Fendi Spring 2022 Ready-to-Wear collection, runway looks, beauty, models, and reviews.
, the house track he said he’s long wanted to use in a show—and did this afternoon—after saving it specifically for womenswear. Jones’s comment also applied more broadly to a collection in which a bass line of rigorously curated, classically-flavored silhouettes and color progressions was played against an irresistible decorative sample of archiveillustrations.
The models glided out from a newly-configured backstage—where the vibe was light but Covid-19 regulations strictly observed—down a runway whose arches echoed the house’s Roman home, the Palazzo della Civiltà. Other points of continuity included the white-to-black color progression that acted to sandwich the riotous López-focused central filling, and the creative collaboration of Silvia Venturini Fendi and Delfina Delettrez Fendi, both of whom joined Jones at the close.
Even the big reveal of this collection, the decoration, was not a u-turn but a return. Jones said he had dug up a Fendi logo drafted by López during his period of collaboration with Karl Lagerfeld. Said Jones of López: “He was a big, big fashion influencer for a lot of people, but is not so talked about. He had this relationship with Karl and with Fendi, and he helped shape so many strong visions of women, because he loved them: that feels very authentic and topical.
The illustrations drawn from the López estate’s archive originated, Jones said, as the 1960s transitioned into the 1970s. Here his work was introduced via oversized brushstrokes, then zeroed-in upon via one particular drawing, a rouge-lipped profile of Jane Forth that was abstracted into the pattern that contoured four vivid intarsia and jacquard looks.
Many looks remained illustration free, including some Moodymann-perfect, bouncily-fringed dresses and a series of diagonally-striped silks and a complementary marabou jacket over rose gold tailored silk pants. Yet even without the figurative signposting, these looks echoed the aesthetic of the period in which López was working, and seemed further to echo a period that to an extent prefigured it.
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