Saturday, May 13, 2017
Marco de Vincenzo Resort 2017
A certain proclivity for geometry, anything under the Marco de Vincenzo umbrella is by definition unconventional (the larger than life fur coats, the shoes and claw handbags) and yet the composition is somewhat restrained. It all seems very reminiscent of filmmaker Stanley Kubrick, whose work exists in perfect symmetry while revealing so much about the violence and horror of the human psyche. Now those are unrelated to Marco de Vincenzo, the first thing that came to mind when clicking through the Resort collection for 2017 was The Shining. The pale complexion, dark and limply hanging curls and shades of palest red. The clothes a character wears tells us something about their class, what they think of themselves and indicates how they might interact with other people. It makes sense, therefore, that Wendy Torrance is not dripping in fabulous Italian clothes, high heeled shoes obscured by velvet braids, marabou feathers or delicate threads. What I’m suggesting is the mere fantasy of boots clicking down hallways, heavily sequinned slip dresses worn by heroines wielding baseball bats and the swish of ruffled hemlines during heart-racing pursuits.
The brunette who started this descent into apparition-seeking craziness is none other than a model de Vincenzo scouted himself, fittingly while both parties were strolling through an art gallery. Held in a secluded courtyard in a Milanese palazzo, she is of course Italian (and the artist showing at said exhibition was Sol LeWitt). Slightly offbeat, she is as much a part of the Marco de Vincenzo universe as a rich variety of fabrics and textures. Among them are traditional cottons, poplins and chiffons– but then there’s the more experimental materials, i.e. the jacquard, Japanese chintz and transparent velvet voiles. While some artists, for example Kawakubo redefine the shape and silhouette of clothes, de Vincenzo adds volume through folding, fringing, asymmetrical layering and pleating. Visually, it’s like a game of hide and seek trying to find where one piece ends and another begins, creating an overall very light-hearted and playful movement able to capture whatever light fills the room. It’s for that reason I’m slowly becoming consumed with the Marco de Vincenzo archive (and yes, stalking where to buy pieces from season’s past online, and preferably on sale).
In truth, a recent obsession with ghosts (blame Melissa McCarthy and my housemate Grace) has given me a new, and at times unwanted, way of viewing the world. The white-washed hallways, occasional painting and speckled floor, although complementing the clothes, are somewhat spooky and eerie. They do however, make the fringed mules even more obvious they’re bright electric blue threads are like small bolts of lightning, frozen in time. The textured platform boots are another show-stopper, emulating the woven technique Loewe has become famous for (second to their range of elephant purses and the increasingly popular puzzle bags) and pushing the limits of modern footwear. While heel concept has been a hot topic, I think it’s much more exciting to reimagine what a shoe looks like overall, rather than focus on specific aspect, or in some cases, lack thereof. Crazy shoes were kept in check and paired with rather constrained outfits, which, with a snip here and cut were given depth and a life of there own. Remarkably, these pieces also look very cosy, whilst also being suitable Resort wear. It seems like such an abstract concept these days, with many designers, Marco de Vincenzo included, reinterpreting Resort and imagining it under the guise of their own label. In this case, statement coats and dazzling red carpet worthy footwear remain the centre of attention.