An elegant lingerie shop on the posh Via Della Spiga here recently devoted its entire window to lavishly ruffled merry widows, sheer lace-trimmed bustiers and various other beribboned little black nothings.
The owner, a handsome woman in a heavy silk shirt and tailored skirt, found it amusing to hear that the same sort of look had caused such a stir when it appeared on the runways during Italian ready-to-wear`s spring-summer 1987 fashion presentations here last week.
”But, you know,” she said sagely, ”that has always been the case with the Milanese women–hard and straight on the outside and sexy and lacy underneath.”
The same could be said of this stylish but conservative northern Italian city. A European Manhattan with a Bostonian soul, Milan hides its lush gardens and luxurious interiors behind the frostiest of gray stone facades.
But that has certainly never been the case with Milanese fashion, whose most celebrated claim to fame was the big-shouldered masculine look for women. Even as it has lost its hardest edges, its signature has remained severely minimal, masterly, man-tailored designs in fabulous fabrics.
No more. Apparently, all along, a tender, lace-trimmed heart was beating under all those soberly handsome gray clothes, and it finally burst forth this season in an abundance of loose, romantic blouses, lacy bustiers, scalloped tops, rhumba skirts and Empire waists.
Why now, after all these years? It might have been that the frivolous germ of ”fashion madness,” bred by Patou`s Christian Lacroix at the Paris couture last summer, infected the antiseptic Milanese ateliers. Or it might simply have been a realization that it was time to change.
In any event, a new ”bella donna” femininity has joined the classical Italian style this season and it`s a sure bet it`s going to have an impact everywhere for spring.
`Classico,` plus
There is still plenty of the ”classico” look for those who want it. Almost every collection contains a man-tailored suit or jacket and some–like Basile, Genny, Ferragamo and Luciano Soprani–showed lovely, wearable collections completely true to the Milanese tailored tradition.
But the big news is the new ”bella” look. Lively or sophisticatedly demure, but never tough or slyly sexy, this look can be refreshing and appealing when it`s not overdone–which, at this point, tends to be much of the time.
Over all, the new details the Milanese propose for spring include:
— Ruffles and flourishes: Showing up on everything, from peppy, multi-tiered, ruffled rhumba skirts, inspired by South America, to romantic lace and tulle underskirts, bustiers and camisoles.
— Lace: Night and day, in pastels or black, composing the clothing itself, or its trimmings, along with satin bindings and ribbon closures.
— The long and the short: Wide mid-calf-cropped pants join the classic, straight trousers. In skirts, the Flirt Skirt–a gored, knee-clearing version of a cheerleader`s skirt–and the straight skirt are the hottest short looks. In longer lengths, from mid-calf to the ankle, skirts swing easy and loose or are elegantly narrow.
— The Empire strikes back: Tailored or loose, the Empire line has returned; elsewhere, bustline definition is further enhanced by midriff-baring tops and bolero jackets.
— Dark and light: Navy blue is the big color, often paired with white or tobacco, followed by black and white, particularly in checks, stripes and windowpane plaids. Next up, pale pastels, sand-toned neutrals and floral and tropical prints.
— Denim revisited: Yet another fling with the fabric, ranging from pale gray fitted suits by Karl Lagerfeld for Fendi to blue denim bustiers from a new jeans line by Byblos.
— Crisscross straps: Favorites of everyone from Armani and Versace to Missoni and Fendi, these complement the season`s bare-backed look, along with halters, camisoles and slit-back tops.
— Finishing touches: Pale, tender faces with hair worn loosely or pulled off the face into ponytails, braids or buns; short lace or cotton gloves; high heels, particularly Chanel-inspired pumps or spectators; button earrings;
stacks of bangles and big beads at the neck and wrist in ebony, silver or gold; fringed scarves.
Armani shimmers
In a shimmering, fairy-tale collection, frosted with lace by day and sequined embroidery by night, Giorgio Armani gave his blessing to the new
”bella” look, which he called ”a new feminine dimension.” In a major departure from the sleek style that is his own, the 52-year-old designer once again proved himself the master, distilling the new tender trend to its subtle, sweet essence in a way that made some other versions appear overdone and gross in comparison.
Interpreted in gossamer silk gauze, sheer organza and chiffon and lightweight wools, Armani`s ruffles floated where others bounced, and his long, embroidered lace and satin petticoats swirled gently around the legs instead of standing stiffly away.
In a lyrical collection packed with ideas, some of the highlights included short, soft, shirtlike wool jackets with ribbon closures and satin bindings; double-collared camp shirts with lace-trimmed puffed sleeves;
eyelet-effect scrollwork satin appliques; and dove-gray lace bustiers and camisoles.
Although navy, black and white predominated, Armani also used soft neutrals and pastels, his signature Prince of Wales and windowpane plaids and a bevy of new prints, including milles fleurs and oversized wallpaper florals. Gianfranco Ferre, another of Milan`s big guns, designated his spring collection as ”the opening of a future road,” but it was clearly the road less traveled.
Contrasts from Ferre
In a cool, crisp collection inspired by the Jazz Age, Ferre played the masculine–long, loose vests accented with French cuffs and men`s rep ties
–against the feminine–oversized white pique notched collars, halter tops and short, tight skirts.
Strutting to the big, brassy sound of a live jazz band, Ferre`s models showed off loose, easy jackets, softly clingy jersey dresses and classic pants, all done in tones of black, white, red and gray. For evening, he repeated his shapes in sequins, with the sleeveless vests and cropped jackets paired with long, slim, front-slit crepe skirts.
Gianni Versace also made a switch this season, showing looser silhouettes and romancing the bust instead of the derriere in one of his prettiest collections in several seasons.
Apparently of the ”don`t fix it if it isn`t broken” school, Romeo Gigli, one of the most promising young talents to emerge from the European fashion cradle, left his fans grumbling with a virtual repeat of his last collection. Famed for soft, dreary-colored fabrics fashioned with the simplicity of a haiku, the second time around the collection seemed more like a dirge. Although he beat everyone to the Empire-and-flounce trend, which he repeated in his Callaghan line, it`s too soon for him to become a one-note designer.
Another season like this, and Franco Moschino could be the one to watch. His spring collection, like that of Byblos, was packed with lively, pretty, wearable clothes. —
