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Milan Fashion Week 2016 Spring Summer day 3! This friday was at the perfect boiling point for what weekend will bring to who’s attending to Milan Fashion show 2016! It’s the Spring/Summer 2016 collections and we can’t get enough of the fashion color trends we’re seeing. From ETRO to Emporio Armani, Milan Design Agenda invites you to take a closer look at day three best moments of Milan Fashion Week 2016 Summer season…
The designer’s iconic floral prints were drenched in black – laser cut and embroidered flowers were strewn over dresses in a nonchalant spray. Large bomber jackets with exaggerated droopy pockets were thrown over shimmering ball gowns and cotton canvas black and beige skirts were tailored in a couture spirit, despite the comfort first fabric.
A real breath of fresh air, in comparison to Molinari’s long line of ultra-feminine upbeat Italian signora collections, we actually got a little glimmer of some tomboyish elegance that can appeal to today’s easy, casual demographic and the gals that wear Stan Smith Adidas from day to night.
A mixed bag of looks, Molinari’s collection was punctuated with flamboyant rainbow prints from the groovy seventies. Transparent bias cut dresses and retro pantsuits were updated with baggy denim trench coats and pantsuits.
Commercially viable looks abounded – especially in terms of black and white evening wear gowns in silk duchesse and satin and provocative cocktail dresses accentuated with asymmetrical swathes of satin or silk and glittery waves of beads.
There was an air of nostalgia at the Emporio Armani “summer breeze” show, whose ensembles conjured memories of Armani’s hits from all the four decades he has been in the business.
The show started with hot-fix applique 70s retro floral printed jumpers and culminated in a pastel colored oversized double breasted blazer paired with chunky disk-shaped earrings reminiscent of fashion’s heyday of the 90s. There was also a hint that all the young blood that Armani has been hosting at his eponymous theater has had an effect on him. Elaborately shaped laser cut leather jackets, clown striped trench coats, and a cheeky t-shirt with a smiley face threw us for a whirl.
Made for a girl on the go, bubbly, puckered belted-cuffed pants; neck-tie scarves; oriental collar over coats; and easy street ankle boots were a few evergreen Armani pieces that dominated the runway. The stage was set with a big orange sun emblazoned with the Emporio Armani name, and the color palette – that was ruled by rich shades of peach, burnt orange, and even lilac, which all supported this Bahamian sunset motif.
As the show came to a close, it all took on a sentimental tone with the voice of legendary Italian singer Zucchero crooning “Wonderful Life” as a tangerine series of cocktail dresses and diaphanous shorts ensembles flew by. Fashion maven Candela Novembre and stylist Ada Kokosar (and many others) lip-synced the words they knew by heart from their seats.
An echo of sadness rung, as the final darkened sun set reminded us that even day will turn to night at the house of Armani when its founder eventually passes the baton after 40 long years.
See also:Milan Fashion Week 2016 spring summer news day two best moments
Veronica Etro is on a bit of a roll. This season, the designer captured the l’air du temps with a collection that brought a romantic femininity back onto her family brand’s catwalk. But unlike other designers whose names will go unmentioned, she found a way to make the style uniquely hers and cleverly incorporate the heritage of her house into the mix in a subtle way.
But don’t be misled into thinking that this collection was filled with cloying clothing; quite the contrary. Etro gave her fluid floral dresses, cropped silk ribbon bomber jacks, and bias cut drawstring jogging pants an underlying sense of strength. “In the end, I must say, it is not a sweet collection,” confirmed the designer in a preview of the show. “I am not a sweet person,” she added with a laugh. “I don’t like too much girly stuff.”
To help keep the sweetness in check, Etro looked to the world of ballet dance and the athletic power of dancers like Anna Pavlova or Nijinsky. Her more muted color palette, which steered clear of any shade that read too youthful, and the way she intentional kept the finishings of her garments unperfected helped to telegraph a nonchalant allure. This combination of strength and delicacy has a potent effect on the audience that was buzzing with compliments about the collection after the show.
It was wonderful to see Etro pushing herself by incorporating fabrics and embellishment techniques she has rarely used before. The results – like a crocheted top woven through with haberdashery ribbons, or one in leather covered in hand painted blooms – were artisanal craftsmanship at its best.
The perfect final touch to all of the bohemian potpourri flower printed chiffon dresses, botanical motif reversible silk robe jackets, and folksy iridescent plissé skirts were the lace up ballerina flats. Both practical and posed, they kept this beautifully carefree collection’s feet on the ground.
In a preview of his debut collection for Iceberg, designer Arthur Arbesser name checked the Italian artist Enrico Baj and his vivid, often politically charged paintings as an inspiration. Arbesser, too, was looking to make radical reforms at Iceberg with a collection filled with colorful knitwear in exaggerated patterns.
“I thought the most important thing was to start the project really fresh, with almost nothing in mind,” said the designer.
Iceberg is known for its knitwear and it was nice to see the designer staying true to that aspect of the brand’s heritage. The supercharged shades that Arbesser chose and his slim silhouettes gave the lineup a mod 1960s vibe, a feeling cemented by the use of perforated metallic silver tops and flared pants as well as a go go girl twist on the idea of fringing that saw tuffs of metallic yarn sprouting out of a series of outfits.
The odd introduction of oversized plastic military metals on outerwear was perhaps an attempt to echo the show’s slightly off kilter graphic motifs, but they fell flat. In fact, even with all the glossy patent leather accent pieces, fun sun hats and playful silver pointy toed shoes, the colorful collection just didn’t achieve the joie de vivre it was aiming for.
This season Donatella Versace traded in the refined Palazzo Versace headquarters in the center of Milan for a cavernous hanger on the edge of the city as the backdrop for her latest collection. A move designed to reinforce the primal power of her Spring/Summer 2016 line up that went straight for the jugular with a toughened up take on fashion.
This was a collection about animal magnetism restrained by the rigor of impeccable tailoring. Versace went with a military foundation for her shapes, prints, and embellishments – kicking off with a feisty Raquel Zimmermann rocking an olive green officer’s jacket and little else!
From there, Versace incorporated the boilerplate enlisted man garb – camouflage, uniform jackets, and star studded lapels on shirts – but she sexed them up by crafting the garments in form fitting shapes and pairing them with platform heels and short shorts. She then offset these designs, which started the show, with a wild array of animal print pieces.
They pounced onto flowing prints, purred along the body in shimmering sequins on short dresses, and got a ragged and ruthless raw edge treatment on cocktail dresses. But what gave these spots and stripes their urban energy was Versace’s nervy use of a high octane color palette.
She boldly mixed together orange and purple stripes, crafted spots out of kryptonite green, and even sometimes spliced them all together to create some hot hybrid animals of seduction.
Keep updated with Milan Fashion Week Spring/Summer 2016 News!