What kind of power woman are you? Milanese designers seemed to ask themselves that same question last week while presenting their Spring 2014 collections, that went from tough rock girl or fearless amazon to traditional family pillar, deceptive romantic, nostalgic hippie and rebellious teenager.
Donatella Versace has decidedly turned rock as expressed through her multiple daytime outfits like the luxurious denim perfectos paired with shiny A-line leather-like skirts and linen worker see-through shirts worn over sexy brassieres and pencil skirts slit down the middle, as hook fasteners replaced the more traditional zip. Hip belts with big metallic buckles, silvery neckerchiefs and multiple rings also added to the rock style, while bondage neck harnesses, ankle straps and corset-like tops winked at a more aggressive femininity. Touches borrowed from the male wardrobe like faux shirt collars and long-sleeved shirts mixed with ultra feminine faux corsets expressed the tension between the need for efficient chic work wear and a desire to stay feminine. While the rock theme persisted throughout the collection, Donatella remained faithful to her pastel palette and mermaid goddess silhouette as aquatic and floral motifs appeared on dresses and ensembles and evening gowns became typically low-cut. It is indeed a challenge to redefine the rules of attraction each season and Donatella does it with incredible flair as she toys with the limits of elegance and tackiness, sexiness and provocation, high fashion and street wear.
As for Dolce & Gabbana, while continuing their Sicilian cycle, the duo pursued the theme of their Men’s Spring 2014 collection, and took us back to Sicily’s Ancient Greek past, as seen in old engravings or sepia drawings of Grand Tour travellers: columns, temples or ruins printed on silk tunics with wide sleeves à l’antique, volutes and other decorative architectural elements on waistbands, but also golden Roman sandals, large antique belt buckles, jewellery and hair accessories - all adorned with effigy coins. Seemingly unlikely elements like the coloured fur skirts, collars and boleros may recall that Romans and Greeks were mainly shepherds. Dolce & Gabbana’s eternal Sicilian theme could also be found in a mixture of all-black modesty, as shown by the below-the-knee skirts and the sexiness of the low-cut and polka-dotted dresses or black lace all reminiscent of 1950s Italian cinema. There was also a floral theme with intrusive white and pink flowers in blossom printed or embroidered on outfits in an exuberant, ‘More is More’ spirit.
For her Blumarine collection, Anna Molinari modernised the romantic nymph style by using fabrics as traditional as broderie anglaise or plumetis on blouses and dresses, and combining them with geometrical sporty cuts for perfectos and skirts in beige and neutral tones. Light animal prints, black buckled rock boots and crystal embroidered on transparent dresses, as well as the addition of feathers on certain gowns, all pleaded for a discreet rock attitude.
For his Emporio Armani line, Giorgio presented an immense collection of ninety-four outfits – a tribute to the easy elegance he’s best known for. With a few perfectly cut trouser shapes in his usual grey, blue, almond green and old pink pastels, Armani played with all the different jacket lengths and patterns that he’s been working and reworking throughout his long career. The discreet jungle prints and impressive faded-shiny skirts along with the pretty neckerchief – necklace, all expressed that Armani sober elegance is destined to women of all different ages and types.
Veronica Etro took up the challenge of adding a 70s hippy twist to her signature paisley prints: draped and ankle-length dresses, flared Etro scarves and thick leather belts, all in a mix and match collage esthetic that combined stylized florals, animal prints and arabesques.
Finally, Miuccia Prada proposed a very arty and somewhat aggressive collection inspired by mural painting, graffiti and comics. The curiously styled models featured giant impassive female face prints, found in 50s American commercials, and huge retro bras, which were embroidered on dresses, skirts and coats, while baseball striped socks, military khaki, leather handcuffs and heavy sequins all conveyed a distinct guerrilla spirit. Miuccia admitted to being influenced by German-American painter Richard Lindner (1901-1978), who was known for his violent colours and provocative eroticism – elements he borrowed from advertising as he was also an experienced graphic designer.
Louise Kissa