The great calibre of talent and community under the name of Telfar Clemens is no big news. Twin contributor Amanda Ballerini had the pleasure to assist the team and work closely with the Telfar community in realising their latest FW 20-21 show held at Palazzo Corsini in Florence.

The urge then came up for her to write this piece almost immediately, considering her passion for the brands since she discovered them during her studies in 2014.

The Queens/Liberian born creative who launched his eponymous label in 2005 has within these years managed not only to be an oracle of fashion but more so in the way he has shaped how we see performance and the concept of community. A community made of creatives with no boundaries, no preconceptions, the real contemporary democrats coming from all over yet all belonging to the same world.

A brand which screams: ‘It’s not for you, it’s for everyone’ as its bio, which is surely something very easy to perceive when you take a closer look at what the founder has really managed to achieve with TELFAR.

Going back to the roots which brought me where I am now, through a brand from across the ocean conceived by people who had probably seldom seen Florence.

The main highlight of the show was the great emotion created. How the New Renaissance embodied by the brand, his creator and the community surrounding him is what everyone aims to be and see and is an explanation for how we act in fashion in 2020, and why is still makes sense.

I spent 4 years of my young life in Florence and have always complained about its closed minded mentality and the fact that it is such an exclusive community. In Italy, you mainly grow within your circle and stay that way unless you move away. Which is why it is quite ironic that an apparent ‘liberal minded’ state like Italy and its bigger and smallest cities are all marked by the fact that it is actually quite exclusive.

Studying in an international school in Florence allowed me to exclude myself partially from that world, creating my own in the small reality I had available surrounding myself with dreams, parties, music, discoveries and friends. The best years of an 18 year old young woman who was always aspiring to have more in life. Years later, at the TELFAR show and afterparty last week , I finally found that more which I was looking for, and I can be very thankful for that.

As if the beauty of the location itself wasn’t enough, the set was essentially formed by a ‘tavola rotonda’ (a slight reference to the round table of King Arthur and his knights) adorned and created for the occasion by Spiral Theory Test Kitchen in association with Cordon Bleu cooking school based in Florence. It was a satirical roman empire bloodshed table which went under some surgical operation. It was the modern epitome of Renaissance, imagined by the new gods of today: the queer community of New York. Following the actual Vip dinner the night before the show, with queen beds placed in other rooms of the palace for fun & frills, the table was slightly set up but basically left in the same exact condition as the night before (and so were the beds) for the show presentation. The table served as seats for the special guests and as entrance stage for the models, who were mostly friends and family of Telfar Clemens himself who also performed live.

Appearances included the likes of  Boy Child,  Bobbi ( a part of the Spiral Theory Test kitchen trio) and even Solange whose aura glowed around the table. All these characters overlapping with journalists from very big fashion magazine and all the people who count. It was the most interesting organic mix.

The stage saw the performance of Standing on the Corner ensemble, the heart breaking voice of the young star Hawa and the angel-queen’s musical performance of Ms Carrie Stacks. The Palazzo smelled of meat, fruits, and any other possible leftovers and it somehow still had a fragrance which you wanted to carry home with you. Perhaps it simply smelled of deep love.

What I can say about the after party (set at Super Studio founded Space Club in collaboration with Stefano Pilati) is that it was the perfect ending of the whole shebang . It was the cherry on top.

The soul that each person, friend, lover, fan, family member and new friends put in all of this screamed authenticity and gratitude from each and every corner.

Speaking as an Italian myself and on behalf of the city of Florence, we are the ones who are most grateful. Grateful and filled with the biggest tears of joy in our eyes for the whole, black, queer, all inclusive and incredible vibe of community that TELFAR brought to all our hearts.

It is not for you, it is for everyone of us, and it is the future.

Tags: Fashion, fw20, menswear fw20, pitti uomo, telfar

Men’s Fall Winter 2020-21 marked the dawn of a fresh new direction for creative director Silvia Venturini Fendi. This season, guests were invited to the FENDI headquarters in Milan to witness the presentation of Madam Fendi described as the man of tomorrow. With this notion, she crafted a collection with retro-futurist undertones. The goal was to approach menswear and clothing on a whole from an entirely different perspective, seeing a garment as a body wallet.

A vessel which can and should evolve throughout time. Inside – out constructions and quilting were traced across blazers, coats cut in compact matte satin and outerwear shapes in waterproof gabardine were bonded with felt tabs and FENDI Roma taped seams. There was a sort of gender fluidity throughout the collection, as some jackets were cropped and  a few pants were tailored to move like skirts. 

The house also debuted pieces of their collaboration with Japanese designer Anrealage who added a selection of photochromic outerwear and accessories that transform with the FF logo when exposed to UV sunlight.

Tags: Fendi, menswear fw20, Milan Fashion Week

This menswear season, creative director Miuccia Prada was conflicted, stuck between contradictions and dichotomies as the theme for her FW20 menswear collection.

Guests were invited into the classic PRADA space in Milan, which was transformed by AMO into two identical voids. Situating the audience above looking down on the depths of a colourful arena like runway with a white statue of a man on a horse centrestage.  The collection itself was a bridge between opposites: new & old, past & present. Madam Prada played on the notion of creating classic menswear with subtle touches of modernity. Some models donned full three piece linen suits white others sported versions of the house’s classic nylon fits.

There were stylised gumboots, leather & shearling vests and a flash of pajama patterns in liking to the work of artists during the Vienna Secessions which signalled towards the finale (these are bound to be a hit by Prada fanatics ). This season the designer took the time to deliver a collection which she described as optimistic and valuable. 

“ I thought to give an indication that only thing that makes me calm and optimistic is to give value to work… to give value to things that matter any our life and your work, and so the creativity is mixed with technicalities, which is a little bit similar to the Secessionist period when ideas, creativity, and actual work had to be all together,” she explained. 

Tags: Menswear, menswear fw20, Milan Fashion Week, prada

Let’s dance.

Let’s dance ’til the end of love.

Let’s dance our best days away.

Let’s dance to keep the abyss at bay.

Let’s dance until everything changes.

Until fashion flows, in a blow.

Let’s dance.

Like a body of work,

To the rhythm

of a hymn.

Was an excerpt from, “ A call from Prince Prospero,” a part of Marni’s FW20 men’s press release. This season creative director Francesco Riso escorted  his audience into a psychedelic trance of poetic movement. With the help of choreographer Michele Rizzo , the designer curated a performance which seamlessly crafted garments as a creative collective. Clothing was given new life by matching pieces which were crafted from once useless scraps. Trousers were composed of multi coloured fabrics, trench coats bisected and reassembled from a variety of textures. Left sides were asymmetric to right, hems scaled like waves and pants bore holes just small enough to appear eaten.

Every look was deliberately curated to fit too wide, or too long or too big. With a unconventional approach to tailoring, each piece fit so wrong yet so right. A side from the magnificent performance, the clothing spoke in a way that was paradoxically trendy, with a voice that only some could hear, appealing to a customer that understands what it means to be entranced by  fashion with a capital F. 

Tags: fw20, Marni, Menswear, menswear fw20, Milan Fashion Week