Rob Raco, one of the stars of American Drama Netflix Series Riverdale has been recently shot as the face of Fendi’s SS19 men’s eyewear campaign Released this weekend, the campaign features the musician and actor in a short film flaunting sunglasses from the collection. Throughout the video, Fendi makes a point that sunglasses should be worn at any time of the day as it sets Raco on a cosy living space being documented from sunrise, through morning, afternoon and sunset. Each change of time is signalled through the the change of sunglasses and wardrobe. As he’s captured in enjoyment of the moments while his voiceover plays in the background:
“I like to know when the daylight comes.
The shape. From purples to pink.
I know when I can feel it.
How your mood turns into a different colour.”
The Fendi SS19 eyewear collection is now in stores and online. View the full film here and shop the collection at Fendi.com
Danish designer Cecilie Bahnsen recently teamed up with luxury retailer Matches Fashion on the release of a fifteen-piece collection released this week . The collection, a continuation of her SS19 collection, includes a selection of the designer’s signature feminine designed accentuated with embroidery, beading and other details.
“The designs for the exclusive capsule collection are a beautiful continuation of our last collection. Combining sculptural silhouettes with couture techniques reinterpreted for Matches Fashion woman,” explained the designer.
For the collection, Bahnsen collaborated with a few female creatives including teenager Margrethe Hjort Hay who inspired the floral beadings as well as photographer Josefine Seifert who shot the editorial. In celebration of the collaboration, Cecile has also put on an installation open to the public until June 1st, at the Matches Fashion Mayfair townhouse, featuring furniture from Swedish Design Group Magniberg and the work of glass artist Nina Norgaard to stylishly accompany the designer’s collection. The Cecilie Bahnsen x Matches Fashion collection will soon be available online Matches Fashion.
Fendi has recently partnered up with American professional BMX athlete on their latest installation of the F IS FOR.. FENDI campaign. The feature sees the athlete sporting an outfit from the house’s SS19 collection, doing 360s and rear wheel jumps with his one of a kind FENDI bike at the Fendi Headquarters in Rome.
The F IS FOR.. FENDI initiative began as a platform for Millennials made to share stories and experiences relevant to the generation that are in line with the Maison’s DNA. This is brought out through fashion editorials and interviews with musicians, artists, athletes and all types of creatives.
Earlier this year adidas original joined forces with Italian brand Fiorucci for the release of a collaborative capsule collection.
A pairing that worked so well that they had to do it twice. This month the brands announced the release of a second collection perfectly tailored for the waves of the summer. The campaign features a bevy of girls decked out bright coloured swimwear, jackets, shorts, sandals and sneakers. Each of the collection’s pieces combines the sporty aesthetic of Adidas original with the bold graphics and identity of Fiorucci. The collection is now available on Fiorucci.
This past week has seen the release of Italian fashion house Prada’s latest Linea Rossa campaign featuring their signature Linea Rossa logo with a bit of a twist. The campaign shot and directed by Daniel Sannwald features the duo of models Lineisy Monero and Jun Young who are chic in the Linea Rossa looks from Prada’s SS19 collection. The pieces, all made from innovative, futuristic fabrics are the epitome of ultra-functional minimalism and futuristic sportswear combined with a sprinkle of modern elegance. It includes men’s, women’s and unisex garments that creates slim yet sharp silhouettes that gives the wearer an extra edge for respective occasions. The campaign itself is a technoid take on the classic technique of chronophotography, capturing multiple frames of a motion and combining them in single images. To shop Prada’s Linea Rossa, visit Prada.
Earlier this month Italian fashion house Bottega Veneta released fresh new images for their Spring Summer 2019 campaign. Marking the first campaign for the brand under the new creative direction of Daniel Lee.
The designer was appointed in June, which allowed him means he missed the opportunity for the design process of the SS19 collection but was still able to edit it. However the creative direction of the campaign was solely led by his vision. The previous Céline designer teamed up with photographer Tyrone LeBon to present a selection of images influenced by minimalism and Italian coasts. Shot on the Neapolitan island of Ischia, the images are said to strip fashion and art down to their purest forms in a way which highlights and appreciates their similarities. A black trench coat, woven leather, knit, squared toed pumps. The campaign was a sort of visual documentary on the relationship between skin and material. This peek of the designer’s taste and appreciation for beauty is just enough to gather him an audience of eager new consumers leading up to his debut show later this month, especially during this time when old Céline consumers are scouting elsewhere.
Emerging Italian brand A-LAB MILANO, conceived by Milanese designer Alessandro Biasi is a mark which plays on the lexicon of modernity and contemporaneity through the outlet of fashion design. For his Spring/Summer 2019 collection, Biasi cooks up a mixture of his signature 2-D graphic prints combined with Japanese themed iconography and techniques reworked in an innovative manner inspired by street style from the Harajuku district of Tokyo. Varsity jackets, graphic printed t-shirts and oversized raincoats give direct references to contemporary street style while the designer pays homage to the Japanese culture by the use of things such as the Furoshiki — a traditional Japanese cloth, often with a unique pattern used to wrap bento boxes, gifts and other objects for enhanced presentation using knotting techniques. With this technique, Biasi has created a fashion story around the collection of which the protagonist is the art of knotting, used in both functional and decorative ways throughout wrap dresses and blouses. The collection is also accompanied by an accessory line which features fabric Japanese pinstriped bags with leather handles, pouch bags, silk scarves, and shoulder bags.
Emerging Italian jewellery brand anGostura , is a brand conceived by designer Giulia Tavani who drew inspiration from the meaning behind the word — an aromatic bitter bark from South American trees, used as a flavouring for cocktails and formerly as a tonic to reduce fevers. The designer describes the birth of her jewellery line as her way of giving a bitter, yet mandatory punch to the cocktail of life itself. Endorsed by the mother of soul herself, Erykah Badu, the collections often feature unique chunks of silver and gold carved into interesting forms which when worn are often seen as poetry to the body.
For her latest collection the designer drew inspiration from the biological term symbiosis — a long-term relationship between two or more organisms living closely together. The form of symbiosis she chose to focus on was communalism, which is the type of relationship where each organism benefits equally from the arrangement and depends on the other for survival. This is how Tavani envisioned her jewels in relation to the human form, “I want them to be seen as not just ornaments but decorated extensions of the human body.” The collection is a collaboration with wig designer Ilaria Soncini which includes dark stones, semi precious natural stones, gold and silver jewels, hats and also uniquely fashioned wigs. For more information visit their site at anGostura.
N.21 Creative Director Alessandro Dell’acqua kept things quite simple for the SS19 collection. As opposed to his often whimsical streetwear inspired looks the designer delivered a clean collection which he describes as very adult-like, and indeed it was. The first few looks were a series of black dresses, all accompanied by a pair of plexiglass heels.
Each silhouette was clean and feminine with very slight touches of fun added to them, further down there was Dellacqua’s signature touch of nude and pops of colour. Some looks appeared to be transformative series, a pink sweater and pencil skirt was followed by a pink mini dress which was followed by the pink skeleton of a dress layered over a white minidress. The designer worked with these couture-like fabrics to create a very simple straightforward collection that although appeared to be very commercial, withheld tiny interesting detailing. Dress skeletons were made out of faux ostrich feathers, a skirt suit boasted an open zipper back and tie-dye mini-dresses wore slightly oversized bows. Although this shift might be a step in the right direction for the brand, one can only hope that the birth of this austere, semi-couture N.21 woman, does not come at the cost of the designer’s ingenuity.
Fendi SS19 was all about the Italian brand’s step towards a younger generation — a slight shift in the brand’s aesthetic, which was also rumoured to be the reasoning behind the slightly titled “F” for Fendi on the invitations and at the top of the runway. Creative director Karl Lagerfeld alongside creative director of accessories and menswear Silvia Venturini Fendi curated an urban collection of utilitarian romance. Pockets upon pockets , pouches in pouches and bags upon bags, the collection was a much needed breath of fresh air that introduced a slightly younger version of the Fendi woman. Each look was just as ‘instagrammable’ as it was elegant, shades of lobster orange,burgundy, tangerine, optic white , denim and sage created flirty feminine silhouettes with hard fabrics. Also making an appearance were versions of a trendy cycle shorts along with the iconic Fendi baguette which made its comeback this season.
For his Spring Summer 2019 collection Viennese designer Arthur Arbesser chose to embrace the concepts of the finished product along with the process in a collection which explored these two notions in a unified manner.
Arbesser often revisits his hometown for inspiration, however this season the designer looked towards Italian sculptor Fausto Melotti to further influence the collection. Melotti’s work often mirrors qualities of humanity in ways which are mathematical and geometric while still inducing harmony. This is quite similar to the making of a garment. Arthur used the concepts of rhythm and abstract within Melotti’s work to craft a collection of colourful patterns and textures architected in ways which framed the body as an art form. The designer imagined his ideal woman to be, “a woman who works in a studio with clay and gets her hands dirty, but isn’t afraid to go out at night and have fun.” The collection also held an abundance of pattern, jackets, skirts and pyjamas often carried several panels of print, which in some ways were similar to Melotti’s work of swirls and stripes. Also notable were the uniquely formed earrings which hung from the body like mini-sculptures. The designer’s celebration of disharmony shed light on the beauty of imperfection and non-symmetricality in a perfect polished kind of way.
For Marni’s spring summer 2019 collection creative director Francesco Rizzo invited his audience in bed as he presented a collection which celebrated the importance of human touch. Rizzo imagined a designer’s world where the clothing was all handcrafted as opposed to being manufactured, similar to the world of a painter or chef.
The collection glorified the inaccuracy of an artist’s hand in a way which highlighted the creative process. It was about that aha moment in the studio where the fabric is draped on the dress form with pins and tape and the light hits it and the character comes alive. The moment before the finished hems and tightened seams, or as he said, “a journey from the white of the rough canvas to colour, seasoned with prints and embellishments.” Vivid splashes of colour were complemented by prints of the human form along with draped skirts, finger painted patterned coats and skirts. Each piece of jewellery was crafted to mimic leaves and miniature versions of the female form. It was just the right balance between artistry and commerciality while still keeping in mind a very playful Marni signature. It might be safe to say the designer at Marni is just the perfect pairing. He has caught his stride on the path of equilibrium for high sales while still withholding the characteristics poetry and craftsmanship.
Last Saturday evening, creative director of Milan based label GCDS Giuliano Calza brought forth a show which in fact might have lent truth to the components of the aptly-comprised acronym — God Can’t Destroy Streetwear. Out of all the shows of the season, this was a gathering of the most diverse group of audience members, that which included fashion editors, journalists, all types of hardcore streetwear enthusiasts along with a few Italian celebrities . All surrounded by GCDS branded vending machines , accessories and signs , all apart of the inspiration behind the SS19 collection labeled The Futuro Beach.
Upon initial sighting, the first few pieces which strutted took some getting used to. They left a taste in one’s mouth which made you unsure of wether it was a collection to enjoy or one to scrunch your face at in disgust. However upon further analysis, that taste began to simmer and one began to realize that it is nothing but vodka, and that this, was a party.
The designer aimed to give forecast on a new era, one where he says is not only about aliens and plastic material, but quality and craftsmanship. “I wanted to talk to young people and to get them thinking about the future, plastics water shortage and the environment. Full sustainability is impossible and I wanted this show to be a wakeup call.”
Three breasted women in midriff tops, transparent vinyl dresses, highlighter pink hair, telephone handsets and fruits which hung like jewellery were all ornaments which complemented a collection of streetwear. The brand’s collaboration with Pokémon inspired animated sandals, character appliqué which strung a fun cartoonish feel throughout the collection. Although streetwear might have been rumoured to be dead earlier this year, Giuliano’s ability to put on a show might have just landed him the title of the ringmaster and at his feet sits quite a roaring audience.
Charlotte Knowles, Yuhan Wang and A Sai Ta were the London based designers chosen to showcase at this year’s Fashion East SS19 showcase. The non-profit initiative, set up by Lulu Kennedy and Old Truman Brewery to support and nurture emerging British talent celebrates its 18th year of triumph after housing designers such as JW Anderson, Kim Jones and Gareth Pugh; just to name a few.
One of the first talents of this year’s show was the fruit of Central Saint Martins graduates Charlotte Knowles and partner Alexandre Arsenault, who launched their brand Charlotte Knowles in 2017. The designer duo presented a collection for a strong, confident and futuristic woman which focused on refined pieces with intricate details. The woman they presented was one who celebrates her femininity as she proudly strut down the runway in, halter neck bikinis, mesh slips and cut-out pieces of bright colours accented with an abundance of straps.
Fashion East, Charlotte Knowles SS19 | Images by Chris YatesFashion East, Charlotte Knowles SS19 | Images by Chris Yates
Chinese born designer Yuhan Wang who is also an alumni of the Central Saint Martins womenswear program brought forth a collection which was inspired by asian femininity and its ties to western culture. The SS19 collection was entitled Women Indors. She explored the line between coverage and exposure; delicacy and sensibility as she played peekaboo with techniques of drapery paired with sheer fabrics to create pieces which celebrated the female form in a fun yet sensual manner.
Fashion East, Yuhan Wang SS19 | Images by Chris YatesFashion East, Yuhan Wang SS19 | Images by Chris Yates
Designer A SaI Ta who previously launched his label Asai with Fashion East in February 2017 for his SS19 collection, dives into the roots of his British-Chinese-Vietnamese heritage and reinterprets this as a second generation Londoner. Ta uses fabric manipulation and pairs this with his sharp pattern making skills to create a collection with disrupts familiar visual codes by creating sharp intriguing forms of the modern day female silhouette with inspiration from military culture. After graduating from Central Saint Martins the designer gained experience at The Row and was sought after for a position at Kanye West’s Yeezy just a year into completing his MA.
Fashion East, ASAI SS19 | Images by Chris YatesFashion East, ASAI SS19 | Images by Chris Yates
The summer months were once quiet for the fashion industry. Nowadays, the cycle of fashion shows continues throughout the summer with editors making visits to Helsinki, Berlin, Madrid, Copenhagen, and Oslo. Stockholm Fashion Week is the last stop on the summer tour, though by no means the least important.
Sweden boasts an impressive group of designers who are adept at offering singular sartorial ideas. Some have been in the game for 25 years while others’ experience hasn’t quite reached 5.
“The fashion week just ended here in Stockholm, and the interesting thing is that there is so many new and gifted talents that are showing here,” shared designer Ida Klamborn. “I would say there is a new generation of Swedish brands that are doing something interesting and pushing the Swedish fashion industry forward.”
Read Twin’s highlights from Stockholm Fashion Week this season.
Filippa K
Filippa Knutsson founded her brand Filippa K in Stockholm in 1993. In the 25 years she’s been in business she effectively placed the streamlined, minimalist aesthetic, and Scandinavian fashion, on the map.
With stores in Sweden, Belgium, and the United States, amongst others, Knutsson is undoubtedly one of the tentpole fashion names drawing the international attention to the Swedish capital.
However, Knutsson isn’t one for theatrics. Her Spring 2019 show took place in an informal setting. Models completed a procession against a blank backdrop, posing individually for groups of attendees. The consolidated womenswear and menswear outing demonstrated why countless individuals choose her work. It’s not about groundbreaking ideas or revolutionary propositions—sometimes, once deftly executed, an airy jacket in neutral shades of dove, clay, and taupe, or crisp white trousers, can be considered a radical statement.
Filipa K | SS19 collection
Stina Randestad
“My collection has a starting point in exploring and combining materials. The material comes first letting it decide the form of the garment,” explained Stina Randestad over email. The Stockholm-based designer presented her MA collection from the Swedish School of Textiles show at the school’s on-schedule group show. “The work, therefore, positions itself in the intersection of textile and fashion design, and shows an example of how a different design process can generate an interesting result.”
The designer’s use of colour was sublime. A juxtaposition between acidic brights and sober tonal hues. Meanwhile manipulated silhouettes and structures produced a mesmerising effect. Randestad belongs to a generation of designers willing themselves to express their creativity in an unconventional fashion.
“The dream would be to continue making showpieces for special people on special occasions. I don’t know if that would be called a brand really? I want my future to be flexible,” Randestad said when asked about her future, adding: “One week I make a showpiece for a performance, and the next month I drop a small collection of printed shirts and then a collaboration with an interior brand.”
Stina Randestad
Amaze x NH(O)RM
Mathilda Nilsson and Hanna Rudebeck founded their label NH(O)RM in 2011. Like Randestad, they’re alumnae of the Swedish School of Textiles. For Spring 2019, the pair adopted an unconventional approach by partnering with the creative platform Amaze.
Silk scarves were transformed into dresses, striped shirting was reimagined as decadent gowns while bicycle shorts were positively Elizabethan in aesthetic. The brand reworked the tropes of traditional beach dressing, making it into something subversive and transferable.
The show was a jubilant display of body positivity, racial diversity, stature, and composition. It turned the conventional runway on its head. In a way, it felt like Sweden’s answer to Eckhaus Latta, which is as much an inspired artful movement as it is a fashion house.
Amaze x NH(O)RM
Ida Klamborn
Ida Klamborn’s millennial-centric collection was another belonging to the set of shows who dispelled the default, perfectly-packaged Scandinavian lifestyle trend of polished silhouettes, clean lines, and tonal hues with an amalgamation of colour and texture.
For Spring 2019, she issued a colourful proclamation on summer dressing. Replete with jewel tones and abbreviated hemlines, Klamborn’s rendition of influencer-friendly, festival-ready clothes wouldn’t feel out of place on Kendall Jenner’s Instagram feed for all its silky separates and feathered frocks felt in line with the current iteration of youthful, feminine dressing.
As the designer explained: “I have always been interested in clothes as a kind of language. When I was a kid I was quite shy, so through clothes I could express myself without words. It was like a safe and fun space. This season it was about the ‘conflicted princess.’ I wanted to do new and more dynamic version of my childhood memories of those quite flat dimensional princesses from movies.”
Ida Klamborn | Photo: Mathias Nordgren
Stand
Stand is one of the many contemporary Scandinavian brands vying for the attention of the international fashion pack. The brand closed out the three-day event at the Grand Hotel. Founded by Nellie Kamras in 2014, the brand’s focus is on accessibility, bringing the use of leather to an audience at a lower price. In recent years, the designer has added cashmere, fur, faux fur and wool to the mix to create a tactile experience. One glance at the show and it becomes clear Kamras is seeking satisfaction beyond the whims of Instagram trends, she’s searching for enduring wardrobe staples.
In the case of Kamras, staples doesn’t mean minimalism. At Stand a snakeskin peacoat or a geometric-print yellow faux fur coat is as relevant as, say, a manila-hued shirt or black leather trousers. In parts, the use of leather was a tad excessive for the summer season, especially for the customer who experiences a sweltering June, July or August. And as an increasing number of major designers move away from the use of fur, the ethical issues around fabric choices may yet prove a challenge for the brand.
Earlier this year, after a few weeks of teasing at the claim of having a “new job,” French designer Simone Porte Jacquemus announced the forthcoming launch of a menswear line. Three months later, the artisan revealed the details of his first menswear collection via instagram with a campaign/editorial shot with a robust model — French union international rugby player Yoann Maestri. The title – “ Les Gadje”— which translates to a name given by men who are not of their world — and the location was set for a popular beach in Marsielle, France — a delightful variation to the buzz of Paris which his audience had gotten used to.
Simone Jacquemus is the designer who has been rumoured to be one of the brightest stars amongst the alliance of new French designers. He has been giving facelifts to the imagery of female fashion and sexuality with the flair and personality of his last few collections. Le Souk, La Bomba, L’Amour D’un Gitan – all previous shows which embodied the liberated, unconstrained spirits of wanderers that were manifested in the forms of a rejuvenated version of the modern day woman. The aura of the brand itself has been described by many as fashion’s breath of fresh air. So when Simone declared the launch of menswear, the assumption by many was that the Jacquemus man would be a parallel personification of the liberal bohemian-like spirit used to inspire its female counterpart.
Only a few days before the launch of his show the designer revealed that the inspiration for menswear in an interview with American Vogue. It was based on the connection that he had built between himself and his now estranged/ex boyfriend Fashion Director Gordon Von Steiner.
“It was more a feeling.. I was obsessed with the way he was dressing. I think Gordon has a particular taste….really simple but particular.”
The day of the show, the designer set the tone. Preview shots of the location on his Instagram, — the shores of the Calanque de Sormiou — a popular beach off the coast of Marsielle, lined with rows of beach towels as the seating arrangement. A few minutes later entered the beautiful bevy of “healthy men,” as he mentioned in his earlier interview with AV. They were not too skinny, not too muscular, just perfect. They were all of diverse complexions.
At first glance, the bright colours and well-casted handsome faces might have fooled one into believing it was a collection worth it’s ballyhoo, but after only a second glimpse, it was evident that these were pieces one could easily acquire at a thrift shop or even at a local Zara franchise. In fact in his interview with AV, he gives insight that the prices for this collection would be lowered, “We wont sell an 800 euros shirts, but one at 270 euros we will.”
For Jacquemus womens’ we were given oversized straw hats, asymmetrically draped skirts, plunging tops, uniquely proportioned low heels — pieces which defined and distinguished his brand in the brimful pool of french designers.
This first menswear collection lacked the dexterity and creativity we knew the designer possessed as a protégé of Rei Kawakubo.The “Jacquemus man” wore cargo shorts, knitted shirts and ties (from his collaboration with Woolmark), printed shirts and speedos. Just like any other man. Apart from the colour coded styling and the branded neck wallets, there was nothing special about this collection. It felt like a bit of a mockery of what he has proven to be naturally capable of.
This was only the designer’s first menswear collection. What’s clear is that the Jacquemus the designer has demonstrated his potential for development and growth, and he’ll surely turn this to his menswear line too.
For his SS19 collection, N.21 designer Alessandro Dell’Acqua, opted to turn his head away from the fast-selling streetwear direction of the industry and focus on a more sensual side of the brand.
“I’m over streetwear and sportswear at the moment. I started from a desire for light and warmth, to rediscover the body’s natural physicality.”
Sneakers were thrown in for socks and sandals, t-shirts for button ups. There were also raincoats, the brands signature photo inserted shirts, nylon pouch bags and totes.
The collection had a familiar simplicity accompanied by a whiff of femininity which made you want to ask for more. It was a celebration of the sensual man.Was this the brand’s official proclamation towards a more permanentformal aesthetic? And if so, will he then give up the shorts for tailored trousers next season?
Whatever direction chosen the brand should look to exaggerate their inspiration. At times their signature simplicity might be mistaken for indolence and repetition.
For MSGM’s SS19 collection designer Massimo Giorgetti incorporated the spirits of the two most important cities in his life: Rimini and Milan.
“Rimini” the designer commented, “is the city where I grew up, it was about the beach, the club, the tourists and the energy while Milan is where I made my home, started my label and made my career. I would like to play with the two and bring them together.”
Giorgetti envisioned both cities to be on the opposite sides of a volleyball net, inviting guests to a high school basketball gym for the show.
The brand’s streetwear aesthetic merged perfectly with the sporty reference. The collection was packed with acid colours, silk shirts printed like multivitamin one-a-day packaging, volleyball tops, track suits,bombers and oversized tees.
Images of famous Japanese volleyball players were also imposed on the garments along with patterns influenced by the works of American photographer Roger Minick, widely known for his photography series documenting tourists.
Giorgetti’s intentions, though presented as a Spring Summer collection, gave strong hints of resort wear which allows for the flexibility to freely dabble between collections.
The show then concluded similarly to last season’s with a series of multi-patterned printed shirts and matching shorts during the final walk. Although a fairly young Milanese brand, the inspiration that Milan gives the designer has become a recurrent theme. Is it time for something new, or is this stilla part of setting his signature in stone?
Designer Dorian Stefano Tarantini took polluted seas as the inspiration for the M1992 SS19 Menswear collection.
As he noted: “Sea pollution is the beginning of a creative process that draws from the ocean and its post-modern iconography marked by plastic, viscous, black and metallic materials, offshore rigs and oil spills. “
The runway opened with a full black look with the word ‘oil’ printed over a flame. Everything else that followed was an ode to abandoned beaches. Each model’s hair was covered in black liquid, reminiscent of petroleum. Deconstructed tuxedos, shiny gold printed crocodile fabrics and tie-dye tuxes were all part of the designer’s vision.
Hues of red and flashes of denim (produced by the brand’s collaboration with denim production company ISKO) were also added on a separate note which referenced the 90s ready-to-wear influence of Giorgio Armani & Donatella Girombelli.
Details that evoked vines and branches were also added around necklines and trousers were bedazzled by Swarovski crystals. The show closed with an actual functioning diving suit. A different kind of solution should the consequences of marine pollution make themselves further known.
For SS19 Creative Director of Marni Francesco Risso unleashed his imagination into a fantasy of athletics.
Risso welcomed guests to the underground parking lot of Torre Velasca, a residential brutalist tower built in the late ‘50s in Milan’s centre with a seating arrangement of Swiss balls. This was the first introduction to what he referred to as his “Imaginary Olympics.”
“All are admitted to this game: the thin and the chubby, the tall and the short; fatty ultra men and skinny supermen; mini superheroes and maxi anti-heroes; anyone who loves and knows thy body.”Commented the designer, giving insight into his casting which was a mixture of both professional street-casted models of all ages and sizes.
He added that “each team creates its uniform for the game by reassembling all the uniforms of all the sporting events which we have forgotten.” Out came all the team members dressed in pieces that were inspired by an accumulation of vintage sportswear. Each ensemble told an individual story of its wearer/player.High waisted drawstring pants, double T-shirts, windbreakers, tailored sports coats, skater pants, prints blown up from German artist Florian Hetz combined with wrestling robes and sleeping bags made into voluminous bombers and paired with bed slippers. There were references to uniforms pulled from sports such as cricket, football, tennis and swimming.
But Marni’s imaginary olympics was a game of vulnerability, no machos allowed: no mouth guards, no shin guards, no foul play. The silhouettes were soft and clean, creating revised hi-tech versions to sportswear while paying homage to their vintage references.
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