The visual experiments in the blueprints by Susan Weil and José Betancourt serve as the “incipit” of Gabriele Colangelo’s aesthetic exploration for GIADA’s spring-summer 2018 collection.
Landscape and botanical portraits emerge from staggered, primary-blue-tinged photo images and become the icon of the collection, building a precious imaginaryworld.The tones are pure, whispered. Greys and white hold the stage and gradually make room for diffused tones. Yellow, pink or green is diluted with a touch of white and melds with the warmth of paprika into a picturesque colour gradient. Botanical prints gradually converge on the garments and mimic the shapes of the jewellery.
The aerial materials come to life with each step and enhance the sophistication of the techniques used. Light fabrics like ﬂuid crepe and wool/silk blends are coupled, creating a double-faced effect on the “wing” that trims the ﬂowing, loosely ftting trousers. Architectural pleats run down the skirts offering glimpses of colour. In coats - no matter how rigorous - they add movement, while in the luxurious tunic dress they defne the line. And skirts are literally invaded by them, marked with irregular nappa stripes. Openwork ﬂat ribs rhythmically accent the knits and defne trouser seams, trimmings and hems, while in some pieces the glazing effect adds lustre to the surface and makes them pleasant to touch.
Silhouettes develop vertically and are built on ﬂowing, ﬂuid lines. Colour gradients enhance the vertical development. Skirts fall below the knee or just above the ankle. Trousers are soft, with movement created by a side “wing” and a slit detail that reveals a glimpse of the shoes. The outerwear is extra-long and rounded at the shoulders.
In some garments, structural evolution plays the leading role. The maxi shirt turns into a cotton and silk overcoat, a crepe blouse or an overall dress.
GIADA at Seasons Place Beijing
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