When I was a child, I was convinced there had to be pre-fashion-week conspiratory round tables where the likes of Andre Leon Talley and Marc Jacobs and Wintour and Karl all sat around and decided what would be in style this season. How else could disparate brands like J.W. Anderson in London and Gucci in Milan come out with such a similar interest in ruffles? Or all the neck to ankle ensembles—we are going to be covering it up in Spring 2013—how did everyone know to do this? Is it the zeitgeist? Is it a conspiracy? Is my eye just seeking out these things, amidst all the forms paraded, and thus turning them into trends, like how I only look at the attractive people on NYC sidewalks and so I’m convinced there are only attractive people in NYC?
This Spring, Frida Giannini was all about the Advanced Style of the Italian Riviera Madonna (as in that persistent cultural binary, i.e. tua mamma vs. the whore). This mamma loves color. Chin to toe color. Cover it up with color. We especially dig the kelly green Edie Beale at Grey Gardens look.
At No. 21, Alessandro Dell’Acqua wove in an Italian heritage with graphic Fra Angelico divinities. The shapes followed the top trending silhouette of Spring 2013 of pencil skirts and boxy tops (who decides?). Sagging breasts of sequins—conceptual chic.
We want to get married in these Days of Heaven white prairie maxi dresses with transparent skirts and granny panties (talk about Madonna/Whore). Romantic prairie look, check. Pantsuit, check. YSL A/W 1968 sheer black dress, check.