Tribute to leather of the young Gaia. The first look on the catwalk indicates the mood of the fashion show, is a kind of introduction that gives suddenly an idea of the entire collection. It true, but it doesn’t mean that all outfits will look the same, because, in sequence, the mood is developed with different shapes and colours; but the first outfit remains – in the designer’s mind- the most important. Gaia Trussardi doesn’t disappoint this tradition, and infact for her debut she choose a total look that represents the leitmotif of her first s/s: leather and white. A hard inheritance, the Trussardi’s one: a maison that had in the past some problems to identify itself in a specific style, changing its personality too many times. And Gaia, properly, starts her path with a tribute to the strong point of Trussardi: leather, indeed. “To maintain a stylistic coherence, carrying on and merge in a single aesthetic the values that made the brand’s history is essential”. Some details in blue, a very particular suit (blazer and bermuda shorts) made of python leather, but in the main part milk-white or off-white, that gradually becomes darker till the shades of beige; “Actually” talks on Gaia, “these are the colours that represent an idea of relaxed elegance and are part of the brand DNA”. “Beige, white… the no-colours typical of the desertic stretches of American West; these shades matched with red and blue of the breath-taking sunsets of those places, give birth to a chromatic palette that evokes the landscapes that ispired the collection”. First outfit of the Trussardi 2014 s/s collection; below Filippo Timi with the python suit, picture by S. Giffthaler.

Anche questa settimana, “Get Back” fa un salto indietro nel tempo e guarda al passato remoto e alla moda di quell’epoca. Il paletot dalle spalle ampie e “cascanti”, i pantaloni multipinces, il gilet con lo scollo rotondo: una moda oggi più che mai attuale, se pensiamo a certi cappotti di Berluti dello scorso inverno e allo shape dello stesso Cerruti 1881 presentato nel 2013 da Aldo Maria Camillo. La foto è di Paolo Roversi. Lui è Ruper Everett, allora all’apice della sua carriera dopo il film “La scelta” del 1984 di Marek Kanievska.

This week the “Get Back” take a jump back in time again, and looks at the fashion of a remote past. The coat with wide and “loose” shoulders, the multitucked trousers, the waistcoat with round neck: a fashion so up-to-date today than ever, if we think about certain Berluti coats of  last winter and the shapes of Cerruti 1881 itself, designed in 2013 by Aldo Maria Camillo. Picture by Paolo Roversi. He is Rupert Everett, then at the peak of his career thanks to the movie “Another Country” directed by Marek Kanievska in 1984.

That work fabric become a must. In our wardrobes there’s surely a denim garment. Everybody owns a pair of “five pockets”, and many of us have got at least one shirt and a piece of outerwear. In recent times, denim canvas has been proposed by Prada and Raf Simons as a fabric for suits and Moschino -as always- made it a cult.  Not to mention the jeans lines created by designers in the “made in Italy” age: exactly in 1985, De Niro wore a denim shirt on the cover of the first issue of Max. In a few words, that fabric born to make work clothes, after the cultural revolution in ’68, has written an important part of fashion and costume history, and carries on with its mission of being a timeless trend. Stone Island since many years ago has reread successfully in an original and surprising way a lot – during its history-  of denim pieces, shaped and transformed by the intuition of a designing team headed by the president, Carlo Rivetti. Among the most eccentric garments, there’s the Seventies-inspired dungaree, the stone-washed trousers with their worn look mood; and even the sweatshirt, that thanks to Stone Island, in 2009 has become a trait d’union between fashion and freestyle. Today, wisely in line with the bicycle trend, it proposes stretch denim trousers with a reflective logo print in the right leg inner, to turn-up to be visible in the dark. Still life: Cycling Pants by Stone Island, P/E 2014. Picture by Toni Thorimbert for Max Denim: denim sweatshirt Stone Island.

This week Get Back shows an adv campaign of the past, by Gianmarco Venturi. The parka with extra-wide shoulders and the suit’s waistcoat (made of smooth velvet) with a “round” neck, perfectly represent the menswear of those years. Picture by Walter Chin.

The impercebtible change of shapes. The commercial success of Prada is not “only” based on the essentially classic soul of its collections, revised every season according to new trends; an update maintained thanks to very slight changes in fabrics (the patterns, from the marked checks to the weak ones), in shapes (lapels two cm wider or narrower) and in leather finishing (shoes can be made of leather in solid or fading colour). The secret of Prada stays in reaching the approval of fashionistas, but especially in extending the strongest contents of the collections to traditional menswear. “My vision of fashion is absolutely up-to-date. I want to highlight the more human and sensitive side of people. And to check on what men really want to wear. I like real, apparently normal, fashion. And for this winter I designed the perfect classic clothes of today: the perfect trousers, the perfect coat…”, so Miuccia Prada describes her “apparently normal” show. The styling re-marks an “apparently” flawed man that wears “normal” clothes. The mix of prints (micro and macro checks), the bright colour matched with the hyper-classic charcoal, the shirt with a frill that can be removed: precious details that guide men’s taste. The outcome of a brilliant creativity in ferment.