Supermodels and ball outfits: Kim Jones is experiencing the high fashion dream. His second such assortment for Fendi was caught in an emotive film, which saw any semblance of Kate Moss, Christy Turlington, and Amber Valletta look mysteriously into the camera as they drifted around a Roman performance center set in dresses reminiscent of the stone and sculptures of the Eternal City. It was shot by Luca Guadagnino—the Call Me by Your Name chief, whose component films Silvia Venturini Fendi in some cases delivers—and scored by Max Richter. Kim Kardashian, who turned out to be visiting the area while Jones was shooting, got an early see.
In the time of online media when huge, wonderful dresses turn into a web sensation, the heading Jones is setting for Fendi exemplifies a well known comprehension of high fashion as something the eye can without much of a stretch distinguish: striking dance hall outlines, rich surface design, and popular countenances. “It’s being optimistic about being able to socialize properly. I thought it was a nice moment to say that,” he said, clarifying his attention on eveningwear on a call from Rome the week prior to his advanced debut. Couture customers, Jones called attention to, “go to Fendi for something extravagant.”
Two seasons into his residency, his couture articulation is showing itself in embellishment and manufacture most importantly. His charming evening dresses fill in as materials for this luxury, similar to the mother-of-pearl frivolity and reused hide mosaic work that graced this assortment. Watching it unfurl, it’s anything but a developmental cycle, as though all that intarsia and that load of weavings have been bolted inside him for such a long time, sitting tight for the day when they could blast out into real couture.
Where his January show addressed Jones’ excursion from England to Rome, this one had shown up and purchased the postcards. The film was roused by Pasolini’s neorealistic Roman film, each building time of the city apparent on its false skyline. The textures and surfaces were educated by the structures and asphalts of Rome, some utilized in graceful lines that highlighted the topic.
Jones’ advancing activity in the ornamental parts of high fashion made for eye-getting impacts like the allover petal work of Moss’ larger than average dress, or the marbling of Valletta’s wrapping outfit. Most convincing were the outlines that truly took structure, similar to the spellbinding development of a mosaic bolero coat that resculpted the body through the volume-explicit syntax of high fashion, or the dress worn by Mica Argañaraz, which showed a comparable thought in flou. As he exhibited in his dynamite Dior assortment with Travis Scott fourteen days prior, Jones’ work is at its most enthralling when he amps up his cutting and plays with shape.
“We had a lot more time to work on this one. We’ve actually had a full season. So, it’s a lot more worked into, and I think people will see a lot of difference in it. The people here, when they see what we’ve been doing, they can’t believe it’s the second one I’ve done. They say it’s a lifetime’s worth of understanding,” Jones said, noting how he’d watched Marc Jacobs at work during his years at Louis Vuitton. “I’ve only really scratched the surface, but we’ve already planned what we’re doing for the next couture,” he teased, hinting at a physical runway show in Paris.