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by Hilary Alexander
An Antonio Marras show is never just about fashion; tragedy, art and drama are always interwoven into the presentation of his collections at Milan Fashion Week. Every season, the passionate Sardinian stands apart from his contemporaries for the sheer theatrical intensity of the inspiration which imbues and inspires his clothes.
This week, Camille Claudel, the sculptress and lover of Rodin – who spent the last thirty years of her life in a mental institution, where she died, broke and alone – was the tragic “muse” who provided the starting point for his designs.
The curtains at the back of the catwalk swung open as the lights dimmed to reveal an artist’s studio, complete with easels, statues, busts, draperies and tools on wooden stands.
Everything referenced sculpture from the palette of ghostly greys and whites – as stark and cool as marble – to the intricate collage of embroideries, beading, lace and appliquéd, silken flowers which formed a 3-D relief on the delicate coats and dresses.
An acanthus motif, rendered in gold and beige, was a recurring theme on soft, silk chemises, zouave-trousers and skirts. The clothes floated and flowed in the manner of the draperies swirling about a nymph, darting through Arcadia.
Smock dresses in grey tulle, fell to the knees from a high collars encrusted with silver beadwork. A “boule” top, embroidered with silver sequins, was paired with graceful, drawstring trousers in grey crepe. A grey cloak was embellished with roses in soft pink and silver.
There was a 1920’s feel to many of the dresses – a favourite Marras silhouette – which were loose, sleeveless and with dropped waists, teamed with metallic-knit cardigans or worn over trousers.
Softly-tailored jackets in cream were worn with layered tulle skirts and narrow cigarette-pants in sheer cream chiffon; a nod to the transparency theme which is everywhere on the Milan catwalks.
The colour palette moved into vibrant pinks and deep jade greens, perhaps an indication of Claudel at the height of her artistic powers; a simple V-neck shift featuring a cluster of silver silk roses on one shoulder, a paler green tulle drop-waist dress shown with a cardigan-jacket made from a patchwork of lace and beading.
Then came the dramatic parade of black – capes, camisoles, long gowns and petticoats, all in an intricate mix of fabrics and handwork, detailed with soft pleats, ruffles and flounces, embellished with chiffon flowers and sparkling with sequins.
As the last model left the catwalk, a spotlight fell on a Greek statute which formed the centre-piece of the set. There was silence and, then, without warning it suddenly tumbled to the floor. The applause which followed was as loud as the crash as the statue shattered into a thousand pieces.
Re-entering the noise, bustle and chaos of traffic and people during Milan Fashion Week was like being awoken from a dream.
telegraph.co.uk
What is Antonio's inspiration? Anyone knows?
