Milan Fashion Week AW11

Hot on the Manolo’s of LFW is Milan Fashion Week. As always, Milan is star-studded, super glamorous and a showcase for sleek and sexy design. Holding fort in the Italian capital of Fashion is Prada, Moschino, Dolce and Gabbana, Versace, Marni, and more. Idol is here to give you the overview, the quick pointers, and the snappiest of snaps from Milan AW11.

Prada

Charming and girly, Muccia grasped inspiration from drop-waist dresses of the Twenties and the shifts of the Sixties. Paired down and essentially the same silhouette throughout, the models paraded these straight-up-and-down designs with wide belts, silver button hard-wear and Couture shaped cocoon coats. The pieces were a tapestry of texture – mixing fur, python skin, silks, sequins print and cashmere. Seemingly bare face, the models clutched bags and stomped in their Trompe L’Oiel shoe-boots made of skin and leather.

Credit: Style.com

      

Credit: Style.com

 







  
  

Versace

Not entirely convinced Versace knows what winter is. A fur neck-brace just isn’t going to keep you warm when you’re wearing a one-shouldered slip of a dress, at least not in an English winter. Regardless, Idol loved the garishly-90’s Versace medusa buttons. Sleek shapes, one shouldered cocktail numbers, deep V-necks and exaggerated seamed dresses are definitely red-carpet looks in waiting. Shoes were open-toed leather calf grazing lace-up booties. The models swung coloured skin and leather bags.

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Credit: Style.com

 


 






Versus

Reigning supreme with his use of cutaway corseting and leather, no one can doubt Kane’s extraordinary ability to seamlessly intertwine the transparent and the structured with the weight of leather. The architectural inspired collection used sparkling boneing to flatter the female form. Strangely demure although transparent, toned tummy’s were on show, but worn with knee-length skirts and long sleeves. Masculine, black coats were juxtaposed to shimmering geometric patterns in knit. Worn with solid heeled Mary-Janes and dark tights the sculpted leather and dark wools were fearless and empowered.

Credit: Style.com

Credit: Style.com



Giorgio Armani

Closing Milan Fashion Week and watched on by long-time fan Tina Turner, Armani’s collection was rich in black and silver with rose hued notes. Actively working for the Armani buyer, the models and looks were, respectively, more mature. The show was a bit on the dowdy side – long looks with lace boots and heavy bags, rich in texture and heavy in silhouette. However, the ankle-length cuffed kick-flares in velvet and the double breasted tuxes were a breath of youth. One dress with Armani’s face printed large was memorable.

Credit: Style.com

Credit: Style.com



Missoni

Candy colour ephemeral creations drifted down the catwalk to a 'Fairytale' inspired collection. Pastel toned knits, tweeds, silks and – unexpectedly – snakeskin were woven into manish floor-length overcoats, grunge-y shaped jumpers, billowing trousers and shorts.is the appropriate word, for this was a collection in which magic and fantasy met with high-tech brilliance in the sweetest of marriages. Paired with multi-coloured skin boots the look was quite edgy for Missoni. Of course there was the signature Missoni zig-zag, camouflaged in minty, lilacs and berry tones. A beautiful knitted maxi dress was embroided in feather details that cascaded to the floor.

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Credit: Style.com






 

Dolce and Gabbana

Toying with androgyny and Teddy Boy bravado, Dolce & Gabbana showed their synonymous sexy staples but with a mannish strength. Obviously there was lace and chiffon and provocation. But, there were also plays on zoot suits -oversized Blazers, tapered trousers and pointed brogues. Star print was galactic-ally splayed over the collection, such as on fluttering chiffon gowns and bodycon dresses. Velvet tuxes, sleeveless jackets and fur collared coats were seductive cool.

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Credit: Style.com

 

Marni

Consuelo Castiglioni’s fluid, stream-lined collection is a far cry away from Marni’s earlier season’s of clashing pattern and colour. Marni paraded clean structure in moody olives, maroons, blues and creams. A dappling of geometric pattern and fur trimmed coats against the tailored shifts and structured leather numbers were definitively elegant. As always, the Marni models rocked platformed heals, this time with girly ballet bows at the ankles. Against the double breasted jackets and shaped coats the styling was kept to a minimum, there were however, fur trimmed gloves and statement necklaces.


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Credit: Style.com





   


Jill Sander

Raf Simon’s own line may have reached an all too early end, but his talents haven’t. Very sixties, very Courreges like, Simon’s created a sporty-meets-couture collection. The Sander line exceled at block coloured separates - a fundamental of any Jill Sander show - box jackets, structured coats and graphic flower print. High-neck knits and polo-necked tops were worn with high-waist trousers and prim jackets, belted tunic-tops with riding trousers and hooded knits epitomized Raf’s cool sophistication. The collection was dominated by black and blue, usually considered the essence of bad taste, but the last few seasons have seen subtle colour clashes rule supreme, and here was no exception. 

Credit: Style.com

 

Credit: Style.com



Moschino

Moschino made its name on a controversial, zany aesthetic. With decades under its belt, the label has grown up, still subversive and well-humored, but, now with an eye for tailoring and shape. Carrying on this coming autumns masculine v. feminine vibe, the collection was mostly separates and at that mostly trousers suits. Quite literally suited and booted, with riding jackets and jodpur-esque trousers or in a tux style, the models rocked the androgynous look. Gilded hardware, bows and a flash of silk rose print, along with Audrey Hepburn worthy dresses and cardi and knit shift numbers upped the feminine anti. A bit of a seventies vibe in the gold maxi skirt, a bit of the nineties with the red tailored suits and a bit of a nautical/military vibe with the caps and blue and white suits. 

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Credit: style.com



By Lucy Morris

MADRID FASHION WEEK A/W 2011

Last week not only saw the return of London Fashion Week. The 53rd edition of Cibeles Madrid Fashion Week took place from the 18th – 23rd, but because it clashes with London Fashion week it never gets much attention. The Spanish capital played host to some of the best designers in Spanish fashion.

Designer Carlos Diez sent male models down the catwalk in thick knit leggings, skin-tight leather shorts and thigh-high boots. The girls slipped into bold monochrome jumpsuits, capes and cable knit skirts.

While Maria Escote went all dark and stormy. Showcasing dramatic graduated dresses and coats – some flowing in black chiffon and adorned with stacked tribal necklaces – others in thick fringing with fur stoles. There were a few bursts of colour with wildlife motif dresses and orange-flecked jackets.

LE used lycra, leather and knitwear for their boxy structural pieces –trousers, jackets and dresses in a selective colour palette of black, grey and blue.

                           

At Etxeberria, men were dressed in muted greys and beiges, the show – called 'The skin in which we live', used furs and animal skins with tweed and pinstripe suits.

Gori De Palma had rockabilly-quiffed models strutting to a live band in biker jackets and studded leather shorts teamed with very see-through chiffon shirts.

 

           


Given the amount of originality and imagination on display, it seems crazy that the international fash-pack bypass it year after year. Keep an eye out for the next one in September.

Words: Emma Hurwitz

Images courtesy of Imagen.net & +34

IDOL Reviews: Waste Land

Director: Lucy Walker (with Joao Jardim and Karen Harley)

“It’s not bad to be poor. It’s bad to be rich, at height of fame and a dirty shame” 

Valter Dos Santos

Vik Muniz

Waste Land is the Oscar nominated documentary from Lucy Walker. Filmed over a period of three years, it follows Vik Muniz, the Brazilian artist, as he explores the lives of the pickers at Jardim Gramacho - the world’s largest rubbish dump. 

While there, Vik photographs the eclectic characters he meets. Using their images as a basis for creating portraits made up completely of recycled materials from the site, he then plans to take the images to auction in order to raise money for the pickers. 

Magna

What appears at first to be a simple documentary about a wealthy artist going to observe the lives of less wealthy people, quickly turns into an exploration into the lives of people who display both dignity and despair at what they do. The characters that we meet with Vik are the heart of the story. Gripping and compelling, you feel an urge to learn more. 

Portrait of Tiao

We meet charismatic Tiaõ, a picker since the age of 11 and now the young, ambitious president of ACAMJG (Association for the Pickers of Jardim Gramacho). Inspired by books he recovers from the landfill, he plans to improve the lives of his fellow workers. Along with Tiaõ, we meet young mum, Suelem, proud of her role as a picker. She puts it into perspective, explaining that it keeps her out of prostitution and drug trafficking. The bleakness of their lives is questioned throughout, the workers seem almost content and settled in the way things have turned out. This opens up the ethical issues that the project brings about, taking them out of the world they know, to the more privileged arena of art, they inevitably don’t want to return to that way of life. The guilt and confusion the people involved feel towards the project is picked up, but Vik continues, loyal to his aim. 

The brilliance and artfulness of Waste Land is all thanks to the characters, who almost feels they were created for the screen, and express themselves with such casual insightfulness it feels like an adaptation from an aged text. Waste Land is not just a simple documentary on the environment, but puts forward a lot of questions about the power of art in society, and whether - as in this case - it can change people. 

Wasteland is in cinemas now and available on DVD from 28th February 

For more information: www.wastelandmovie.com 

Words: Emma Hurwitz 

Images courtesy of E1 Entertainment Film

London Fashion Week, the lowdown

London always excels at street-chic. Grabbing references from as far as field and as close to home as possible, British designers are able to see the beauty in what seems to be just about anything. Meadham Kirchkoff took our breath away with a surreal Pagan pageant, Mary Katrantzou draped her beauties in Objets D’Art print, Bunmi Koko filled our eyes with a kaleidoscope, and Mark Fast did what he does best – super sleep, super sexy knitwear, this time with a ladylike twist.


There was a lot to see, there was a lot to do, but, here is your definitive overview. Quick water-cooler comments, pretty pictures and a general insight into what all the buzz was about.

PPQ

Credit:Adam Richardson

Closing the first day of LFW was Amy Molyneaux and Percy Parker’s baby, PPQ, there collection was as if boarding-school kids had a run in with a Victoriana wardrobe, a Nicki Minaj disco beat and black-magic. Sartorially prim, high collars, a rich purple, mauve, black, grey and maroon palate was given club-kid edge with Perspex jewellery and PPQ for Office heals. Lace and marabou edged, the shoes were strong and eccentric, much like the splash of red lipstick and the extreme braids. Pouty, would be an understatement.


Credit:Adam Richardson

 


Credit:Adam Richardson

 


























                                                               

                                                               John Rocha

Rocha excelled in outerwear. Deconstructed a-symmetrical and draped in fur, the Pierre Soulanges inspired collection was dark and twisted. Broken up by splashes aof nude and scarlet, thick wools were weaved into textured tweeds, supple crochet and airy silk georgette. Heavily subversive platformed boots with silver hardware steered the look towards punk, but when dipped in liquid-y metallic the collection became glam-rock. The subtly of structure and styling, gave Rocha the ample applause he rightfully deserves.

Credit: Adam Richardson

Credit: Adam Richardson












Osman

Yousefzada was made a household name by a Sarah Brown, but standing away from the ex-PM’s wife he still has an air of refined elegance. Restrictive shapes and prim silhouettes gave way to a canvas of colour, described by Vogue as ‘poetic’, like a painter, Osman dashed cobalt, rusts, aquamarines, magentas, greens and mandarin shades over his monochrome compositions. The cloth was rich in texture – jacquard, velvet, brocade and structured leather, heavy in weight but the streamline minimalism of shape gave the collection air and movement. Subtly working in zips and finishes with caplets and shrugs, the look is not for the young and restless, but it is for the graceful sophisticate.

Credit: Adam Richardson



Credit: Adam Richardson



David Koma 

Worn by everyone from Beyonce to Cheryl Cole and with a line on Topshop, Daphne Guinness and Sam Cam were unlikely front row attendees. Picking up on the current pointillist theme – as dappled in by Marc Jacobs and Louise Gray – circles popped up in cut-outs and primary coloured furry baubles. As always, Koma knows how to work a female figure – flattering a-line, calf-length swing and pencil skirts and body-con stormed the catwalk. Processions of dark dresses with waves of circle cut-outs and patent leather discs and photo prints showed peaks of colour. Leather and wool gave the pieces structure and upped the whimsy of the bright pompoms draped, skewed and collaring the looks. Following the Kaiser’s lead, Koma’s models had sleek pony tales wrapped in a silken stringed bow. Vivid and childish, the fur may be, but the knee high boots and the simple make-up and Sam Cam’s attendance showed that there was depth and precision to the look.


Credit: Adam Richardson



Credit: Adam Richardson

Mario Schwab


Abstract electro boomed through the BFC Showspace, quite the contact to the demure elegance Schwab showed. Dangling the bate of bondage - utilitarian belting, both functional and decorative - but suggestively pairing with pearls, leather driving gloves and ladylike lengths, the collection played up to the contradictions. Harking back to '90s Versace with sultry reds and focusing on this coming winters colour trends of olive, army and acid green, mulberry, rust and teal, Schwab's colours were bang-on trend. Puffa jackets, seemingly a trend and indubitably practical, were given a twist - belted, off the shoulder, with a peplum - all were on show,  and all flattered and moved with the female figure beautifully. The only qualm of the Idol team was the pearls. Off shooting the immaculately tailored, draped and fitted dresses and separates with tone-conscious pearls seemed a little naff. Something my granny would love, now my granny has great style, buy, I'm not about to jump at the chance to wear teal pearls with my teal dress. Otherwise, adored the lace up booties and the subtle subversion.



Credit: Style.com

Credit: Style.com



Mary Katrantzou

As always, Katrantzou epitomizes luxury, using only the most exquisite fabrics Katrantzou swathed her models in priceless Objets D’Art inspired silhouettes and prints. Sartorially aware of classic couture shapes, following Armani Prive’s lead and creating sculptural shapes – unaware of the body and bulbous, but also harking back to the early days of Haute Couture, with nipped in pencil and full flowing skirts, floor-skimming gowns and structured jackets. The prints were elaborate, referencing Meissen china, Chinoiserie, Faberge Eggs and the plush of a Mansion House – undeniably affulent and infinitely decorative. Velvets, thick silks and chiffon were worn with printed leggings and towering Louboutins.




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Credit: Style.com







Holly Fulton

It could be argued that Fulton’s collections are repetitive. This is wrong. Although, Fulton loves a Sixties silhouette and a dappling of Deco pattern, Fulton showed with a more mature hand that she can pare-down her jewelry, her print and her New York-Deco vibe. With a dash of Nouveau and a spattering of Rocky Horroresque lips, Fulton stepped away from her norm. Okay, so it wasn’t totally different, there was still a rigid verticality to the look and Swarovski sparkle, but it seemed fresher. The Louboutin’s proved an issue – one model took a stumble and another gave up entirely and just took them off, but an A-line shift in citrus yellow and black tweed with a swaying hem of beads with the most adorable black cap meant no one even noticed. Fun and frivolous the shimmer of Fulton may be, but combing studs and palazzo pants and simpler designs meant this collection was fresh as well as fun.



Credit: Adam Richardson

Credit: Adam Richardson





Meadham Kirchhoff

If I could tell you what I saw it would be a miracle. Walking to the seats the Idol team could not help but notice the shrine like staging in the centre of the catwalk – an odd assemblage of objects, notes, drawings, candles, flowers, exactly what you would expect for a memorial. Very like Diana’s impact on the Mall. Quite unsettling. Then the theatricality was taken to a whole new level. The lights dimmed, the music blared – a mix of electro and the Psycho soundtrack, two tableaus of models edged towards the catwalk. Commanding in presence, they marched in unison, pausing briefly in the centre, then in a procession – without posing – the models walked round the catwalk and off stage. The clothing became a cloud of colour and the details were lost. It was definitely a shame. An almost Pagan/Amish vibe was taken on by the monochrome pinafore dresses, school uniforms with a twist, Victoriana high-neck lace shirts and billowing bloomers. This was contrasted to similar shapes – minus the fedoras – in scarlet and teal. It was a bit Prairie with kitten heels and crucifixes.

 

Credit: Style.com



Credit: Style.com











By Lucy Morris