milan fashion week: salvatore ferragamo

(images via wwd)

whatever, i don’t care what you say, we’re not talking about any awards shows that may or may not have happened of late, and instead give our attention to the completion of the milan fashion week catwalks, which i feel are so much more deserving a place for a fashion blog’s eye. after all, where do you think all of these kids get their clothes? and so with that, i think it’s the right thing to do to check out designer massimiliano giornetti’s work for the f/w 2013 season for the house of salvatore ferragamo.

interestingly enough, in lieu of some of the flash, and indeed, red carpet-ready evening-type pieces (or, yannow, just, like ‘glamourous woman on the go’-style looks) that we’ve seen in excess from the house in recent seasons (see resort 2012, s/s 2012, f/w 2012, resort 2013, s/s 2013), for the upcoming fall, the designer focused on outerwear with what we could argue for him was an almost gothic hand, crafting pretty much everything that appeared in shades of black, navy or indigo, and grayed blue, with some pops of white and cream for the psychological lightening of the show.

but if that sounds a bit dull for the runway (particularly when one may or may not have booze-soaked red carpets and lavishly bad fashion that consisted of too few necklaces and too many gold dresses already on hand to speak of), then like the best of the minimalist houses, we should turn our eyes to construction and textiles, which were just superb. a bit of sex was there, in the form of abbreviated cocktail dresses and asymmetrical pinstriped minis, but there was plenty of versatility, too, in some marvelous classic navy trenches and blazers.

and so, as for the critical analysis, we heard from the likes of fab sugar, noting, quite similarly to me, that the “collection struck a mod-meets-minimalist chord, pairing shiny patent double-breasted peacoats with turtleneck dresses, and cropped jackets with A-line skirts. Consider it a turn to retro styling juxtaposed against pared-down silhouettes. To fully harness this vibe, Creative Director Massimiliano Giornetti sent out sleek pieces — mostly in navy blues, blacks, and slate grays — only letting the crispest shade of white punctuate the dark lineup.”

meanwhile, wwd helpfully reflected that “(t)he stark white space and digital tree-branch backdrop provided a suitable set for Massimiliano Giornetti’s fall collection. It was an intelligent riff on modernity that nicely complimented the house’s leather goods core and should easily translate into real wardrobes. Giornetti stuck to an urban palette…which he used for subtly architectural silhouettes. A languid little dress, for instance, was draped over a more structured skirt; a navy turtleneck had a grid-like overlay and was teamed with a chic gray leather skirt. Rather than tricky, these pieces worked because of the designer’s precision and control.”

“The lineup’s overall coherence — the consistent simplicity and welcome lack of pieces-made-just-for-magazine-shoots — was noteworthy,” the site rambled on. “The clothes were clearly intended for selling, an astute move, particularly for a public company. The sentiment extended to the accessories: great high-heeled boots with cutouts in the front and tied up the back; small handbags that resembled dopp kits and some luxurious navy crocodile numbers that will surely inspire the Ferragamo woman.”

and elsewhere, we heard from style that “(a) black beaver fur and another in white alpaca had a tough-chic vibe that set them apart in a week when ladylike has been the dominant motif. A double-breasted black wool style with a midnight blue ponyhair panel in front was subtler but still cool. The pants Giornetti showed with it were high-waisted and narrow to the ankle, where they split so they flared out slightly in front and back. More often than not, though, it was short dresses and miniskirts on display here, bare legs a canvas for shoe boots with cutouts at the front and laces up the back to the knee.”

“The garments here put an emphasis on a sharp shoulder and creating the look of a strong body with clean, straight lines,” announced fashionologie. “He stuck to a color palette (the notes call it ‘reductionist’) of black, navy, white, and gray to let the cut of his clothes do most of the talking. Surface decoration was minimal — but then who needs lace and beading when you’ve got alpaca and beaver fur to keep warm, and unfussy silk wool dresses for warmth, ease, and mobility?”

finally, though, there was vogue, rejoining that “‘(t)This is my background,’ the designer said backstage, commenting on the menswear influences in his collection. Giornetti’s confident and elated mood indicated, quite rightly, that he’s found his sweet spot: creating reductive and no-nonsense clothes. Take for instance, a crisp white coat with a covered placket, compact pointed collar, and simple strip of fabric tied around the waist. Its cleanliness made you remember just how well-constructed these pieces are. As did a perfectly cut, double-breasted black trench with a panel of navy pony hair.”

“Which is not to say,” they continued, that “these clothes weren’t any fun. That beaded fringed black short skirt—paired with a chunky turtleneck—has places to go. But what Giornetti’s austerity accomplished most importantly was allowing the accessories to shine. After all, that’s where this house got its start and its minimalist bags—square camera shapes with metal-topped straps and understated satchels with crossover handles—were some of the strongest of the season. And, again, their execution reminded you what an atelier in business for more than 80 years is capable of. In the end, Giornetti put it best: ‘It’s a moment when it’s truly important to focus on the accessories and making the ready-to-wear extremely wearable.’”

(enjoy the full fashion show video here)

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