Der mittler zwischen hirn und händen muss das herz sein ! or: Without the heart, there can be no understanding between the hand and the mind. This quote, coming from Metropolis, was written on the invite for the presentation of the Spijkers & Spijkers’ fw 2010 presentation. The Dutch twin-sisters presented a collection inspired by the German sci-fi movie Metropolis, produced in the twenties and directed by Fritz Lang.
Colors (black, brown, silver, gold), graphic art, the mirrors, images of the city by night, techno-like effects and the face of the Metropolis-robot were all used in the collection. Of course the designers gave it their own twist. The result was a modern, ladylike collection with 20’s influences without being too retro.
Short, pleated skirts were mixed with sweaters, tunics in silver and bronze were combined with leggings in the same color-effect and overalls with graphic details looked almost chic with a chiffon blouse printed with skyscrapers by night.
The accessories were matching: small parts of a machines formed golden and silver necklaces and bangles, some decorated with colorful stones. It’s a pity the collection got pushed aside by the killing showschedule in Milan – it deserves the attention.
The soundtrack at Jil Sander consisted of shooting and screaming voices; this was a woman on a mission. It was from the movie Lara Croft: Tomb Raider. A part of the collection had the same sci-fi computer-game fantasy: form fitting catsuits, rompers and knitted shorts suits all in black. The boots with velcro-closures did it too.
Another part of the collection Raf Simons presented, was modern and classic: fly-front jackets, skirtsuits, and slim coats in supple, light tweed and softly colored windowpane checks. This is the Jil sander-brand as we know it from her succesyears in the nineties. This was retro-minimalism at its best. Young women wil like the short skirts and tough boots, older women will feel comfortable in the black dresses and pantsuits. The luxury is in the fabric and make without screaming the brands name.
The Emporio Armani collection was pretty and upbeat, just what an uptown girl needs. A short fur or leather jacket, loose pants which narrow at her feet, a draped top and of course a glitzy dress for the night.
Armani played with textures, colors and shape. Techno-materials were used next to more traditional textiles as organza, wool and velvet. Colors were typical Armani-style: taupe, dove-gray, beige, slate and cloudy gray. Although the brick-orange was quite surprising and didn’t do it for us. But maybe his growing Asian market will love it.
Throughout the collection we noticed a refined exchange between masculine and feminine, which is typical Armani. Jackets, pleated at the back, were made of organza, a chalk stripe waistcoat took the place of a T-shirt and shirts evolved into featherweight ultra-feminine tops.
Phew! That was a hell of a collection and show at DSquared, especially after such a trendsetting show at Prada. Men put in cages of glass, models landing at the runway behind the bars of an old elevator, elektro-disco yelling and clothes that looked like twin-brothers Caten revisited The Matrix.
They took the successful movie as one of their reference points, but also manga and Jekyll and Hyde. The result was a dark sci-fi collection full of black leather, latex and red details (underwear, gloves, legs). It was all about shape and a sharp silhouet softened by fur-coats. There were some nice pieces: a leather and wool trench, some tailored jackets and a chic Forties-style dress, nipped at the waist and cut with a wide neck. Hopefully they will make the pencilskirts with a split before they hit the stores, because models could hardly walk in them.
Extremes were the high heels with spines as the heel, veins in blue and red drawn at a nude top, metal chains and bones-accessoiries.
You don’t wanna fight with the new Prada-woman. She looks sensuous and very elegant in her 50’s housewive dresses, but she’s in control and self assured. She is who she is.
This was yet another Prada-collection which leaves you distressed and thinking about what was going on. Someone called it retro-future, severe chic or restraint meets assertiveness, I would call it women breaking free. Disturbing jazz filled the room and the models were walking down the runway with beehive-hair, bare faces and in prim dresses with high pointed shoes.
Take a closer look and you see the silhouette of the breasts sticking out, push up ruffle bra-dresses and a glimpse of knitted collars at chic coats and LBD’s with a plastic ruffle. It was exciting to see fuller-figured girls at the show – Doutzen Kroes and Lara Stone a.o. – who walked secure and celebrated their femininity. Interesting were the sweater-dressing – a blue cable knit at a full cable knit skirt – the dark 50′ prints and the rubber coats in camel. The collection was about sex appeal, but in Prada’s world, it’s not about baring all. It was conservative, sometimes almost funereal, except for the suggestive, exaggerated focus at the bust.
Hopefully the thick knitted knee-highs and maillots don’t itch too much, because they add just that edgy touch to the outfits. Especially worn with those fragile looking patent leather shoes.
The D&G-girl won’t get a cold that easily next winter. She can dress head to toe in sexy, comfy, warm Nordic knits with a pair of big furry snow-boots at her feet.
Domenico Dolce and Stefano Gabbana continued the ski-theme of their menswear-collection for next fall, but without the thick, blown up ski-wear. Their womens-collection was all about the big sweater – worn like a short dress with a belt-, shorts, vests and overalls in Nordic patterns (red, black and white). The pattern even turned up as a print on their jeans. The knits were not bulky, but more streamlined – and sometimes very tight – and mixed wonderful with the airy dresses, long skirts and blouses.
Of course this was a true commercial collection, but with lots of stuff to love. Ski-fashionistas will go for the glitzy ski-goggles, while a citygirl will love the warm vests, big bags and snow-boots. We’ll leave the furry bloomers and strapless, knitted tops for the advertisements.
Narciso Rodriguez let his signature codes — sleek, a-symmetric cuts and architectural details — rule his fall winter collection. The collection was full of good, studied clothes, grounded in controlled silhouettes, which packed commercial appeal and were a bit on the safe side.
Sleek but sturdy outerwear, much of it reversible, was the message for the day. A parka, a thick, shearling jacket with a wrap funnel collar felt protective. Rodriguez’s razor-like cut-outs, slashed across the shoulder, or a sliver down the chest, came into play on glossy silk dresses for the evening.