Milano: Marni Fall/Winter 2011-2012 collection

Marni: Fall/Winter 2011-2012 collection – Backstage.  Anna Wintour visits the backstage at Marni’s to get a close-up preview of the collection before the show.

Question:  What is she and Marni’s creative director Consuelo Castiglioni looking at?

 

 

Answer: the fitting board.

 

Backstage – Marni.   Rigorous shapes; geometry as decoration; a restrained and elegant sense of embellishment: the Marni collection for Fall/Winter 2011- 2012, is strict, yet softened at the edges.  Blotchy windowpane motifs and colored grills.

Backstage – Marni.  The silhouette is lean and coherent, with rounded shoulders and hemlines that stop right below the knee. Precise as a diagram, garments encase the body, as they were soft cocoons.  

Fabrics.   Fabrics have an intense, tactile hand: double-faced wool crepe; wool fil boucle; bonded lurex knit; knitted wool felt; bonded leather. Furs are mink, fox, beaver and raccoon.  Metallic jacquards look exquisitely decorative.

Backstage: Marni – the hair. Paul Hanlon created the hairstyle for the Marni collection.

Note: the enlarged Xeroxs of the hairstyle on the wall behind Paul.  Also note the cans of hairspray on the table.  Every hairdresser for every show used cans and cans of hairspray this season in each show.

Backstage: Marni – the hair.  “The hair is super simple.” Paul Hanlon explains “It is grungy without going the whole way.  It has a feeling of the 1990s.  It’s a bit messy with a side parting.  It’s as if a model had walked into a casting.”

Seen Backstage at Marni. Matteo Marzotto and Carolina Castiglioni.

Backstage: Marni – the make-up.  Make-up artist Tom Pecheux is reflected in the mirror with some of his “tools” in front of him.

Backstage: Marni – the make-up.  Get this; Tom used the M.A.C. violet Bordeauxline Powerpoint eye pencil on the lips and the lipstick, named, One of a Kind, on the cheeks.  The oil in the background was used to prep the skin to give it a dewy tone.

Backstage: Marni – the make-up. The Make-up Tom Pecheux created for Marni using M.A.C. Pro products is  “Very moody. Very monochromatic and has a dewy skin finish.  It has an edgy, grungy romantic feeling.

Backstage: Marni – the accessories. Elbow length, outsized gloves have an industrial feel.

Backstage: Marni – the accessories. Accessories include constructivist pumps on wooden platforms, intarsia Mary-Janes with stack heel and embroidered sturdy-heel sandals. A sense of precision characterizes the bags: perforated bonded-leather clutches and printed purses closed with metal levers.

 

Seen Backstage at Marni. Marni’s CEO Gianni Castiglioni and international P.R. Karla Otto.

Backstage – Marni.  The tone is graphic, dry, non-romantic: juxtapositions of colors and textures give garments a constructivist feel; straight lines and dense fabrics define a new dialogue between clothing and body.

 

Backstage: Marni – the jewelry.  Deco bijoux with architectural volumes reflect the restrained spirit of the collection:  necklaces made of multifaceted horn, wood or resin solids interspersed with quartz or pyrite flakes; oversized pendant earrings made of multifaceted boules and elongated solids mixed with colored resins elements; sculptural rings and colored sunglasses.

Backstage: Marni – a detail.   Furs add a tactile element through intarsia patterns and unexpected tonal combinations; contrasting materials highlight the sum of parts.

Backstage – Marni.   Fruit is always welcomed backstage. 

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Milano: Missoni Fall/Winter 2011-2012 collection.

Photograph courtesy Missoni press

Missoni: Fall/Winter 2011-2012 collection.  To a standing ovation, Missoni’s creative director Angela Missoni takes the runway after the beautiful Missoni Fairytale collection with her father Ottavio, who just turned ninety years old.

Missoni: Fall/Winter 2011-2012 collection.  Fairytale creatures is how the maison describes the clothes for the Missoni Fall/Winter 2011-2012 collection.  Dreamy, languid, enchanting and enchanted fairies. That spring out of the dream to appear “very real” thanks to men’s volumes, cuts, fabrics and accessories.

Missoni: Fall/Winter 2011-2012 collection.  An enchanted forest where knitted lace suddenly turns into a cloud of feathers.

Backstage: Missoni.   Teresa and her brother Francesco Maccapani Missoni.  Teresa was Angela’s inspiration and muse for the collection drawing on her daughter’s wardrobe of sweeping skirts, men’s jackets and oversized knitwear.

Missoni: Fall/Winter 2011-2012 collection.   Fairytale pastel colors on long sloppy cable knitted mohair sleeveless tops are worn over watercolor prints of flowers and elephants by artist Tiana Langdon.

Backstage: Missoni – make-up.   Eighteen mirrors on the long make-up table, one after the other, are set up in one of the daylight corridors of the Universita Statale where the show was held.

Backstage: Missoni - make-up. Make-up artist Lucia Pieroni at work.

 

 Backstage: Missoni - make-up. “The make-up is inspired by the movie Pulp Fiction, it’s cool girl and punky.” Lucia Pieroni explains.  The cool girls wore a dark red bordeaux lipstick called Media by M.A.C., pale complexion and a little bit of eyeliner around the eye compliment the look.

Backstage: Missoni – hair. The scene in one of the halls of the university designated to hair.

Backstage: Missoni – hair. Martin Cullen manager for Wella’s global creative director Eugene Souleiman (sans bowler hat).  Martin manages the Wella team that travels with Eugene all over the world for the shows.  Altogether about nineteen hairdressers work on a fashion show.

Backstage: Missoni – hair.  “The hair is two opposite things, it’s Parisian Haute Couture chic and a double French pleat like a cycling helmet and the hair hangs over at the back. Everybody is asking for contradiction in hair this year.  It’s very exciting time for hair, and I can’t wait to have more fun it Paris.” Eugene Souleiman explains.

 

Missoni: Fall/Winter 2011-2012 collection.  A world inhabited by pythons in soft candy-colored shades that become maxi coats.

Missoni: Fall/Winter 2011-2012 collection.  The tension between candy sweetness and patchwork biker boots.

 

Seen at Missoni.  Margherita Maccapani Missoni and Martina Mondadori.

Seen at Missoni.  Eugene Niarchos.

Seen at Missoni – British Vogue. British Vogue’s fashion director Lucinda Chambers and its editor in chief Alexandra Shulman.

Missoni: Fall/Winter 2011-2012 collection.  Deconstructed coats and jackets, cardigans, trousers and shorts in menswear cuts serve the purpose of bringing us back to the “here and now”.

  

Seen at Missoni – the art critics.  Mariuccia Casadio and Michela Moro.

Seen at Missoni – the politician. Emma Bonino.

Seen at Missoni – the founders.  Last but not least, the founders of the Missoni brand, Ottavio and Rosita Missoni who celebrate their fifty-eighth wedding anniversary this year.

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Milano: Maliparmi Autumn/Winter 2011-2012 collection

Palazzo Visconti: Maliparmi Autumn/Winter 2011-2012 collection.   “Alchemy – Hands that transform” is the title and core concept behind the narrative journey in the Maliparmi Autumn/Winter 2011-2012 collection.   “A mosaic of ages, professions and beauty”, says Annalisa Paresi (above), president of Malìparmi, “Women who give full expression to their personality, free from rigid, clichéd roles - women who live normality. The result is an alchemical mix offering icons a range of women can identify with”. Malìparmi’s new collection springs from a mix of several narratives, inspired by a profound reflection on society and its constant transformation. 

Maliparmi: accessories. Since the very beginning accessories have been fundamental elements of the company’s research. 

Maliparmi: the Women. Theatre actress and mother of twins, Lucrezia Lante della Rovere.

Maliparmi: the Women.  Theatre and cinema actress and mother of two, Giselda Volodi.

  

Maliparmi: the Women. Top model and mother, Marpessa.

Maliparmi: the Women. The model, Lu Chen.

Maliparmi: accessories – a detail. In the foreground the scarf worn by Lu Chen, is part of the new Scarves Project.  Also in the project is the Vest/Scarf an alchemical fusion of a vest and a scarf, which is to be worn as a vest, under a jacket or coat, and offers the elegance of a scarf with mixed embroidery and prints.

Maliparmi: accessories.  The shoes are platformed suede sandals. 

 

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Milano: Daniela Gregis Autumn/Winter 2011-2012 collection

Daniela Gregis Autumn/Winter 2011-2012 collection.  In the oratory of the Basilica di Sant'Ambrogio, one of the most ancient churches of Milan, built by Saint Ambrose (patron saint of the city) in 379-386, Daniela Gregis held her fashion show of the Autumn/Winter 2011-2012 collection. The oratory was Christo wrapped and draped with transparent plastic and eccentrically the Bergamo based designer showed to an audience of only fifty people amongst whom trendy buyers and press and members of her “radical” intellectual chic clientele.

Photograph by G. Bucci courtesy Daniela Gregis

Daniela Gregis Autumn/Winter 2011-2012 collection.  The Daniela Gregis Autumn/Winter 2011-2012 collection is named Madio, short for ar-madio or wardrobe. Madio is the world next door to go back and forth from, a stash, a hiding place, as solid and subtle as memories that  the designer invents, using whatever there is, opening the cupboard doors, emptying and filling up wardrobes, taking out the superfluous, adding the necessary and the serendipitous. 

 

Seen at Daniela Gregis. Journalist and stylish lady Renata Mohlo interviews the designer, Daniela Gregis.

   

Seen at Daniela Gregis. Top model and journalist, Benedetta Barzini entertained the small audience with a performance before the show. She chats with designer, Lavinia Caccia Dominioni.

Seen at Daniela Gregis. Designer, artist and graphic designer Hisayuk Amae wears his grandfather’s coat, harem pants he had made in Morocco from Peruvian fabric bought off a market stall and the red tie was also made in Morocco from camel skin.

 
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