During the Ferrari fashion show early on Saturday morning, I saw a shoe that would certainly let design professors take their hair out, which at the same time broke different codes of good taste, which almost distracted me from seeing something else in the show. Like I said to a sitting companion during the show, was it the most disturbed shoe I could remember in … years?
I thought it was great.
The toe was chiseled like the Schnoz on a Proboscis monkey. A belt of belt included the width of the front, and Than The rest of the top was open in the style of a Venetian slipper.
“Everyone has some fetishism, and shoes for me are beautiful objects of design,” said Rocco Iannone, the designer of the collection, who was wearing a similar chisel-Tud Loafer. With this, beauty will undoubtedly be in the eye of the viewer.
But beauty is not the point. For many seasons now, the most exciting garments and styling for men have felt a bit outa little foreign, A bit too, too much. Clothing that, outside the safe boundaries of a catwalk show, might find us as peculiar, even ridiculous or laughable.
Consider: Moschino, who showed a hat with a gigantic “M” that protrudes from the top like a brand cap from the brand. Whether the black tie tied in an over -jacket collar in Emporio Armani, making me wondering if the model was dressed by Mr. Magoo. Or the way in which the models in Gucci did not keep the bags with their belts, but from the top as if they grab a puppy at the neck – a artificial trick to distract us from the fact that these were basic lots that we saw many times.
These concepts also reflect how fashion brands now strive less on the masses than on their cult of converts. So often they speak a language that understand their most loyal customers (well, hopefully), but it is Greek for someone else.
But occasionally you look a look at a new design vocabulary, so you are not thrown away, but instead you want to sit up and learn. Exciting!
That was the case with a Marni show where the creative director Francesco Risso men’s clothing went directly from “Pee-Wee’s Playhouse”: trousers so extensively at the front that they could offer a metro sandwich and fur comedes on the size of body cushions. Kooky, yes, but in a way that you made in a way that you wanted to be that guy in an overcoat surrounded with a fuzzy collar. Just for a day or two.
And it has been the case with Simone Bellotti, who in two sturdy years as a creative director of Bally made the show of that Swiss brand underlined, underlines, not missing it. For the time being: the rumor is generally that this is the last Bally show of Mr. Bellotti was.
For a man who took his bow with a faded Detroit Tigers-Baldop, faded black jeans and a fox gray sweater, he is not immune to Theatrics. (Realistically we were all able to dress a little more like Mr. Bellotti.) A handful of models in the show had their faces painted silver, and there were some thornier ideas present, including a man in a Denim truck jacket bent by Corset, or another in a three-strap, such as a luxury interpretation of Powerlifting.
But above all, what Mr. Bellotti presents, his men’s clothing that can never be called alien, but also not completely familiar. Take the tumbled leather overcoat with the neck that hangs down for a liberal scarf room, or the swelling, hardly to the title Jacket in Chartreuse, or the boots with a triangle with studs on the toe. They were punkish but on a courteous volume.
I left the show and wished that I already had one of the suits with square, four buttons of jackets and sloping “Just your hands in” bags in bags. That, I thought, is how you can verify the suit casual without destroying its integrity. I would be in that. Only, you know, cooler.
