Comfortable, striking and chromatically opulent. Puff silhouettes, stripes that shape the neo-romantic, a post-folk that sometimes gets graphic. Iconic image: the thick eyebrows, braids wrapped around head, and the voluminous, über colorful outfits in which the exotic and theatrical Frida Kahlo ventured even onto the sidewalks of New York, exotic and theatrical. The runway shows pursue the memory. Revealing images of great travelers surrounded by a universe of memories and fabrics, of personal, vital and reassuring stories.
A longing for color and substance in the kaleidoscopic whole with which Missoni revisits a certain vision of folk, switching on the red-pink-orange brights, complicating the canvas and the symmetry of the workings, the lengths and the diagonals. Through to magnifying those Seventies mirrors of memory, now maxi prints.
Exotic and vaguely digital, the black and white trousers that Etro teams with the folk&chic blouse, while cashmere makes its way into the bold textures of a yellow sun, profiled in couture black. On the other hand, totally casual, almost cowgirl, the patchwork insert of the South American genre with which Just Cavalli defines the jeans outfit: puff shirt and trousers worked as lace, perhaps by a laser with a hieroglyphic memory…
Last but not least, Prada’s bold, violent, and important stripes hallmark the season and the clothes of the maison. It’s the bananas, that yellow on black, which open and close the tropical journey, the only inhabitants of a world spiked with horizontal tints and by the black that dramatizes the graphic rhythm. Vintage folk. The stripes and colors of Mila Schon, who opens the Seventies with a black that both confuses and combats the tropical chromatics: a dramatic combination that was disputed even at the time.
1970. The “Natives of America” collection of Giorgio di Sant’Angelo, headwear inclusive of feathers. And his jersey dress that mixes flowers and patterns, also here on a black background, worn by Barbara Carrera in the 1971 shot.
Even earlier, and leader of them all, a Veruschka immersed in the blinding light of the desert wearing di Sant’Angelo‘s multilayered luxury. A nomad dressed in green cotton and taffeta, wrapped in braids and brocades, regal in the abundance of the layers of wool and silk mohair, and so much photographed by Franco Rubartelli.
More recently. The group in an internal shot, the folk of the archive: there’s a flared coat in a multicolored patchwork print, a gauze and silk skirt, a hand-embroidered dress with sequin flowers, an organdy shirt with flower appliqués, a gazar bustier dress with patterned fabric inserts…and then there is Roberto Cavalli’s ultra-Kahlo collection, Winter 2008. And so, to finish, the ultra-vitaminic colors with animalier touches, maxi-floral prints, flounces, bows and embroideries: Mexican mashup and Sixties opulence, the vision of John Galliano, Spring 2009.
(Vogue.it)
Fashion Influences: Yesterday Versus Today
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