Calvin Luo likes to spin temporal references. His collections have explored the subcultures of ‘50s-era Americana, the dazzling ‘70s, a “Virgin Suicides” tainted ‘90s suburban America and most recently women spies of the Second World War. From these vignettes always emerge a strong woman with an inspirational man at her side.
New York City of the late ‘80s and early ’90s is the backdrop for Calvin Luo’s Fall/Winter 2019 collection. While the fashion of both decades could not be further apart, the transition from power dresser and punk to grunge and “denim all”, captivated Luo’s attention.
Thus we see proportions at play and Calvin shows exaggerated volumes transitioning into studied minimalism with a layered line up of his signature wool coats and jackets, multi straps dresses and tees, strong denim and colorful knitwear, now juxtaposed with vinyl and sequins – a nod to the excesses of New York City in the ‘80s.
Calvin Luo continues to tell the story of a strong independent woman, enhanced in femininity, now accompanied by a man confident in celebrating her.
Styling Tom Van Dorpe Casting David Chen Music Wladimir Schall Hair Jon Reyman for Aveda Makeup Janell Geason for Aveda Nails Momo Production MHT Productions
Reimagined By Marcus Blassingame
From Italy was born Etro, a family brand via generations of design talent. One of the most brilliant designers at the mix of texture and print, Etro can boast at some point of my career beginning to have successfully executed a collection inspired by actual “birds of paradise” some time ago.
Etro has done a splendid job at maintaining its relevancy as it celebrated its 50th anniversary, with a refreshed idea of the global interest in heritage houses -specifically, those with apparent and transparent artisanal traditions—and a burgeoning preference on the part of their retail customers for the sort of crafty unique pieces at which Etro excels, focusing on personality over utility or trend. Clothes that embody “values” have value at the current time.
For Fall 2019 Etro showed at a music conservatory in the heart of Milan that Verdi once dreamed of attending. The theme of the collection was,basically, heritage disrupted: Inspired by her family’s archive of 18th-century paisley scarves, a trove she revisited when planning for the 50th celebration, Veronica Etro reintroduced the luxe mix of paisleys, jacquards, and tapestries, she added nods to the ’90s Britpop moment (while she lived in London and admired the stylings of It-girl aristos and the punk era, which embodied the image of her young Milanese self.
The collection applies paisley throughout the line, and intentionally head to toe, followed by stripes preppy type references introduced with a sprinkle of masculine rugbies, creating the sorts of print & pattern mixed matches that are the houses’ signature. For its finally Etro leaned toward a more Victorian/Edwardian vibe, showcasing jet beading, gold-thread embroidery, lashings of taffeta, yet more capes, and an affirmation of opulence. The long evening gowns were aesthetically pleasing, daintily patterned and layered with caviar-beaded lace. The mini cocktail dresses were also fascinating: strapped firmly, loosely corseted up the back, and more chic when gilded.
Models of all ages were featured in the ETRO show—from the American teenager Cara Taylor to the legendary Farida covering a full spectrum of talent while as women they looked like themselves, or an elegant, humbled version of themselves. Mostly, they looked like intriguing inspirations from the imagination of Veronica Etro, who is perhaps the true reason behind her collections classical period driven eclecticism. Ingenious marketing to the consumers nostalgic spirit, she is dedicated to her enthusiastic curiosity about the universe, which speaks brilliantly to the heartbeat of the Etro brand.