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With Paris fashion week the round of presentations, with which fashion expressed about what we will wear next spring and summer, just ended. It’s always interesting to see how many different interpretations often flow in a common inspiration, which this season has seen the clothes designed as in a study of architecture, bent to a supreme entity, that of the geometry. This discipline, in its purest sense, has transformed the catwalks of London, New York, Milan and Paris in the arithmetic notebooks that we used to bring to school, with guided lines to give the vision of the fashion that will be. There are those who explored the curves, as Vionnet providing models with oval belts of mathematics warriors, or Christopher Kane, that includes sophisticated evolutions on the cocktail dress neckline, via of course the mastery of Dior, whose long skirts draw large hyperbolas. The angle is protagonist of more squared-off inspirations, colorful in Matthew Williamson’s prints, also guiding the cuts, more functional in Issey Miyake’s complicated constructions, where by decorative pattern they becomes study tool for creating shapes and unexpected movements of the garment. Super precise lines, to the extent that Prada shows them off with contrasting profiles on dresses and overcoats, to invoke the x and y of a perfect Cartesian plane, synthesized in vertical and horizontal graphics of Giambattista Valli. The z is not forgotten: it crisply cuts the clean silhouettes of Maison Martin Margiela’s suits and Marni’s long shirt, up to build important flaaps on Osman’s tops. A return to graphic design that finds in a pencil sign the most sophisticated decor and seeks, in design, the structure of elegance.