CHRISTIAN DIOR: The Executive Realness
Bling! Kapow! Ka-Boom! If the gorgeous assemblages Raf Simons sent down the runway at Christian Dior could make any sounds other than the soothing sizzle of otherworldly elegance, these are what the collection would sound like: While WonderWoman wore pretty much nothing but a belt and a corvine coiffure to save this world, The Dior woman does not disdain her accessories and scarves while jetting off around the globe to sign this contract or presence at that corporate event. She likes to put her sun-glasses on and wear an incredibly deep moss green structured suit; Never forgetting about her impossibly high position within the company, she also enjoys pairing said look with an intimidating (at the very least) acid-tinted yellow fur stole, because she means business. A long, softly ruffled scarf in magenta that matches her ambition and will power, because she means it for real. You can see WonderWoman and The Dior Woman flying together sometimes; but whereas one flies by magic, the other one flies first class; Champagne at hand.
LANVIN: The Marabou
I hope you are familiar with the notion of ‘Chic’. I am not talking about a random, generalised ‘Chic’, but that ‘Chic’ that you might have seen, sometimes, in movies. French movies, to be exact.
Everyone has a different conception of the terminology but Mr. Elbaz got especially close to what we at Lujon consider ‘Chic’ for the winter season: We think that feathers, in all of their manifestations, are extremely ‘chic’. Always. And Marabou feathers, particularly. We cannot help it but imaging this young, strong independent woman on her way to all this different occasions that might require any of her ‘Chic’ answering calls on her chic mobile phone on her chic taxi: “Darling, please darling, don’t show up unless it’s with that delightful feathered hat of yours. And Darling, darling, darling, please please darling, don’t forget the rest of the whole outfit, darling. I promise I won’t open the door for you if it’s not with that ensemble, darling”.
CHRISTOPHER KANE: The Noir
“You know how to whistle, don’t you Steve? You just put your lips together and … blow.” Lauren Bacall famously taught a few tricks of the industry to a starstruck Humphrey Bogart in 1944’s movie “To Have and Have Not“. In a simple style exercise, just try and imagine the late, great Ms. Bacall acting that precise scene in pretty much every single look from Christopher Kane’s fall-winter collection:
“You know how to whistle…” in the power-shouldered suits in dark brown, accompanied by a somewhat morbid ruffled blouse in what seems to be patent-bin liners. “…Don’t you Steve?” In the multi-layered page-dresses in organza with contrasting borders. Powdery pale pink and this amount of guts, the noir lady that means trouble, with maybe a neckerchief and a holographic top in black. Loose victory-rolls on a side and shiny cracking leather ruffled collars. Cigarettes tokes and lucid pvc, tempested with diamantes. That’s how every night should go down when we’re talking turbid fantasies.
MARNI: The Passe-partout
Milan is a hell of a city; you rush from the office to the quadrilatero back to the office then to a palazzo for drinks. You might want to put the gym into this schedule and there you are, the fine stylistic balance that is usually so well managed start crackling under the unbearable weight of modern living. And then there’s the Marni girl. She gets up and don’t have to bother to bring back to focus the already blurred lines of eveningwear and office-wear and loungewear (yes, in Milan, loungewear is a pre-requisite). She slips into a neoprene dress with a bicolour ruffle sitting on the waist and off she goes. The Marni girl doesn’t have to stop home because she needs to get ready; She was born ready. She puts up a dress that is a skirt but also a jacket but also a dress and she’s ready. Multi-layered raffia and fur and feathers to get through the day? She woke up like this, you should know.
By Matteo Sarti
Originally published on Lujon Issue 2