Armani and Missoni: In the Shadow of the Supermoon

28 Sep 2015 | Author: | No comments yet »

Armani and Missoni: In the Shadow of the Supermoon.

And Sophia Loren is still turning heads at the age of 81, making a dramatic entrance as she arrived at the Giorgio Armani show during Milan Fashion Week in Italy on Monday.“While I am alive, there will be independence,” Armani, 81, told reporters Monday after his spring-summer fashion show in Milan. “Soon after, perhaps I will have prepared the ground for a type of independence that is more measured, more controlled.” Some of the biggest names in fashion are presenting succession quandaries as they enter their twilight years.Its pioneering use of live streaming, 3-D projections and Twitter’s “Buy Now” button have been part of what makes its star-studded women’s wear shows among the most hotly anticipated events for millions of fans online.

The actress emanated glamour and sophistication as she flashed a royal wave to the crowd ahead of watching the luxury brand’s Spring/Summer 2016 collection go down the runway. On Friday, just days after Burberry announced it would be the first in the industry to have its own Apple Music channel, the brand announced it would premiere its spring 2016 collection via Snapchat, the mobile app on which short messages digitally self-destruct after just a few seconds. The star was joined by a host of Italian celebrities as she enjoyed a front row look at veteran designer Giorgio’s latest colourful, urban glam collection.

At stake are combined annual revenue of more than $40 billion and Europe’s hold on the global market for designer handbags, shoes and other personal luxury goods. On Sunday night, the brand began sharing photographs and videos of finishing touches to the collection and of its front-row stalwarts, including Anna Wintour, receiving invitations to the Monday show. Sophia has often spoken of her desire to grow old gracefully, and it was plain to see she had stuck to her values, with just some rosy blush and pink lipstick enhancing her striking features. Armani, who rose to prominence dressing Richard Gere in the 1980 film American Gigolo, said last year he hasn’t made up his mind about what happens to his business after him. Outside the shows, the human peacocks who live to be photographed and haven’t quite twigged that “relaxed is the new glamour”, still teeter around in stripper heels and clothes than in any other context would be deemed fetish wear at best, gauchely garish at worst.

Although show coverage will continue on Snapchat’s Live Stories feature once the models take to the runway in Kensington Gardens at 1 p.m. today in London, the early previews will have vanished. It got a boost from a gently calibrated, Balthus-inspired Arthur Arbesser show, full of youthful (but not naïve) florals and tone-on-tone ghostly cat prints, but mostly felt gone with the blood moon. What followed was as experimental as the famously understated designer gets: there were transparent trousers and pinky sunrise stripes that gave clothes an ombré effect, as well as a plethora of pink-toned grey shorts suits and boleros in tapestries of red, white and navy. Sophia, best known for her roles in Two Women and Marriage Italian-Style, shockingly confessed last year that she was strongly advised by film industry bosses to have cosmetic surgery when she was starting out. ‘They were saying that my nose was too long and my mouth was too big.

Christopher Bailey, Burberry’s affable chief executive and creative director, has used his digital expertise, contemporary style and canny ability to blur distinctions between trade and entertainment to transform the once-forgotten British fashion house into a global behemoth. To celebrate his new book, a 40th anniversary extravaganza tracing his career from childhood to today, Giorgio Armani had not a party but a presentation. The accessories were particularly quirky: hats with oversized brims with sheer stripes that enabled the wearer to see; silk neckerchiefs trimmed with hard red tassels; 2ft-long fabric tubes that fanned out from the neck and draped over the torso like tentacles. The designer has no children, though his nephew and two nieces are on the board, and has previously explored deals with Hermes International SCA and Arnault’s LVMH Moet Hennessy Louis Vuitton SE. He said that using Snapchat felt like an important next step for the company. “I love the philosophy of Snapchat and the idea of capturing a moment that then immediately disappears, unpolished and rough around the edges,” Mr.

At the end, two models swished crystal-studded blue gowns to display red underskirts with hems that had been wired into a permanent state of undulation. Rather it concerns overtly crafted clothes worn with contrived disregard: understated but clearly expensive loafers, ideally with the back-leather trodden down, intricately woven coats sliding off shoulders, richly embroidered, antique looking tops worn with silk trousers that feel like jogging pants – and often look like them too. Armani is often accused of presenting fairly similar clothes year in, year out – his celebrated languid tailoring is far from broken, so why fix it? He’s also behind the Armani hotels in Milan and Dubai. “Being able to choose the light that you like in an office as much as designing an unruly or highly elegant collection, this is independence,” said Armani, who serves as owner, creative director and chief executive officer of the company he founded 40 years ago. “But you need means to maintain independence.”

He was perched on a table in his Pimlico design studio as a small army of seamstresses disappeared to take their lunch break. “I especially wanted to do it as it seemed like the perfect way of capturing the reality of shows themselves: that surreal contrast in the chaos of a run-up to an event, then that moment a model comes down the catwalk, gliding serenely like a swan down the Thames,” he said. “There’s a mix of reality, intimacy and inclusivity that other platforms don’t really capture in the same way.” A savvy way of interacting, too, with Snapchat’s 100 million daily active users, most of whom are younger than 30 and valuable potential future spenders in an evermore volatile luxury market. The attendees (those who weren’t rushing off to the airport to hie themselves to Paris for the final leg of the ready-to-wear season) were seated, auditorium-style, as photos from the approximately 500-page tome streamed along the walls — clothes, ad campaigns, personal shots (Armani playing guitar with Eric Clapton), baby pictures — and the journalist Suzy Menkes paid homage to the designer’s history. Master of the killer red carpet dress that also looks – relatively speaking – comfortable, his art is to inject sporty basics with luxurious hallmarks, tone down the grand statement, bling up the casual. Bailey said he was “less interested in over-analysis of a demographic,” he agreed that it was important to understand how people engage online and to bring the brand to them accordingly. “They want to know how our things are made and the stories behind the scenes. Variously described as the king of Milan and the godfather of fashion, the 81-year-old designer has amassed a personal fortune of $7.7bn since setting up his business in 1975.

They want more access and more authenticity, and if that’s what they are demanding, then we need to listen and find new and exciting ways of democratically bringing them into our world.” As the hours to showtime dwindle and given his increasing emphasis on immediacy and position as leader of fashion’s digital revolution, the pressure on Mr. Trends from the front row: This was the week fashion folk turned into fashion victims, jamming themselves into the newly renovated Gucci store on via Montenapoleone to snatch up fur-lined horse-bit slippers, loafers, big GG belts and flowered trouser sets. He concedes that, at times, events “veer that way.” “Technology defines our lives more than ever before, but there is no straight line clear to anyone yet as to where products or platforms will evolve and take us in the future, nor is it something any luxury brand can or should consciously force,” he said. “I think it’s as much about staying in the present, looking at all the little snapshots of moments all around us, and telling the story of what is unfolding in the most meaningful way we can.

Long vertical stripes on caftan-like knit tunics and long, flowing knit cardigans; horizontal stripes on neat knit polo shirts and clingy knit tank dresses; zigzag stripes on ankle-length T-shirt knit dresses; patchwork stripes on knit pants. Versace, set up in 1978, is considered the brash, sexy opposite of his taste and refinement; Prada’s intellectual take on fashion is viewed as a stark contrast to Armani and Versace. When Domenico Dolce and Stefano Gabbana were rising through the ranks, their enfant terrible status was never more pronounced than when they fell out with elder statesman over designs for quilted trousers. (Armani accused the pair of plagiarism.

Stripy-wedge flat-forms (Milan is once again obsessed with the stripe) of block coloured high heeled Mary Janes, geometric red and white prints and glossy bags all added to the currency. In May he flew in the fashion crowd – and Cate Blanchett, Leonardo DiCaprio, Tina Turner, Glenn Close, Tom Cruise –for a string of celebrations (Italian parties never seem to come singly). From the bristle-topped twins Giulia and Camilla Venturini, artists and members of the Tod’s band who walked the Tod’s show, to the blond and fuzzy model Kris Gottschalk to the entirely bald Yana Dobrolyubova, who took a turn at Emporio Armani, heads have been in the spotlight.

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