Nothing telegraphs the rebellious Nineteen Sixties like a bouffant, a aspect sweep of bangs and an additional flick of eyeliner — the wonder have a look at No. 21.
Every outfit was styled with some jarring or unbelievable juxtaposition: prim with robust; mannish with femme fatale; couture-like with sporty informal.
Alessandro Dell’Acqua was taken by Swiss photographer Karlheinz Weinberger’s photographs of the Mod tradition in England that highlighted their freewheeling conflict of bourgeois and insurgent codes.
Therefore on No. 21’s spring runway, necks shared house with soccer scarves and jumbo strands of pearls, chiffon blouses had been layered over striped beatnik knits, trucker jackets came visiting pink lingerie and sparkly attire had been sheltered by large army parkas, simply as they had been earlier within the week at Burberry in London.
“A powerful character mixing masculine and female” was how the designer described his seasonal muse, lauding the “Modettes” for his or her pioneering method of clashing totally different fads and fashions in a quest for authentic and particular person fashion.
The present had quite a lot of spunk, and it was enjoyable to see Dell’Acqua interpret British clothes archetypes together with his robust Milanese hand. You had been by no means certain if his fashions had been dressed for the stadium, a rustic wedding ceremony, or the good golf equipment in Clerkenwell.
The cocktail attire had been cute, minimize of heavy satin or golden brocade and winking to Cristóbal Balenciaga’s sack fashion, however with a drawstring on the hem, and jeweled necklines or shoulders. They had been worn with flats, natch.
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