{"id":197660,"date":"2019-01-14T03:21:41","date_gmt":"2019-01-14T08:21:41","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=197660"},"modified":"2019-01-14T03:21:41","modified_gmt":"2019-01-14T08:21:41","slug":"john-richmond-returns-to-milan-with-co-ed-collection","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2019\/01\/14\/john-richmond-returns-to-milan-with-co-ed-collection\/","title":{"rendered":"John Richmond returns to Milan with co ed collection"},"content":{"rendered":"
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The designer said his exhortation to reuse, recycle and reduce is not a one-off for this season. \u201cThis is a theme forever,\u201d he said. (File Photo<\/a>: @officialjohnrichmond\/Instagram<\/a>)<\/figcaption><\/figure>\n

MILAN \u2014 Nowhere is the transition in the fashion world more evident than during the menswear preview shows in Milan taking place on the second of three days Sunday.<\/p>\n

Only in Milan does three days make for a Fashion Week; the Paris menswear calendar claims a full six days.<\/p>\n

Designers cite a breakdown of fashion world rules. A strict four-week-a-year cycle once guided fashion capitals, covering menswear and womenswear and the spring\/summer fall\/winter calendars. Now, designers are deciding to invest elsewhere to grab consumer attention.<\/p>\n

Gucci and Giorgio Armani are both skipping the menswear cycle for next winter in Milan and offering co-ed shows in February, while maintaining a presence this month with other events. Armani opened an exhibit at his Silos museum of portraits by French photographer Charles Freger. Gucci is hosting a performance on the closing day at its Gucci Hub.<\/p>\n

Highlights from Sunday’s shows:<\/p>\n

\u2014\u2014\u2014\u2014<\/p>\n

RICHMOND RETURNS<\/p>\n

British designer John Richmond marked his return to the Milan fashion calendar with a co-ed collection featuring dark military looks for men and elegant 1940’s starlet-inspired dresses for women.<\/p>\n

\u201cIt is almost two collections. I am not trying to do one thing that works for men and for women,\u201d Richmond said.<\/p>\n

Richmond embroidered Japanese tableaus on recycled military garments and bags for men and decorated recycled Levi’s with sequined wings across the hips for women.<\/p>\n

\u201cWe don’t have to make more jeans. There are already so many jeans in stock,\u201d he said.<\/p>\n

Women’s dresses were extremely elegant, with pointy shoulders, deep V-necks and asymmetrical mini-hemlines. Richmond designed wedge boots with fringe detailing for women.<\/p>\n

For men, he stuck to the tried-and-true Doc Martens footwear.<\/p>\n

The designer said his exhortation to reuse, recycle and reduce is not a one-off for this season. \u201cThis is a theme forever,\u201d he said.<\/p>\n

\u2014\u2014\u2014<\/p>\n

SUNNEI GROW UP<\/p>\n

Sunnei, the 4-year-old brand founded by Italian Simone Rizzo with French designer Loris Messina, is growing up.<\/p>\n

The brand’s first fully co-ed collection featured an oversized wintery silhouette, with enveloping knitwear, sophisticated layering and entwining scarves, clashing at times with body-hugging dresses.<\/p>\n

\u201cAbove all, we stopped being too nice,\u201d Rizzo said backstage. \u201cThere was always this vein of sarcasm. We said enough.\u201d<\/p>\n

For women, a pretty sky-blue shirt cinched at the waist and featuring a sheepskin turtle neck was worn over a grey Bermuda-length skort. With cold weather in mind, the pair layered pants under skirts. One silver sequin skirt was worn over lightweight wide-legged trousers, with a lemon yellow Henley top.<\/p>\n

Menswear included a dramatic, oversized white cable-knit tunic with leather sleeves and detailing, worn with trousers cinched at the ankle.<\/p>\n

\u201cThere aren’t even slogans or mottos (on the garments) anymore. In fact, there is a beautiful plain white shirt that symbolizes the idea we have now, \u201c Rizzo said.<\/p>\n

The collection also featured tailored outerwear for both genders. Looks were finished with double beanies with ear covers, leather and PVS bags and proprietary sunglasses.<\/p>\n

\u2014\u2014\u2014\u2014<\/p>\n

MSGM SPEEDS UP<\/p>\n

Massimo Giorgetti dedicated his menswear collection to race car drivers, showing vivid prints of flames, driving gloves and jumpsuits.<\/p>\n

Quoting former race car driver Mario Andretti, Giorgetti’s invitation advised: \u201cIf you have everything under control, you are not going fast enough.\u201d<\/p>\n

Flames licked at the ankles of jeans worn with a turbo-emblazoned white T-shirt, then exploded on to a shirt-cut jacket and trousers. A Fair Isle knit blurred from orderly zig-zags and diamond-shapes into speedy waves, tucked into red leather pants with black stripes.<\/p>\n

Giorgetti’s double-breasted overcoats weren’t so stuffy they couldn’t be worn with a hoody and layered with a furry parka. Bombers and overcoats featured manga cartoon prints. Washed-out denim jackets came lined with lambskin and paired with matching jeans.<\/p>\n

Giorgetti, who often takes inspiration from his native Italy, also celebrated Europe with the words Eur-Hope quilted into leather jackets or emblazoned on knitwear.<\/p>\n","protected":false},"excerpt":{"rendered":"

MILAN \u2014 Nowhere is the transition in the fashion world more evident than during the menswear preview shows in Milan …<\/p>\n","protected":false},"author":44,"featured_media":197661,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-197660","post","type-post","status-publish","format-standard","has-post-thumbnail","category-fashion-and-beauty","mauthors-colleen-barry","mauthors-the-associated-press"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/197660","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/44"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=197660"}],"version-history":[{"count":0,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/197660\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media\/197661"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=197660"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=197660"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=197660"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}