A Crisis That’s Bigger Than Any Replica Handbag

Outside the Versace show, a television reporter with the cardboard gaiety of a game-show host stuck his microphone in the faces of departing — make that fleeing — guests. “Did Donatella have a great show? Was it beautiful?” Farther along the crowded pavement were more desperately wagging mics: “How did Donatella do tonight?” “Tell us, was it optimistic?”Louis Vuitton replica handbags

Was it optimistic? What makes people think that a $3,000 dress with a rash of zippers at the neck can take peoples’ minds off an economic crisis or their children’s shrinking college funds? Even if Ms. Versace’s collection on Thursday night was good — just to deal with the concerns of the totally clueless — it wasn’t that good.

While the Ginger Rogerses of the media were dancing away on the sidewalk, some of us left the Versace show — and the Italian spring collections, which ended that evening — with the sense that everything had suddenly come off the rails Chanel handbags.

People in fashion have an incredible tolerance for the absurd. We see the super-bad hair at Fendi (visualize, if you will, a collection of trolls on a sunny windowsill), and we think, “Oh, that’s just Karl Lagerfeld: he’s having a conceptual moment.” Then we train our attention to the ingenious laser-cut cottons, the Mittel Europa dream, the refusal to follow any known trend; and, OMG, those fab shoes with the black suede heel set in relief against a white patent-leather wedge.

And that’s the way fashion is supposed to be: vital, engaging, indescribable and, above all — and until the last socialite strangles herself on her handbag — individually minded replica handbags.

But now one just felt an emptiness, not merely a shallowness or a boredom. (Boredom can actually inspire an interesting look, as Marc jacobs and Miuccia prada have shown.) There was the dinner on Wednesday that Diego Della Valle, the chief executive of Tod’s, gave for Gwyneth paltrow . She had agreed for untold amounts of money to appear in a six-minute movie called “Pashmy Dream,” so named for a handbag that is actually the star of this little blooper. And before supper was served, guests watched an Oscar-winning actress play, well, a celebrity who has a handbag crisis in Rome.

It is rare but not impossible to think of a fashion event in terms of morality and a surrendering of self-respect; this was one of those times. The film was astonishing in its take-the-money-and-run cynicism. Maybe it should be called “Cashmy Check.”

Ah, well, there’s always the image of three former runway hoofers squaring their shoulders as Charlie’s Angels to cheer you up. That’s how Dean and Dan Caten opened their Dsquared show on Thursday. It was bluntly silly, but the collection offered some great-looking denim as flared trousers and tailored three-piece pantsuits.

At Gucci, Frida Giannini was all business and very little play. Although the collection felt more merchandised than designed, with rather too many boyish pantsuits on the runway — and in shades of aqua and marine blue that tipped toward consumer packaging — Ms. Giannini provided a lot of good, unpretentious clothes that will probably feel right to shoppers next spring.

The most appealing looks were snug safari jackets in cotton twill with wrap miniskirts, tunics and poncho dresses in olive silk with zips and drawstrings, and a soft boss-looking python jacket worn with tropical-print jeans. The bags were big and easy, a reprise of Gucci’s Jackie bag from ’60s — but the collection needed more specialness Louis Vuitton handbags.

It’s always fascinating how everyone seems to know that one thing will be in fashion and not another. MaxMara opened with silky sleeveless jumpsuits over white tank tops. One long dress suggested an apron — a trend this season. There were friendly pantsuits in cotton made casual with the details of painter’s pants. Bouquet prints came with cute matching clogs.

Consuelo Castiglioni’s Marni show was wonderfully tone-deaf to everything else going on — and more so than usual. The collection opened with some unfortunate layers of chiffon and organdy, including trousers; as a take on transparency, it seemed old hat. But then Ms. Castiglioni sent out cool, crinkled ponchos and loose trousers in Day-Glo colors, with other outfits composed of circle-patterned layers. The colors were intense and magical, based on the work of Peter Blake, and finale pieces made of densely packed pleats of chiffon exuded the pleasure taken in constructing them.

The editors leaving Ms. Versace had really nothing bad to say to the waiting cameras, and it may be that the television interviewers didn’t know what to ask. That’s the problem: an extreme unrelatedness. And despite her best intentions to deliver feminine, exceptional clothes, Ms. Versace seemed instead to spin round and round her mirrored runway. There were some new shapes, like day suits in textured cotton with slightly belled miniskirts. And Pop Art prints with underwater themes were classically VersaceLouis Vuitton handbag.

But the curls of zipper-edged fabric, some twisted into heart shapes, didn’t really lend anything material to the clothes, although there were a great many of them.

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