TOD'S S.P.A. 
In a game of musical chairs,
Adrian Appiolaza premiered his first collection for Moschino Thursday evening in a bittersweet moment just a month and a half after being named. His appointment followed the sudden death of
Here are highlights from designer debuts during Milan Fashion Week of mostly womenswear previews for Fall-Winter 2024-25.
TAKING A STAND AT MOSCHINO
Having just six weeks to pull together a collection forced Argentinian Appiolaza to be very decisive, creating a collection that he said “didn’t feel too overthought.”
He plunged into the archives, taking inspiration from fashion house founder Franco Moschino’s sense of subversion, love of archetypes and trompe l’oeil playfulness.
Appiolaza’s vision invoked a dreaminess. Looks were as if being roused from sleep, and the garments were at times surreal — folded newspaper boat hats, turbans created from shirt sleeves, or a cowboy hat that was unfinished in the back, like a piece of stage scenery seen only from the front. A top was constructed out of men’s ties; a golden bowtie hung sideways as a necklace. Extravagant strands of pearls were worn under a sheer dress.
The feminine silhouette was defined by ruffles, bustles and slip dresses, complemented by men’s vests fitted with garters, oversized cloth shirts and masculine trousers.
“The idea was trying to convey Franco’s universe. It was not really about creating a ready-to-wear collection, but something that told a story," Appiolaza said backstage after the Thursday evening show.
While many brands made circumspect reference to global conflicts, responding mostly with comfort collections of cozy clothes, Appiolaza was more direct, with garments emblazoned with peace signs or the word PEACE written capitals. “I thought it was a good idea to bring peace as a universal message," the designer said.
Closing the show, a Black model wore a top of the Italian tricolor, green, white and red, which Appiolaza said was part of the collection’s message of inclusion. Some social media commentators read it also as a statement about the war in
TOD’S FOR THE TRAVELER
Matteo Tamburini’s journey with Tod’s departed from a
“We selected this location because it speaks to dynamism, which is closely linked to the Tod’s aesthetic. The collection was thought for people who travel, who move in the world," Tamburini said backstage, citing the daytime workhorse Di Bag and the trademark driving moccasin as key starting points.
The mostly monochrome looks featured rich leather dresses, skirts and overcoats, made cozy with layered, twisting knitwear. Trenches were oversized; button-down cotton shirts were layered one over the other; trousers featured deep cuffs, while jacket shoulders were slightly enlarged. Bags were soft, molding into the body. Belts had oblong buckles resembling a vehicle grating. The driving shoe featured long tassels, for movement.
Tamburini said the collection reflects the duality of
Tod’s group recently announced an operation to delist the company. Speaking on the sidelines of the show, chairman
Front-row guests included Chinese actor
BLUMARINE’S NIGHTTIME PLUNGE
The creative director assembled an array of female codes for his debut collection: bows and lace, animal prints and florals, kitten knits and silk.
The Blumarine girl was wandering home after a night out, at times disheveled in an animal print coat, silken shorts and floral pumps with a tattered bow that looked well walked-in. Full of the emotion of the evening, she held it together in soft pastel knits and floret applique tops and dresses that epitomized femininity. A velour slip dress with lace gloves, and a black lace dress over animal print tights gave boudoir looks the final say.
“The clothes are made by the city,’’ Chiapponi said.
Copyright 2024 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
, source
