Fshion Avenue: Fendi, Sprin 2022 Ready – To – Wear

‘It allows a girl to glide’. Kim Jones made this observation of Modymann’s Shades of Jane, the house track he said he’s long wanted to use in a show after saving it specifically for womenswear. Jone’s comment also applied more broadly to a collection in which a bass line of rigorously curated, classically – flavored silhouettes and color progression was played against an irresistible decorative sample of archive Antonio Lopez illustration. This was mixed into the fabric of these clothes and accessories via the radically accomplished artisanal techniques that live at the house of Fendi.

The models glided out from a newly – configurated backstage – where the vibe was light Covid – 19 regulations strictly observed – down a runway whose arches echoed the house’s Roman home, the Palazzo della Cicilta. Other points of continuity included the white – to – black color progression that acted to sandwich the riotous Lopez – focused central filling, and the creative collaboration of Silvia Venturini Fendi and Delfina Delettrez Fendi, both of whom Jones at the close.

Even the big reveal of this collection, the decoration, was not a u-turn but a return. Jones said he had dug up a Fendi logo drafted by Lopez during his period of collaboration with Karl Lagerfeld. Said Jones of Lopez: ‘He was a big, big fashion influencer for a lot of people, but is not to talked about. He had this relationship with Karl and with Fendi, and he helped shape so many strong visions of women, because he loved them: that feels very authentic and topical’.

The illustration drawn from the Lopez estate’s achieve originated, Jones said, as the 1960s transitioned into the 1970s. Here his work was introduced via oversized brushstrokes, then zeroed – in upon via one particular drawing, a rouge – lipped profile of Jane Forth that was abstracted into the pattern that contoured four vivid intarsia and jacquard looks. Color became more impactfully calorific as further illustrations of wavy – haired and cherry – lipped rainbow – framed women were worked into kaftans, a fringed tapestry – woven Baguette, intarsia leather thigh – highs and silks. Plexiglass jewelry bu Delletrez was shaped in gold – edged transparent lily leaves, another Lopez signature.

Manu looks remained illustration free, including some Moodymann – perfect, bouncily – fringed dresses and a series of diagonally – striped silks (which featured that achieve Fendi logo as a sub – pattern) and a complementary marabou jacket over rose gold tailored silk pants. Yet even without the figurative signposition, these looks echoed the aesthetic of the period in which Lopez was working, and seemed further to echo a period (and in Erte, an illustrative style) stat to an extent prefigured it. Or as Jones observed: ‘There was the 1920s, the 1970s, and now the 2020s, these fifty year periods. And the 1920s is when Fendi was founded, so it all rolls into one things’. Continuity: It allows a girl to glide.