2010 September 27
Runway Reviews: Moschino, Etro, Gianfranco Ferré, Versace
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Neutral-colored patterns of all sizes, proportion, and variety comprised the core of Moschino's spring effort. Building off the matador-like themes of the last collection, Rosella Jardini pondered a bright American safari full of cowboy hats, tailored leather jackets, soft cotton dresses, and denim and tweed thrown in just for good measure. This cowgirl also sported dangling gold earrings and polka dot skirts. It wasn’t entirely believable at all times, although the show did have its moments thanks to strong separates and fearless color combinations. Michelle Obama is perhaps one of the more unexpected fans of the brand, and after this collection, she can feel almost as patriotic donning Moschino as Michael Kors.
For Veronica Etro, spring was governed by "graphic geometrics and multi-tribal influences"—which translated to lots of textures, plenty of coral and green color blocks, embroidered peasant tops, printed patchwork jackets, and "techno-folk" metal accessory accents. The show also featured an all-supermodel cast that confidently strutted down the runway in blown up floral prints and a full array of great blouses. This was Etro's biggest (and best) women’s collection and it was showy, loud, and proud—just as every fledgling empire should be.
Tommaso Aquilano and Robert Rimondi referenced "jazz and modern rhythms" in their newest collection—which featured plenty of much more showy notes. Some notable elements included a dazzling crystal-inspired parade, organza-based macramés, gentle leather black dresses, and slinky evening columns. Karolina Kurkova opened the show in a gray snakeskin ensemble, Sasha Pivovarova paraded around in a sexy white le smoking, and there were plenty of great pink trenches and rock star goddess dresses in between. There was not a miss to be found in this beautifully tailored, well edited, and inspired showing.
To the decisive and deliberate soundtrack of Carmen, Donatella tried to capture us with a mostly white, teal, and scarlet season. Versace's spring woman is a testament to the power of a perfectly cut dress, with an emphasis on the back. There was no bombshell hair this season—just perfectly put-together chignons that played off the fiery and noir showstoppers that were the main attraction. The evening offerings were entangled in a fringey web, but there was a clear desire for a little more of that Versace showmanship and flirtation. Sill, this effort seemed to be about focus and colorful restraint for Versace, instead of the the celebrity-driven front row mania of the brand’s past legendary outings.
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