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”I’ve seen very classic things around, but we like to take risks and propose new things,” Christian louboutin said backstage.
”The key shape is very narrow on the body, and then it’s T-shaped, which means the shoulder is larger and more comfortable. The cape is very practical, instead of an overcoat over slim suits. There are many fabrics that look like fur, and many furs that look like fabrics or wool.”
Donatella Versace fell in love with a preacher man for her muse — namely, the Pope’s secretary,Cheap Christian Louboutin, the impeccably austere German priest Georg Gaenswein. Her collection of long-line jackets worn with clerical collars was designed for an ”austere, severe and ethical man” — although Versace was quick to add that she did not like bigots.
Florentine designer Roberto Cavalli showed his designs to the strains of an American evangelist preaching to his flock. Seventies-rocker drainpipe pants were jazzed up with elaborate black tuxedo shirts, painted with birds at the back and decorated with sequins and ruffles at
the front.
Calvin Klein designer Italo Zucchelli showed a stark, modern collection, featuring collarless, square-cut leather tunics with elastic-waisted trousers in city shades of stone, cement and steel. A wet-look parka in traffic-stopping yellow seemed wrapped in plastic.
”I design for a man who does not want to look as if is he is in costume,” Zucchelli said. ”He wants to play a bit and mix styles, like classics with sportswear. I’ve mixed traditional fabrics, like cashmere, with high-performance textiles that come from sportswear, and used them for formal wear like tuxedos. It looks very modern and slick.”
British brand Burberry Prorsum, which sparked the silver craze in its last summer collection, banished the bling from its winter line.
”I wanted it to be a little more grown up, a little more sophisticated,” explained creative director Christopher Bailey.
Burberry’s trademark trench coats were given a luxurious makeover, with versions in brown rabbit fur resembling vintage velvet, glossy shaved mink and sky-blue shantung silk. Chunky, oversized cardigans were worn like overcoats, and fluffy fur mittens looked as big as boxing gloves. ”You always have that element of whimsy, that British sense of humour in there as well,” said Bailey.
His countrywoman, Vivienne Westwood, certainly gave her audience a good chuckle. Even her models struggled to keep straight faces as they strode out self-consciously in sparkly sequinned budgie-smugglers (worn over grey longjohns), pink crocheted cardies and harem pants. A bloke wearing high-heeled, lace-up gold ankle boots brought whoops of delight from the Japanese buyers in the front rows.
Valentino Garavani, the terracotta-tanned Italian designer, was having none of it. ”Enough with extremism and scruffiness!” he proclaimed backstage, after showing slick suiting in gunmetal greys and naval-officer white.
”I wanted to bring back to the catwalk a man who is very stylish and refined. The white shirt with a divinely cut jacket is the uniform preferred by working men.
”In the real world, men want to wear beautiful clothes.”