THAT Seventies Show – is fast becoming the way to sum up Milan Fashion Week, from Gucci to Prada and onto Emilio Pucci.
“It’s always resonated with me. I think it’s a reaction,” said Pucci creative director Peter Dundas backstage by way of explanation. “I really wanted to do it last time so just thought I’m just going to do it.” Fair enough.
Whether the fashion forces of Milan got together to conspire in favour of the era or not, it’s on next summer’s agenda for sure – but it just depends on what kind of Seventies spirit you are.
“It’s my girls,” said Dundas, referring to Poppy Delevingne who was bejewelled and Pucci-fied out front. What he meant was that bohemian and carefree spirit – but situated in a contemporary context.
And this was very much a happy-hippy collection: plunge-neck crochet dresses embroidered with flowers, be-tasselled ponchos of the same effect, wispy butterfly-billowing maxi dresses, psychedelic shades and prints of Zap ice lolly optics, waistcoats, skinny suits, flares – tick, tick, tick for the Seventies. There were even those orange and brown colour clashes.
Halter necks, empire lines, gypsy tops and gilets – the repertoire continued as a mash-up of Fleetwood Mac played out – and then Naomi Campbell took a turn on the catwalk.
With all its colour and exotic psychedelic prints, Pucci is a brand that sits well in the Seventies – and will do in the second wave of the Noughties with so many trend boxes ticked this season.
Click below and shop the vibrant collection of Spring/Summer 2015 Emilio Pucci:
CHRISTOPHER BAILEY loves to riff on a topper. In previous seasons he’s reimagined the biker, the aviation jacket, the gritty parka, the trench – of course – and this season, he turned his hand to the indigo denim jacket, that forever young wardrobe staple that’s imbued with good times and optimism.
Serenaded with a live performance by James Bay, Malaika Firth opened the show (fellow Burberry girls, Kate Moss and Cara Delevingne sat front row, alongside Mario Testino) in a fitted wasp-waisted jean jacket with white sheepskin erupting out from under its little peplum.
Varying versions were in never-ending supply. Some were lined in sprouting white ostrich feathers, others were fiercely cropped, another was clad in dusty pink mink, or rendered in grass green suede with a glossy plastic collar and breast pockets. You’ll be spoilt for choice. It wasn’t only those jackets that conveyed a young-at-heart appeal, every luxury house seemingly has a hit sneaker right now and Christopher Bailey debuted Burberry’s all-white style, the “field” sneaker with a bright striped foamy sole.
Under those jackets were tulle dresses as light as candy floss that were whipped around bodies in sensual swathes of bandaged twists or pleats.
The British countryside comes alive in spring and there were nods to that feeling, which arrive with the first signs of summer, rooted in this collection. From those fluffy soft lambswool accents, to that particular shade of grass green, to the oversized butterfly prints and enlarged and abstracted bumble bee motifs and slogans that screamed “insects,” “flower,” and “sun” plastered over trench coats and printed dresses, and yes, all further enhanced by Bay’s The Clocks Go Forward, and the sunlight streaming through the Burberry tent in Hyde Park – as though right on cue.
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GIAMBATTISTA VALLI’s client does not have a day life, or if she does he has no interest in clothing her for it in couture. He’s quite a pragmatic guy and he’s probably fine with her wearing a T-shirt and J Brand jeans during the day – possibly with one of his Moncler coats – but at night she’s all his.
His show today was womanly and masterful, sticking in general to the shapes that he favours – a shell top, a swollen-bellied skirt, a full length coat to which he added a high embroidered cummerbund-style waist.
Frills were everywhere, often defining the shoulders and sleeves, and motifs from the natural world were there in many of his gowns – a tree of life jacquard, an iridescent rose print, silk embroidered flowers and embroidered corsets of petals.
It appeared to be less aimed at the nightclub-dancing social butterfly he is often associated with, but then they like him have grown up together.
His sugar almond finales have become a kind of tradition in their feminine grandeur and this one didn’t disappoint.