After the most important fashion weeks of the season, we can start trying to draw conclusions both on the fabrics that have been seen parading on the catwalks and as has already happened for several seasons, on the multimedia shows that have been possible to access remotely.
It would seem to be possible to say with certainty that the fabrics characterized by large patterns are in sharp reduction both as regards Jacquard weaving and for the world of licci. Very few Scottish-inspired square motifs, tartans, plaids, and overchecks were seen. There remains some false "Principe di Galles" ofreduced size compared to last season which, curiously, is accepted even when it contains non-divisible ratios for the armor thus producing bizarre color effects that tend to break the harmony of the composition.
On the other hand, the "vertical" taste is very present, not only intended as a "regimental" or "boot stripe" line but in an atmosphere of African ethnic inspiration.
The fabrics of the African tradition
Vast is the African textile culture that is expressed at the highest levels in the dyeing techniques “Wax”, imported in the middle of the colonial era by the Indonesian fabrics "Batik" and "Ikat", which represents an octimor spuntor inspiration for high-end polychromatic “stampati”. Without forgetting that in the orthogonal weaving you can find a series of fabrics characterized by specific identities both for decoration and for the territory of production.
Trying not to reduce the different aesthetic cultures of the continent to a single set of adjectives, I would like to point out that among the inspirationscoming from Western Africawe have seen Jacquard with Bogolan taste, an ancient Malian fabric originally dyed with mud; Adire, from the typical indigo color obtained from the tree of Elu and Kente, traditional of the Ashanti people and composed with the ritual colors blue, red, green and yellow.
Because of their verticality, all these fabrics differ sharply from those coming from the archaeologicalterritories overlooking theIndian O ceano, such as the "Shuka" and the "Kikoi" which have textured motifs.
Marni e Kenneth Ize
It is impossible to talk about African atmospheres in fashion without mentioning Kenneth Ize, the designer with his recentdebut on the catwalks andwho immediately attracted the attention of professionals, so much so that he developed the first capsule collection for the Karl Lagerfeld label just after the death of the legendary founder. The garments of the show, partly made with handmade fabrics through the "Aso oke" technique and have become one of the distinctive symbols of the Nigerian designer, have been combined with fabrics made with industrial technique and finished in Italy, thus succeeding in this way to mix the feeling of the "Couture" hand with cottons rich in summer colors and decorated with pleasantly asymmetrical patterns, with an almost random appearance but with a clean and balanced final result.
Another collection very inspired by vertical taste was that of Marni; Francesco Risso and his group built a surprising show that involved guests and artists invited all to wear recycled cotton broken, hand-painted with colored stripes.
This effect gimmick seems to have been studied in order to create a continuous and inseparable succession between the public and models on the catwalk. In the fashion show of the collection the lines have been interpreted in many different ways, as if to define figurative trajectories, aligned and traced by blocks of color, in perfect continuation with the style of the fashion house resulting from a research that includes nature, music and art and defined by a wide use of references to visual culture, rich in color, of African origins.
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