Monsieur Lagerfeld did not disappoint Fendi-lovers. Nor the rest of the industry for that matter. How could he, with the inspiration drawn from the famous Palazzo della Civiltà Italiana and its “Square Colosseum” architectural formation for the spectacle’s set and muse? Mussolini would have been very proud. The fusion of fashion and architecture is a one too familiar for the recent years, yet Fendi’s addition of a 70’s twist were the extra spices that made the silhouette’s sculptural and entwined details much more flawless. Once Cara Delevingne made her Fendi entrance, how evident it was the collection will be exquisite in craftsmanship and immaculately detailed as per Fendi usual. The portrayal of Lagerfeld’s fashion fused with Roman architectural inspiration was as avant-garde as Mussolini’s Palazzo’s interior.
For those guests receiving invitations, the Orchids was a giveaway, appearing as 3-D appliqué’s as stylized prints on leather hair ties, leather boxy jackets and shorts and trapeze shifts. Fluid ankle-length knife pleated organdy skirts too made the spotlight, with additional stripes at the hem and suede jackets with middle sections razor, sliced into ribbons and varnished in pure white gloss. However, those are Fendi expected. What was something of out of Fendi norm was the first ever emergence of denim. Fendi delivered state-of-the-art denim to a whole other level, in shapes of jodhpurs and slouchy tracksuit trousers, absolutely polished with matching shirts and cut-off jackets. Even so, movement was the cherry on top – as the Fendi ladies strutted, one could not deny the fast-forward graceful act of the streamlined effect on the seamless structures of the pieces.
Lagerfeld needs no advice, as he is the front-runner to next Spring/Summer’s modern statements. It would not have been a Fendi manifestation without himself being in the runway, would it, Mini Karlito? (Text Nadilla Sari Ratman)