Nothing telegraphs the rebellious 1960s like a bouffant, a side sweep of bangs and an extra flick of eyeliner — the beauty look at No. 21.
Each outfit was styled with some jarring or improbable juxtaposition: prim with tough; mannish with femme fatale; couture-like with sporty casual.
Alessandro Dell’Acqua was taken by Swiss photographer Karlheinz Weinberger’s images of the Mod culture in England that highlighted their freewheeling clash of bourgeois and rebel codes.
Hence on No. 21’s spring runway, necks shared space with football scarves and jumbo strands of pearls, chiffon blouses were layered over striped beatnik knits, trucker jackets came over pink lingerie and sparkly dresses were sheltered by big military parkas, just as they were earlier in the week at Burberry in London.
“A strong personality mixing masculine and feminine” was how the designer described his seasonal muse, lauding the “Modettes” for their pioneering way of clashing different fads and fashions in a quest for original and individual style.
The show had a lot of spunk, and it was fun to see Dell’Acqua interpret British clothing archetypes with his strong Milanese hand. You were never sure if his models were dressed for the stadium, a country wedding, or the coolest clubs in Clerkenwell.
The cocktail dresses were cute, cut of heavy satin or golden brocade and winking to Cristóbal Balenciaga’s sack style, but with a drawstring at the hem, and jeweled necklines or shoulders. They were worn with flats, natch.
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