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Antonio Marras

Spring 2022 RTW

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Properties

Date: September 22, 2021
Location: Milan, Italy
Looks: 99
Brand: Antonio Marras
URL: wwd.com

Critic Reviews

By Alessandra Turra for WWD

When this past summer a huge fire burnt hectares and hectares of woods, killing hundreds of animals in the heart of his native island, Sardinia, Antonio Marras couldn’t just sit back.

After exploring the volcanic area last August, he returned there earlier this month with his team and a group of models to film his digital runway, showcasing the women’s and men’s spring 2022 collections.

“It was extremely painful, but at the same time dramatically fascinating.…It was like walking on the moon, on a desolate land, among incredible colors. You could really feel the pain, but at the same time the strength of nature, a desire of re-birth,” the designer said.

That hope is expressed in a big part of the lineup via an arty pattern of roses that seem to be blooming from a burnt canvas. “During the lockdown, I took the white fabrics that the seamstresses put on the ironing boards when they prepare the prototypes and I started painting and embroidering them,” said Marras, revealing the origin of that floral pattern, which he also used for wallpaper presented at Milan Design Week.

In keeping with the designer’s signature style, the motif figured as patchworks decorating a wide range of items, spanning from cardigans to a lovely minidress that he dipped into tea to create a vintage-like effect.

Tulle and lace encrusted with embroideries and appliques heightened the allure of multilayer frocks, but also of more mannish blazers fastened with ribbons. Lingerie details were incorporated into the see-through slipdresses, while the brand’s signature military parkas came in black versions with leopard inserts.

To further symbolize a sense of re-birth amid the mostly neutral palette, Marras introduced some lively green shades, including the emerald hue he used for a men’s suit embroidered with collage-like inserts, as well as vibrant floral patterns rendered in pink and red.

As always, the designer employed an abundance of patterns and treatments to craft special pieces, infused with a strong identity and an artistic, artisanal quality.

By Luke Leitch for Vogue

“A disaster without precedent” was how Sardinia’s governor Christian Solinas described the fires that ravaged parts of that beautiful island late this July. Just one of many extraordinary summer conflagrations across Europe and beyond this year, the Sardinian blaze razed 20,000 football fields’ worth of wilderness; one especially notable recorded loss was a long-venerated olive tree believed to have lived for a millennium.

This calamity deeply affected Antonio Marras and his family, whose life is on Sardinia. “There has been nothing even nearly like it since 1954,” he said this week, shortly after returning to his showroom in Milan. So for this collection, Marras and his cast of Sardinia-cast models travelled into the charred aftermath to shoot this collection’s video in an area named Santu Lussurgiu, where only 100 of 750 hectares escaped the flames.

To observe Marras’s cast pick gingerly over the parched earth and duck beneath blackened branches was a pretty sad watch. The more-than-usual blooming rose prints that adorn many of the looks seemed an almost cruel reminder of what was lost, but Marras said these were amplified on purpose pre-presentation in order to anticipate a hoped for regeneration—and indeed if you look carefully there were, even at the time of shooting this video, the smallest of green shoots battling to reemerge.

In this context, it seems a bit fatuous to delve into collection details: It was the characteristic Marras pot-purri, heaped artful layerings fashioned form a mix of vintage and local, featuring details including a washed out botanical print ironically inspired by the burn-marks of an iron. The closing mountaintop commune of all-whitish looks starred pieces that cut cotton, lacy embroideries into celebrants’ robes, all gently stained with tea.

Clashing current affairs against fashion can often seem to trivialize the former and render the latter absurd, but here the proximity of the designer’s creativity to the blasted hills of his homeland worked as a reminder of a news story that, like so many, quickly fades from the agenda. The only consolation I could offer Marras was that in the Blue Mountains of New South Wales, Australia—where I grew up and where there were similarly apocalyptic scenes nearly two years ago—the waratahs are now blooming again. If only we allow it, nature fights back.