“We still use the same Italy factory to make our corset style bra.”They have made them since the 50s of the last century.” Stefano Gabbana is talking about black underwear and bras, Basque, the Dolce and Gabbana SS18 of the separation mark. “When you lost the entire size of the dress, you wore it.”
It was this relaxed, simple, flattering, controlled underwear that first built the house that was too famous for Fellini’s charm, as early as the 80s of the last century, and the customer has asked for it.
“It’s expensive,” joked Gabbana brand, why not include it so prominently over the last few seasons. “We can’t always show it, it will be boring.”But as fashion pictures of 90s supermodel archives and a new body and aesthetics have been held in Milan once, follow-up is timely.
Dolce & Gabbana remain so authentic that their design principles are monotonous, boring, and many insistence. But they have made billions of dollars in the process if creative slogans are now “a singular vision,” Dolce & Gabbana crack formula years ago. Have their own particular Italy women mixed, fashionable and fun, they also occupied the millennials. On the night of the main event, they held secret displays of evening dresses for their young customers. Sunday’s collection is a little bigger – no influence here, just a lot of models.
The program dedicated to the heart of the queen, Gabbana’s mother, always pays homage to him than playing cards, but 106 seems to stick to the long term code that grows in the house. Here is the Sicily widow’s corset style bra, floral prints, chiffon skirt decorated with innocent angels and gorgeous Beaded jacket. But the theme has been incorporated into the new and old impromptu. There are many plants in the Pea Princess Dress prints “said:” the banner of the silk dress. The sun skirt was covered with cabbages, goldfish and cans.
They also offer a gentle alternative to other emerging trends. Fingerprints are more vivid, bolder, worn from head to toe. A crystal, sparkling dress and leggings; some print spandex is the feet of the socks, others are inlaid with sequins.
Sharp eyed viewers will notice that Andrew Bolton, the person in charge of New York Costume Institute of the Metropolitan Museum of Art, sitting in the front row. He sat next to Anna Wintour, who was a minority in Milan, showing only a few. In the retrospective work, as well as the exhibition opening screen (with model preparation still model), all of which show that the design of two people may go to an exhibition space for some weekends, next May in New York.
