Perhaps wishing to stay ahead of the curve, Italian designer Anna Molinari said backstage after her Blumarine show Friday that she’d turned to American aristocracy as the inspiration for her fall collection: NBC recently announced that it has contracted with Downton Abbey’s main creative force, Julian Fellowes, to pen the script for The Gilded Age, expected to be the stateside answer to the British series. Molinari, who’s known as “The Queen of the Roses,” here in Milan a name given to her by Franco Moschino when she first hit the scene with her floral designs looked to another moniker for the collection’s additional muse, Baby Jane Holzer, one of the early superstars in Andy Warhol’s entourage of fellow artists, aspiring artists, and acolytes. Thus mink furs opened the show but were fashioned as slouchy knits; some came with pockets, and one was handcrafted from weightless strips of mink yet resembled an intarsia. There were excellent wraparound fur cardigans. Long coats were worn over a series of wonderful liquid georgette gowns; a leather chevron style with black mink trim had its eye on the past, but would guarantee its wearer entry into any given glamorous inner circle today.
A series of the Italian designer’s statement roses-appearing as embroidery, fil coupè motifs, metallic flashes, or appliqués closed the show, exuding the fun and excitement of the Warholian moment but updated for the contemporary age. (Case in point: Many of the thigh-skimming cocktail dresses had long sleeves which felt very of the moment.) Paired with snappy patent boots, and wonderful fitted leather coats, the pretty series went beyond society fixture wear and into the realms of everyday dressing. That move felt appropriate, refreshing, and an apt reflection of Holzer’s post-Factory life: She’s now, incidentally, a real estate mogul and art collector. A smart direction indeed.
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: Blumarine
Photos: Kim Weston Arnold / Indigitalimages
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'FENDI Fall/Winter 2015/16'
The panels were strange appurtenances, molding the legs of the models like an abstract apron (actress and erstwhile farm girl Noomi Rapace was reminded of a blacksmith), but Lagerfeld was very taken with them as a way to communicate a longer, more linear proposal. He wanted to move well away from the tendency toward girlie-ness that he'd been bothered by in Fendi's Spring offering. There was no sign of soft, romantic orchids. Instead, every model's bag spouted a hard, beaky bird-of-paradise flower. "Pleasant aggressivity," said Lagerfeld with a smile.