Cividini Milan Fashion Week FW19
Represented by Guitar Advertising & PR.
Karen Blixen and Out of Africa were the inspiration for the latest collection from husband-wife design duo Miriam and Piero Cividni.
“When the movie Out of Africa came out, Miriam and I still did not think about creating CIVIDINI,” says Piero Cividni. “But taking care of fashion and creativity we did not fail to see it being impressed by the skill with which Milena Canonero managed to masterfully combine the bourgeois aesthetics of the European North of the years immediately preceding the first world war with the influences and the commingling of the colonial society in Kenya.”
“Looking for incipit for the new collection that we imagined could be exotic and at the same time metropolitan, we remembered that film and the aesthetic emotion that had caused us and from that moment everything was clear, we had created the common thread that he would have guided in his conception of development.”
Cividini: Milan FW19
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Here then the conceptualization of those aesthetic sensations reinterpreted according to the codes of CIVIDINI give life to a mix between bon ton and military whose contextualization finds hospitality in the modernity and cleanliness of the design that has always distinguished CIVIDINI.
The polka dots are “smudged” so that their traditional graphicity is softened by this desired and sought imperfection while the camouflage print recreates the atmosphere that unequivocally refers to colonial Africa in the collective imagination.
Among the constants:
Leggings designed with large polka dots and squares that sneak into each look.
Lightweight turtlenecks with polka dots or hand-painted checks, woven on ultra-thin frames.
And finally, a loose pleated skirt in plaid fabrics, with polka dots, plain inlays or in printed camouflage around which the whole collection pivots; carried by itself or with overlapping prints and drawings and lastly under the over and enveloping clothes as well as with elongated and soft blazers or with the rigorous duster, closed by small snaps.
Not the aesthetic canons of that society but Karen Blixen’s way of being a woman guided us in the contemporary transposition of that distant memory.