From Magazine archives, to today's catwalks, to everyday life: how fashion changes!
Nude legs come out of veiled covered scenes, cuts and inserts move skirts with overlapping panels: more or less open, more or less long, sensually modern.
Squared and elaborate, of post minimalist stratifications, the flat panels by Acquascutum and the most vigorous, pro organic – perhaps petals – designed by Antonio Berardi. Flowy, loose like the shapes of the Seventies, shiny like certain fabrics of the Nineties, the city grey Max Azria skirts, piped out in black like the boots, nude legs in the background. More cocotte, the swirling and bare structure with which Sonia Rykiel makes the classic pencil skirt dynamic.
Yesterday. There are Sixties cuts, a result of geometric games and space experimentations. Then there are the Seventies slits, more like wounds than decorations, like in the art scene. There are the razor blades by Gina Pane, the mutilations of the Vienna body performers, and not only Westwood’s punk, to represent visually the existential uneasiness of the auto-referenced decade, the Me-Decade by Tom Wolfe, in which dressing is not an embellishment, but propaganda.
This is how we can revise, even if long and theatrical, the black and white Mila Schon, from summer 1971... But even more conceptual, the unhinged volumes of the Japanese - Yamamoto, Kawakubo and Miyake – that break into the Paris scene in the Eighties: their aesthetics, in which the panel is the least that couture can offer to break off from the classic, recalls the cut felts by Morris and Pascali’s vertebras, prolonging the brain challenge of the ‘70s.
Annamaria SbisÃ
Nude legs come out of veiled covered scenes, cuts and inserts move skirts with overlapping panels: more or less open, more or less long, sensually modern.Squared and elaborate, of post minimalist stratifications, the flat panels by Acquascutum and the most vigorous, pro organic – perhaps petals – designed by Antonio Berardi. Flowy, loose like the shapes of the Seventies, shiny like certain fabrics of the Nineties, the city grey Max Azria skirts, piped out in black like the boots, nude legs in the background. More cocotte, the swirling and bare structure with which Sonia Rykiel makes the classic pencil skirt dynamic.
Yesterday. There are Sixties cuts, a result of geometric games and space experimentations. Then there are the Seventies slits, more like wounds than decorations, like in the art scene. There are the razor blades by Gina Pane, the mutilations of the Vienna body performers, and not only Westwood’s punk, to represent visually the existential uneasiness of the auto-referenced decade, the Me-Decade by Tom Wolfe, in which dressing is not an embellishment, but propaganda.This is how we can revise, even if long and theatrical, the black and white Mila Schon, from summer 1971... But even more conceptual, the unhinged volumes of the Japanese - Yamamoto, Kawakubo and Miyake – that break into the Paris scene in the Eighties: their aesthetics, in which the panel is the least that couture can offer to break off from the classic, recalls the cut felts by Morris and Pascali’s vertebras, prolonging the brain challenge of the ‘70s.Following, the materially experimental Prada skirts: the pressed wool sheets or of felt-chiffon, decorated with silicone, make up the set of the ’98 winter.
Annamaria SbisÃ
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