Collezioni Donna 175 - Paris London #aw 2017/18

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€40,00 (I) - € 62,00 (B/D/E/F/P) - € 67,00 (A/NL) - Chf. 85,00 (CH) - TRIM. April 2017 - ISSN 1120-1975 - Prima immissione: 20 aprile 2017

COLLEZIONI

British Inspiration

PARIS_LONDON_PORTO_KYIV PRET-A-PORTER A/W 2017_18 FASHION TRENDS_STREETWEAR_CATWALKS_PRE-COLLECTIONS

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COLLEZIONIDONNA INTERVIEW

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MY WAY

Life and fashion: a combination with strong colours for Kuki de Salvertes More than twenty years have gone by since I first met and interviewed a benchmark of public relations in the fashion city par excellence, Paris. It is rare to feel that you are in the right place with the right person. Twenty years ago I was at Totem Girault, the PR agency founded and owned by Kuki de Salvertes, simply called Kuki and I felt that way. I meet him again in occasion of the “Kuki de Salvertes, a life in fashion” exhibition dedicated to his 30 years and counting in fashion. The feeling is exactly the same.

A chilly Paris in late January under the majestic arches of the Joyce Gallery in the Palais Royal’s Gardens. Chatting with Monsieur de Salvertes makes me at times savour some moments of his so unconventional and intense life as I perceive in full his strength, impetus, irreverent stubbornness, visionary instincts, and the epic 1990’s, the emblematic meetings with some legendary fashion figures, those determinants that pervaded with love a journey of contrasts, beliefs, refusals, faith.

As the story of Kuki is basically the story of Totem, this is how we begin our conversation. Kuki and Totem are inseparable: Totem is therefore Kuki?

It is right to identify Totem with Kuki de Salvertes because Totem is the PR firm that I created in 1992 and where I developed and develop all my projects. Not surprisingly, the exhibition explains very well this mix: there aren’t two separate lives, the personal one and the professional one, there is only one. There are cross-pollinations between life and work that are inevitable: at work you can meet lovers, friends, you can fall in love with someone who deeply admire, a designer or a photographer. There is no separation.

The evolution of Totem is indeed tied to you, constantly searching and always looking.

I have not changed at all. Well, physically unfortunately some things have changed because I am now 54, but my way of thinking has not changed. That means that I am always very thrilled when need be, energetic when it is important to be, without any concessions.

What is your definition of fashion: do you identify it with love or hate?

Absolutely both, because there isn’t only an extraordinary and wonderful side, but two. It’s at the same time I love it and I hate it, I love it and I would like to kill it. At the same time I feel very strong feelings that are extremes and opposites.

Therefore you define fashion like a calling, a vocation?

Fashion is my life, passion, what I love more than anything in the world. I left my family at the age of 17 because I wanted to work in a world on which I left my mark. 35 years later I’m still here and I intend to continue, even if sometimes I suffered and had back luck. Fashion has always kept and keeps me alive: this is the right life for me.

I follow his eyes as he speaks to me about his great love, as they dart briefly to greet a guest and then another, as he hugs a friend, as they shine like those of someone madly in love. Were there any unforgettable encounters?

“Not one, but several. I will always remember some designers like Raf Simons, Jeremy Scott, Bernhard Willhelm, Olivier Theyskens, Alexander McQueen, some of the great fashion editors like Jacquelin Manescau and Isabella Blow.

Speaking of Belgian designers, whom you brought onto the international fashion scene in the 1990’s when they were practically unknown, do you think that in today’s emerging fashion designers there is a willingness to resume a bit those basic concepts the way the Belgians did?

The videos and photos in this exhibition of the first fashion shows by Raf Simons, by Veronique Branquinho in 1994, by Walter van Beirendonck give meaning to the exhibition itself. The Belgians I had brought on the scene around 1996 and 1967 had the same codes as Vetements and Y/Project have today.

That’s why I’m proud to say that I represent the fashion of today and to work with designers that I found and pushed forward, first in Paris and then globally.

Is there any designer today who deserves to be noticed and who we are going to hear a lot about?

Without a doubt, Richard Quinn, a British young man who recently completed

his studies at Central Saint Martins in London and is unquestionably the new Alexander McQueen. He is extraordinary because he has a sense for volumes, for cuts, for prints never seen before. He manages to blend romance with sex shop latex creating really strong and out of the ordinary silhouettes.

Is the Haute Couture definition still valid today or should we define it as Prêt-à-Couture?

Actually, I do not see haute couture really happening at the moment. It’s all just a big mix. I believe that what today can still be defined as haute couture is craftsmanship and authentic luxury. That is, a young artist who does everything by hand collaborating with craftspeople, who does not create a big collection because he or she does not have much money and more importantly without too much media exposure or fame. Something still mysterious that only very few women have the exceptional pleasure to know about and to wear. Not something you find in the duty free area of the Shanghai airport or in New York: that is not luxury, it is a media phenomenon, very expensive yes, but not luxury.

Social media changed the way the fashion system works: in what way have they changed your way of working?

There is no doubt that social media changed the way we communicate but they have not changed me. The way I work is exactly the same as when I started because I am are not a person who spends most of his time in front of a computer. I organise appointments upon appointments, I love meeting people, I prefer to watch them talk.

For me that’s the most important thing, not sending email after email. Digital media inevitably makes printed media less strong.

We don’t go anymore to the newsagents to buy Le Figaro, the world is over for newspapers and for monthly magazines. Today all the newspapers have more success in the digital rather than in the printed version.

Therefore, we must integrate, be careful, remain open-minded. I think that it’s super important to continue to maintain physical and not just virtual contact and to appreciate the printed media because that’s where the love for fashion starts. One must always make the right choice when it comes to digital media because on one hand is formidable, on the other is to be avoided.

I remind him that I met him for the first time “just” twenty years and that this interview is for me a recap of his life and his work but also a little bit of my own life and career. Surprised, he smiles. I ask him again the same question asked when I was a student at the Sorbon University completing my Master thesis and needed his priceless opinion. How important are public relations in fashion?

The importance of public relations is always the same: they are essential.

Find the right element and pursue the goal, with all your strength. Believe in the designers, in his or her story, understand everything about them and their work, dive unconditionally in their lives, live with them, love them and love what they have to say and make other people understand what they don’t see as yet. Today we manage and organise: it is rather like office work.

But that’s not my life because I have always lived and worked on the field, in creative and photographic studios. This is also why I was one of the biggest influencers of my generation. Because I’ve never worked within the four walls of an office but I worked and lived as “a fashion kid” alongside the creatives being creative as a public relations person with a strong relationship not with the computer but with the creators, the fashion journalists, the fashion editors, the makeup artists, the models.

He replies accurately and without hesitation to the last question. Which fashion show has a special place in your heart?

1999, Raf Simons, at the Géode. Ah oui… J’ai adoré.

The answer belongs to him, to his life, to his way of living fashion. Who could disagree?

KUKI DE SALVERTES

Richard Quinn fashion show

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COLLEZIONIDONNA NEWS

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AN ITALIAN ADVENTURE THAT COMES FROM AFAR

Baruffa, Chiavazza, Botto Poala: three souls, a single thread Tre anime un unico filo conduttore per Baruffa, Chiavazza e Botto Poala.

For more than 160 years the three brands, important points of reference and symbols of excellence of the Italian spinning industry, have been based in the same location. Although different from each other and each following its own vocation, they have been united in the same industrial project sharing style innovations and experimentations. An all Italian story with three brands situated in the Biella district that each year produce millions and millions of kilos of yarns exported to 57 countries around the world. Quality is the top choice in terms of raw materials: like the yarns used for Cashwool that since 1978 decreed the leadership of this industrial collaboration in the world of wool. The full strict control of the entire production chain guarantees the highest level standards, constant over time and with the strength of a great added value, i.e. the most authentic Made in Italy.

Riferimenti d’eccellenza della filatura italiana i tre marchi, differenti per vocazione, da più di 160 anni condividono lo stesso territorio e, uniti in un unico progetto industriale, seguono ciascuno con la propria identità, la ricerca di stile e sperimentazione, in una storia tutta italiana. Insediate saldamente sul territorio biellese, le tre filature producono ogni anno milioni di chili di filato che viaggiano alla volta di 57 paesi sparsi in tutto il mondo. La qualità assoluta delle materie prime, che danno vita a filati come Cashwool, elegge dal 1978 questa realtà industriale leader nel mondo della lana. Il completo e rigoroso controllo di tutta la filiera ne garantisce gli standard ai più alti livelli, costanti e inalterati nel tempo, forti di un grande valore, quello del Made in Italy più autentico.

Giulia Bulgarelli www.baruffa.com

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COLLEZIONIDONNA EXHIBITIONS

BEING AT THECENTRE OF ATTENTION A photographic exhibition dedicated to Larry Fink at Armani/Silos in Milan Gli scatti di Larry Fink all’Armani/Silos di Milano Peppe Orrù Above: Turk LeClair, MacDougal Street, New York City, 1958, ph. © Larry Fink Opposite: Justin Portman and Natalia Vodianova, LA, 02-2007, ph. © Larry Fink

“Viscerality is my perceptual mode. Simply spoken, it means that I want to touch everything that I love. Hopefully my pictures are a testimony to the love of the senses” reveals Larry Fink, the 76 years old American photographer best known for his images, mostly taken in the United States, of the Beat Generation, of the Jazz movement, of the upper classes, of people at social events. ‘The Beats and The Vanities, Larry Fink’ exhibition at the Armani/Silos exhibition space in Milan offers a rare opportunity to appreciate the work of this seminal artist thanks to 125 black and white photos, some taken from ‘The Beats’ book, most from ‘The Vanities’ volume. “As a designer I can empathise with the fluid way he captures light, shapes and lines...from the flow of people who surprise us with their unconscious sensuality, we sense almost the rhythm of a musical composition” declares Giorgio Armani. Larry Fink, on the other hand, explains: “The photos have more in common than what meets the eye at first glance...the subjects portrayed want to be the centre of attention...of course, the photos were taken 45 years apart. The images of ‘The Beats’ date back to a time when I was a young romantic, the shots from ‘The Vanities’ when I was an ironic but not hardened humanist”. Visitors to the Larry Fink exhibition can also admire the permanent collection of Giorgio Armani’s work from 1980 up to today. The unique selection of iconic pieces is displayed over four floors according to four specific themes rather than being curated following a strict chronological order. The Larry Fink exhibition is at Armani/Silos from March 29th to July 30th 2017.

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“La visceralità è la mia modalità percettiva. In pratica, voglio riuscire a toccare tutto ciò che amo. Spero che le mie foto siano una testimonianza del mio amore dei sensi”, rivela Larry Fink, il fotografo americano 76enne conosciuto in tutto il mondo per le immagini, scattate per lo più negli Stati Uniti, della Beat Generation, del movimento Jazz, dell’alta borghesia, di eventi sociali di un certo livello. La mostra ‘The Beats and The Vanities, Larry Fink’ all’Armani/ Silos a Milano offre una rara opportunità di apprezzare l’opera di questo importante artista grazie a 125 foto in bianco e nero, tratte dai libri ‘The Beats’ e ‘The Vanities’. “Come designer riesco a entrare in sintonia con il modo fluido con cui cattura luce, forme e linee…dal flusso di persone che ci sorprendono con la loro sensualità inconsapevole, si percepisce quasi il ritmo di una composizione musicale”, spiega Giorgio Armani. Mentre Larry Fink ribadisce: “Le foto hanno più elementi in comune di quanto non sembri a prima vista…i soggetti ritratti vogliono essere al centro dell’attenzione…certo, le foto sono state scattate a 45 anni di distanza. Il lavoro di The Beats risale a un momento in cui ero un giovane romantico, gli scatti di The Vanities a quando ero un ironico ma non indurito umanista”. I visitatori della mostra possono ammirare anche la collezione permanente dedicata a una selezione di creazioni firmate da Giorgio Armani dal 1980 fino ad oggi e organizzate secondo quattro temi diversi piuttosto che seguendo un rigido ordine cronologico. La mostra ‘The Beats and The Vanities, Larry Fink’ è all’Armani/ Silos dal 29 marzo al 30 luglio 2017. www.armanisilos.com

COLLEZIONIDONNA

DIARY OF TRENDS

EMOTIONS ...and more in the next issue of Trends Collezioni Sonia Perfetti texts Giulia Bulgarelli

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COLLEZIONIDONNA

www.collezioni.info Retorta Firenze 1906

People in Milan

Antonio Marras

Alberto Biani

Tassotti People in London

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Alberto Biani

People in Paris

Homi

DIARY OF TRENDS

DO YOU LOVE TARTAN?

Rubelli Venezia

As in the Highlands, we wear the family tartans in homage to the tradition of the finest Scottish society. Bon chic bon genre versions, revised with classic flair or reinterpreted in the style of the most irreverent fashion designers, tartan enters into the autumn and winter wardrobes and shares the stage with classic menswear fabrics like Prince of Wales check as well as herringbone and tweed gently unstructured à la Chanel, which is now a common heritage. No gender.

Come nelle Highlands indossiamo il nostro tartan di famiglia, in omaggio alla tradizione dell’alta società scozzese.

Versione bon ton o rivisto con estro, classico o interpretato nello stile dei fashion designer più irriverenti, entrerà comunque e prepotentemente nel guardaroba invernale condividendo il palcoscenico con le classiche disegnature maschili: principe di Galles, pied-de-poule, spinati e tweed dolcemente destrutturati, alla Chanel, ormai patrimonio comune. No gender.

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COLLEZIONIDONNA EXHIBITIONS

BALENCIAGA, L’OEUVRE AU NOIR The exhibition at the Musée Bourdelle is focused on the great Spanish couturier’s passion for black Al Musée Bourdelle una mostra sulla passione per il nero del grande couturier spagnolo Maurizio Francesconi above: Balenciaga. Robe 1964.

Dentelle noire, ruban de satin rose.

Collection Palais Galliera © Julien Vidal / Galliera / Roger-Viollet right: Balenciaga.

Chapeau 1962. Gazar.

Collection Palais Galliera © Julien Vidal / Galliera / Roger-Viollet

In Paris, right now, the highly anticipated exhibition ‘Balenciaga, l’oeuvre au noir”. In 1938, shortly after the opening of his fashion house in La Ville Lumière, Harper’s Bazaar described the black used by the great couturier Cristóbal Balenciaga as “a thick, Spanish, almost velvety black: it is a starless night that rather than black looks almost grey”. Almost eighty years after, I felt almost the same impression when observing the seventy outfits on display at the Musée Bourdelle, side by side to, almost leaning on, the white marble and bronze statues that make the creations by the Spanish designer stand out even more. Black, the non-colour, serves as a common thread through the entire exhibition, the same non-colour that was Balenciaga’s passion throughout his career, a reminder of the Iberian Peninsula and its severity, of mourning as understood in Catholic countries and, above all, of the austerity that is the greatest hallmark of the work of the “Architect of Fashion”. Cristóbal Balenciaga played with all the ranges of black, with see-through effects, with lace, with references to Spanish folklore, with rhythmic combinations of opposite fabrics, from velvet and taffeta to lighter materials, used less often because the Architect needed more rigid textiles for his “works”. A profoundly discreet man who lived his life almost as a recluse, rarely giving interviews, who knew that the rigour of the shapes of his clothes was a reflection of the rigour of his own life. And yet the simplicity of his work is often only apparent: the clothes on display happen to look so “simple” precisely because their construction is so extremely complicated. The exhibition shows and proves once again that Balenciaga was, perhaps, the greatest couturier in history. Until July 16th 2017.

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Ecco una grande e attesa mostra dal titolo: “Balenciaga, l’oeuvre au noir”, a Parigi. Nel 1938, poco dopo l’apertura della maison a Parigi, Harper’s Bazaar descrive il nero utilizzato dal grande couturier Cristóbal Balenciaga come “un nero spesso, spagnolo, quasi vellutato, è una notte senza stelle che più che nera sembra quasi grigia”. Quasi ottant’anni dopo l’impressione che si ha è circa la stessa se ci si sofferma ad osservare i settanta modelli esposti al Musée Bourdelle, affiancati, quasi appoggiati, alle statue in marmo bianco o ai bronzi che fanno risaltare ancora di più le creazioni dello spagnolo. È proprio questo non-colore a servire da fil rouge attraverso l’intera mostra, il non-colore sua grande passione durante tutta la carriera, un richiamo alla penisola iberica, al suo rigore, al lutto per come lo intendiamo nei paesi cattolici e, soprattutto, all’austerità che sarà il grande segno distintivo di questo architetto della moda. Balenciaga gioca con tutti i registri del nero, con le trasparenze e con i pizzi, con i riferimenti al folclore spagnolo e con le opposizioni ritmate dei tessuti, dal velluto per arrivare ai taffeta e poi fino ai tessuti più leggeri, ma meno utilizzati perché lui, l’architetto, aveva bisogno di tessuti più rigidi per le sue “opere”. Uomo profondamente discreto, visse una vita quasi da recluso, senza quasi rilasciare interviste e sapeva che il rigore delle forme era lo specchio del rigore della sua vita; ma la semplicità è spesso solo apparente perché gli abiti in mostra riescono ad essere così “semplici” proprio perché la costruzione è estremamente complicata. Una mostra che dimostra ancora una volta che, forse, Balenciaga fu il più grande couturier della storia. Sino al 16 luglio 2017.

www.bourdelle.paris.fr

COLLEZIONIDONNA

paris_london porto_kyiv

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TRENDS Sonia Perfetti Decio Vitali Fashion shows and backstage ph. Viero-Zanoni

Ann Demeulemeester

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Antonio Berardi

Louis Vuitton

Sadie Williams

Fenty Puma by Rihanna

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softtothetouch Kenzo

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Fenty Puma by Rihanna

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TRENDS_DUVET

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cozyurban Hermès

Miu Miu

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Kenzo

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greenthumb Valentino

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Emilia Wickstead

London streetwear

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Ashley Williams

Koché

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easytogo Christian Dior

TRENDS_BLACK

Guy Laroche

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Ludmila Kislenko

Haider Ackermann

Guy Laroche

TRENDS_BLACK

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onthedarkside Barbara I Gongini

TRENDS_SHEARLING COATS

Sacai

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Hermès

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insideout Hermès

Alexander McQueen

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Chloé

Agnés B.

Pé de Chumbo

Veronique Branquinho

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overtherainbow Giambattista Valli

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Daks

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Moon Young Hee

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anglomania Paris streetwear

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Margaret Howell

Véronique Branquinho

Geoffrey B. Small

Geoffrey B. Small

TRENDS_TWEED & CO.

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textures Mulberry

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COLLEZIONIDONNA NEWS

SWAROVSKI S/S2018 NEWPERSPECTIVES The innovations of the famous Austrian brand capture the mood of the moment in a constantly changing world Nel mondo in continua evoluzione le innovazioni del celebre brand austriaco catturano il mood del momento Giulia Bulgarelli

Spring/Summer 2018 according to Swarovski focuses on four New Perspectives trends: ‘Gang Star’, ‘No Normal’, ‘Hacked Nature’ and ‘Spell Bound’. ‘Gang Star’ tells of the hard look of urban landscapes inspired by hip-hop culture and by gangstarap where Skull Flat Back is a perfect match for the most daring styles and Crystal Iridescent Blue Pearl underlines a dynamic unisex streetwear. ‘No Normal’ interprets the revolution of values ​​in which old categories are marginalised in favour of diversity in view of more inclusive visions. In the Chris Bangle Designer Edition range the new Tilted Chaton, Tilted Spike and Tilted Dice Fancy Stones are suitable for pendants, rings, earrings, elaborate textile creations while Pyramid, Square and Flat Back Base from the Square Family range offer endless variations for surface effects. Sustainability, as well as technological advances, continue to be at the heart of design thinking process. ‘Hacked Nature’ is the fusion of opposites where hyperreal shapes and colours are mixed with nature-inspired silhouettes. The range of Shiny LacquerPRO effects is added to the nature-tech hues of Shimmer. A world of magic with a dark, baroque, fascinating opulence lives within ‘Spell Bound’. The extraordinary brilliance of the scaly surface of ​​Crystal Galuchat is unlike any other while the Baroque Bead pays homage to grandeur with sublime crystal details and Baroque Mirror Fancy Stone presents brands new shapes. Illusions, designed by Chris Bangle for the Swarovski Designer Editions, the loose crystal elements range launched in February 2017, is the result of original and evocative interpretations of crystal geometry. The three shapes, Tilted Dice, Tilted Spike and Tilted Chaton, are miniature masterpieces that projects a feeling of volume, space, dimension.

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La storia della Primavera/Estate 2018 si concentra su New Perspectives con quattro tendenze: ‘Gang Star’, ‘No Normal’, ‘Hacked Nature’ e ‘Spell Bound’.

‘Gang Star’ racconta un paesaggio urbano ispirato alla cultura hip-hop e gangsta-rap, dal look duro dove Skull Flat Back è perfetto da abbinare agli stili più audaci, e le Crystal Iridescent Blue Pearls sottolineano uno streetwear dinamico e unisex. ‘No Normal’ interpreta la rivoluzione dei valori, le vecchie categorie vengono emarginate a favore delle diversità, per visioni più inclusive. Nella Chris Bangle Designer Edition i nuovi Tilted Chaton, Tilted Spike e Tilted Dice Fancy Stones si prestano per pendenti, anelli, orecchini ed elaborate creazioni tessili mentre Pyramid, Square e Base Flat Back, della Square Family, offrono infinite varianti per effetti di superfici. La sostenibilità è al centro del pensiero progettuale, nonché dei progressi tecnologici.

‘Hacked Nature’ è la fusione di opposti, in cui forme e colori iperreali si mescolano a silhouette ispirate alla natura. A Shimmer, dalle tonalità nature-tech si aggiunge la gamma di effetti Shiny LacquerPRO. In ‘Spell Bound’ vive il mondo della magia con un’opulenza barocca oscura e suggestiva. La straordinaria brillantezza della superficie squamosa di Crystal Galuchat è diversa da qualsiasi altra, mentre la Baroque Bead rende omaggio alla grandiosità con sublimi dettagli in cristallo, e la Baroque Mirror Fancy Stone si presenta in nuove forme. Illusions, disegnata da Chris Bangle per Swarovski in Edizione Designer, la collezione di elementi in cristallo sfusi lanciata a febbraio 2017, è il risultato di un’interpretazione originale ed evocativa della geometria del cristallo. Le tre forme, Tilted Dice, Tilted Spike e Tilted Chaton, capolavori in miniatura, regalano una sensazione di volume, spazio e dimensione.

www.swarovski.com

COLLEZIONIDONNA

paris _london porto_kyiv

PRET-A-PORTER A/W 2017_18

Sonia Perfetti, Decio Vitali Fashion shows and backstage ph. Viero Zanoni

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Off White

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OFF WHITE Virgil Abloh, artistic director at Off White, changes image and offers us one of a sweet woman, with romantic accents. In line with new themes in trends, a series of garments in Glencheck interpreted by women. Jackets are always short, skirts are tight with generous slits, next to sober coats with impeccable lines. Jeans become softer, still treated, with special techniques. Transparencies, macro sequins, and a hint of silver, extremely delicate. Very interesting, and not just in the color combinations. The American architect will present his menswear collection and womenswear pre-collection at the next edition of Pitti Uomo. An event not to be missed.

Virgil Abloh, il direttore artistico di Off White, cambia immagine e ci propone una donna più dolce, dagli accenni romantici. In linea con i nuovi temi di tendenza ecco una serie di capi in pricipe di Galles interpretati al femminile, sempre brevi le giacchine, aderenti e con spacchi generosi le gonne, ma accanto anche seriosi cappotti dalla linea impeccabile. Il jeans si fa più morbido e sempre trattato con interventi speciali. Trasparenze, macro paillettes e un accenno all’argento, con estrema delicatezza. Molto interessanti, e non solo gli accostamenti di colore. L’architetto americano presenterà al prossimo Pitti Uomo la collezione maschile e la pre-collezione donna. Un appuntamento da non mancare.

S.P.

Undercover

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UNDERCOVER

There are special collections in special places, like that by Undercover, held in Paris in the legendary Salle Wagram, witness to the most beautiful fashion shows of the 90s. Jun Takahanshi, the brand’s art director, reveals his oneiric side. Like in a show on stage with fantastic animals, movements are slow, as in a performance, becoming a fashion show. Baroque atmospheres, trimmings and damask, endless coats and rounded bomber jackets. Oversized sweaters worn over strictly houndstooth pants. The Japanese designer also boasts collaborations with Uniqlo. Oftentimes, one must escape from rationality.

Ci sono collezioni speciali, in luoghi speciali, come quella di Undercover che si è tenuta a Parigi, nella mitica Salle Wagram, che ha visto le sfilate più belle degli anni Novanta. Jun Takahanshi, l’art director, svela il suo lato onirico. Come in uno spettacolo da palcoscenico con animali fantastici, i movimenti sono lenti come in una performance perchè tale diventa la sfilata. Atmosfere barocche, passamanerie e damaschi, cappotti infiniti e bomber arrotondati, maglioni oversized da indossare su pantaloni rigorosamete pied de poule. Lo stilista giapponese ha alle spalle collaborazioni con Uniqlo. A volte si ha bisogno di uscire dalla razionalità.

S.P.

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COLLEZIONIDONNA FAIRS

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THE ONE MILANO Focus on haute-à-porter at TheOneMilano L’haute-à-porter in scena a TheOneMilano Peppe Orrù

“TheOneMilano occupies a niche segment comprising of those collections that are distinguished by concreteness, product quality, ability to be truly positioned in the international market. Collections of Italian and international excellence: the excellence of combining aesthetics with quality craftsmanship and technical innovation, of combining the immaterial with the material”. These words by Norberto Albertalli, the president of TheOneMilano, perfectly summarise the vision and the mission of the new trade show that first came to life in February in Milan with a very successful first edition dedicated to the Autumn/ Winter 2017 season. The result of the combination of the expertise and experience of both MIPAP, the prêt-à-porter show organised since 1980 by Fiera Milano, and MIFUR, the International Fur and Leather Exhibition organised since 1996 by Ente Fieristico Mifur, TheOneMilano is focused on women’s hauteà- porter. It tells the story of each collection through a unique exhibition layout and meets the buyers’ needs by showcasing the collections of 300 carefully selected companies. Held from February 24th to 27th, its first edition was visited by 11,154 fashion professionals, 63% of which travelled to Italy from 82 different countries, with the vast majority coming from outside Europe, more specifically from Russia, China and South Korea.

The next appointment with TheOneMilano is scheduled to take place from the 22nd to the 25th of September, once again at the exhibition centre fieramilanocity, at the same time as the Milan Fashion Week edition dedicated to the Spring/Summer 2018 womenswear and women’s accessories collections.

“TheOneMilano occupa uno spazio poco studiato, lo spazio di quelle collezioni che si distinguono per concretezza, qualità del prodotto e possibilità di essere realmente posizionate nel mercato internazionale. Collezioni d’eccellenza, italiane e non solo: l’eccellenza sta nella capacità di unire qualità estetica con abilità artigianale e innovazione tecnica dei prodotti, immaterialità con materialità”. Queste parole di Norberto Albertalli, presidente di TheOneMilano, riassumono alla perfezione la visione e la missione della nuova fiera il cui debutto nel mese di febbraio a Milano con l’edizione dedicata all’autunno/inverno 2017/18 ha riscontrato un successo straordinario. Risultato della felice unione delle competenze ed esperienze di due preesistenti fiere: MIPAP, il salone del prêt-à-porter organizzato dal 1980 da Fiera Milano, e MIFUR, la fiera dedicata alla pelle e alla pelliccia organizzato dal 1996 da Ente Fieristico Mifur, TheOneMilano è focalizzato esclusivamente sulle collezione haute-à-porter donna. Il nuovo appuntamento racconta la storia di ogni collezione attraverso un percorso espositivo unico e risponde alle esigenze dei buyers proponendo una gamma di 300 aziende accuratamente selezionate.

Tenutasi dal 24 al 27 febbraio, la sua prima edizione è stata visitata da 11.154 professionisti della moda, il 63% dei quali sono arrivati in Italia da 82 paesi diversi, con la stragrande maggioranza provenienti da Paesi extra-europei e più precisamente dalla Russia, dalla Cina e dalla Corea del Sud. Il prossimo appuntamento con TheOneMilano è in programma dal 22 al 25 settembre, in concomitanza perciò con l’edizione della Milano Fashion Week dedicata alle collezioni di moda e accessori donna per la stagione primavera/estate 2018. www.theonemilano.com

COLLEZIONIDONNA

A/W 2017_18 AND PREFALL

www.collezioni.info

324 COLLEZIONIDONNA SARALAM

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Le creazioni della stilista giapponese Kei Yoshida sono frutto di una ricerca appassionata, la maglieria non ha alcun segreto per lei. I cardigan utilizzano filati diversi in tonalità diverse, creando effetti suggestivi e perfettamente armonici. Linee squadrate e pure per le maglie bicolore, mentre il classico maglione stile Aran viene riveduto e corretto, per inventare una nuova vestibilità , trasformandosi in mantellina. Le giacche a punto pelliccia si fanno super morbide e avvolgenti per un caldo abbraccio. Il giallo pulcino e l’albicocca, fra i colori amati.

Saralam The creations by Japanese designer Kei Yoshida are the result of a passionate research.

As knitwear has no secret for her, cardigans are created using different yarns in different shades for suggestive and perfectly harmonious effects. Pure square shapes for the two-colour knits while the classic Aran sweater is revised and updated and with a new fit becomes a cape. The super soft and snug fur stitch jackets provide a warm embrace. Yellow and apricot are among the favourite colours.

www.saralam.co

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La felice unione di forme a palloncino, giochi intricati di pieghe, linee minimaliste. Volumi e silhouette ingegnosamente lineari accompagnate da un’appagante abbondanza di dettagli come le tasche posteriori e le zip laterali sulle gonne a forma di tulipani in procinto di sbocciare. Gessati e altri nobili tessuti classici, per lo più in toni del nero.

Queste caratteristiche sottolineano il messaggio della collezione a/i 2017/18 firmata Rundholz, messaggio che si potrebbe forse riassumere con queste parole: ‘un’interpretazione giocosa della femminilità con la giusta dose di tocchi maschili’. P.O.

Rundholz The successful combination of balloon shapes, intricate games of folds, understated straight lines. The volumes and silhouettes are ingeniously streamlined and yet there is a fulfilling richness of details like, for example, the back pockets and side zips on skirts shaped as beautiful tulips just about to blossom. Pinstripes and other classic noble fabrics, mostly in black. All this and much more underlines the message of the Rundholz Autumn/Winter 2017 collection, which could be probably summarised with words such as ‘a playful femininity with the right dose of masculine touches’.

www.studiorundholz.com

WWW.MARAMPARIS.COM