Patch It Up and Start Again

On the third day of Milan Fashion Week, designers played with differing aesthetics and harder juxtaposing flavours with softer materials.

“I would go out tonight, but I haven't got a stitch to wear,” lamented Morrissey in ‘This Charming Man’, one of the songs patched up in the soundtrack of Antonio Marras’ fall-winter 2020-21 show. Unlike Morrissey, Marras’ show had a lot to offer (the designer showcased 84 looks!) and merged a punkish British attitude to his usual Sardinian aesthetic. This season, the designer decided to celebrate his heritage by narrating a story set in his place of birth and unveiling it on the runway. “I wanted to tell the story of the Domus of the Jana, a house in a tiny village in the middle of Sardinia where all women gathered to sew, embroider, trim and work the loom, recovering everything they could find, from feathers from large birds to dried flowers, nets, fabric scraps and dried leaves,” explained Marras backstage. Unsurprisingly, the designer made use of all of the above, mixing and matching them with a substantial amount of different fabrics – tulle dresses were layered over heavy cotton flannels, puff shouldered jackets in Prince of Wales checks were embroidered with lace and faux fur, precious brocades were used to construct overcoats and dresses, eco-furs were used as a base for pencil skirts and so on and so forth. 

At Iceberg, creative director James Long explored the world of grunge. Taking inspiration from some of his favourite muses, Bjork and Kate Bush, the designer worked on creating elongated silhouettes by fusing lots of different pieces and always managing to add a touch of his London heritage to the Milanese brand he designs. “I wanted to tailor with the piumino and I played with knitwear quite a lot this season, in order to elevate streetwear and create some kind of hardcore romance,” stated the designer backstage. Knitwear, in particular, was studied diligently, as technical and three-dimensional details were added for a quilted effect. Angora macramè, mohair with tufts and sequins were added to softer silhouettes, lace and tulle were mixed together and juxtaposed to bombers and sweaters.

What would clothes look if we enhanced from mini to macro? That is one of the questions Marco De Vincenzo asked himself ahead of his fall-winter 2020/21 show. A collection enhancing and celebrating fashion details by exaggerating them on a macro scale. “Everything happening in the collection is based on the principle of enlarging details that would normally be smaller and vice versa,” stated the designer backstage. “I think this is the literal translation of what a drawing of my niece would look like.” Macro details were found in jackets which were characterized by giant pockets and oversized buttons, silk satin collars on blouses slid well beyond the shoulders, floral brooches were enlarged; in contrast, shorts became high-waisted culottes and mini skirts turned even shorter. Magnifying lenses were turned into earrings while super tiny mini bags cinched the waists of many of the looks.

This season, Damir Doma expanded upon the menswear offering he had presented at the Frankie Morello shop in January by presenting his second womenswear collection for the brand. “We chose a song called Come Together by band Primal Scream to communicate our need for diversity,” stated the designer backstage. “Frankie Morello is a very diverse brand and this season I wanted my ‘cyber ravers’ to come together freely at a utopic after-dark gathering.” In point of fact, the cyber raver aesthetic came through strongly as body-conscious dresses and tops clung to the wearer, graphic scarabeo patterns were added to technical knits, chains were added on square-toed boots and security straps on quilted coats. Tailored elements were also added to mix through blazers with vinyl panels and long coats in technical materials.

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