Dreamlike effect from Marni, Trussardi relaunches and experiments

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From paranoid distancing to the press-and-press as if nothing had happened, the step is short. Lightning fast, it seems. Having removed the obligation of the fateful meter between one guest and another, the Milanese fashion shows of these days are a hymn to rubbing. From Marni he stands close together in the pitch dark, humid and redolent of the pungent vegetal scents of an immense tobacco factory at the far reaches of the city. The idea is to convey a sense of closeness, of togetherness, in a post-future dimension: the creative director, Francesco Risso, loves to create imaginative shows in which the clothes are part of a broader message. Now, he speaks of time, of objects kept, mended and passed from one generation to the next in a material circularity made up of emotions and many patches on sweaters, jackets, tattered clothes that the touch of the hand makes paradoxically precious.

The collection reiterates Risso’s chaotic and processual aesthetic, his exciting taste for dreamlike pauperism. The show is too slow and messy, with the characters moving in slow motion illuminated by figures with torches, adding little, indeed much taking away from the material magic of the clothes. However, finding all the protagonists of the show in the blinding light of the afternoon as they feast seated at long tables resting on the cobalt blue sand after dark is a vision of a sublime lyricism that will be difficult to forget.

Gives Trussard i guests are crammed into a construction site in Piazza Scala, between the broken walls and the falling walls of what was once the old headquarters of the greyhound maison, which will soon have a new look. The metaphor of the change in progress is self-evident: new management, new ownership, the Quattro R fund, while 30% remained with the family, new creative directors, Benjamin Huseby and Serhat Isik, aka GmbH. The clash between Trussardi’s Milan and the two’s Berlin is powerful, and results in a predominantly black collection with sculptural, clerical, but also sexy and medieval forms, served with a rough and underground taste. If the proposal is appreciated, because it is sharp and decisive, the less one understands the purpose of the entire operation within a brand like this. But it’s a debut, so we have to wait.

It is all serene and rarefied by Jil Sander: space immersed in the velvety drapery of a curtain and punctuated by casts of classical statues, and models walking confidently but delicate. While moving in the bed of purism that is the trademark here, the collection, with its sinuous cuts and very vague hints of the Twenties, marks a gap for the creative directors Lucie and Luke Meier, and welcomes a welcome sensuality.

Sensuality that gives Ermanno Scervino has always been a salient feature, part of a vision of style that celebrates female beauty, always and in any case, through the most exquisite manual skills. The Berlin cabaret sciantose of Lorenzo Serafini per Philosophy deconstruct glittering stereotypes with razor blades and gender fluidity, while from Ports 1961 it’s all a sampling and remix of Victorian echoes and sartorial militarisms arranged in an idea of ​​femininity, at the same time, frou frou and sharp, like a flower of steel.