Be Italian – take a chance and try to steal a fiery kiss.
I’ve always been fascinated by fashion labels inspired by the country from which they come from. When you think of “Burberry”, you think of “Cara Delevingne”, “Christopher Bailey” and “Britain while Shanghai Tang evokes the rich culture and traditions of China. And the Italian sentiment that is Dolce & Gabbana is another brand that intrigues me. You know, that “Italian” family photo campaign – that sold me… Well, certainly not on practicality, but marketing, at the very least.
The new Fall/Winter collection is no different – it’s solemn, not sorrowful, but heaven sent. The silhouette, as it has been for D&G for a while now, is tailoring. The usual usual of pinstripes, worsteds and flannels are dressed up with silks, satin, brocade, broderie, lace, tapestry and needlepoint. We see pleat-front tapered pants teamed with form-fitting high-buttoned waistcoats and frockcoats, which the brands will insist is not “high-waisted”, because “high-waist” is used to describe women’s wear… It’s a masculinity thing, I suppose. It’s “grooming”, not “beauty”; “moisturizer” not “cleanser” – but such rephrasing has turned out to be just the key to soaring revenues. The old tee-shaped tops becomes a canvas for a very Italian, or should I say, Catholic iconography – Virgin Mary. Another “newish” component is a revamped tuxedo which is done in white lace, and continued through the white broderie shirts. Dolce & Gabbana also revisits last season’s irony of old master floral prints, this time reworked to resemble prayer hassocks.
With so much attention to detail, the footwear is understandably underwhelming – styled with classic black oxfords, and the understated brooch that is the religious pin.