This article, written by Hannah Marriott, appears on The Guardian.
Dolce & Gabbana shares the amore in Milan with jolly 50s Italy collection
Italian designers play to international customers with clothings and bags that celebrate picture-postcard view of Italy for label’s spring/summer collection
Here’s an announcement no scruffy fashion journalist wants to see at the beginning of a catwalk show: “The models in this show will be taking selfies with you. Be part of this special fashion moment.”
So read signs displayed at the presentation of Dolce & Gabbana’s spring/summer 2016 presentation in Milan on Sunday. Thankfully, what transpired was not members of the crowd being forcibly snapped with the world’s most photogenic women, but the models taking photographs of themselves as they walked down the runway, a conceit that proved to be just one jolly part of a very jolly show.
Entitled “Italia is love”, the collection presented a 1950s picture-postcard view of Italy over an exhaustive 90 looks. Decorations on bags and dresses celebrated the country’s greatest tourist hits: Capri! Amalfi! Taormina! Rome! Portofino! There were Virgin Mary medallions dangling from shoes and appliquéd on burgundy velvet dresses.
Bags were fashioned after tourist’s cameras or traditional wicker baskets. Michelangelo’s David, Rome’s Colosseum, Venice’s gondolas, the tower of Pisa and Florence’s Duomo all became sequinned patches on frocks. And there were lemons everywhere – embroidered into dresses, on headdresses, used as chunky plastic earrings.
Usually, the Italian designers cite Domenico Dolce’s motherland of Sicily as the starting point for their shows, a theme that has taken them to pinstriped tailoring, tight black-lace dresses – a slinky take on widow’s weeds – and intricate embellishment inspired by the island’s ancient ruins and Norman churches over the years.
This time, the whole of Italy was their oyster, and there was nothing subtle about the results…
– the set was a 1950s Italian high street, complete with red and white stripy awnings and a fruttivendolo (greengrocer), with That’s Amore on the soundtrack. This was a foreigner’s view of Italy – a more translatable reference than Sicily, perhaps, on a truly global scale – and that was the point.
Read more and view the collection at The Guardian.