The Tamesis
from the midsts of his Italian language Style In the archives, Alessandro Dell’ Acqua found a content in which Steven Meisel photographed the late Stella Tennant, her noble coolness contrasting with the Devon countryside. This triggered a cultured accident in his creative imagination: haute nation restriction clashing head-on with the insouciance of French bourgeois bohemian elegant (among his fixations). Everything amounts to a Pre-Fall collection created in a particular stylistic shorthand, where an unusual simplicity is blended with a tip of gloss.
Dell’ Acqua has little persistence for abstract ideas of style. His variation is a well-edited clash of spirited bourgeoisie, sports grunge and cluttered beauty, all gone through by his very own stylistic permeator – he’s been understood to miss stylists completely. This period’s wonderfully unusual mash-ups are rooted in desired day-to-day fundamentals and attract the state of mind of the minute, yet he’s “plainly not thinking about going after any kind of patterns that are occurring.” The lookbook was fired in a lush Milanese home, all opulent mirrors and stucco ceilings; yet within such a grand framework, the collection really felt irreverently light.
Tee shirts minidresses show up completely in tartan bangles; argyle knitwear is coupled with a pleated burnt-flower georgette skirt cut with gold string. The customizing is occasionally brief in Royal prince of Wales check, occasionally in luxurious gold lamé brocade. Mongolian woollen layers, cushioned parkas and loden-cut layers covered in extra-large headscarfs were coupled with beefy chinoiserie knits with lengthy edges “as if they were plumes.” Dell’ Acqua is a master of instinctive and special designing, relatively insouciant yet exceptionally created. Exactly how did he do it? He simply grinned like a Cheshire Feline.
