“Alberta Ferretti claimed two things for her show today: She wanted it to be recognizable as her own work, and she wanted it to look authentic. Possibly two sides of the same coin, because if a romantic fin de siècle mood is Ferretti’s default position, she aced familiarity and authenticity with her new collection. 

There were two distinct strands in the collection she showed. The elongated elegance of a Mitteleuropa madame was precisely snared in a column of deep aubergine velvet, as severe as a penitent princess. The dark twinkle of a garnet-beaded black velvet jacket also said madame. And it was such a woman’s daughter whose spirit was captured by the jeune fille flair of a peplumed jacket and a skating skirt. Ferretti said she was aiming for a sculptural quality in her clothes. The silhouettes certainly defined a strong, clear line.”

(via style)

“For Fendi is Italy’s pre-eminent fur house, and fur - in the main at least - remains beyond the pale in Britain.

There were, it is true, plenty of fur-free looks in a collection notable for what Lagerfeld termed its “violent pastel” palette, the Bridget Riley-esque patterns applied to the company’s highly-coveted handbags, and some wonderfully loopy, studded-heeled, Sydney Opera House-shaped shoes.

Nonetheless, even in summer, Fendi will always offer its customers fur. The first catwalk ensemble was an astrakhan and mink coat - its arms dyed with a colourful mosaic check - that came teamed with a handbag from which dangled a dice-like fur cube. And a panelled coat of goat, mink and fox, delicately hand-painted with a colour-splatter relief reminiscent of Martin Sharp’s 1960’s Jimi Hendrix ‘Explosion’ poster, was one of the key closing looks.”

(via style)