Both the women’s and men’s lines shared shapes, volumes, and fabrics the same wardrobe staples-blouses, short-suits, and blazers-were often proposed in identical versions for both genders. Lace, macramé, crochet, and embroideries were among the textural couture accents reworked here with a crafty, more palpable “human” touch. What Piccioli is doing in his “re-signification” of Valentino is simply re-writing its codes within the context of a changing world-innovating and modernizing without losing the house’s essence keeping the emotional vibrancy, while being effectively attuned to the beat of today’s intense rhythm. Of course, the language of couture is a fundamental signifier for Valentino. But, as always with Piccioli, his approach was as instinctual as it was sophisticated he’ll go down as one of fashion’s romantic visionaries, able to orchestrate moments of true creative enjoyment, both emotional and visually elevated. The wording could sound slightly highfalutin and self-congratulatory. “I focused on working more on Valentino’s identity than on its aesthetics,” he reflected. “In this moment, sticking to an old mindset for me just wasn’t an option,” he said at the post-show press conference.Ĭhoosing a venue at odds with Valentino’s typical optics, so deep-rooted in couture, signaled the bold stance Piccioli was taking in the re-definition of the house’s stylistic codes-a process he called re-signification. He decided to decamp from the ornate Parisian fabulousness of the Salomon de Rothschild salons for the powerful industrial rawness of Fonderie Macchi, a metallurgical foundry active in Milan from 1936. In a declaration of support for the Italian fashion system and making the most out of the difficult circumstances the pandemic has forced upon us, he opted for an act of bravery-and bravura. It’s a physical store that exemplifies the brand’s ethos, creating a welcoming space for the user.Milan Fashion Week closed with a bang today, with Pierpaolo Piccioli presenting his Valentino collection for the first time here in Milan. The new fit-out is a true realisation of everything Dreamers & Drifters is about. Every piece of furniture within the space has been sourced from vintage stores, adding desirable touches of worn in authenticity. Clothing rails have been fashioned from timber, hanging from rope. Meanwhile, an Italian vintage chandelier takes centre stage. In the change rooms are authentic Zimbabwean flat woven baskets, positioned on the wall as decorative and functional sconces. Lighting is another key feature within the space, including cane baskets, which have been repurposed as light shades sitting underneath the vintage counter. Beneath the rustic ceiling are two large changing rooms with sweeping curves and generous cotton drapery. Elements of hand made can be seen in the distinctive ceiling detail, which is a traditional ‘latte pole’ canopy from South Africa. The floor is rendered in a rich dusty pink tone, layered with natural fibre rugs. Soft, natural colours and materials have been interwoven with vintage materials. The design of Dreamers & Drifters is all about expressing the identity of the brand, from the clothing through to the interiors. Principles that all draw on Verity’s South African heritage. Dreamers & Drifters is defined by its femininity with an adventurous and an authentic core. The whitewood team worked with Verity to distil the meaning and vision for her store, bringing it to reality through a rich material palette and thoughtful details. Dreamers & Drifters creates exceptional clothing featuring beautiful materials such as organic cotton and bamboo. It was here where she discovered a love for natural textiles and fashion. The owner, Verity Joy Wilson created the brand, drawing on her heritage, having grown up in Namaqualand, South Africa. Dreamers & Drifters is a clothing boutique in Byron Bay full of heart and soul.
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