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Quai d’Austerlitz, at the Cité de la Mode et du Design, is the meeting of the Fall/Winter 2017-2018 presentation of the great master Yohji Yamamoto. A place unequivocally linked to the belonging sector and, maybe, an invite to dive with more care into the concepts of ‘fashion and design’. While the world is crazily running towards an irreversible loop of textile overproduction and creative inflation, the Japanese designer welcomes his public in an abstract and deserted temple, dilated by the quiet incipit of the show, articulated in the first moments only by the constant shots of the photographers.

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Space and time seem to loosen, returning to the manifestations of the human dimension, the expressive and artistic possibilities that have always distinguished the degree of civilization. Yohji is rooted in the contemporaneity, giving its grace back, is metropolitan and poetic, is a designer and a narrator of emotions embodied in dress. The rhythm and the gait are slow, the soundtrack is calm, reassuring and this mood favors a concentrated abandonment to the elaborated and evolved representation of his vision of femininity. Collected in asymmetrical folds, emphasized in the measurements and proportions of slim fit jackets along the sides and cleverly draped in a way that possible imperfections can be disguised. Fabric layers that extend in clever diagonal levels, textile accordions that take the place of the obvious and rigorous lapels. Each item denies the contemporary cultural trends, opposes ingenuity, portability, and decorative solutions of bold tailoring and compositional abilities.

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Tailor/poet of the black, Yohji does not surprise us by preferring once again the non-color, only the high formal complexity, the radiant gesture of pictorial brushes in accomplice balance with folds and cuts, to reveal a clear passion for the female universe, ideal palette of his most poetic achievements.

Following some of the moments from the show-room while making our choices

video-show-room-yohji-yamamoto-blogFind online the new Fall/Winter Collection of Yohji Yamamoto

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Autumnal fogs, suspended mists, muddy skies, burnished colors, the dried fruits of winter and the woody stumps, ardent in the domestic intimacy of the fireplace. And again the time, spent between the familiar sounds of youth, absorbed in first and instinctive drawings, and the loom, the knit, the crocheting. Collected atmospheres, cyclical and slow, placid dimensions, wondering in the feverish sound of the daily metropolitan life.

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Always attributive to the most striking seasonal atmospheres, Daniela Gregis‘s work accompanies the audience in a dive, both visual and sensible, into the prevailing tones of her Fall/Winter. It is not hard to imagine the winter territories of northern Italy in the crumpled gray of washed cotton, or in the charcoal marks of the ruffle brushstrokes of crêpe. Views of pale skies appear in the cashmere, melange or checked, and that recurring brown of local shrubs comes back in warm beige shades or more singed in the backgrounds of childish sketches.

The designer from Bergamo does not cultivate melancholic perceptions of this long season, it revives it instead, with important lengths of clothes and chromatic explosions of accessories,

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daniela-gregis-fw-2017-2018-bag-detail

a playful and aristocratic vision of winter, of the city time, of work and of urban itineraries par excellence. Staggered textiles overwhelm the weather, the melancholy and apathy, invite to mix and recombine, to cultivate the well composed and cured hilarity of good living…

A closer look at Daniela Gregis Fall/Winter 2017-’18 fashion show directly from the Oratorio della Passione – Basilica di Sant’Ambrogio, Milano:video-youtube-daniela-gregis-blog

Find online the new Daniela Gregis Collection

 

 

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Photo by Pascal Maucuit

Photo by Pascal Maucuit

On a rainy Saturday morning in Paris, with the town still sleeping, we run to the venue hosting the parade of Junya Watanabe: the faculty of pharmacology at Rue de l’Observatoire, exactly at the opposite end of the metro stop to which we have to go in the evening also for Comme des Garçons.

The rain, the time and the hurry to look for the fastest way to reach our destination do not favor the good humor, until, once into the mighty faculty salon, we are not awakened by a loud rock. The rhythm spurs for attention, the fierce gait of the models drags the present into an inevitable, and personal, reflection on fashion, on its utility or emptiness, and above all, it generates a real, widespread and more than ever palpable perception of uncontrollable enthusiasm.

Junya Watanabe Fall/Winter 2017-2018

As if the world suddenly recapture each potential, the possible silhouettes projected on Junya Watanabe‘s future Fall/Winter incite that desire for change that is the vulnus itself of fashion and the radicalism with which the Japanese designer staggers it is thrilling.

Faithful to his own ‘cyber’ vision of contemporaneity, Watanabe assembles materials with his typical origami form, which on this occasion we can recognize in the circle: calf hair, black leather, leopard spots, all strictly in synthetic leather, studs and pailletes re-compose patch-works of cultures and epochs of costume history of the most experimental forms. Excess is the guiding thread of deformed decorative elements, which not only outline unusual aesthetics, but also become part of and modify the human physical structure. Caps like sculptures, multicolored textile wigs, lacking any romantic poetics and built to defend any hypothetical attack, tunics that amplify the circularity of the chakras, coats shaped around the feminine figure with asymmetrical spheres, possible ultra-modern armors against the advancement of the creative nothing.

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

But the excess is finally cleaned, made accessible in the showroom choices, revealing how far it can go and how it can be traced back to the hectic daily life but still it remains a visionary exercise of pure and extraordinary contemporary textile art.

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Zucca Fall/Winter 2017-2018 detail

Around the brand Zucca a private audience is joined together, happily surprised whenever they come in the store and find themselves immerse in such uncommon assortment in European boutiques.

Always a Japanese production, backed by the A-Net group, affiliated with Maison Miyake that also has Tsumori Chisato and Plantation, Zucca can brag with its own path, by now for more than ten years, that testifies a consolidated maturity.

Cleaned by some decorative elements, perhaps a bit too Japanese, it is interesting to notice the skill with which details and particulars are introduced to enliven the quotidian, the dimension in which Zucca is best placed. His design is difficulty applied on big occasions, but instead interprets everyday life with careful diagonal seams, small asymmetries and prints that, together with the comfortable volumes and the use of color, allows the usage in any moment of the day without unpleasant slippages in the banal or, even worse, in the slovenliness. Zucca respects the even more hasty and concrete rhythms, speeds up the wardrobe, does not engage with exorbitant costs and cultivates discreet aesthetics, appreciated when they are so easily put on.

Zucca Fall/Winter 2017-2018

Zucca Fall/Winter 2017-2018

Zucca Fall/Winter 2017-2018

Zucca Fall/Winter 2017-2018

A tour around our Fall/Winter 2017-2018 selection, following the few minutes of our footage from the Paris showroom, can help one imagine herself inside heavy coats, from technical padded jackets to long coats in organic cotton, knitwear in its various weights, to printed dresses or decorated with georgette for the occasions that requires more femininity.

Zucca show-room

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Before deepening the contents of the different collections for next Fall/Winter 2017-’18, we expect that the deliveries make us understand the full development of the Season. However, it’s already possible to immerse us in the Y’s Yohji Yamamoto‘s fiber shadows or in the brush strokes’ blocks of the gauzes and in the Daniela Gregis‘ cashmere made by the loom, or in the experimental tartan and in the synthetic leather of Junya Watanabe, with the muffled and futuristic padding by Comme Des Garçons.

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A very close tour dedicated to who, in the middle of this August, want to be distracted by a dive to the sea or a walk in the mountains…

 

Find online the new collection on our website

 

 

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