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Fashion: It's a Cold, Cold World for Men on the Italian Catwalk
Society | January 24, 2003, Friday // 00:00
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Though some say the earth is warming, Italian menswear designers are apparently of a different opinion. If the number of warm hoods, woolly hats, scarves, turtle-necks, thick knits and big jackets seen at Milan men's fashion shows this week are anything to go by, then humankind had better brace for a cooling of the planet next winter. Rarely has man ever been so muffled up, protected by flannels, tweeds, knits, leather and fur linings than during the five-day Autumn/Winter 2003/2004 Milan fashion extravaganza.
Designers -- including an increasing number of Anglo-Saxons, one being Ralph Lauren -- stopped short of announcing a full comeback for fur, but nonetheless featured fur trimmings all over the place, as collars, lining and lapels. One exception who went the whole hog furwise was Roberto Cavalli of Tuscany. His iconic man was a sort of ethnic-polar cross between an Eskimo hunter and a Nepalese dignitary draped in rich colours and much fur.
Others preferred fur of the shorter-haired and more discreet variety, such as astrakhan, for lined coats and jackets. Valentino of the Marzotto group, who favoured roll-necks and hoods, used fur in a way inspired by existentialist Paris of the 1960s. Gucci had tightly-fitting turtle-necked sweaters and black zip-up cardigans as well as large light-coloured jackets with gold buttons, a silhouette that recalled the Austrian officer. Ferre, of It Holding, used lots of fur on collars while Cerruti went for high riding boots and tiny "string" waistcoats on three-piece suits. Fendi had a more modern touch with "techno" fabrics and colours, including shiny plastic-looking transparent shirts and big shiny hooded jackets. The house, which is under the control of France's LVMH, also went for Mao collars as did Giorgio Armani. Armani's abundant collection leant towards the casual and sportswear but maintained a traditional touch, with striped gray flannel, large gray square pockets on jackets and ensembles mid-way between sports clothes and a three-piece suit.
The shows, said one Milan expert, were "classical but with a touch more irony than in the past".
Designers -- including an increasing number of Anglo-Saxons, one being Ralph Lauren -- stopped short of announcing a full comeback for fur, but nonetheless featured fur trimmings all over the place, as collars, lining and lapels. One exception who went the whole hog furwise was Roberto Cavalli of Tuscany. His iconic man was a sort of ethnic-polar cross between an Eskimo hunter and a Nepalese dignitary draped in rich colours and much fur.
Others preferred fur of the shorter-haired and more discreet variety, such as astrakhan, for lined coats and jackets. Valentino of the Marzotto group, who favoured roll-necks and hoods, used fur in a way inspired by existentialist Paris of the 1960s. Gucci had tightly-fitting turtle-necked sweaters and black zip-up cardigans as well as large light-coloured jackets with gold buttons, a silhouette that recalled the Austrian officer. Ferre, of It Holding, used lots of fur on collars while Cerruti went for high riding boots and tiny "string" waistcoats on three-piece suits. Fendi had a more modern touch with "techno" fabrics and colours, including shiny plastic-looking transparent shirts and big shiny hooded jackets. The house, which is under the control of France's LVMH, also went for Mao collars as did Giorgio Armani. Armani's abundant collection leant towards the casual and sportswear but maintained a traditional touch, with striped gray flannel, large gray square pockets on jackets and ensembles mid-way between sports clothes and a three-piece suit.
The shows, said one Milan expert, were "classical but with a touch more irony than in the past".
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