Kim Jones returns to the runway as Fendi channels heavenly Rome

Follow the steps from the late Karl Lagerfeld at the helm of a Roman house is no easy task — but Jones has again developed his contemporary sensibilities into lavish designs to channel the Eternal City.

Here are some highlights from the last day of spring 2022 couture collection:

Roma Fendi

Fragment of Architecture, lit by incandescent lamps, hang on a dark runway within the neoclassical Brongniart Palace. Above it, adding to the drama floated a giant ball of white light. This, says Jones, the territory of “heavenly Rome” – reinterpreted by his irreverent eyes.

This season’s inspiration seems, at first, quite mundane: Jones’ journey to work at Fendi atelier in Rome, where he passed by historical monuments only to arrive in contemporary surroundings. However, his design explores the juxtaposition between his travel “sculpture marbles” and “ecclesiastical aesthetics” with another futuristic and deeply sensual vision.

The models walked towards the flash of the spotlights, in a slick effect that suggested they had just been produced by some heavenly tailor.

The design is equally slick. Glittering black dress with turtleneck and hat resembling a priestess robe — with the model holding a beaded string. Her skirt was parted, her legs were exposed, and her head was tilted down provocatively.

Elsewhere, a black silk gown that was embroidered as glittering as armor looked part celestial princess, part warrior. The model clutched a handbag that resembled a royal ball or spiked ball. The duality is a great fashion show, thrilling guests, including “Prometheus” star Noomi Rapace.

Religious imagery—unfortunately, sometimes a bit harsh—splattered on the duchesse silk and organza that blends in with the few inches of exposed flesh for this bold couture style.

Fendi hair free? Not too

The world’s largest luxury company, LVMHwho owns Fendi, still has not matched his smaller French rival, Kering, in his breakthrough promise of quitting fur.

Instead, he chose to progressively reduce the use of exotic skins and furs, rather than ban them outright.

One house closely related to the feather historically is the one based in Rome Fendi, whose longtime designer Karl Lagerfeld would add feathers to his designs and coin the phrase “fun fur” to describe his furry style. Animal rights activists will continue to protest outside the Paris fendi couture show attended by the AP.

Since Lagerfeld’s death in 2019, there has been some evolution to that theme at Fendi, though critics say it may be because his younger clients are more sensitive to animal rights.

In Jones’ Fendi spring couture offering, there were no animal rights protesters, and on the runway itself there was little fur.

The house says feathers have only been used in five looks this season, including embroidery fur coat and a cloak with a shaved mink.

While it’s not feather-free, it’s definitely a scaled-down case.

Yuima Nakazato’s Monster

Ghosts are in the air at Paris Fashion Weekas Yuima Nakazato from Japan investigates the terrifying chapters of Greek Mythology.

The Chimera, a fire-breathing monster with the head of a lion, the body of a goat and the tail of a snake was the initial inspiration, transposed in Thursday’s couture by a smoke machine, haunting red lights and two contemporary dancers evoking the Greek Choir.

Fantasy is everywhere.

Elf ears are worn on models with brightly colored wigs in loose tunic style designs held by primitive cords.

Elsewhere, vivid colorful prints adorn the white coat of China. Dazzling colors, clear references to dragons and fire, sometimes seem heavy, overpowering aesthetic.

Charles de Vilmorin was terrified

Halloween came early for the prodigy Charles de Vilmorin.

The French designer, who catapulted to fame after launching his couture collection in April 2020 and was quickly named creative director of Rocha, was inspired this season by the Death Waltz — a legend from the Middle Ages that shows you can never escape the grim reaper. Fittingly, “Beetlejuice” director Tim Burton was obliged to collaborate with this season’s designers for a couture look that uses de Vilmorin’s signature puffy silhouette and hand-painted artwork for deadly effect.

A blood-red satin gown draped over a model in devilish stage makeup adorned with a shriveled skeleton — evoking the final scene from the 1988 classic.

Puffy trousers in silk, which evoke medieval dresses and end at the knees, conjure images of Italian theater. The model, who is wearing ballet shoes, has an unusual appearance with red cheeks and lit up with a sinister chiaroscuro.

Style sometimes degenerates into pure theatrics, as in a feathered hood on a bluebonnet and a gauche fringed jacket.

Yanina’s Rainbow

Bright colors are a big couture theme this season, for better and for worse.

Russian couturier Yulia Yanina goes beyond the rainbow — and maybe beyond — by taking the bright hues of the rainbow to create her spring collection while forgetting about subtlety.

It started with a dizzying tulle robe worn over a colorful paneled mini dress.

The rest of the festive look continues this color theme while taking on another of the season’s trends: the 1970s.

The one-shoulder dress features a well-proportioned, loose-fitting material length and flared retro sleeves.

As if this wasn’t bling enough, a tiered diamond necklace was added to the mix to make Yanina’s couture definitely the most traffic-stopping show so far.

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