORGIA Face-to-face with Irakli Rusadze, creative director of the Situationist brand An appointment for Wednesday evening. The day ends in style with the Situationist fashion show - that promises to meet up to expectations - within the picturesque setting of the Museum of Science and Technology, baptized as a stage for many fashion shows. Founded in 2015, from the creativity of the twenty-five year old Irakli Rusadze, the brand has been chosen as special guest at White Milano that, with the support of the National Chamber of Italian Fashion, decided to have the Georgian brand tread the catwalks of Milan Fashion Week for the first time. A recognition that confirms how the focus that has for some time been concentrated on Eastern Europe - thanks to several talented designers who have attracted international attention - results in a propensity towards an intense and intriguing aesthetic underground that flirts with the 90s, revisiting them through sophisticated, feminine silhouettes. Authentically “Made in Georgia”, all his pieces are created on site, and Irakli follows the entire process of production: from planning each garment, to design and cutting. Next winter’s collection is based on powerful lines with oversized volumes, manly outfits, long coats with double lapels - rich in details, different models of jumpsuits in leather, neoprene, and wool with a fur effect. A demonstration of a great attention given towards the research in the materials used. Focus is on the shoulders, well-defined and structured. Proof of a creative process that starts from classical denotations and reaches an innovative and personal inclination, for a look with a subversive and unconventional soul. This is confirmed by the name chosen for the brand, Situationist, which takes its cue from an expressive current and assumes a personal meaning in the works of the designer, who associates his creations with specific situations and tendencies, in a symbiotic relationship with the context in which they are inserted.

Your clothes suggest a dialogue with the present. How do you translate the present in your collections, and how do you intend contemporaneity?

Anything that comes off my work table reflects the reality I live in. Not the actual reality. I would say, more of a puzzle of everything I ever saw, and everything I ever thought of, and even though every piece I create goes public now, it still remains very private to me.

What influences you? Which is the inspiration for your latest collection?

The crazy 90s. Georgian women. Their ability to be happy in a world, which had nothing to give but never-ending need and desperation. Inner strength. Beauty of imperfections.

In recent years, Georgia has given birth to a new generation of talented designers, attracting attention on an international level. In your opinion, why is “Made in Georgia” capturing such interest and acclaim?

There were two people who were talented enough to put Georgia on the map of world fashion: David Koma and Demna Gvasalia. Since the attention to the region was already driven, other Georgian designers became more visible – like myself. Yet, still, it wouldn’t be possible if not for the MBFW Tbilisi, led by Sofia Tchkonia – the only opportunity you get here to show your clothes to the world.

Your brand was chosen as special guest at White Milano, during which your collection treaded the catwalk for the first time, with the cooperation of the National Chamber of Italian Fashion. What does being included in the official calendar of Milan Fashion Week mean to you?

I was so thrilled, I couldn’t believe it was really happening. Being there, in the heart of fashion making, not as a spectator, but as a part of this process, was very exciting. I have to admit, it was a pleasure to work with WHITE Milano. It’s a level of professionalism I’ve never seen before. Everything was taken care of. Every detail, every wish I had for the show. I hope it’s the beginning of a long-term partnership.

There is talk of a “new minimalism”. What do you think of this evolution, and how much is it part of your approach towards your work? Would you define yourself a purist?

I’m anything but a purist. The world would lose all its attraction for me if it weren’t for mixing. Any development is a change, any move is a development. I’m for the reconsideration of traditions, shapes, languages, concepts of femininity and masculinity. Our planet goes around 30 km per second, so we all have to speed up.

“New minimalism” is not an artificial decision made by designers. It’s a trend, which was brought to the fashion industry by people who wanted to go to the party after work without changing their clothes and still look good.

As for my approach, well, I’m not making clothes for special occasions, so the concept of a simplified wardrobe fits me well. Yes to “new minimalism”.

Fashion designer, or dressmaker?

I’m a dressmaker with a personal point-of-view on clothing, which makes me a fashion designer.

8 How do you image the fashion of the future?

From what I see, history keeps on repeating itself, and the fashion industry is not an exception – moving in circles, adjusting eternal classics to a constantly changing reality.

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Vetements

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PARIS_SPOTLIGHT ON

VETEMENTS

Demna Gvasalia, and team, presented his pret-à-porter collection during Haute Couture Week, immediately becoming the unmissable event of the moment. The appointment was at the Pompidou Centre. An extremely fast pace on the catwalk, very familiar outfits, and the identification of stereotypes: the Milanesa, a lady in mink and big sun glasses - the secretary in a business suit: jacket and tight knee-length skirt - the pensioner with a checked shirt the Parisienne in a trench and cashmere sweater - Miss n. 5 in a cream-colored tweed suit, and so on. Precision of a high sociological level. Quite interesting.

Demna Gvasalia, e il suo team, presentano la collezione di pret-à- porter durante la settimana dell’Haute Couture e diventa subito l’evento del momento da non mancare. L’appuntamento è al Centre Pompidou. La sfilata va a ritmo velocissimo e sono outfit molto familiari. Infatti si tratta di individuare gli stereotipi: la Milanesa, una signora in visone e occhialoni da sole, la segretaria in tailleur, giacchettina e gonna aderente al ginocchio, il pensionato dalla camicia a quadretti, la Parisienne in trench e maglioncino in cachemire, Miss n.5 in tailleur in tweed panna e via così, con una precisone di alto livello sociologico. Molto interessante.

S. P.

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