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Milan’s new woman is gothic to the core, says Verity Hogan

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Opposite: Backstage at Dolce & Gabbana autumn/winter 2012/13

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Above (from top): Dolce & gabbana accessories autumn/winter 2012; Dolce & gabbana autumn/winter 2012

When the fashion editors take

their front-row seats in Milan

each season, they have shared

expectations: sexy, sleek and high

octane creations that exude extreme glamour

and vampish sensuality. But for autumn/winter

2012, a new mood was evident throughout

the Milanese collections; the city’s designers

embraced their darker sides and sent a series

of attitude-laden models sporting black, gothic

gowns down the runway. Miniskirts and spangles

have gone – this look is not for the fainthearted.

With neither D&G nor Moschino Cheap

& Chic on the catwalk this season to provide

their customary playfulness, trends were largely

dictated by the other fashion powerhouses who

dabbled in serious seduction and a palette of

pewter, aubergine, blood-red and ‘bruise’.

Gucci, Versace, Alberta Ferretti and Dolce

& Gabbana were frontrunners in the trend,

entrancing the crowds with their poetic

interpretations of winter darkness and

dramatic romance.

The sheer, flirtatious fabrics of summer

were replaced with dense, treacle-thick velvets,

Even Alberta Ferretti’s luxury jewel tones were toughened with strips of leather, while Dolce & Gabbana provided a baroque feel with rich gold

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Above: Backstage at gucci autumn /winter 2012

brocade and chunky knitwear. Frida Giannini

at Gucci stepped back a decade from her 1920s-

themed spring collection and referenced the

strict confinement of early 20th century

Edwardian clothing: covered-up silhouettes,

high necklines and restrained frills, teamed

with structured jackets and utilitarian, flat

riding-boots. This uncompromising theme

continued as even Alberta Ferretti’s luxury

jewel tones were toughened with strips of

leather, while Dolce & Gabbana provided

a baroque feel with rich gold.

Donatella Versace led the way with

Medieval-style religious iconography at the

Versace show: gothic and grunge united with

a recurring crucifix pattern sparkling with

red and green gemstones set against dark

backgrounds and, in the collection’s final

flourish, full-length gowns were presented with

waist cut-outs and armour-like metal plating.

Hair and make-up at the shows were also

in stark contrast to spring’s dewy, natural look.

Styles were severe: Dolce & Gabbana confined

their models’ locks into neat and intricate buns,

bedecked with jewelled headbands. Versace’s

long bob cuts and bleached brows threw focus

onto the eyes. Leading make-up artist Pat

McGrath layered eyelids with black cream

Above (from lef): Versace autumn/winter 2012; backstage at Gucci autumn /winter 2012

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shadows, and employed harsh liquid liner

and dramatic long-length mascara.

Despite all this, the designers at Milan

stayed true to their roots, seeing their collections

as a modern re-interpretation of their trademark

themes. ‘I wanted to express a new idea of

feminine seduction,’ said Alberta Ferretti in her

show notes. ‘A seduction that I have imagined to

be more resolute, stronger yet more fashionable

and with personality, and also determined by

mystery.’ Frida Giannini expressed a similar

motivation: ‘This is modern-day romanticism.

A dramatic sensuality, a dark glamour, with

subtle tones of provocative intellect’.

This is a logical progression of the

Milanese vamp look and designers appear

to have been inspired by the season and by

the economic and social climate throughout

Europe. They have been drawn to a darker

form of romance and seduction – and the

effect is entirely womanly and sophisticated.

International designers have also taken a cue

from modern music and fiction, where the

darker side of romance and strong heroines

have come to the fore: look out for razor-sharp

cuts, in the style of Lisbeth Salander, the goth

heroine of the Stieg Larsson film series

in the shops.

This isn’t to say that glamour is lacking

this season; instead, it is less obvious, but can

be found in the glint of amber-toned jewels or

in the shimmer of velvet. Milanese style will

always act as a love letter to women, which is

why so many of the silhouettes in hourglass

shapes flatter the feminine form, while

waist-enhancing styles and sheer panels add

a seductive, flirtatious element. Whether it’s

with punchy, rock-star attire or loose gowns

fit for a contemporary Anna Karenina, embrace

the night this season PH

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