What Piccioli is doing in his “re-signification” of Valentino is simply re-writing its codes within the context of a changing world-innovating and modernizing without losing the house’s essence keeping the emotional vibrancy, while being effectively attuned to the beat of today’s intense rhythm. Of course, the language of couture is a fundamental signifier for Valentino. But, as always with Piccioli, his approach was as instinctual as it was sophisticated he’ll go down as one of fashion’s romantic visionaries, able to orchestrate moments of true creative enjoyment, both emotional and visually elevated. The wording could sound slightly highfalutin and self-congratulatory. “I focused on working more on Valentino’s identity than on its aesthetics,” he reflected. “In this moment, sticking to an old mindset for me just wasn’t an option,” he said at the post-show press conference.Ĭhoosing a venue at odds with Valentino’s typical optics, so deep-rooted in couture, signaled the bold stance Piccioli was taking in the re-definition of the house’s stylistic codes-a process he called re-signification. He decided to decamp from the ornate Parisian fabulousness of the Salomon de Rothschild salons for the powerful industrial rawness of Fonderie Macchi, a metallurgical foundry active in Milan from 1936. In a declaration of support for the Italian fashion system and making the most out of the difficult circumstances the pandemic has forced upon us, he opted for an act of bravery-and bravura. To find discount codes for ASOS and other large fashion retailers, visit Fashion Week closed with a bang today, with Pierpaolo Piccioli presenting his Valentino collection for the first time here in Milan. Unlike colour blocking, which requires full commitment and various garments (the yellow blouse, the fuchsia trousers and the aqua satchel all at once), like a shard of light through the clouds it only takes a little rainbow to create something beautiful. Rainbow clothes are also a relatively cheap way to bring colour into your wardrobe. Buying a prismatic printed skirt for spring might only yield three or four wears this season, but unlike pieces that are in “good taste”, which tend to be influenced by the It silhouette or palette of the moment, something that looks fabulously garish now is likely to look fabulously garish three years from now, too. While rainbow has the potential to tire the eye quickly, it also lasts. A piece like Bella Freud’s 1970 jumper is literally designed to date, whereas a waratah and ying-yang patchwork is more eccentric than slyly retro. Rather than being explicitly tied to the flower-child moment that is gripping the fashion world more broadly, Mulholland, Romance Was Born and Kee’s colourful creations feel more timeless than 2015-takes-on-1970. This point of difference is in an advantage. The rainbows Australian designers have been producing are less clean and precise than their international counterparts. “I think so many designers stop at leopard print or something basic but there are a lot more ways to use nature in design.” I find it all pretty fascinating and amusing. “I find there is so much to draw from, whether its colour combinations or funny animal traits. “I often look to animals and nature for inspiration,” she told Guardian Australia. While designers including Maria Grazia Chiuri and Pierpaolo Piccioli of Valentino looked to Elmer the Patchwork Elephant for inspiration, and Mary Katrantzou took cues from 60s op art, Australian designers have looked to more organic muses to find their pots of gold.įor the Sydney-based designer Emma Mulholland, native birds and heatwave maps provided fruitful colour palettes. Multicoloured accessories can be used to bring a joyous touch to an otherwise conservative black, white or navy outfit, or rainbow pieces can be piled on top of each other for a delightfully insane look. Turning up the colour: the US fashion favourite Iris Apfel.
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