Metropolis met the eerily romantic illustrations of Italian artist Daria Petrilli on the runway at Delpozo
today. The streamlined futurism of Fritz Lang’s most storied film made
for a surprisingly logical complement to creative director Josep Font’s
vision. Consider Font’s intensely structured, indeed architectural
dresses; from inflated sleeves to pannier-like skirts, they’re clothes
that play by their own rules, spatially speaking. Here, Lang’s iconic maschinenmensch
was traceable in subtle ways: stunning, crackled silver textures;
rigid, chromed-looking miniskirts; or a royal purple bustier top with
two perfectly round bra-like cups peeking out from beneath, which seemed
to hearken back to the distinctly feminine shape of cinema’s most
famous robot.
Backstage post-show, Font spoke about being
inspired by the darkly delicate tenor of Petrilli’s work; fantastical
and refined, it features sad-looking girls who walk flocks of scarlet
ibises and unbutton their dresses to reveal pools of koi. A similarly
uncanny beauty has long characterized Font’s shows, with their serene,
even slightly wan, dollish models. Today they took to the runway in
embellished opera gloves, canary yellow crepe trousers, and gorgeous,
two-tone knits that will be a surefire hit for the shopper keen to dip a
toe into the world of Delpozo. A grouping of styles in pink and black
speckled velvet jacquard were among the best of the bunch; the
structured vest atop a glossy silver turtleneck with ballet pink
trousers was Delpozo daytime at its finest. Still, in places there was
the sense that perhaps Font has achieved a kind of beautiful stasis,
technically faultless and instantly recognizable: the sharply
contrasting jewel tones, the couture-level embellishment, the
otherworldly hauteur. With his prodigious talent, it would be a joy to
watch him creatively push the boundaries of those skills in seasons to
come.
By Vogue
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