Blumarine hasn’t appointed a new creative director yet; resort was designed by the in-house team. The label has been going through some rather turbulent times, so it made sense that the collection played it safe.
Blumarine’s codes, established in the early 1980s by founder Anna Molinari, still hold enough pep and energy to serve as a helpful canvas for an easy, no-nonsense rendition. The collection riffed on the girly, frivolous repertoire that put the brand on the map at that time; in its ’90s heyday, advertising campaigns were shot by the gotha of photographers—Helmut Newton, Albert Watson, Ellen von Unwerth.
On candy-hued, bell-shaped little satin slip dresses, sashes across the front hinted at the Miss Italia pageant, with the word Bellissima embroidered in Swarovski crystals and replicating the font of the label’s logo. The same motif was also reprised at the back of satin robes turned into wrap dresses, or was printed as a ribbon floating among roses onto a short draped number. Marabou trimmings and lace lingerie accents, as well as leopard spots, faux-fur mink, and embellished florals, all part of Blumarine’s arsenal of seduction, were used for pretty little coats, long dusters in see-through georgette, or culotte-and-bralette combos. It made for a nicely put together transition collection, with appealing sellable pieces.
Design studios are the unsung heroes of fashion; there’s lots of talent in those teams. Here, the team members did a good job, respectful and sensible. However, brands need a strong sense of direction. Merely reviving the archive isn’t enough for longterm fashion longevity.