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敬请期待中文版  Marco diVincenzo A/W 2016-17 Picture credit: InDigital THE PALPABLE YOUTH QUAKE in Milan fashionruns parallel to Italy's political evolution, from a gerontocracyto a more dynamic, younger government. The presence of Prime Minister Matteo Renzi at an eventgathering together Milan's fashion leaders was not the reason thatnew shoots are breaking through. For five years, Vogue Italia'seditor Franca Sozzani has been seeding and gathering newtalent. And for a decade a new generation has been challengingMilan's mighty brands. Here are three designers who are making a difference. Arthur Arbesser: Viennese Waltz With Vienna's famous music music pom-poming through the limitedspace of a private garage, Arthur Arbesser transported the audienceto his native Austria. Strict tailoring opened the show with tunics, trousers andbelted jackets offering a Germanic uniform for daywear. Except thathis recent years in Italy seem to have literally coloured thedesigner's thinking. He introduced pink tweed for a curvy fittedsuit and what we might call Danube blue for a bold corduroy velvetcoat.  Picture credit: Indigital "Vienna is such an important part of my life - but it's thefirst time I have used it directly in my work," said Arbesser, whodescribed his personal vision, wrapped up with the work of Belgianartist Michaël Borremans, as "between nostalgia and irony".  Picture credit: Indigital That was just the way to define the collection, wheretraditional loden tailoring was mixed with gilded metallic fabricsthat took a quirky shot at the opulent Austro-Hungarian Empire.When a daffodil-yellow checked cardigan was paired with a gildedhip panel, the irony was both evident and smart.  Picture credit: Indigital Unlike the show the designer did in Milan for Iceberg, which wasfocused on pop knitwear, his own line was more deeply thoughtout.  Picture credit: Indigital I doubt that Arbesser, who was a finalist in last year's LVMHaward, could have pulled this cultural depth from his childhoodinto a 21st-century collection without his training atCentral Saint Martins in London. That was fused with hisknowledge of Italian fabrics and his own artistry, which came outin a spidery pattern on the invitation and as a print in thecollection.  Picture credit: Indigital If Italy can ratchet up the quality of its fashion schools tothe level of its artisans' work, it might produce morecross-culture designers with the excellence of Arbesser. Marco de Vincenzo: Proud of the Artifice Italy is so - rightly - proud of its artisanal skills that theirreverence of Marco de Vincenzo came as a shock.  Picture credit: InDigital Faced with a shocking pink light bathing the show space,which segued into purple and blue, this show seemed "Enoughalready!" about colour. But the lighting was only thebeginning. De Vincenzo called his collection "Proud, man-madeartificiality". This is a storyteller who puts a focus on fashion'sthird dimension: the surface.  Picture credit: InDigital Perhaps it was the background of 13 years in the studiosof Fendi that made the designer so aware of the importance ofworking fabrics to the max, from a weave for a rust coat to agarish green skirt in a bubbly fabric that shrieked"fake".  Picture credit: InDigital I liked this idea of challenging the taste level and thepreciousness of fine clothes - as in a fur coat that mixed bloodred, a foxy ginger and a neon green.  Picture credit: InDigital Marco de Vincenzo has already established himself as aninteresting design spirit in Milan. But there is a feeling that hehas still more to give. Ujoh: Hybrid and Modern  Each season, Giorgio Armani invites a designer to use hisfashion theatre to show a collection - a gesture that others inMilan's fashion establishment might copy.  After being shortlisted as a finalist for VogueItalia's "Who is on Next", the designer who defines himselfonly as Ujoh was offered this season's key position. He sent out acollection that was deceptively simple - easy, sporty clothes,respectful to women and in shades of blue, as the main colour or asdecorations tufting sleeves.  This was a show that needed to be seen from both front andback. For like his fellow Japanese designer under the name Sacai,there were often re-arrangements of shape or fabric frombehind.  I like the idea of a designer offering quiet quality andclothes for life. And Ujoh was respectful to Armani, publiclysending his "grazie" to the maestro as a backdrop inlights.  (责任编辑：admin) |