Alessandra Facchinetti saw to what end she could transform Tod's supple leather supply into new and imaginative modes of fashion.
The Tod’s Fall/Winter 2016 collection launched with a startling display. Before the show commenced, onlookers gathered around a long wooden bench surrounded by models in various stages of dress. On the bench, a prone and practically unrecognizable Karlie Kloss posed in a burnt orange leather ensemble as Tod’s artisans stitched the look together. The clinical nature of the event was engineered by none other than Vanessa Beecroft, the Italian conceptual artist who has been central to many of Kanye West‘s projects. The surfeit of smooth, neutral, leathers shown on the staged scene was a signpost of things to come on the runway.
The surfeit of smooth, neutral, leathers shown on the staged scene was a signpost of things to come on the runway.
Photo: Courtesy of Imaxtree
Gifted as a tailor and lucky enough to lead one of Italy’s premiere leather goods labels, Alessandra Facchinetti saw to what end she could transform Tod’s supple leather supply into new and imaginative modes of fashion. Dark leather coats were whip-stitched with contrasting red seams, and bomber jackets with fur-trimmed collars were elevated with raised quilting. Leather skirts were slashed to strips or worn with oversized O-ring buckled clasps. When Facchinetti wasn’t fashioning leather into new looks, she was focusing on the softer side of things. In the collection were plenty of luxe chubby furs, oversized knit sweaters, colorful pant suits trimmed with fur collars, and full-length intarsia knit dresses. The graphic elements she introduced in the first look carried all the way through the collection via raised stitch-work, pattern interplay, and geometric knits. These decorative accents were meant to celebrate the technical work that Tod’s artisans employ (a point echoed by the Beecroft event staged before the show), but they also brought edgy sophistication to the brand’s line-up of luxe wearables.
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