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Nilsson at Ferré
From Page 9
arrival at Ferré will be just in time, for the collection sent out
by the current team, filling in for this season, did not really
work. With its high-rise draped pants and floating dresses and
girly interpretations of Ferré’s noble white blouse, the show
was clearly an attempt to soften up the late designer’s signature
grand gestures.
But the effect was like taking solid architecture and rework-
ing it in putty. For fluid, read floppy. Add a play on fabrics that
endlessly spliced shiny and matte for dresses and pants, and
the effect was not as strong and clean as the silver sculptures in
the show’s museum setting.
BA LLY
Giovanni Aponte
Hippie spirit
ippie super de luxe!’’
‘H claimed the Ba lly designer
Brian Atwood as he showed the
feather-light dresses in shades of
burnt umber with tile patterns
from Istanbul’s Topkapi Palace.
They were inspired by a photo-
graph of the French movie star
Vanessa Paradis as a sex kitten in
the early 1990s, exiting the Chat-
eau Marmont hotel in Los Angeles
MISSON I BOTTEGA VENETA and looking like a Hollywood hip-
Photographs by Chris Moore/Karl Prouse
pie.
Atwood’s skill is with shoes, and
Missoni’s sweet moment his designs were the product of im-
mersion in Bally’s Swiss archives.
(‘‘Going into a room with 15,000
pairs of shoes is like a candy
From Page 9 — Missoni’s glory years — in the mirror jewelry store,’’ he says.) Those inspirations
and even mirror embroidery set in skirts and rem- included gilded metallic edging on
The models with their smooth Gauguin hairstyles, iniscent of early Prada. But this was a sweet mo- platform soles; shiny metallic la-
each caught with a flower, may have worn the soft ment for Angela Missoni, who put the brand back bels from the 1930s on soft, over-
rivulets of color of a sunset in Tahiti, but the overall on track. sized bags; and a rope theme that
effect was of womanly ease. Every fashion generation needs a leader and the twisted its way through both flat
‘‘It’s a man’s world,’’ sang a series of artists from influence of Nicolas Ghesquière, who had the su- sandals and seashore bags that
James Brown to Joss Stone. But a modern show preme courage to shake up an iconic brand, is were as much Paradise Isle as
‘‘wouldn’t be nothing’’ without a sharp take on everywhere in Milan with shrunken blazers, i kat Pa radis.
style. From the first exits, when a sleeveless vest, prints, neckerchief scarves and the little flared Yet Atwood caught a spirit in
rippling at the edge, or a kimono coat, its brief skirts above spindly legs and platform shoes. this 1970s/1990s vibe that looked
sleeves revealing a ballooning blouse’s full sleeve, Veronica Etro picked up those trends but made distinctive and very young Holly-
Missoni caught that tipping point when a girl turns them her own with the usual manic mix of prints, wood.
into a woman. Hemlines were still short but dresses showing both the short and cute and more languor- ‘‘There is something effortless
were loosened, often with a square silhouette that ous long dresses. They might have roots in the about it,’’ said Atwood, referring to
reinforced graphic pattern. 1970s, but with Etro’s imaginative new computer- the attitude, not to the craftsman-
But the most lovely prints were new blooms for manipulated prints, they looked fresh. And there ship, that went into a seductive
Missoni — giant computer-manipulated flowers were patchworks of knitted squares for brief dresses shoe travel bag lined with pink
with a suggestion of hibiscus, oleander and frangi- that brought out the best of upbeat energy at Etro. suede or into the defining details
pani. They were shown as float dresses in scarf that are giving Bally a stylish up-
GIANFR ANCO FERRE silks, often in the long, draped toga styles that seem Suzy Menkes is fashion editor of the International grade. — Suzy Menkes
to be a current trend. There was a hint of the 1970s Herald Tribune. ETRO