So much for comfortable dressing. All these predictions about elastic waists, leggings and flat pants and how the pandemic changed clothes forever, were not so true. When both Alessandro Michele of Gucci and Donatella Versace (not to mention Dolce & Gabbana and Ambush) open their shows in a suit – dark, fitted, slightly larger – something is clearly happening. And this is not what was once predicted, before the pogrom of parties.

But at the moment the world is not so comforting.

“The last few weeks I’ve felt like I’ve become very serious,” said Walter Chiaponi of Tod’s, who also began his pointless demonstration of plush tailoring with a gloomy single-breasted dark trouser suit under a dark coat. “I started cutting out all the frivolous things.”

A suit with its associations with power, status, gender and mismatch, armor and protection (not to mention adulthood) that makes you feel immediately girded during the day may be the best clothing – well suited for the time.

Last week it began rebuilding the runway in New York and now seems to be reaching critical mass.

It was the most dominant clothing in Gucci, a brand that returned to the Milan catwalk after a two-year absence with a show against the backdrop of a suit in cheerful home mirrors and glittering gates. Out of dissonance came double-breasted suits in navy blue and sky blue and chocolate brown; suits with tuxedos and cowhide trim. The suits are covered with bristle spikes. Suits with narrow ties and large bags and cool accessories. A suit for every person!

So many suits or related styles (sometimes they included shorts or blazers) that it all seemed like a menswear show. Of the 84 images only 10 had skirts, dresses or, in one case, lace plush. What was the matter.

Seven years ago, before he was even officially named the brand’s designer, Michele held his first show for Gucci, changing the brand’s image – and, to some extent, fashion – by filling it with conditionally feminine items such as blouses, pastels, bows, and net , and a poignant conversation about gender that is still ongoing.

But while the trend is to focus on what this means in the context of men in what was previously considered women’s clothing, it is actually rooted in costume and in the way women appropriated it decades ago in their ascent to independence and power (and the conversation, which is also, incidentally, still ongoing). This show Michelle just reminded everyone about it.

It should be noted that the only thing as ubiquitous as the costume in the show – apart from the excited roar due to the presence of ASAP Rocky in the front row and very pregnant Rihanna with an elongated belly and hat – is a collaboration with Adidas. The German sportswear brand has become a favorite fashion partner (their shortlist includes Prada, Rick Owens, Stella McCartney, Missoni and the one who started it all, Yoji Yamamoto), and Michele said in a post-show. press conference, he has been obsessed with Adidas since childhood.

But instead of decorating the Gucci classics, Michele flipped the party and decorated the sporty stuff by adding the brand’s three white Adidas stripes to the sides of the suit or the top of the corset, using the shamrock emblem as a crest on the breast pocket. blazers, including this in the print, pushing the inflated version on the bags.

It was the same clear and insightful message about what kind of clothing was actually dominant.

It suits you, sirIt’s probably no coincidence that Enio Capassa, a former Costume National discoverer and designer who made a name for himself on a sleek black suit before leaving the brand eight years ago, chose this season to return with a new line, Capasa. Or what he showed (natch) an update to his tailoring brand, but with some removed cruelty.

After all, the costume lasted so long. (This isn’t really a rediscovery of the old-fashioned vintage-loving generation; except for the Brothers of Technology, most costume corridors have never disappeared.)

The reason this is a classic, as outlined by Luke and Lucy Mayer in Jill Sander, is scattering various Greek and Roman sculptures around their exhibition space to better frame their sculptural felted mini-skirts and sleeveless coats, sinking to mid-calf and hook . flat bow around his neck. In their work, there is a zen balance between the minimalism of the lines and the tactility of the material (also a very desirable accessory), which speaks softly and carries a big blow.

However, when it comes to power dynamics, few designers are as set up as Versace. After all, in her front row was Julia Fox, who knows something about dominance, and wide pants in a thin stripe and pencil skirts, pastel satin capo coats and mini-skirt suits of the 1990s in an inflated tweed with goose paws on the runway. All of them were combined with corsets, which spoke about sex, and with body shields, and oil tights made of PVC.

Combined with high double platforms, they made the models look like masters of the alternate universe. Worth to explore.

Definitely one that was more relevant than the parade of animal prints, surpluses and the Silk Road in Ether or the clash of striped knitwear and quasi-street in Misso. The brand, which seems so obscure that it means that even the runway, filled with celebrities like Iris Lo and Eva Herzigov, could not hide the confusion.

UnsuitableOr, for that matter, the high-quality concept offered at Marni, where Francesco Risa went on a quest to perfect his exciting performance last season with perfectly relevant results.

In the show, which took place in a dark and cold composition, planted with weeds and dusty mud, with a concrete hill / ramp in the center and without any seats, the show featured models wandering through the crowd (including Lynx, who began to sit himself his show last season, initially a magical surprise that begins to seem more like the futility of the project). Behind each led their own guide in stockings and torn jacket, holding a flashlight to illuminate the road until they finally climbed the ramp and descended back into the crowd, desperately and often to no avail to see.

It’s a pity, because Risa is a talented designer who really manages to imbue his work with emotions. There seemed to be a lot to adjust and fix. Some tailoring; several silky, embroidered dresses. Lots of silly hats made with my own hands.

Afterwards the audience went out into the sunlight and into the backyard, where it turned out that the models had been refurbished to replenish their energy through a feast of food and drink spread out on two long tables on a small island of cobalt sand; show after show where Risa conducted the trial with great energy and enthusiasm.

He was talking about “courage” and “community” and the fact that each model brought a personal mascot that was included in their appearance, seemingly ignoring what anyone in the world knows what it is? Or that instead of uniting everyone together, the staging simply served to separate them.

In appearance it does not suit anyone.

Previous articlePlease give me where you live Columns
Next articleShould we stop sticking labels on generations?