Milan Fashion Week A/W14: Salvatore Ferragamo and Sportmax Have Arty Animal Instincts

Being a self-confessed lover of all things leopard print (from shoes to pyjamas), I always have my eye out for a peek of it on the catwalk, especially as it rarely goes out of fashion. Many style bibles may claim that zebra takes over in certain seasons, but the truth is that leopard is here to stay, reminding us of everything from 1950s kitsch to 1980s sex kitten glamour, purely because there are so many visual references aligned with it.

Naturally I was pleased to see leopard print appearing in the collections of two Italian heavyweights, Salvatore Ferragamo and Sportmax, but I also noticed some other thematic similarities between the two, such as delving into other animal prints (specifically patent black coats with a croc or snake finish) and experimenting with painterly touches. 

Rawr Prints

 [Images via Style.com]. Ferragamo favoured soft leopard tailoring worn for high impact.

Sportmax opted for a brighter and more precise print, teamed with leather trims.

I love how differently the print has been interpreted by each designer, and how far removed the two central looks can be, with Ferragamo's 70s-style tan cape battling against the 90s slim-fit approach from Sportmax. 

Black Lines

 The power of applied volume and precisely placed belts is at hand.

 Here, the belts are almost obi-style in thickness, cutting straight across the body and almost creating two separate canvases.

I think it's safe to assume that a belted patent black coat, to knee length or below, will be a staple purchase for A/W 2014 and beyond. Personally my favourite is Ferragamo's collarless minimalist number - it's neat and edgy.

 A Fashionable Animal

 Whatever the silhouette you're going for, Ferragamo has you covered.

 Sportmax shows its full range of animal prints in action.

This is where the real trend-led pieces come in; the ones that are less classic and more instant fashion fixes. Enter high necks, puff sleeves, print skirts and other easy separates to pair with the rest of your wardrobe.

Artistic Licence

 Painted leather, oil slick effects and bursts of colourful dye transform these looks.

Clear artistic inspiration from Jackson Pollock shaped the latter part of this collection.

It's interesting that both designers chose to combine animal prints with paintbrush effects, allowing them to push their collections in new directions, and that the end results continue to be so different. You'd hardly say that the watercolour-esque mustard lines of Salvatore Ferragamo were from the same school of thought as the Jackson Pollock splodges employed by Sportmax. 

I suppose the uniting factor about these two ranges is fun; the prints are fun, the experimentation is fun, and the wearers are going to have the most fun of all.

MFW A/W2012: Marni and Etro's Power of Print

Both Marni and Etro have given their reliably distinct nod to print for Autumn/Winter 2012, which is reassuring for lovers of the fashion houses who can't imagine them detracting from their vintage flavour and love of all things eye-poppingly good.

Marni A/W2012

 [Images via Style.com]. 

This dress reminded me of long vintage vases with stained glass motifs.

 Ignoring the unnecessary fur collar, this outsize coat looks good enough to eat. 

It's a 60s kooky moment that deserves to be brought back.

There's a nod to Japanese traditional dressing in the shoes and the cut of this outfit.

Whilst Marni's show began with bold block shapes of squares that were pure 1960s cool, later pieces were more Miu Miu-esque in their adoption of repeated floral shapes. Accompanying the dazzling visuals were very 1960s fabrics and shapes, from PVC button-up coats to chiffon shift dresses and bell-sleeved trouser suits. Accessories were not big in this collection and hair was blunt, unfussy and shiny as the clothes took centre stage. There was definitely a refreshing simplicity here that designer Consuelo Castiglioni wanted to get across to the audience for most of the show.

 A thankfully fur-free outfit, in an icy blue. I loved the doll-like white tights as accessories.

The element I didn't enjoy, for two reasons, was the use of fur: firstly, on an animal rights level, because it is completely unnecessary to use the real thing in 2012 (other than to get the financial backing of fur suppliers), and secondly the placing of fur was completely distracting and jarring against the outfits themselves. It looked like a clunky afterthought, strewn across the body or wrestled into submission with a skinny belt and a glacial model stare. The ensembles that were fur-free were a lot less cluttered and completely ruined the clean lines of the main collection.

Etro A/W2012

There is something beautifully fiery about red paisley, and it's finished nicely here with a chunky leather belt.

The cravat might not be the world's most stylish accessory, but it looks quite natural within this look. Masculine tailoring is neatly steered away from 1980s yuppy connotations.

The peplum blouse refuses to die, even with a twist of leather.

Etro is a firm favourite for print lovers and it's easy to see why, with these catwalk looks that take vintage-looking motifs and inject a freshness into them. So many of the pieces could easily have been picked up at a retro boutique rather than from an Italian designer's studio, and I enjoyed the celebration of the old. The use of paisley is something that has been on the fashion radar for buyers and enthusiasts since the Spring/Summer 2012 collections were shown, so Etro's adoption of it will not go unnoticed but may feel a little behind the times. However the red paisley A-line winter coat is sure to be a hit.

Not a top for the faint-hearted, or the ample-chested.

What will also be picked up on is the dividing of different print sections with laser cutting in order to make a new and distorted pattern, and this may divide hardcore Etro devotees and those who enjoy seeing reinvention. One look I can definitely see proving popular is the embellishment of sheer blouses with sculptural motifs in swirls and curves, flattering the body in either multi-colour or matt black designs.

Both of these designers tackled the idea of print in different ways, from simple graphic lines to intricate lasered concoctions. It's fair to say that next season won't be dull for high fashion, and we'll all be taking tips from vintage styling and classic shapes - either the uber-masculine or the uber-feminine.

MFW A/W2012: Bittersweet Beauty from Raf Simons at Jil Sander

 [All images: Fashion Gone Rogue]. 

As I write this, I'm struggling to describe this collection. For designer Raf Simons this was his swansong at Jil Sander, where he has hung up his scissors and handed over to the lady herself. There are many rumours about Simons being in the frame for John Galliano's job at Dior, and this show proved that he would be more than capable of taking the reins. It was a masterclass in how to take a bolt of fabric and make it work as hard as you possibly can, beautifully framing the models and alternately revealing and concealing certain areas. 

Simons should be incredibly proud of what he has achieved here, which is perhaps most obvious in the drapery of this delicately pink coat. The material has a waterfall finish that is simplistic but really works, and the lack of jewellery means that there are no distractions. This coat does the talking.

The 1940s and 50s feel was evident in sleek pieces such as this combination of nude bodiced top and high-waisted trousers, creating a silhouette that played with proportions. There's a distinct feeling that you don't have to try too hard in this outfit, which is especially strong when the fashion world is so currently obsessed with kookiness and the kaleidoscope dressing of Nicki Minaj. The woman who chooses to wear this over a loud neon ensemble or comedy flares is saying that she can do things differently.

 

 A pure shot of 1950s glamour, this is like the grown up older sister to Prada's S/S12 sherbet-obsessed girl. The cut-out panel sounds tacky in theory but is actually quite sophisticated. Perhaps on a woman with the average British figure, this would be verging on cleavage overkill, but I don't think that was the look that Simons intended. I am secretly hoping that a celeb will get their hands on it and make it slutty, just to watch the Daily Mail go up in arms about it.

Another dose of sheer panel action, but this time on a looser cut dress with blocks of fabric. Again, the people at Jil Sander are certainly not aiming at women with real and often uncontrollable breasts (it's certainly not designed for running for a bus), but this is a sedate take on eveningwear. Although it's a polished look, you don't have to try too hard with this shape or colour - just a slash of red lipstick and heels is all it takes.

 

This dress reminded me of those 1950s science fiction books that used to imagine what life would be like in the 21st century, when we'd all have robot friends and flying cars. It's an idealised version of the future, where everything is smooth and minimalist and incredibly efficient. The accompanying cocoon coat is equally impressive and gives a nod to all things space-age.

 

A lesson in how to do the fetish/dominatrix look without getting propositioned by strangers on the street, this dress is cut for curves. I can see it working on Kate Winslet, who would enjoy the failsafe black but has shown her daring side in pieces such as Stella McCartney's infamous sheer spot dress.

 

 Yes, I know this one could look slightly dodgy if you imagine it was made with bin bags and not expensive synthetic material, but there's something playful about the trashiness of the look. Rightfully this should look cheap and the model should appear slightly hungover, possibly with remnants of kebab stuck to her heels, but in Jil Sander mode then she is silent, poised and deadly. The fussiness of the cut is in contrast to the clean lines that much of the collection promotes, and yet this somehow works.

Full-length coats are often sneered at, and I am one of the sneerers, but in the depths of winter they can be incredibly useful. When they're cut like this pink number with the pale yellow lining and wide collar, you can't help but be tempted by the idea. There's also the potential of hiding a garish outfit underneath, which you later reveal when you're in less respectable company.

In conclusion, this was an amazing final show by Raf Simons for Jil Sander, and it's no wonder that the crowds provided a standing ovation at the end. I look forward to seeing these pieces make their way into high street imitations, heralding a return to minimalism and expensive-looking cuts.

Preview Post: The A/W 2012 Menswear Report for This Affected Youth

One thing I have been up to recently is writing for This Affected Youth. The site, which is written by young journalists and writers and covers all aspects of current affairs, is where I discuss fashion and culture in the public eye. Of course, not every reader knows or cares about the difference between seasonal trends, but my aim is to show them that style affects you whether you realise it or not. Somewhere in your conscious decision to wear a plain green t-shirt is a reference to what someone created before you even bought it or thought about needing that very piece. What's more, expressing yourself in what you wear doesn't have to be fickle or complicated or dictated by entire catwalk shows; you might be inspired by the revival of a certain era or the microtrend of brick patterns for A/W 2012 (which, personally, I love). Just don't pretend you don't care if, in fact, you actually enjoy working out which jeans will look better with that jacket, or you can't wait to trawl vintage shops for the perfect unique hat. Just go with it. 

Anyway, my report for Autumn/Winter 2012 from the catwalks of Milan and Paris was a lengthy trawl through the fashion sites and an analysis of what seems to be preying on more than one designer's mind. You'll find that the colour palette is darker and more subdued, but still fun; you'll also be pleased to know that there are some very quirky and individual looks heading our way, courtesy of Frankie Morello and Jean-Paul Gaultier. 

[Please click to enlarge images. All-over biscuit tones were very big. L-R: Calvin Klein, Milan; Maison Martin Margiela, Paris; Kenzo, Paris.]

[Brick and paisley were two strong and irreverent print choices. L-R: Jean-Paul Gaultier, Paris; Moschino, Milan; Marc Jacobs, Milan.]

[Microtrends included smartened punk and over-sized fabric. L-R: Frankie Morello, Milan; Ann Demeulemeester, Paris; Yohji Yamamoto, Paris.]

To see my article in full, please click the link here. All images were reproduced from Fashionising.com.