Brunello Cucinelli
Several brands have shown new collections at the Pitti Uomo men's fashion show, which has not yet returned to its traditional venue, the Florentine fortress of Fortezza da Basso. This season, the organizers promised to hold the event in both physical and online formats, but due to a decree from the Italian authorities, which extended the ban on all types of trade shows, they were forced to cancel the shows. Nevertheless, the first part, which took place in the form of virtual presentations and tours for buyers, journalists and brand clients on the specially launched Pitti Connect platform, seemed complete, rich and warm. Mainly because it was a meeting after a long separation.
Brunello Cucinelli presentation in Solomeo © press office
Among the participants was the founder of the eponymous brand Brunello Cucinelli, who invited Pitti Connect users to take a virtual walk around Casa Cucinelli. It is the space that connects the headquarters and factory of the company and is located in the village of Solomeo in the Umbria region. The designer spoke about the distinctive features of the new collection - for example, a jacket made of thin cashmere, which he wore himself, saying that men's clothing has become more fitted and it looks “really sexy”.
He seemed not to be worried about the trend of the fashion industry towards comfort: yes, the new items turned out to be more relaxed, but from this they did not lose in the perfectionist elegance for which the Italian brand is known. If a puffy vest, then from a monochromatic suede, if cargo pants, then from a suit striped fabric, if ripped jeans, then a noble blue, if massive boots, then polished so that they blind the eye. Styling played an important role here: a bomber jacket was combined with a striped shirt and a ribbed jumper, a cardigan was neatly tucked into trousers with arrows, and an aviator jacket was layered on a soft woolen jacket. All this indicated that Brunello Cucinelli, although adjusting to the forced changes - from the presentation of the collection without guests to working with casual and even sportswear, remains true to itself first of all.
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Ermenegildo Zegna
Ermenegildo Zegna is honored to open Milan Men's Fashion Week. For this, the Italian brand chose the format of a short film, which was filmed by creative director Alexandro Sartori himself. He thought primarily as a designer, not a director - this can be seen from the emphasis placed on the advantages of clothes from the fall-winter 2021/22 collection: knitted sets, coats, suede jackets, wide trousers and slippers with a lining of sheepskin and rubber sole. Soft natural materials, relaxed cut and distilled design look great against the backdrop of urban landscapes and are suitable for sleeping on two chairs, dancing with friends, playing chess, tending plants, watching TV and eating noodles - these are the scenes. shown in the film. Alessandro Sartori called it "The reset",what was said in the invitation to the screening, designed in the form of a script. According to the designer, the film, like the collection itself, is dedicated to a new reality and a reboot, which in the current conditions is necessary for everyone.
“We live in a new reality, accompanied by new needs that lead us to previously unseen lifestyles and behaviors. It was at the moment when everything was in the process of discussion that we at Zegna decided to reboot and turned to the roots to rethink our style and reshape the modern man. The street and the house unite and a new way of dressing is created, in which style and comfort combine with each other, creating a new aesthetic,”explained Alessandro Sartori in the credits.
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Fendi
While some are thinking about what clothes should be in the conditions of a new reality, others run away from it in the safest and most carefree period of life - childhood. Fendi Creative Director Sylvia Venturini-Fendi pulled sliders out of the bins, enlarging them to adult sizes, and added faces and squiggles to cropped vests, jumpers and coats, drawn by multidisciplinary artist Noel Fielding in the stream of consciousness. Monochrome images of red, blue, green, yellow, orange and pink shades, the appearance of which led to a change in the color of the neon frames placed on the catwalk, did resemble the costumes of the heroes of the Power Rangers animated series.
Noel Fielding in a sweater from the new Fendi collection © instagram.com/fendi
Silvia Venturini-Fendi confirmed that the main goal of the new collection is a therapeutic effect. It is achieved not only by flirting with childhood, but also by using materials that are pleasant to the touch: cashmere flannel, silk jacquard, satin, fur, sheepskin and ribbed knitwear, from which the longsglivas and those same sliders are made. Not without sound therapy: the models' outputs were accompanied by a soundtrack by electronic musician Alessio Natalizia “What Is Normal Today ft. Silvia ". The name in this case is absolutely justified: the voice of the creative director of the Italian brand sounded in the track, repeating the words "normality", "color", "light" and "darkness" like a mantra. However, Natalicia called it a "cathartic dance pop odyssey", in which, as in the collection itself, "the sudden becomes serene, finding itself at the intersection with elegance,saturated beauty, Italo-Detroit multicolor and destructive escapism."
1 of 12 Fendi, autumn-winter 2021/22 © Fendi press service, autumn-winter 2021/22 © Fendi press service, fall-winter 2021/22 © Fendi press service, fall-winter 2021/22 © press- Fendi Service Fall-Winter 2021/22 © Fendi Press Service Fall-Winter 2021/22 © Fendi Press Service Fall-Winter 2021/22 © Fendi Press Service Fall-Winter 2021/22 © Fendi Press Service Autumn-Winter 2021/22 © Fendi Press Service Fall-Winter 2021/22 © Fendi Press Service Fall-Winter 2021/22 © Fendi Press Service Fall-Winter 2021/22 © Press Service
Prada
One of the highlights of Milan Fashion Week was the first joint men's collection of Miuccia Prada and Raf Simons, who united under the Prada brand a year ago. If Miucci's strong hand was felt in the debut women's collection of creative co-directors, then the male direction was at the mercy of Raf. This was talked about, for example, acid shades (especially purple, which became the designer's trademark), turtlenecks (they were present in most images, looking out from under shirts and cardigans), bright gloves (complete with a case for AirPods) and even soundtrack by Richard Hawtin aka Plastikman (Raf Simons is known for his love of techno).
One of the virtual guests of the Prada show, Japanese actor Ryusei Ryusei © instagram.com/prada
The collection reflects Simons' favorite technique, which can also be traced in Prada's works - emphasizing body architecture with form-fitting silhouettes and minimized structure. Another common attitude, which, perhaps, became the main leitmotif of the show, is tactility. It was transmitted through materials both in clothing (parkas were made of nylon, coats were made of bouclé, overalls were made of wool, raincoats had a plush collar, and bombers had a jacquard lining), and in set design. Rem Koolhaas architectural bureau OMA, with whom Prada collaborated not for the first time, was responsible for the design of the zones, upholstered with neon fur and covered with fluffy carpets (at this moment, Instagram bloggers were especially upset because they could not attend the show).
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Louis Vuitton
The new Louis Vuitton collection, shown in the format of a fashion film filmed at the Paris Tennis Club, retells the essay "Stranger in the village" by James Baldwin. In a 1953 work, the author - a typical resident of Harlem - described the experience of visiting the Swiss mountain village of Leukerbad, whose inhabitants had never seen black people, so they looked at him like an alien. "The Stranger in the Country" became an illustration of the African American experience in Europe. However, Virgil Abloh, the creative director of the men's line at Louis Vuitton, interpreted the text in a broader way - to investigate "unconscious biases implanted in the collective psyche by archaic social norms and filling our views with artificial myths about people, ideas and art." The latter was reflected in the use of items,deprived of artistic independence and exact historical origin. So, the invitation to the show was a wooden plane, which the brand's friends were asked to assemble on their own. Similar items appeared in the collection itself: a glass, a hammer, a newspaper and a bicycle, each of which Virgil Abloh turned into an accessory or a button for costumes in the style of Quentin Tarantino's films.
“The question arises as to who should create art and who should consume it? Conceived outside the realm of art, undesigned and, in fact, normal objects represent the public domain, reinvented and claimed by culture,”the designer wrote in the collection manifesto. As a result of his reflections, he proposed “to follow the rules, but change values,” which he reflected not only in the decor, but also in the combinations of clothes: military-style jackets were in harmony with pleated skirts, striped shirts and trousers with relaxed coats-robes, and tracksuits - with fur coats with a marble effect (a reference to the decor of the German pavilion, designed by Ludwig Mies van der Rohe for the 1929 Barcelona World Exhibition).
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Dior men
Dior Men Creative Director Kim Jones never stops building her collections on collaborations with artists. After collaborating with Daniel Arsham, Raymond Pettibon, Amoaco Boafo and Brian Donnelly of Kaws, he attracted Peter Doig to the atelier of the Parisian fashion house. The landscape painter's works formed the basis not only for the set design of the show, which took place without guests, but also for clothes. The colorful sweater and knitted beret of the heroes of the painting "Two Trees" were literally embodied on the catwalk, orange and yellow colors from the painting "Spearfishing" painted jackets with patch pockets and coats, and the image of Leo Jude, seen by the artist on the walls of buildings in Trinidad and subsequently displayed in The painting Rain in Port of Spain was woven on a blanket and painted on a bowler hat.