![]() ![]() ![]() The feeling of jet-set glamour was certainly there at Gianfranco Ferre, where his clean collection offered a haughty elegance. It was one of the freshest collections around. But there was the strong individuality his last collection had: lean tweedy suits in off colors, long cardigans cinched at the waist, and pretty strapless dresses bronzed with satin on top and lace below. Iceberg, too, was exciting this season, thanks to the hand of Marc Jacobs, who wasn't there to take a bow because he was working on his own New York show. They are clothes in search of a scene, and they are likely to find one. The bruised-lip color was seen in a pieced long coat and in a velvet suit with a pale blue shirt and gold cuff links.Īfter the show, the backstage felt like Studio 54, and the models lingered in the clothes so that they could wear them just a bit longer. Others draped across the shoulders (there was even a cape), and there were beautiful fake furs and shearlings, in caramel or plush black. His newest epaulet jacket has no lapels and plunges in the front. "The reason I feel so drained is that this collection, more than any, is exactly what I think women and men should wear," he said after the show. Ford relied on his talents as a designer instead of those as a showman he triumphed as both. ![]() Ford recently bought his grandmother's house, which he grew up in). Medallions were sculptured from the company's horse-bit signature, and the "G" logo was shrunk for thin chain belts and exploded for concha belts (influenced by Santa Fe, N.M., where Mr. And there was a sinister hedonism: the white of cocaine, the black of a coma, the red of Mick Jagger's bruised lips.Īfter seasons of no jewelry or belts on the runways, those here were beautiful. There was the feel of androgyny that drove that era and the resonance of Halston in the white keyhole dresses that closed the show. Ford made his unknown models look as provocative as any of the most beautiful people who might have inhabited Studio 54. Valetta, whose career skyrocketed with the Gucci campaign by Mario Testino, to ask for a six-figure salary to do the one show (an offer Gucci refused). What the show proved more than anything else is that it isn't the supermodels Shalom Harlow and Amber Valetta who make these clothes look so desirable. It's for people who live an international life. Ford, who began playing with a moody military theme last season. "That's the way I live and move, and that's why the uniform idea is important," said Mr. Ford reawakened it at his show: it could only be called "jet set" style, the way fashionable people who travel can look sophisticated in any port. The term jet set has all but been retired, but Mr. ![]() Ford's collection would tell the whole story: sexy, sleek and sophisticated. Instead, they act like the people who plan the Milan calendar when they put together their shows: they fill them out with uninteresting basics when editing would make them stronger. Ford, what they should borrow is his editing. While so many designers seem to want only to borrow silhouettes and epaulets from Mr. The show schedule has been fattened by second-line collections, commercial collections full of Prada and Gucci knockoffs from as far back as two seasons, and even secondary lines full of Prada and Gucci knockoffs from as far back as two seasons.īut Gucci felt fresh, and not only by comparison. It was as if Tom Ford, the designer of Gucci, had pumped happy gas into the room instead of the seductive soundtrack crooning "The Look of Love." Some of fashion's most famous poker faces were smiling, and many found their feet for the first time in the Milan season, which opened on Friday, to give him a standing ovation at the end.Ī spotlight pierced the darkness to begin the Gucci show and effectively pierced the bleakness of the Milan season thus far as well. ![]()
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