MILAN – Milan Fashion Week kicked off with a world record, set in front of around 5,000 people. Well, it’s hard to attract attention these days. Turn a corner in this city and you can walk into a political rally, before the country’s general election on Sunday. Open a newspaper and you are faced with news of the escalation of the war in Ukraine. There’s a lot going on.
As it happens, this particular achievement – as certified by the folks at Guinness World Records – is not for most fabric measures in a garment or most bugs on one or most clothes. samples or any kind of statistics related to clothing. It’s the largest, mmmm… inflatable structure ever created.
The construction in question is a little over 37 meters high and 49 meters long, or a little over 122 feet by 161 feet. Set on the floor of the Allianz Cloud Arena, it actually looks like a group of three giants (actually, it turned out to be four), with giant arms and legs intertwined and so large it’s hard to handle exactly what is happening. . But something kinky.
Made by the same company that makes the Macy’s Thanksgiving Day Parade balloons, it looms like a sex scene from another planet at the center of the Diesel show.
Glenn MartensCreative Director of Diesel, introduced The script blew up last season, when he scattered similar inflatable figures, dressed in denim, around his first show for the brand (they later appeared at store events). This time, however, it wasn’t just those in the fashion world who saw the enormity: The show was held in front of some 2,000 members of the public, plus 1,600 other students and company employees. and several hundred people in the industry.
“It’s the future, isn’t it?” Eraldo Poletto, CEO of Diesel, is standing in the shadow of a giant hip.
It’s a rhetorical question – and besides, he’s talking about the idea of inviting consumers and fans in, rather than a giant set of sex dolls, but they’re not irrelevant. . If you’re going to open up a previously exclusive experience to the world and send a message of inclusion, a can’t-miss quartet is a place to start. This is not a time when anyone is embracing sophistication. Besides, Diesel is built on Marketing of provocation.
What makes it not sound like just a stunt is the fact that underneath the explosions Mr. Martens is not just filled with hot air. He’s doing things with denim – the fabric of democracy – that are truly transformable and tokenized for currency.
For example, slip jeans to the bumster level around the hips and tuck a bony, enamelled tulle corset that reaches the waist, such as underneath a faded denim bra. Turn an aluminum belt into a skirt. Dirty it in both attitude and surface treatment. Shake hands. But it is also possible to cut jeans into layers on skirts and suits so that they resemble Austrian shades. Rip the hem of the jacket into a lavish hem. Reuse and reinvent.
Play with the rafters, and the millennium vibe is now running in fashion, as well as creating what could be the ultimate in Burning Man couture. Mr. Martens sees the world not in a grain of sand but in a pair of jeans. That really feels like the future.
Especially because a lot of fashion seems to be thinking small and looking outdated. So it was in New York and so it is continuing in Milan.
For example, at Alberta Ferretti, the designer started with a smoke machine (smoke generator!) and then came up with a collection for a Paul Bowles romance author with a soaring organza style, disco dress and orange, pink, olive green and turquoise colors.
In the mess of a Roberto Cavalli show, Fausto Puglisi checked the names of Alfred Hitchcock, Tony Duquette and Adrian – the tent poles of old Hollywood stars – and then mixed them into the Cavalli ranch, so fruity pineapple prints and pleated suburban dresses atop leather shorts and tunics interspersed with lizard and leopard prints, plus a little black dress overgrown with a jewel-encrusted palm tree. giant in front. Also a runway so slippery that the models kept missing at the exit. Nothing seemed in the last century to put any woman in a situation where she couldn’t walk.
And at Fendi, Kim Jones delved into the archives to uncover the work of former designer Karl Lagerfeld between 1996 and 2002. If Y2K meets sports and they have the perfect makeover, this will be the result.
There are ripped jean jackets, plain pants with a half lapel top, miniature sweaters knit from old furs and layered mesh skirts dotted with Fendi logos and stylized flowers. Japan (also has some obi-like belts, back to Mr. Jones’s .) recent haute couture show for brands).
They’ve got a sort of self-assured looseness, calculated to close the gap in comfort clothing – Mr Jones, who has made a name for himself in menswear, is finding his footing. Her with women’s costumes – and rubber wedge slides would probably look like catnip for Hadid’s set. But there’s something cynical about the approach, as if Mr Jones is squeezing out the past. Supposedly Fendi just organized Baguette’s 25th Anniversary bag show in New York, perhaps that’s understandable. If he really wanted to take the brand forward, he would have to close that book and start a book of his own. Then everyone can really have something to love.