On Thursday, as the stampeding hordes of the G20 hit Pittsburgh, the stampeding hordes of the F2000 (aka the fashion folk) hit Milan. Well, where would you rather be?
Not that we’re comparing the two events – though the question of how to weather a recession is a pressing issue for both fashion and world leaders.
It was on the mind of Giorgio Armani, who kicked off the Italian ready-to-wear shows by telling trade journal Women’s Wear Daily he felt the best strategy was not to change strategy; that “A designer who reacts to every fluctuation in cultural and social trends can easily come off the rails.”
Presumably, he’s against dropping interest rates.
It was hard to see how the series of sparkling shorts, asymmetrical tops, bubble miniskirts and strapless dresses splashed by geometric shards of sequins (inspired by, Mr Armani said, a combination of Body Art and the Bauhaus), related to the simple, deconstructed suits that made him famous, and on which his clients still rely.
Indeed, at a time when “workwear” – which is to say jackets – has made a comeback, the decision to trade power suiting for “mutant shapes that give full expression to the pursuit of the new” – specifically skin-exposing “vests” (braces-cum-shirts held together by sheer nylon) and mid-thigh hemlines – was puzzling. Some cool draped jersey sweat-trousers and a neat houndstooth jacket aside, the main connection to Mr Armani’s past masterpieces was the ease with which a blouse slipped off a shoulder.
The designer said he was exploring how old shapes could assume “new identities” by reconfiguration. Judging by what has happened as central bankers have been reconfiguring old budgets, he shouldn’t be surprised by the mixed results.
