Winters are all about black, while summers are all white. This was the mood as total white looks made up most of this Spring’s collections. Another prevailing trend was a new wave of Romanticism: fluffy party frocks and prints that were all about ‘daisies and roses’: pale pinks, blues, but also bronzes, soft golds and ochres, adding warmth while flattering somewhat pale complexions. Naturally, brands that use ‘romanticism’ as their trademark were more successful in creating ethereal, refined outfits in finely chiselled fabrics without exaggerating the picnic effect.  On the other hand, usually ‘sexy’ brands, seemed to be having a lot rather than a little trouble tackling with this seasonal trend!
The inevitable, all-time-favourite bimbo style was, of course, present in several collections, displaying kitsch and cheap elements in wild, menacing colours.
Bottega Veneta’s Thomas Maier presented a reasonable collection of well-tailored daywear in clean, straight, comfortable cuts. In a collection of around forty-four models, thirty were completely white, as the designer added touches of colour, convincingly, on straps, belts, bags and shoes.
Gianfranco Ferré’s models consisted in smooth, caramels, browns, old pinks and fine beiges. The discreetly draped and adorned short dresses expressed a simple sophisticated elegance and neatness, while adding a sweet sense of faded – past romanticism.
Antonio Marras‘s spring collection was a successfully romantic interpretation, inspired by Brooke Sheilds in “Pretty Baby” (1978), as all the features of the baby doll style were present: wide-brimmed hats, knee socks, lace, flowers, vintage-looking navy stripes and light transparent dresses in innocent, barely visible prints, mixing ‘cute’ and ‘pretty’.  It was quite surprising to see the models groomed and graced in a style that is both feminine and ‘lively’, while being adapted to their young age.
Prada proposed optimism in grey. Big pony tails and plastic, fluorescent sunglasses accompanied an assortment of misplaced bunny looks in the form of cotton, lycra and silk undergarments. The finishing touches: stone-like incrustations on metallic web-like skirts and shirts, and of course, the essential silver shiny plastic daytime bag, to put candies and lipstick in.
Roberto Cavalli, well known for its beautifully sexy gowns and prints in primary colours, seems to have struggled to create a ‘romantic’ collection this season.  This resulted in too flowery oldie printed shirts and dresses, worn over trousers and under jackets, which added to the general confusion.
This is often the case with ‘elected’ trends, (androgynous, bimbo, rock and now, romantic). As they are ‘imposed’, then stretched and exaggerated to their utmost viable limit until the last bit of freshness of the initial idea or style is ‘exhausted’, creativity stagnates. General trends cause a loss of brand identity as they compete with the companies’ trademark traits. When the romantic era is over, only to be replaced by a contrasting trend, usually romantic brands may feel ‘lost’ or ‘trapped’ into adapting to the new wave, for fear of being outdated. This may cause a ‘gripping’ trend effect, where brands prefer to prolong a ‘chosen’ trend to minimize risks.
Blumarine presented a collection of fuchsia and orange flowered-printed old-fashioned ensembles, yellow leggings, cowboy belts, heavy sandals with big gold buckles and thick fastenings, shiny oversized bling bags, military everything: bags, dresses, shorts and pants (fortunately forgetting the soldier cap), pared with Hawai-styled shirts and accessories: the most loyal bimbo-on-summer-vacation wardrobe ever.
Having a sense of colour and harmonious use of print is a special talent that few own, and many…. lack.
Moschino presented monochrome stewardess suits in basic black, white and blue with classic gold buttons. Going back to its roots with the ‘girly’ attitude, the brand then showed a combination of fluffy dresses: cherries, hearts, and flowers all in different coloured prints and fabrics put together and topped by fine gold sandals worn over thin black tights.
Last but not, in the least, least, Pollini charmingly showed a collection with principals to be aimed at: discreetly referenced newly refined sports chic, destined to attract customers that are neither thirteen, nor sixty. A definite but pale pink and blue, undercurrent in most models, acted as a reminder, an essence of spring, girly and feminine, to be then balanced by dynamically graphic black squares. There is also a timeless effect, achieved through a modern interpretation of che­c­kers as the refined touch is proved by the quality of the silks. 
 
 lkissa@neurope.eu