Dolce & Gabbana: “Glamorous, but not so much,” said Stefano Gabbana before the Dolce & Gabbana show. Yes and no. Certainly he and Domenico Dolce toned down their usual pile-it-on approach as well as their typical...
Dolce & Gabbana: “Glamorous, but not so much,” said Stefano Gabbana before the Dolce & Gabbana show. Yes and no. Certainly he and Domenico Dolce toned down their usual pile-it-on approach as well as their typical sex-and-sizzle factor. But rather than dampen the glam factor of the terrific collection they showed on Saturday, here it was realized in clothes with obvious commercial appeal.
The Dolce business is red hot, with 20 percent growth anticipated for the fiscal year ending March 31. In recent seasons, the designers have become increasingly inclined to celebrate the fuel for such numbers on the runway. This time they did so more than ever, with a spirited parade that worked a Mod motif with smart restraint, and clear validity for less than — or more than — perfect figures. Numerous suits had skirts tucked gently at the waist for ease, and terrific classic cardigan and V-neck sweaters were worn on the loose side.
The collection was about as tony as it gets. The designers had started out by papering their studio with David Bailey photographs of Jean Shrimpton, then worked in a Russian undercurrent, “just as London beat culture was slightly influenced by Russia,” Gabbana said. Translation: fur, fur and then some, worked into just about every piece of clothing imaginable as well as endless trimmings. A micromini broadtail ensemble swung Sixties London; a kidskin fur suit with a blue blouse tied elegantly at the neck worked the more chi-chi side of chic. Then there were the coats, some all fluff, others in men’s wear patterns with fur borders, inspired by, but countless modern steps removed from, Zhivago-land.
While the designers worked their Bailey-Shrimpton motif lightly, they did play to the mood with certain elements beyond the Sixties hair and lovely makeup. Gigantic buttons set on wide, off-center plackets closed jackets and coats, and tall fur hats or captains’ caps finished many looks.
Perhaps in a nod to the next day’s Oscars, discreet glam went out the window at night, in a diamond-and-white rhapsody of feathers, fur and dazzling crystal mesh. “Almost everything is short,” Gabbana said. “But still Hollywood.”Jil Sander: In October 2000, as guests filed out of the first post-Jil Jil Sander show, they shared a communal wince. The de-luxed, tricked-up collection had felt about as much like Jil Sander as would a pop-tart jeans line. Not so, Thursday’s redux of that situation. Rather, it brought on an emotional push and pull: outright glee over a rare bright light in this most grim of Milan seasons, yet regret for the absentee designer whose name graces the label.
Like that spring 2001 collection, this fall was designed by the often talent-challenged creative entity “Team.” Unlike that earlier effort, it felt true Jil in its richness, restraint and elegant calm. It also looked especially pertinent at a time when piling on more and more jazzola just doesn’t cut it anymore.
Certainly embellishment was never Sander’s shtick, nor that of her longtime stylist, Joe McKenna, whose precise hand controlled every exit. Though still referred to officially as the collection’s stylist, it’s likely that he assumed a role more akin to that of a creative director, if not head designer. Perhaps to avoid inquisition, he bolted out a back door immediately after the show. (McKenna is a contributor to WWD’s sister publication, W.)
Whatever their current relationship may be with Sander herself, McKenna and the rest of the team captured her essence with almost eerie clarity. Linear, almost geometric tailoring. A neutral palette, especially black. Reliance on a handful of staples — the high-belted coat; the airy sweater, now bloused in back; a relaxed skirt, here cut as a modified bubble.
But this was more than a greatest-hits montage. While retaining the core simplicity essential to a Sander collection, “Team” took some bold steps. The only pants, for example, were stirrup pants. And the group dared to decorate its work. Thus, a dress and coat flashed allover sequins and the sleeves of a suit dripped with fringe. Perhaps the show’s best ideas, however, were the same-fabric geometric appliqués that turned sturdy tailored clothes almost quirky: five-sided patches on a skirt; a sprinkle of snowflakes on the shoulder of a spectacular gray coat. Subtly ingenious — just like Jil Sander herself.Gianfranco Ferré: Judging by his latest collection, Gianfranco Ferré must have spent plenty of nights counting sheep. His clients will dream not only of his fine shearlings, but of all manner of fare graced with fabulous fleecy collars, including a perfectly tailored nipped waist tweed jacket, a cropped leather flight jacket and a chic men’s coat worn with stovepipe jeans. But Ferré didn’t stop there — oh no. He also took a detour to Wall Street, offering a working girl’s reverie in the form of meticulously tailored pinstriped suitings. Then his lengthy itinerary meandered into decorous draped territory. Weighty, pendulous skirts came in embossed leather or perforated with zillions of grommets.
All of the above testified to Ferré’s dedication to rigorous design and the incredible workmanship that goes on in his atelier. And if it looked a tad over-the-top from time to time so be it. The last quarter of the show, however, offered no easy excuse, as his look evolved into a maximalist baroque ‘n’ denim affair topped off with a parade of stiff two-tiered gowns that hung from bondage-y bodices. The meter hit Ferré overload, and the barrage detracted from the refinement of the show’s beginnings, while leaving guests to stumble a bit stunned onto the sidewalk.
Roberto Cavalli: Whoa, tiger. Roberto Cavalli’s twinkling Seventies revival was a high-camp-fueled quest for the magical chic specific to Paris during that era — even if, as he explained in show notes, his inspiration was the 16th-century Count of Tirol’s Wunderkammer, or room of marvels. Cavalli opened with a black crocodile coat as slick as wet asphalt and bordered with a generous swath of fur. Then out came a Tyrolean jacket in snake tricked out with brass nailhead swirls, fluffy fur vests, full velvet skirts and a shimmering dress in a gold-glazed leopard print. It was all shown against a background done up like a classically swanky Tyrolean drawing room, but these were hardly stay-at-home clothes. Cavalli’s collection was an ode to the Le Castel set of yore, and he even showed a sendup of Yves Saint Laurent’s smoking. Of course, the collection’s most fundamental problem was that the clothes would better suit visitors to the Paris, the Las Vegas hotel and casino, than the swans of Saint-Germain.But you can’t ignore Cavalli’s red-carpet appeal. His gowns were as wild as ever, bustling with feathers or encrusted with crystals and always as curvy as can be, with the most tight-fitting of the lot boasting velvet bows in back like their cousins from gay Paree or, um, Tyrol. His Empire gown in sweeping metallic pleats was a new shape that gave a nod to Milan’s volume momentum. But before long Cavalli was back to the Vegas stuff, finishing things off in a crescendo of stiff ruffles. Just because the soundtrack proclaimed, “Magnifique, c’est chic,” didn’t make it so.
“These collections continue to build on that vision, empowering differently abled adults to express themselves through fashion,” said @tommyhilfiger of his line of adaptive apparel, which launches today. The line consists of 37 men’s and 34 women’s styles based upon the pieces from the spring Tommy Hilfiger sportswear collection. #wwdnews
“Stranger Things” is getting a new cast member for season 2. Meet @sadiesink_, the 15-year-old who will be joining the Netflix series for its new season. You may recognize her from “The Glass Castle” with Brie Larson and Woody Harrelson, but the Texas native’s next role goes in an entirely different direction. She describes her character, Max, as “a rough and tumble skater girl [who] becomes friends with the boys at school.” The second season debuts on October 27. (📷: @jgreenery) #wwdeye
Amid the Harvey Weinstein controversy, there’s another sector that’s being put under the spotlight for sexual abuse: the modeling industry. While rumors about abuse and sexual harassment of female and male models — and the photographers, agents and others who perpetrated it — have circulated within the fashion world for years, model @cameronrussell started posting stories from models on Instagram last week about abusive situations they’ve encountered — from sexual harassment and molestation to attempted rape. Over 75 have weighed in so far. Read more on WWD.com. Link in bio. #wwdnews
To celebrate its 16th anniversary, @dylanscandybar tapped designers and celebrities to create mosaics out of candy. The mosaics will be auctioned off to support the philanthropic cause of each participant’s choice. Pictured here is the mural created by @aliceandolivia's Stacey Bendet. For a first look at some of the other artwork being unveiled tonight, go to WWD.com. #wwdeye
The annual Veuve Clicquot Polo Classic in Pacific Palisades this weekend drew Kate Hudson, Tracee Ellis Ross, Laura Dern and more. See pictures of the star-studded event on WWD.com. (📷: @chelsealaurenla) #wwdeye
In his new book “Hollywood Royale,” Andy Warhol’s Protégé Matthew Rolston celebrates the Eighties revival of Hollywood glamour. Featuring more than 100 portraits taken by Rolston from 1977 to 1993, the book contains photos of icons like Michael Jackson, Cyndi Lauper, and @drewbarrymore, pictured here in 1991. “Hollywood Royale,” out today, will be accompanied by an exhibition opening at Los Angeles’ Fahey/Klein Gallery on March 1. #wwdeye
"Nowadays when life is not so happy with everything going on in the world, I think people come to me for a little bit of whimsy and color and fun." - Designer Rebecca De Ravenel on her cult-favorite jewelry line. (📸 : @vsteves) #wwd40
“Everyone is talking about how the retail industry is struggling, but I think it’s an incredible time because brands who are doing something different and innovative are setting themselves up for the future,” said @adamgoldston, who founded the luxury athletic brand @apl with his brother @ryangoldsten. The Goldston’s are part of WWD’s 40 under 40: a group of industry notables. See the rest of the list on WWD.com. (📷: @vsteves) #wwd40
@eyeswoon blogger Athena Calderone debuted her first-ever cookbook, “Cook Beautiful,” which is heavily centered on the presentation and visual expression of food. Pictured here are her miso glazed carrots from the book. Get the recipe on WWD.com. (📷: @johnny_miller_) #wwdeye