The inspirations for Kristina Fidelskaya's new Ready-to-Wear collection are multiple: A touch of androgyny in reference toBowie coming out of the Carlyle Hotel in New York in the 70s, the nonchalance of Parisian women walking down the Avenue Hoche in the 90's blended with the timeless and chic simplicity of Elsa Peretti for Halston. And of course, the presence of the signature Kristina Fidelskaya dress coat.
As the wife of the poet Henri de Regnier said about the creations of Mariano Fortuny, " The dressesusually, have only one future, these dresses already seem to have a past that will add a graceful melancholy". The collections of Kristina Fidelskaya have this striking particularity with the creations of Mariano Fortuny that is seen evident in her Autumn Winter 18-19 collection, " Nuovo Inizio".
A collection with a touch of Montana, with its oversize shoulders, its precise silhouettes that mark and draw the waist, in a spirit of deconstruction , soft tailoring and natural elegance. Geoffrey Beene's graphic line blends into the fluid movement of the silk fringes of the 1970s. A resolutely elegant wardrobe, easy to wear, but also and above all timeless, punctuated with coated shearling and silk mousseline filcoupe, for a cocooning effect.
Throughout the silhouettes, there is comforting pure cashmere mixed with laminated cotton, dry wool and silk, inspired by the colors and textures of the work of Alberto Burri on the combustion of vinyl, which one imagines taking life on a Stella Tennant.
We also can feel this signature , on the glossy gabardines for an ultra- soft touch, in the ebony black metallic jersey, the matt papery leather and the fluid silk fringes.
Kristina succeeds a mixture of idealized past and assumed modernity, a revisited search for lost past , for a strong, rebellious woman who can let go when she decides, and only then, the soft flaw of an immaculate white mousseline.
