Bravissimo! Dolce & Gabbana Find Inspiration for Their Spring 2017 Alta Moda Show in the Opera
by Sarah Mower
This time last year Domenico Dolce and Stefano Gabbana took the stage of La Scala in Milan for their Alta Moda couture show. This time, they took some of the world’s big couture spenders backstage, or rather, on a drive to the opera’s vast, vastf hangar-sized factory in the arty-industrial area of Milan, where the scenery, furniture, costumes, wigs, head-pieces, and makeup are made for productions by an army of specialists. “This place is very magical,” Dolce announced. “We were fascinated when we came here a year ago. We both go to the opera–we’re Italian, drama is in our blood!”
And so, the Spring haute couture collection was an epic fashion production, populated by a hundred imaginary characters, who descended a fake garden staircase built for the purpose. The collection, said Gabbana, was the result of their immersion in the archives, looking through decades of historic costumes from every conceivable opera: Madama Butterfly, Falstaff, La Traviata, La Bohéme, The Magic Flute, Lucia di Lammermoor, and more. “Oh, we came out with our heads spinning!” groaned Gabbana. They didn’t know where to begin with the stories, he said, so after a little pause to think, they both just decided to throw it all in.
After all, Dolce & Gabbana haute couture, like the opera, is no place for holding back on opulence. The more gold, the more sequins, the more fantasy, the more their paying audience—women and men, whole families, indeed—love it. They travel from all corners of the world to take part in the through-the-gilded-looking-glass weekends of themed parties and shows the designers lay on twice a year. And there’s not a towering head-dress, a six-foot wide crinoline, or a pair of glittering hot pants the brand’s friends are shy of ordering for these occasions—and that’s just the mothers.
But now the designers have dynastic designs on a multi-generational cross-section of the world’s super-spenders. “We wanted to look at the daughters of the customers,” said Gabbana. “Who is the next couture client?” They’ve had plenty of young kids in and out of the house since they started inviting millennials to sit front row at their ready-to-wear and men’s shows, and, more recently, to walk in them.
Part of this performance, then, was angled at casualizing couture, styling it out with hand-painted jeans by a New York graffiti artist, ermine sweatshirts, and oversize puffas with double-layered sable collars. For girls who balk at going too frilly, there were men’s suits, borrowed directly from the Dolce & Gabbana Alta Sartoria bespoke collection. Truth told, there was nothing that strayed out of the parameters Dolce & Gabbana set for themselves years ago, when Gisele Bündchen sensationally strolled the boards for them in bejeweled hipster jeans circa 2000. Still, that would come as news to a millennial, who was just being born at that time.
It’s gorgeous, refreshed familiarity that works every time for Dolce & Gabbana, for women of whatever age. Reaching teens and twentysomethings who don’t have access to an inheritance might seem a bit more unrealistic in this day and age. But to look closely at this show, beyond the clothes and the incredible costly techniques, the democratic takeaway was there, readable on every face in the form of the matte berry-colored lipstick worn by all the models. As every millennial knows, the status designer lipstick is all a girl really needs, besides her smartphone.