The collection, with its flashes of burnished gold and painterly brush strokes, was a nod to the work of the 2oth-century Venetian architect Carlo Scarpa, and aimed to marry the sartorial with the utilitarian. The result was youthful and high energy, and it’s clear that creative director Brendan Mullane is spreading his creative wings. Silhouettes were slim and precise, with suit jackets — and even leather and safari ones — belted neatly at the waist, while trousers kissed the ankles. Drama came from the finish — and flourish: intersecting gold or teal stripes — meant to mimic Venetian glass painting — adorned dovecote gray shirts and jackets, while contrasting fabric panels did the same for suits. Mullane popped suede patch pockets onto tailored jackets or laid stripes — like colored ribbons — neatly on their surfaces. Color built to a crescendo in knee-length shorts and shirt combinations, with brush strokes, all of which were hand-painted or hand-screened, forming abstract check or plaid patterns in blue, green and red. Coats took flight: Made from high-tech and parachute-thin Japanese nylon (Scarpa was a Japanophile), they too were adorned with stripes and billowed in models’ wakes.

By  on June 22, 2015

The collection, with its flashes of burnished gold and painterly brush strokes, was a nod to the work of the 2oth-century Venetian architect Carlo Scarpa, and aimed to marry the sartorial with the utilitarian. The result was youthful and high energy, and it’s clear that creative director Brendan Mullane is spreading his creative wings. Silhouettes were slim and precise, with suit jackets — and even leather and safari ones — belted neatly at the waist, while trousers kissed the ankles. Drama came from the finish — and flourish: intersecting gold or teal stripes — meant to mimic Venetian glass painting — adorned dovecote gray shirts and jackets, while contrasting fabric panels did the same for suits. Mullane popped suede patch pockets onto tailored jackets or laid stripes — like colored ribbons — neatly on their surfaces. Color built to a crescendo in knee-length shorts and shirt combinations, with brush strokes, all of which were hand-painted or hand-screened, forming abstract check or plaid patterns in blue, green and red. Coats took flight: Made from high-tech and parachute-thin Japanese nylon (Scarpa was a Japanophile), they too were adorned with stripes and billowed in models’ wakes.

Brioni Men's RTW Spring 201650 Photos 

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