Between the baroque walls of Palazzo Cusani, Blumarine unveils a coquettish take on Rock and Roll for the AW24 collection. This season is its first under the creative direction of Walter Chiapponi, previously of Tod’s (but also of Bottega Veneta, Miu Miu and Gucci, a key point to bear in mind for later), after the departure of Nicola Brognano last October. As is often the case, a changing of the guards brings a change in vision, most obviously in this case the addition of menswear to the Blumarine rotation.
Under the direction of Brogano the brand spoke directly to Gen Z-ers, with its quintessential butterfly iconography and Y2K themes. And whilst this season Chiapponi’s work aims to satisfy the same demographic, with a similarly 2000s aesthetic, there’s not a butterfly in sight.
To truly encapsulate the energy of this collection, one must deviate from the use of proper vocabulary in favour of internet vernacular terms like girly pop – despite this co-ed presentation – with a hint of grunge. The grunge is provided by a plethora of leopard print and leather, tops and bottoms for both genders. The coquette, by lace, ruffles and pink pom poms. Together the two unite to create something distinctly Blumarine but with an unexpected twist.
This new and unexpected vision thread throughout the collection to the colour palette too. Far more saturated than the house’s signature soft pastels, instead bold primary tones serve as a striking contrast to the otherwise delicate peaches and creams.
The collection closes out with a slouchy silk pyjama set in a delicate floral pink with a matching cap, appropriate given the models’ gaunt faces offering a chic transition to the comfort of bed.
Chiapponi’s debut not only broadens the brand’s appeal by introducing a dynamic menswear line but also reinterprets Blumarine’s feminine legacy through a modern lens.
Be ready to cinch your waist this season as SportMax unveil their AW24 collection defined but corsets and bustiers. This eclectic mix of looks, from office appropriate to disco ready, are reminiscent of 80s power-dressing thanks to exaggerated, squared shoulders and athletic wear for everyday.
The 80s theme extends too through the motifs of the collection, consisting of froggy friends or luscious lips, most of which take inspiration from the album cover of 1985 German artist Nico. And speaking of things popularised in the 80s, obtuse bulges on the hipline of dresses evoke distant memories of SS97, although this is perhaps a far cry from their intention and only something a true fashion nutcase, like myself, might ever associate.
One does not often expect to see boxing trunks next to leather chaps paired with a suit trouser, yet somehow SportMax manages to integrate these elements seamlessly. There is also plenty to cater to the whims of the internet fashionistas (Tik Tok in particular), with a spike in popularity of capri pants and an obsession with low waist the collection came through to provide both. In typical, people pleasing, Max Mara Group style, this collection has something for everyone.
The devil is in the details here too, sleek patent accessories and heels often paired with seamed stockings add a refined finish to already polished looks. Ultra-skinny ties also provided amusement, sometimes in matching tones, sometimes to provide striking contrast.
With something for everyone, SportMax once again proves its prowess at slotting seamlessly into the fashion landscape. Paying homage to the vibrant 80s for those with a modern penchant.
Ever wondered what runs through a model’s mind as they walk the runway? Well this Autumn/Winter 2024, Sunnei embraces the internal monologue to deliver a true performance. From Stylist slander to shopping lists, each model’s thoughts are revealed as a soundtrack to the catwalk. Creative duo Loris Messina and Simone Rizzo have by now mastered the art of balance when it comes to runways. Offering the perfect combination of spectacle, but not one so extravagant it distracts from what the real attraction is, the garments.
Speaking of, each piece embraces this same individuality, thirty one unique looks for thirty one unique personalities. Volume is the unifying factor throughout. Exaggerated silhouettes from the puffiest of puffer coats to the biggest of beanies offer a feel of fullness.
As ever the palette is vibrant. Cobalt blue, chartreuse, and tangerine, to name but a few, ensure there’s never a dull moment. As if there could ever be such a thing on a Sunnei runway. The aforementioned point is proved by this season’s accessories, pops of spiky vibrant neon be it necklaces and earrings or bags.
Models take to the runway atop a vibrant rug of reds, yellows, greens and blues produced in partnership with the artisans from CC-Tapis. Unconventionally, a number of textiles used throughout the collection’s garments were also in fact created using the same rug material, the Farfallabag or Koaladress. The shapes of which can be seen printed, in negative, upon the floor. A reminder of the journey from start to finish.
The house also hinted at a second collaboration, to be released in June of this year with Mallorca based brand Camper. A match made in heaven for those who love colourful pieces with personality.
This unbound exploration of character is often lost as one views face after face, runway after runway, each season. But Sunnei is here to refresh and remind, that there’s fun to be had in fashion. And, even squeeze a hint of a smile out of the front row. At fashion week? I know, unheard of.
This AW24, MSGM’s Massimo Giorgetti guides us on a journey through the use of colour. Inspired by Truman Capote’s “swans”, elite socialites and style icons, these glamorous women symbolise unparalleled opulence and in Giorgetti’s eyes rebellion.
This story begins with an almost funeral-esque nature. Looks of complete black grace the runway: a distinctly modern interpretation of a tailored two piece or a slinky figure-hugging vinyl bodysuit. Within these first six looks, there is the occasional injection of colours to come, provided by sunflower yellow gloves and socks or emerald zipper detailing.
As the show evolves, naturally so does the palette. We are transported through lighter tones: yellows, beiges and creams before turning back one more to darker roots. Greys begin to seep in, and then once again the inky blackness returns. But fear not, these later looks are not lost in darkness, but rather offset by the shades of forest green, wine red and pastel pink.
Giorgetti’s design choices add spice: a knit sailors collar peeking out of a Prince of Wales check suit jacket, or a shearling trousers that once viewed from the back prove to only be fluffy from the front. And for those still on the fence about mixed metallics, this collection satiates any worry that this might be a fashion faux-pas and silvers and golds pair seamlessly without a second thought.
It seems odd in a climate such as today’s, where backlash to the extreme prosperity of the elite is so strong, to choose a muse such as Capote’s swans. But perhaps Giorgetti aims to speak, as fashion often has, to a level of clientele who transcend beyond such issues.
