Dolce & Gabbana: "Thank you" read the final frame of the show-opening video that celebrated Domenico Dolce and Stefano Gabbana's 20 years in business. No, gentlemen, thank you. Because, but for Prada and a few other bright spots, until your wonderfully celebratory event, Milan has been Dullsville.
Dolce and Gabbana really believe that the words "fashion" and "celebration" are synonymous, and they're not afraid to parade that belief even when the tide of cool isn't rushing their way. "We're not about minimalism," Stefano Gabbana said before the show. "We're massimalismo."
That attitude ruled the day, and into the night, as the designers readied for their huge party at Mecenate 79, a sprawling studio on the fringe of Milan. It all started with too much frenzy, some show guests actually brought to tears by the mayhem getting into the company's new, glitzy show digs. (Come on, guys, after 20 years, can't you find somebody who knows how to work a door?) But whatever ill will may have simmered, it evaporated the moment the show started.
Not at all concerned about conversational inconsistencies, the Dolce & Gabbana lads have also talked about the simple life. Sometimes, Dolce said, "you want to taste a piece of bread with fresh tomatoes and basil. We wanted simplicity and to show the essence of life, but with a certain Italian style and intelligence."
Ah, yes, bread, basil and a bevy of fresh-faced farm maidens in heat — and high chic. After the video, the stage floor rose up from below to reveal a vignette of comely, corseted babes in farmland — a sort of "Green Acres," Italian-style, but populated only with Eva Gabors and nary a frumpola neighbor in sight. They glammed up the hayloft they shared with some well-behaved goats and a mini-coop of chickens. The first models sauntered down the runway in red sexpot regalia, all bustier-ed, frilled and gingham-ed. Then came beautiful white cottons that swung from ingénue (confection frocks) to elegance (a slender lace coat, ribbon-tied at the waist), and the blacks, divine dresses, yes, but also great suits, some inset with lace, and a keeper tweed coat. For evening, three voluminous dresses were enough to jump-start a ball gown renaissance.Start to finish, it all made for more fun than a hayride. But best of all — listen up, Milan — here was a feast of fabulous, interesting clothes. And rural roamings aside, they were very real clothes for women to buy, wear and feel fabulous in, in all sorts of situations. They felt like, well, fashion. Happy anniversary, boys. Here's to the next 20.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast