The collections of Loro Piana’s presentation were seated much more interestingly than the lookbooks of men and women. Recently shown in the galleries of Palazo Caterio recently opened, their colors, textures and silhouettes were set within the walls hanged by Bokoni, Picasso, Kara, Morandi, Modigliani and more. It was quite frightening, and was border, to suggest that these clothes could create their own grip in conversation with the canon of abstract modernism.
As a light chat instead of a heavy dialogue, however, clothes conduct themselves completely well. Pith helmet-esk hat-which looked like a Kashmiri-Silk Blend in an off-pink microchack, also appeared in a suit-a brush-cotton country check shirt and a knotted pel foulard, having both colors and forms, strangely, bursting both. A very beautiful marine-blue patch-packet with field coat, combined with leg trousers, with a beige Beni, looked almost unfavorable against Picasso’s 1942 Testa de ToroAnd so on.
Really art was not really what we were here to think. In womenwear, the season’s silhouette was long and relatively darly-staded, which was mostly set on flat shoes, but swollen was bag by a causal hat. The soft musli tone consisted of shawl-collagers in sewing, which were low, double-breadd cash-silk blossons and silk woven summer tweeds. Floral, water color and sea motifs were painted in printed fabric and coat. The levels of dyed silk strips had some coniferous hats and loose pants.
Loro Piana’s Menswear seems more confident in a lane whose destination is assured. The outerwear is consistently beautiful, although sometimes it suggests that it feels like a minor incompatibility between the preciousness and nobility of the materials used and the utilitarian it often does it. The tailoring was cut into a light loose silhouette, with both a single-end double-breadd jacket with both the cousin and shawl lapels in several juicy fabrications. Loro Piana also presented a “library” of the knitting: sixteen shades of Kashmiri, designed as a palette to be built in the wardrobe.
As usual in Loro Piana, most of the pieces took out the beggar of neutrally delicious prosperity, which sometimes moved towards the old money cosplay. To generate a more powerful response, either or against him would require specific and expressed as an approach, as expressed through the artifacts that were determined around which these collections were determined.
