Antonio Grimaldi Fashion Parisienne “Ælektra” a film inspired by The myth of Electra. This year, the incredible Maison Antonio Grimaldi, decide to choose a very deep theme for its new Couture Autumn-Winter 2020/21 collection. Reading their press release is clear how The myth of Electra as a symbol of the relationship between mother and daughter pervades the new Couture Autumn-Winter 2020/21 collection by Antonio Grimaldi.
I think that was incredible the idea to unveiled the Collection through a fashion film – interpreted and directed by Asia Argento – and a photo shoot set in Rome on Monday 6 July at 18.00 on the digital platform Fédération de la Haute Couture et de la Mode, and on the IGTV Instagram channel of the Maison.
Every designer is trying to find a new way to face the new rules imposed by the actual global moment, and Grimaldi nailed it. As a matter of fact, different expressive ways to make up for the impossibility of organizing a traditional fashion show due to the Covid-19 emergency led to the presentation of the new collection in a short movie with theatrical tones directed by Asia Argento and interpreted by her together with her daughter Anna-Lou Castoldi – protagonists on the scene of the most ferocious matricide of Greek mythology.
I am very curious to see a noir and glamourous film that tells the profound story of two symmetrically related but rival women, dressed in Antonio Grimaldi. Where did Grimaldi take his inspiration from? He was inspired by Rome and fascinated by the myth of Electra, Antonio Grimaldi designs and creates a collection focused on the mother and daughter relationship: a collection of contrasting dresses, of rivalry between whites and blacks and, therefore, the contrast between good and evil, light and darkness.
What I really appreciated was the psychological investigation that goes deep and that is revealed not only in the film but also in the collection immortalized in the splendid nymphaeum of the National Etruscan Museum of Villa Giulia in Rome. And what about the outfits? Twenty-two dresses (of which three are for children) between absolute white and purest black, interspersed with a thousand shades of pink: from the palest, to blush pink, from pastel pink to magenta, light and dark.
How were the decorations? The white dresses are embellished with embroideries in anthracite grey with a dark spirit, in 3D, with small metal studs, stained with interweavings of crystal and platinum jais floating on the body, as do the metal chains. Even the pink dresses are contaminated with anthracite grey embroidery, with glass and silver crystals. While the black dresses present very dark leather embroidery blocked by crystal jais and micro ribbons, also in leather, in relief, with a tricot effect.
What about the materials and patterns? It was a real triumph of feathers: in macro version, lacquered, painted, sprayed and laser worked, ton-sur-ton and never, in contrast, to enhance the sculptural volume of the clothes. Those same sculptural lines, which are asymmetrical and in movement, are interrupted by important openings. In this way, the mini dress with voluminous trains alternates with two pieces incorporated together becoming a single dress. Also is important to remain that the trompe l’oeil effect returns: clothes that deceive the eye through a game of cuts, volumes and overlaps and pretend to parade as capes and robe manteau. Heavy fabrics such as the duchess alternating with gazar mix with cady crepe, taffeta together with impalpable organza and chiffon.
I really felt in love with the jewels, in fact, to complete the look, the jewels were created ad hoc by Marco De Luca, a Roman craftsman designer, embellish the clothes with bracelets and rings depicting dragon heads, a symbol of creative and beneficial strength.
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by Maria Zota – http://instagram.com/mariazota22