Milano: Antonio Marras Spring/Summer 2011 collection

Milano: Antonio Marras Spring/Summer 2011 collection. The spectacular grand finale of the Antonio Marras Spring/Summer 2011 collection, when forty-five models came out under a “downpour” of white paper feathers wearing white patch worked aprons stitched with antique fabrics.

Backstage at Antonio Marras.  The mood board tells the story of the Antonio Marras Spring/Summer 2011 collection inspired by Jane Campion’s film, Bright Star, the drama based on the three-year romance between 19th century poet John Keats and Fanny Brawne, which was cut short by Keats' untimely death.

The rehearsal.  Models “try out” the runway in their own clothes before the show.  A model sends a kiss to superstar hairdresser, Eugene Souleiman, Leo, Antonio and Patrizia Marras.
Tip: click on any photograph to enlarge it.

Backstage at Antonio Marras - the make-up # 1.   The make-up was designed by Lisa Butler for M.A.C. Pro Team. A black paint stick is rubbed outwards to create an oblong smudge effect.   The models have on no foundation or blush “ Because they are so young and the clothes are very romantic.  It’s a modern grunge look, urban and realistic.” Lisa Butler explained.

Backstage at Antonio Marras - the make-up # 2.   The MAC black paint stick that was used on the eyes to create the smudged effect.

Backstage at Antonio Marras - the make-up # 3.   Superstar make-up artist, Lisa Butler created the make-up for the Marras show using M.A.C. Pro cosmetics.

Backstage at Antonio Marras - the hair.   Super hair stylist, global creative director for Wella Professional, Eugene Souleiman explains the hair “It’s very grunge, it’s very romantic, it’s very rock and roll, it’s very ‘90s and very sexy.”

Backstage at Antonio Marras - the sandals.  The flat sandals were described by Marras as nearly “Franciscan”.

Backstage at Antonio Marras.   Antonio Marras talks to Tim Blanks of Style.com, American Vogue’s website.

Backstage at Antonio Marras.     A model, late in from a previous show, has her nail varnish removed by two dressers just before the show is due to begin.

Backstage at Antonio Marras.    The back view of a front-to-back jacket and a sundress showing ‘40s inspired lingerie.

Seen at the Antonio Marras show.  Commedienne, Lella Costa.

 

Backstage at Antonio Marras – a detail.   A detail of the one-of-a-kind “patch worked” apron inspired dresses made from antique and vintage recycled fabrics and stitched together with embroidered motifs.

Antonio Marras’s grand finale.  There is always a surprise element in Antonio Marras’s grand finales.   Forty-five models came out at the end of the show in forty-five one-of-a-kind white aprons, showered by a rain of thousand of white paper feathers.

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Milano: Antonio marras fall - Winter 2010/2011 collection

Antonio Marras:  Fall- Winter 2010/2011 collection - the grand finale.  Old window frames were the backdrop for the Antonio Marras winter collection.   “It is through windows, in small towns that the world is seen.”   The Sardinian designer, Antonio Marras explains.

Contessanally tip.  Click any photo to enlarge it.

The storyboard.   Marra’s starting point in designing a collection is always a book, music, art or a film.

The story.  For this collection he was inspired by the real Sardinian female bandit, Paska Devaddis, who lived at the turn of the last century and for love of a man, was always on the run. The legendary virago and Amazonian virgin proudly rode her horse into town defying the law. “What I want to underline is the contrast between Paska’s gentle sweetness and the brute force typical of the balantes, between innate femininity and imposed masculine rigor, romanticism and rusticity, and embellishment and austerity.”

The coats and furs.   The coats and furs are all unique pieces reconstructed from original vintage pieces.

The story. “Paska, now forced into a vagabond life without a place to call home, wears everything she owns in layers.  She wears her only treasures: a cape, an oversized sweater, a pleated skirt, a vest and gloves.”

The make-up.  The make-up was designed by Lisa Butler for M.A.C.

The make-up artist.    Lisa Butler describes the make-up “It’s dishevelled and aristocratic a lead I took from the clothes.  The lips are dark, a feeling of the 1940’s and the brows are not too groomed.   I have aged models up a bit, post Second World War partisan look.”

Finishing touch.  Lisa Butler checks the make-up before the show begins.

The story. “Paska, the proud horsewoman riding through the countryside, forests and ravines, wears lovely dresses made of Chantilly lace and precious devore fabrics.  These dresses are hidden beneath long enveloping capes that cover the body and protect it from the cold and danger.”

Hair and Make-up.   A close-up of the hair and make-up.

The story.   “She wears men’s coats patched with fur inserts needed to face the cold nights sleeping in the rough.  Her cast-off coats have been disassembled and sewn back together to fit a slim petit woman.”

The hair stylist # 1.    Eugenie Soleimani chats to Patricia Marras, his inspiration for the hair for this collection during the runway rehearsals.

A detail.  Have you ever seen so many types of hairgrips?

The hair stylist # 2.   Eugenie Soleimani at work “The hair is very masculine and very romantic at the same time. Very Organic and lady like.  A bit like a modern Teddy boy.” he describes.

The shoes # 1.  Sensible flats with thick rubber soles.

Note: the thick wool and lurex stocking have a thick seam running up the back.

The shoes #2. High heeled lace-ups are fitted with leather spats on top.

“This morning, at around five o’clock,
I saw a woman on horseback heading
towards Funtana ‘e litu.
She was wearing a man’s coat. She was tall and beautiful:
But that is not important.
She was armed, and when she saw me, she spurred on her horse and hid.
Simone, do you think that was Paska Devaddis,
The woman with the Orgosolo bandits?
Do you know her?” 

from Marianna Sirca by Grazia Deledda

Backstage.   Antonio Marras observers everything that is going on backstage and giving press and TV interviews at the same time.

The story – the ending.  After dying of tuberculosis and privation due to her vagabond life, the bandits, her lifelong companions, dressed her in the bridal gown that she never had the chance to wear and brought her back to town.

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MILANO FASHION: Where - When - Why - What - Who - Want ? ? ?

WHAT:   Antonio Marras show
WHERE: Milano Moda Donna
WHEN:   24th September 2009
WHY:      Spring/Summer 2010 collection
The Grand Finale.  “It was an erotic tour through the female boudoir, finishing with a pillow fight in which the “pillows” were lace-decorated balloons, much like the lace squares laid out on the runway.” Suzy Menkes in the N.Y. Times.

WHAT: The pretty invitation printed on a paper lacey doily.

WHO: Antonio Marras was inspired for this collection from the movies Pretty Baby and Love and Anarchy; between all the most fragile women and the most determined.  He dedicated the collection to Teresa Strada a very special woman who worked for those who are deprived of everything and died, prematurely at the beginning of September.

BACKSTAGE - WHAT: The Mood Board shows the inspiration taken from early Italian films.

BACKSTAGE – The make-up. Fresh , young, beautiful, freckles, a shine to make it glow, a bit like a child’s doll, no hard-lines, the make-up was applied with finger tips and designed by Lisa Butler using M.A.C.

 

BACKSTAGE – The hair.   A romantic loose disheveled  plait held together with a red ribbon, created by Eugene Soleimani for Wella.

 

BACKSTAGE – The shoe.     Platform high wedges in woven string and fluorescent ribbon.

BACKSTAGE.  The hustle and the bustle backstage when the make-up and hair are done at the same time.

RUNWAY:  Romantic layering, rose print jacket, pink silk, lace, above the knee silk stockings a corset inspired waist held together by a ribbon.

 BACKSTAGE: A 1920’s inspired lacey dress with a corset effect insert embroidered in cross-stitch with the initials A.M. in red.

BACKSTAGE:  Leggy model Angelina B. relaxes before the show.

BACKSTAGE:  Angelina B. is ready for the runway.

BACKSTAGE – the Press # 1. Antonio Marras explains the collection to Suzy Menkes “It’s about innocence,” said the designer backstage, against a mood board that swung from early Italian films, where the languorous lingerie was seen in a brothel, to the 1978 movie “Pretty Baby,” starring Brooke Shields. Her fashion replica walked the runway in lace dress and hat to kick off the show — although that is an unlikely metaphor for feet wobbling on giant platform shoes.” Wrote Suzy in the New York Times.

BACKSTAGE – the Press # 2.  Hilary Alexander was wearing a Christa Davis vintage dress, which she said looked very Marras.

BACKSTAGE:   The final touch.  A sailor inspired look is inlayed with black lace.

BACKSTAGE:  A straw hat is positioned.

RUNWAY: You can just see the retro corset and bra that Antonio had re-made for the collection by Playtex.

Note: the footless over the knee silk stockings.

Seen at the Marras show.  Velvet magazine’s editor, Michela Gattermayer, is in vintage Marni and Frye boots, casually put together.

Seen at the Marras show.  Comedian, Lella Costa always wears Antonio Marras on stage.

The front row.   I-D magazine editor, Terry Jones and his wife Tricia sit next to Rossana Orlandi and Elle Décor’s editor, Livia Peraldo Matton.

A detail. Terry Jones wears comfy black leather Converse All Star’s.

The Antonio Marras Finale.  Feel the mood of the bordello inspired collection of veils, chiffon and lace mixed together to create a look of innocence.

Contessanally tip.  Click on any photo to enlarge it.

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