Adventurous Armani, illusory Fendi tighten Milan Fashion Week

MILAN (AP) — And in a flash, it was over. The Milan Fashion Week clinging to tumble and winter menswear for 2018-19 was shortened this year into a super-slim prolonged weekend that finished Monday.

Many conform houses opted to overlay their previews for group into their womenswear shows scheduled for subsequent month. Others motionless to go with some-more hands-on presentations instead of all-out runway productions.

Some of a conform houses that participated in a precipitated men’s week churned women’s panoply in with their primarily masculine displays. But a final day stranded particularly to menswear, with Armani, Fendi, No. 21 and Yoshio Kubo shutting out a previews.

Here are some highlights:



Elegance meets tour during Giorgio Armani, with double-breasted looks, a new coupler collar with a built-in shawl, a posable shirt collar and joggers or load pants tucked into high towering boots.

As with his childish Emporio Armani line shown Saturday, Armani employed velvet easily in his categorical line. Velvet is a weave of princes, a engineer remarkable after a show, tracing a recognition as distant behind as a 15th century. Armani’s suits were both grave and casual.

Formal double-breasted looks were a clever suit, in shirts and knitwear as good as a classical jacket. For Armani, “the double-breasted construction is beautiful, since it does it all,” since a some-more common singular symbol coupler requires a vest or a imagination shirt and tie to finish a look.

“You need to recompense for a miss of buttons with other elements,” he advised.

Armani also combined a new shirt with a collar that can be configured into plural shapes pleasantness of dim lead thread. The white shirts on a runway contrasted elegantly with darker tones and were ragged possibly high, rolled adult or scrunched down, out of sight.

Less grave load pants and joggers finished many looks. Bags enclosed large overnight duffels. Colors were mostly earth tones.

Armani pronounced he sought to make “sporty looks some-more sophisticated” and to supplement a “touch of sportiness to a evening.”



Silvia Venturini Fendi took a tour to a family conform house’s past for subsequent winter’s menswear and found herself during a fantastical airfield carousel.

Bags of each arrange and even a fur-covered baby crib sped by on a circuit belt as models strode by. Fanciful accessories had a clever purpose to play in a collection, from fur-covered safari hats to plasticized sleet hats and Fendi-branded umbrella-shaped caps.

The collection had a feel both contemporary and nostalgic. Brown and bullion were a categorical colors, and a silhouettes veered toward relaxed, ample cuts.

Diagonal detailing characterized a season, appearing on fur coats, down jackets, and relating smooth shirt-and-tie sets. The imitation of a season, a partnership with a artist-designer famous on Instagram as @hey_reilly, was a collage of plaids, architectural detailing and a double-F Fendi trademark practical to some of a catchwords of a season, including “Freedom.”



Japanese engineer Yoshio Kubo imagines a craft pile-up on Mount Everest as a backstory to his latest collection. “It is not scary,” a 43-year-old engineer explained backstage. “I survive, right?”

The unfolding starts to explain a flimsy red parachute that bellowed behind a splendid striped breathe interconnected with a resolutely printed top. And it gives deeper definition to a perfect organza anorak, a edges left frayed, that suggests an airplane’s fiberglass shell.

The colors of a collection are a splendid reds and purples of Nepal that would come into concentration outward a plane. They seem alongside some-more classical blacks, grays, tans and olive green.

A fringed jacquard coupler in red, black and white shown with loose-fitting striped trousers for a pondering hold had a rite feel. Everest itself seemed as a motif, both striking depictions of a towering and a word steady as a pattern.

Kubo gave survivors of a fake pile-up hoods and makeshift turbans, and a few got quilted moon boots.



Alessandro Dell’Acqua is forgetful of California in his subsequent collection, though a some-more barren and removed California than a always balmy Golden State decorated in renouned culture.

His is a universe of roadside motels and removed girl who find interloper from a universe behind large hoods with song grating from their earbuds. The universe is some-more “Stranger Things” than “Surfin’ USA.”

The looks are both classical and nostalgic, featuring fit jackets with quilted details, patterned knitwear somewhat cropped and cardigans buttoned askew. Woolen trousers have effervescent waistbands and jaunty stripes, hemmed to exhibit nubby-soled boots in dim leather or cowskin.

Outerwear includes quilted parkas and stout leather coats with patch details.

“It is a collection of panoply that we like to conclude as classics, essentials,” Dell’Acqua pronounced backstage.

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