Covering this year’s round of the recently expanded with new collections coming out every month. The next 12, proved to be an exciting challenge. There were 11 different collections presented side by side in various formats in a series of railway arches under the lines north of Milan’s central station.
Moncler Valentino involved sometimes interviewing the designers without seeing the looks. As they were still behind the scenes, or sometimes viewing the looks without interviewing the designers. It was, as they say here, a casino, but fun. If you look at the images that will appear at the top of this review, you will have a better view of some of the collections than this review. But, below is what obtains from the launch, in order of numerical categorization of the collections.
The sad truth is that I never got to see this collection. But I saw their stage. A tunnel whose ceiling fill with wild patterns with a track flanked by black flowers. I pumped him for information. His response was: “It’s about adopting the forms that we usually do, but putting them in a jacket context. Also using the closures that we use in the collection that we showed yesterday in London. We have nice knee-high boots and padded bags that are synonymous with Moncler. It is a mix of the two worlds.
This collection saw Valentino often smoker and always interesting creative director apply collaboration to collaboration. She reached out to her friend Liya Kebede to introduce her to the patterns and aesthetics of her sustainable and responsible Ethiopian brand, Lemlem, in its Moncler haute couture version.
Moncler Valentino Pier Paolo Piccioli:
When we found PPP, he was in his tunnel filming his staging on his iPhone, surrounded by the usual phalanx of international public relations representatives. The looks had the same voluptuous volume as her first Genius presentation, but here they interrupt by the graphic vibrancy of Lemlem’s contribution. So how has Moncler + PPP + Lemlem become its latest expression of genius said, “I don’t think you can do anything new today. But you can create new harmonies, new points of view, and perspectives. I made this little collection while doing haute couture while doing other things.
And of course what I wanted to do is, through my own identity, interpret the worlds of Moncler. I felt like I wanted to add the feeling of another perspective, specifically Liya’s perspective. I think inclusion is not just a word; I believe in the idea of working together in a way that gives you new points of view. . . And I was thinking that when haute couture was born it wasn’t meant for black women. It was only for white women. Magazines like Jet weren’t even allowed to borrow clothes! So this collection is to show that the dream of haute couture should allow for everyone, and that is why Liya’s idea worked so well.
Moncler 1952 (Donna):
Veronica Leoni is one of the seemingly endless protégés in Phoebe Philo’s studio who has broken the cover since the great Celine schism of 2018. I can’t tell you she’s the next Philo, but I can tell you she knows how to put a collection on. on display. . . Leoni’s space was a large box filled with feathers in which his models poked out. The case makes of reverse reflection glass, so while the audience could see the models, they couldn’t see us. About 30 seconds after we entered the room, it plunged into darkness, interrupted only by strobes and Kate Bush (I think) blasting on the PA system. So the clothes were essentially invisible, but the designer was not, and she said: “We would consider this box as a gathering of the greatest women we can find, there to feel empowered by themselves but also exposed to us. We are spying on them. And yes, I think there is a fine line between fashion and what should be in style. The dream of what you want to share.