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Riveria Tripping

In comparison to previous seasons, where Missoni’s riot of pattern has been combined with dramatic shapes (such as the breezy flamboyance of SS15), this season was more tempered in its approach to cutting. The stalwarts of the knit world were all accounted for: Talented Mr Ripley polo shirts (and many pieces with, at the very least, polo shirt collars), unstructured jackets that blurred the cardigan/jacket divide, semi-sheer cover ups and knitted dresses – often sleeveless – came thick and fast.

Printed Swimmers

It wouldn’t be Missoni without print. That’s no understatement. So worry not, their characteristic zig-zags were thrown together with plenty of LSD-nautica in the form of brightly coloured horizontals, not to mention the African inflected prints that were cut into swimsuit style pieces which left lots of skin on show: appropriate for such a warm-weather collection.

Stripes on Stripes on Stripes…

It’s probably safe to say that only Paul Smith matches Angela Missoni in the love-of-stipes stakes (and even he withdrew his trademark multi-stripe a few years back). Yep, stripes were the main takeaway from this season. They came on almost every garment that was shown, including sandals, Converse, and dresses that had a ribboned effect – in which sheer alternated with solid for a billowy sea-side vibe. In other words, it wasn’t a revolution for Missoni. But with this much loudly-patterned history behind them, why should it be?

WORDS: Benji Walters

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Missoni Menswear SS15 was another offering of the fashion house’s signature raw refinement, delivered in an eclectic, most covetable package.

Building the foundations for the collection we saw Intarsia knitting, layered with with intricate detailing on everything from shawls and cardigans to shoes and scarves.

Stand out pieces came in the shape of an asymmetrical waistcoat hung on the body of an otherwise topless model. And of course the signature Missoni zigzag was featured on suits, worn open and relaxed on sockless, shirtless models, whilst suede deck shoes, leather brogues, and woven sliders were the footwear of choice this time around.

Oversized cardigans were peppered with diamonds, plaid and fret motifs, paying homage to the reoccurring Missoni theme. The muted tones of greys complimented with browns, and aubergines zigzag with reds, and a curveball colour choice of of turquoise, that features on a chunky scarf and a suede jacket.

Once we managed to tear our hungry eyes away from the torsos of the open shirted models that strutted down the Missoni SS15 catwalk, this collection proved to be a miss-match pattern clash at it’s finest.

Words: Remy Millar

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Sleeveless blazer by Alexander McQueen, top by M Missoni

From left to right: Sofia: Inner shirt by Levi’s Red Tab, purple dress by Sandro, white dress by Charlie May, shoes by Peter Jensen. Klaudyna: Inner white top by MM6, pink top by Bimba & Lola, skirt by Marni. Madi: Jacket by Dsquared2, trousers by Charlie May. Inga: Shirt by Cacharel, dress by Amen, top by Zeynep Tosun, shoes by Robert Clergerie.

Top by Nike, skirt by Danielle Romaril, socks shoes by Chanel

Left to right: Sofia: Dress by Viktor & Rolf, top by beyond Retro, shoes by Neil Barrett, socks stylists own. Klaudyna: Trousers and jacket by Givenchy, top by Beyond Retro, shoes by Alexander McQueen. Inga: Sleeveless blazer by Alexander McQueen, top by M Missoni, stripe Thigh-High socks by American Apparel, shoes by Marni. Madi: Longsleeve tshirt by Nike, top by Babajaon, skirt and shoes by Marni

Top by Beyond Retro, dress by Viktor & Rolf

From left to right: Inga:Inner top by Viktor & Rolf, top by Chanel. Madi:Top by Nike, skirt by Danielle Romeril. Klaudyna:Jacket by Marni, tshirt by Toast, undies by Francesca Marotta, socks shoes by Chanel. Sofia:Inner top by Nike, top by Vionnet, skirt by Sandro, shoes by & Other Stories

Jacket by Marni, tshirt by Toast, undies by Francesca Marotta

From right to left: Madi: Shirt by Halston Heritage, dress by Monki. Sofia: dress by Christopher Ræburn, jacket by & Other Stories. Inga: Longsleeve tshirt by UNIQLO, top by Calvin Klein jeans, skirt by Beyond Retro. Klaudyna: Top by MM6, trousers by Charles Anastase.

All images shot on Leica S System

Photographer: Henry Gorse

Stylist: Patricia Villirillo

Hair: April Taylor

Make up:Sylvia Makowski

Retoucher: Éamonn Patrick Frighill

Photography Assistants:Giorgio Lattanzi, Jamie Phelps, Naomi Blair Gould

Stylist Assistants: Roberta Pinna, Fabiola Murueta Aldrete, Viola Galassi

Hair Assistant: Jess de Voeght

MUA Assistant: Sasha O’Neill

Iguana Handler: Trevor

Models: Klaudyna (IMG), Inga (Storm), Sofia (Models1), Madi (Premier)

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Mad about Missoni—this season the Missoni woman was a worldly traveller and kept a piece of each destination on hand as a fashionable souvenir.  The first look introduced a graphic logomania blouse, donning “MISSONI” all over like we’ve seen in other collections (Alexander Wang, DKNY) this season. The skirt was a graphic flying bird print, reminiscent of the traditional Missoni zigzag print. Tribal flat sandals completed the spiritual-chic ensemble. Dresses featured Oriental details with kimono inspired shift dresses and blouses. The aforementioned bird print was shown throughout in varied styles—silk skirts, crepe blouses and leather streaked pencil skirts. The prints displayed pop art influences as well as exotic cultural references. The look was suited to host a Burning Man dinner party. Other logo carrying pieces were PVC and silk skirts, silk graphic tees and heavy plastic bangles.

The Missoni woman was the fashion equivalent of a well-travelled stamp collection—a stylish intercontinental tour guide.

Words by Yohana Lebasi

Photography by Harry Carr

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Meandering through the preachy drudgery of most fashion boutiques and style websites can be a tedious and overwhelming chore — and usually full of bad advice. Luckily, the guidance of a fashion PR pro and her legion of worldly stylists has created a website that’s full of wise tricks for the stylish and the practically busy modern woman.

Cavan.com has launched under the helm of its namesake, Cavan Mahony, the too cool presidente of fashion conglomerate CL Luxury Holdings, which owns franchising for Missoni in the UK and Spain — not a bad start. Her experience and philosophy give a good dose of girl power to the stylish modern woman, one who loves all things chic and trendy, but like most of us, doesn’t have the time to shop windows all day.

The website has it all: top and upcoming designers including Jenny Packham, Andrew Gn, and Miller Harris, user interaction, fashion stories for inspiration, advice from top stylists, suggestions for travelling in style, and a mood diary to suit the ever-changing styles of daily modern life. In short, this is one cool consultancy site.

Words: Elise Marraro (follow Elise on Twitter: PardonMe_Lissie)

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READY TO SLIP INTO THE DAY – Missoni from Tim Small on Vimeo.

Ever wanted to know what happens backstage at a fashion show? Check out ‘Ready To Slip Into The Day’, courtesy of Missoni and director Tim Small, which was filmed during the label’s autumn/winter show. We blogged about it earlier last month, and the full-length video is now up.

Put it this way, though – not all fashion collections are created equal. As in, you’re not likely to find Anna Wintour popping in for a chat at any old Fashion Week show. Maybe she was a fan of the rumpled, undressed vibe at the show – we know we are.

www.missoni.com

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Born in San Francisco, Fassett (above) grew up in a artistic community of Big Sur, California, before hopping across to pond to make his fortune as an artist in London during the swinging sixties.There, his intuitive grasp of colour and willingness to bend the rules of traditional knitwear and textile construction launched his career as one of the most creative and out-there practitioners of the craft, and got him noticed by print-loving labels like Missoni.

A Life In Colour is Fassett’s first exhibition since a retrospective at the Victoria and Albert Museum in 1988, features over 100 works within a dramatic installation designed by Sue Timney. Rugs, blankets, dresses, shawls, cushions – name the knitwear, and chances are Fassett has put his own acid-coloured spin on it. Below, Fassett tells us more about his illustrious career.

This is an amazing exhibition, could you tell us more about it?

It is 50 years of work in this exhibition, starting from my very first sweater – all the colour explorations through knitting, needlepoint, patchwork and quilt. Basically, what I’m always doing is trying to understand colour and trying to make it more vibrant, sexy and juicy. Interestingly, when I first started to paint, I was always doing white paintings – everything was monochrome. But I grew out of that and fell in love with Indian prints and Persian miniatures: the little flowers against paisley, against stripes, against checkerboards… All of that really appealed to me. When I look at a fashion designer like Kenzo, he has the same feeling and aura – and Christian Lacroix, he loved romantic patterns and so do I.

So besides colours, what else inspires you?

Patterns! How else are you going to organize that colour to make it exciting? I look to old Roman mosaics and ancient Japanese kabuki costumes, things which have these fantastic scenes of patterns.

You once collaborated with Missoni, what was that like?

Fabulous! When I first took my first piece of knitting (a sweater) to British Vogue, they said that it was beautiful and very unusual. The editor then, Judy Brittan, said: “One day you will be designing for Missoni”. The very first garment I had in British Vogue was photographed by David Bailey, and when Vogue came out, I got a call from Missoni the next day. They understood my sense of colour and their colours are absolutely beautiful and immediately, I was not nervous ’cause I knew they spoke my language!

Do you experiment with different techniques to achieve the colours and fabrics you want?

Absolutely. When I started to knit, I was known for mixing things that I shouldn’t – man-made fibers with old scratchy yarn that was used from carpets. I’d take silk and chenille and mohair and mix it all up. Nobody did that in the early 70s. Everything was by hand and of course I had to get fast.

You seem to treat your craft as a friend, almost like a lifelong companion.

It’s my solace. I use to be very social, but when I started to knit, all of those that just fell away. I was on fire, I had all these ideas and I wanted to stay home and get them done. I wanted to knit the next big throw for my bed, the next big coat, the next big fabulous dress, I couldn’t stop. It made me realize I’m happy with my own company and there’s not many things in the world that can make you that way. So when people say knitting has changed their life, I know what they mean!

The last exhibition you did was 25 years ago. What made you do another one?

It was during my autobiography. It took me three years to decide how to write my own biography, what stories am I going to tell, what am I going to leave out. The book contains 500 pictures of my work and I thought that people should see the actual thing, so I called up the museum.

Do you still get inspired by the language of fashion?

Occasionally, if I see something that’s colourful. I’d like people to be more adventurous with colour; I’ve travelled to Japan, India, Guatemala and Africa, where they love colour. I often don’t agree with fashion; it’s sad when fashion tends to be grey, which it has been for quite a while.

Kaffee Fassett: A Life In Colour runs from now till 29 June at the Fashion and Textile Museum, London. ftmlondon.org

Words: James Lennon Tan

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