Gucci
Ah, to go minimal or maximal?’ That was the question burning in Frida Giannini's mind for spring 2011. Luckily, Gucci's deep resources meant she could both, so why not? The proceedings started with pared down colour-blocked silk separates in jewel tones that would have made the late Yves Saint Laurent proud. Moving into dusky nudes and pales, Giannini kept to her preferred silhouette of a slim jacket and loose-hipped tapered pant, but slowly built up the ornamentation, not to mention the crotch drops. There were piles of leather and suede fringe, knife-like slits, and a final crescendo into heavily crusted, tribal-beaded territory.

Gucci

 

Gucci

Gucci

Gucci

N.21
There were clues to Alessandro Dell’Acqua's past long-term relationship with lingerie dressing in the collection he showed under the Nº21 label, but you had to be patient. That is, you had to wait until the models spun round and revealed their backsides, which were covered in white lace – a

Dell’Acqua speciality. The rest of the proceedings were decidedly crispy: as in starchy white cottons sliced into t-shirt style dresses and tops or asymmetrical skirts pulled into accordion pleat tufts in the rear. Chiffon, another old friend, re-appeared in floor-length asymmetrical hemmed dresses in nude and cherry or in a beautiful bird print.

 

N.21

N.21

N.21

N.21

Francesco Scognamiglio
Whatever you might have thought about Francesco Scognamiglio's treatise on sheer dressing – one that exposed more breasts than an evening at Hooters – at least the Italian designer has the cojones to serve up something spicy on the Milan runways. We saw crystal crusted latex dresses, Lurex lace dresses that barely made it over the models’ backsides, piles of sheer chiffon confetti disks, and a healthy dose of blue leopard print. It was a highly theatrical affair, which isn't surprising since Scognamilo was quick to point out that his last outfit – a sweeping lace-trimmed silk gown with a collar that looked like a giant upside-down umbrella – was destined for the high priestess of drama queens, Lady Gaga.

Francesco Scognamiglio

Francesco Scognamiglio

Francesco Scognamiglio

Francesco Scognamiglio

Sportmax
We love the edgy moves of Max Mara's diffusion line Sportmax, where feminine dressing gets a playful punch. Terry toweling details mixed with linen, geometric Broderie Anglaise and butterfly 3D appliqués all added a youthful texturing to clothes that had an architectural but easy flair. Other details included glossy patent leather collars and cuffs, and an intarsia argyle sweater created from beads.

Sportmax

 

Sportmax

Sportmax

Sportmax

Fendi
A fresh blast of spring air floated over the runway at Fendi, where shades of apricot and salmon mingled with grass green and pale blue. Rubber-stamped organza gave a dotty optical effect while sleeves were sliced into reverse lantern shapes. The models’ matte red lips looked on fire – and may well have been responsible for the burnt edges that crept beautifully across starched white cottons.

Fendi

 

Fendi

Fendi

Fendi

Prada
One look at the trays of striped sandwiches before the Prada show and we knew we were in for a stripey affair. From fat rugby lines in tangerine, black and fuchsia to sailor stripes in grass green and Yves Klein blue, no horizontal band-width was left unexplored. Miuccia broke up the geometry with cha-cha-cha banana prints and embroidered paisleys that came straight from south of the border. Peggy Guggenheim-esque eyewear and striped fox stoles carried by the models added an eccentric touch while her curve-hugging skirts were given a naughty kick with flounced edges. Best of all, the designer fully embraced the juicy theme by taking her bow wearing a pair of dangling yellow banana earrings.

Prada

Prada

Prada

 

Prada

Gianfranco Ferré

Skin tight and smokin' hot, the Ferré models were poured into body conscious dresses constructed from intricately woven leathers and braided python. The basket weaves and reptilian influences created a tribal waft off the runway, while the short tight flounced-skirt dresses recalled the joie de vivre of a fresh faced cheerleader. But there was also plenty for the more-seasoned, buttoned up Milanese "sciure" including a bubble gum pink silk tafeta suit and its Dynasty-partner-in- crime, a peptol pink puffed car coat. Also noteworthy were the heels on the shoes which appear to get more architectural with each season: this time we saw twin tower-esque blocks in shiny mirror.

 

The outcome if Wallpaper* mated a Mondrian painting with a disco ball: the bun grazing, jewel-toned color blocked sequin dresses

Gianfranco Ferré

Gianfranco Ferré

Gianfranco Ferré

Gianfranco Ferré

Versace



To say that the opening dress looks at Versace were snug is to do them an injustice. The models were in fact wrapped mummy-tight into crisp white mid calf dresses or two piece skirt suits with electric yellow or cherry patent leather geometric trims . The top halves of these body conscious silhouettes had been sliced into using exact-o knife precision to create round edges of negative space. Slowly a bright color party started, first by trails of Versace's signature Greek fret motif, then by vertical paint stripe prints, flappy fringe and, later, all three at once. Versace's red carpet game will undoubtedly be a stringy affair as its single tone gowns in turquoise, nude, white and red, were awash in yards of floor length fringe.

 

An African tribal dress to wear poolside at the Delano in Florida: the short printed fringe dress with red bondage heels.

Versace

Versace

Versace

Versace

Bottega Veneta

The first look out of the Bottega Veneta show-- a black Jersey dress with a sweeping band of leather trim and netted sleeves -- was a brilliant example of sporty chic getting the sky-high treatment. Thus continued a collection that could be termed snuggle-luxury: that is, high on the comfort factor and even higher in the expense of materials. Deceptively simple rolled sleeve Tshirts and sweatpants-- seemingly out of work-out friendly cotton jersey-- were actually crafted from butter soft perforated suede. Silky slouchy dresses were dotted with tufts of feathers. A grey silk jersey sleeveless one piece, meanwhile, was our favourite look-- supremely chic, understated and, best of all, ridiculously easy to wear.

 

What Wallpaper* wants its hair to look like for Spring: loosened drenched look (a' la Uma Thurman in Kill Bill) whipped up by Guido.

Bottega Veneta

Bottega Veneta

Bottega Veneta

Bottega Veneta

Emporio Armani

78 year old Giorgio Armani clearly knows that the under 30 somethings have a preference for the layered look. Of course in Mr Armani's hands, there's nothing slacker about it. He prefers a polished silk peplem over an flared tafetta skirt and a sheer ruched tube skirt peeking out down below. Those clingy sheer body veils (including a legging version) were put under everything from ruffled short dresses, crisp cotton skirts, to fancy cocktail dresses featuring explosive, glittering palm frond prints. Some news you can use: rubberized rafia and lurex lace are Armani's new sartoral tools of choice.

Wallpaper's choice for early morning shock therapy: Electric pink shiny brocade bermudas with a matching scalding pink jacket wth molded short sleeves.

Emporio Armani

Emporio Armani

Emporio Armani

Emporio Armani

Max Mara

Max Mara's signature camel coats were translated this season into knee length khaki trenches - perfect for pesky Spring time downpours. A string of super khakis then erupted on the runway: skin tight pencil skirts with bandeau tops, silk shirt dresses and flared pants with waist high slits, before moving into acid brights like tangerine, lemon, and grape. There was a high-tech, athletic vibe on ski-pant silhouetted trousers and the compact, colour blocked tops that looked like leotards with their backs scooped out.

What Wallpaper* will wear for its next snow romp: the fluffy white hotpants and white shortsleeve top that literally shook with animation

Max Mara

Max Mara

Max Mara

Max Mara

Jil Sander

Raf Simons' brilliant new take on his preferred palette of sizzling colours had our mouths open in awe. From cobalt and apple green, to magenta and tangerine, every colour appeared to have been dialed up to an unbelievably high, yet pure, intensity. Just a shade shy of neon, the colors looked as if they had been heated and were just about to jump out of the frying pan. Simons layered the single color brights, such as a hot watermelon pant and black coat worn over a fuschia top and grass green jacket, or blocked them on the same outfit like a column gown constructed from a white tshirt and fuschia skirt. The colors were uber modern while the constructions - peplums every where you looked, voluminous palazzo pants, trapeze coats and heavy taffeta ball gowns-- borrowed something special from the hallowed halls of haute couture.

 

Wallpaper's Italian seaside outfit: the beach towel striped column gown - horizontal pink and white on the column skirt, vertical black and sheer on the top.

Jil Sander

Jil Sander

Jil Sander

Jil Sander

Emilio Pucci

Peter Dundas has never met a printed chiffon, thigh-high slit, billowing boho dress he didn't like (after all, he used to work at Roberto Cavalli). His filmy, patterned concoctions for Pucci, many with peasant tops and lace fronts- were super sexy without trotting too far towards tramps-ville. Its true there was a lot of skin on show, with carved out constructions on jackets and tops, not to mention monokinis which managed to cover less skin than a bikini. But refuge came with a touch of the west in skin tight suede lace up pants, leather vests and fringed appendages.

What Wallpaper* will wear to I bagni da Luigi in Capri: the itty bitty mini embroidered dress in Greek blue- the exact shade of the Med waters.

Emilio Pucci

Emilio Pucci

Emilio Pucci

Emilio Pucci

Marni

The Marni show commenced with hot-to-dot models whose leather jackets and tops had been pierced with soup-can sized holes. The graphic momentum of this show quickly built to include sporty patchwork seaming and constructions, diagonal multi striping, and striking color blocking (some of the most sinuous and original we've seen) created from single tone silver dollar pailettes. Since everyone seems to be channeling Marni this season with compact knits, and quirkly colour schemes, it was great to see Marni touching those trends but taking them up a notch. High tech biker shorts worn under flounced skirts and the sheer overlays of embroidered daisies petal curved hems, and giant black surfers' zippers that ran up the back side of canvas all looked refreshingly fresh.

 

Wallpaper's ideal bathing cap: the two tone leather skull caps that had a vaguely 1930s aviator feel

 

Marni

Marni

Marni

Marni



Brioni

Alessandro dell'Acqua's design debut at the house of Brioni took the Italian brand back to what it does best: beautiful luxury whispered in subtle tones. The sharp tailoring that has made men swoon to their sartorial suiting made a play on the runway in more feminine versions such as tuxedo style A line skirts, sharp straight trousers with silk blouses and cropped snug jackets. Working in a simple palette of black and white and the occasional shot of coral pink or desert sand, the collection was simple yet elegant, and featured some classic beauties such as white lace cocktail dresses and silk chiffon hostess dresses that swept to the floor in a very 1930's Howay.

 

Wallpaper's favorite gender bending moment: Knife pleating from a mens tuxedo dress shirt placed cleverly on the derriere of a full length silk skirt.

Brioni

Brioni

Brioni

Brioni

Missoni

The Missoni collection was pulsing in a lap-it-all-on guatamalan fiesta sort of way. House zigs and zags, coupled with graphic diamond motifs, were rendered in a Central American palette of tangerine, turquoise, fuschia and a healthy helping of black. The eye jolting effect, reminiscent of Mexican carpets and textiles, was anything but siesta inducing. On the contrary, the models look poised for flight in their flat square shaped knitted sombreros, slit kaftans and their long, layered flap skirts. Almost every piece featured the same loose-weave knit that gave the clothes a crisp, featherweight stiffness.

 

Wallpaper's subliminal message dressing: a top with the words "Feel it" and "Raw like Sushi" knitted into the pattern.

 

Missoni

Missoni

Missoni

Missoni

Salvatore Ferragamo

Burnt camel, ochre, khaki, and olive were the desert tones on the Ferragamo runway. The silhouettes followed a similarly warm-climate direction, including silk trimmed jogging shorts, safari shirts and peasant tops. Tone on tone dressing (including the silk and leather scarves worn around the heads, nude bathingsuits worn with camel or suede coats) created a clean look, while Ferragamo's block heeled sandals came laced up the leg like gladiator gear.

Salvatore Ferragamo

Salvatore Ferragamo

Salvatore Ferragamo

Salvatore Ferragamo

Versus

The rusty swing set, playground slide and fresh cut grass on the Versus set said 'child's play' but the clothes that Christopher Kane sent out for Versus were definitely suited for girls of legal age. Cut to flaunt a rocking hourglass figure, his ruched tartan printed dresses came to the now-ubiquitous three quarter length. The bright oversized plaid found its way to other university favorites like backpacks, letterman jackets and cheerleader skirts, before the print morphed into a micro floral used on skinny bermudas and dresses with criss-cross necks.

 

If Wallpaper* decides to adopt one hippie acoutrement this season: it would have to be the iron pressed extensions that made the model's hair graze their backs like a flat curtain.

Versus

Versus

Versus

Versus



Dsquared²

 

 

The Caten twins put on a fashion spectacle that could easily have merited the name "Revenge of the Beauty Queen Nerds." Glamorous models with inscet-like limbs wore thickly framed librarian glasses with every look-- from skimpy bikinis, to tailored suits and even their flowing black evening gowns. But the geek eyewear merely provided a preppy counterpoint to the naughty leanings of the Dsqaured woman, who displayed a preference for straw pork pie hats, mannish cardigans, plaid bermudas and flat oxford laceups next to her swinging sequin skirts and sexy hot pants.

 

 

Wallpaper's favorite Victor Victoria moment: a girl couple in his and hers tuxedo outfits

Dsquared²

Dsquared²

Dsquared²

Dsquared²

Giorgio Armani


Giorgio Armani gave a french title "La Femme Bleue" to his show that was inspired by desert nomads. It was clear that those sand sweepers have a special preference for the marine color, as they wore the shade from top (head wrap turbans) to toe (ankle-net flats). In between, we got Armani classics such as loose hipped trousers, A line skirts over sheer leggings, flared cropped jackets and curvy full length satin gowns. Although all was in deep blue, depth was created in liquidy and textured surfaces including sheer overlays, and his 10,000 watt sparkling blue crystal crusted evening jackets and red carpet gowns.

 

 

Wallpaper's suggestion for driving with the top down once the nomads have hit pavement: The tightly knotted navy turbans firmly affized to the head with a wrapped neck clamp.

Giorgio Armani

 

Giorgio Armani

Gucci
Ah, to go minimal or maximal?’ That was the question burning in Frida Giannini's mind for spring 2011. Luckily, Gucci's deep resources meant she could both, so why not? The proceedings started with pared down colour-blocked silk separates in jewel tones that would have made the late Yves Saint Laurent proud. Moving into dusky nudes and pales, Giannini kept to her preferred silhouette of a slim jacket and loose-hipped tapered pant, but slowly built up the ornamentation, not to mention the crotch drops. There were piles of leather and suede fringe, knife-like slits, and a final crescendo into heavily crusted, tribal-beaded territory.


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