Kim Jones has always believed in collaborations and, with Silvia Venturini Fendi, continues the tradition in his position as Fendi’s artistic director for women’s wear. To celebrate the 25th anniversary of the house’s ever-popular Baguette bag, Jones asked Marc Jacobs to cocreate the 2023 resort collection, projects with SKIMS and Versace came earlier. The Friends of Fendi initiative continues for the coming pre-season, this time with designer and fashion plate Stefano Pilati.
“Stefano is one of the designers I admire the most. I was always in love with his work and he is somebody I look up to—he has been an inspiration for what I do,” said Jones in a statement.
It’s been 11 years since the Italian Pilati left Saint Laurent and was connected with a maison. He’s now based in Berlin where he runs his independent label Random Identities through which he often explores issues related to gender and queer culture. Pilati carried that line of thinking over to Fendi where he created a lineup that referenced the past without being at all retro. “My fascination to link fashion to history and vice versa, was inspired by the most progressive eras of the last century, the ’20s and the ’60s, and the rising gender conversations manifested in the clothes and the elegant, yet forward change of costume habits,” the designer explained in an email.
In the Jazz Age, the flapper was seen by some as a threat to masculinity. Her counterpart might have worn the pants (roomy Oxford bags), but this new woman had a power that people didn’t know what to do with. Sound familiar? Pilati reimagined the flapper as a liberated person (versus a liberated woman) and specifically included a trans woman in his cast, putting the message into practice.
Pilati’s take on the dropped-waist that was the defining characteristic of flapper wear is a masterclass in distilling the essence of a reference. In some instances, beautifully-cut trousers have inset “basque” waistbands in same color fabrics or ones that match the blouse they are shown with, giving the illusion of an elongated waist. The opening look pairs a black coat with a white shirt and skirt. In this case the waist is tipped in white, a subtle reference to the exposed boxer trend.
Having redrawn the house’s “F” logo, Pilati used it for prints and jacquards. Fendi presents couture collections biannually and the designer also made use of the atelier’s savoir faire for some hand-sewn looks, such as a double-face cashmere coat with raw cuffs exposing a logo lining. Referencing Fendi’s origin as a furrier, there is a sporty sweater in shearling, and a beautiful egg-shaped coat in what the designer calls an “animalier” tweed.
The leanness of the collection is offset by shorter, gentle A-line shapes. Pilati reports that “90% of the patterns were made in Berlin by me,” and he took the opportunity to show his skills. On one of the skirt suits you’ll notice that the lapels extend into rectangular strips; these are the unconnected collar pieces.
The “lady” aspects of the collection are carried over to the men’s; there are heels and camisoles for him, as well. (Pilati was also responsible for the accessories.) Refined and grown-up, with smart and subtle references that build on the brand’s history, this collection pays tribute to the history of couture as well as to Fendi. As an Italian, the designer said, this house has always been a source of pride for him, not least because it was run by five women.
