“I was thinking about Karl Lagerfeld’s futurism with Fendi,” said Kim Jones of his SS24 Fendi couture collection. He went on to explain the humanism that he imagined at the heart of that future – the body, the handwork, the “silhouette within the silhouette”. It was a collection about structure and decoration, where in tandem, these became indivisible.
The clothes that came out were streamlined and evoked an effortless mood of modern elegance with an added touch of glamour – it was couture after all. Beginning and ending with a new ‘Scatola’ silhouette – meaning ‘box’ – geometry anchored the range. One was jet black, striking in its absence of complexity; the other was a muted silver, festooning with a labyrinth of shimmering beads, decadent and indulgent. And between them, fresh fabrications were sculpted into skinny suits, flimsy translucent gowns and fur that wasn’t fur, but rather embroidery. There were ultra-fine rib knit dresses tethered with knotted Shibari (Japanese rope bondage) harnesses and a dance between decoration and structure emerged on ankle-length skirts and evening gloves decked with feather-like, all-over fringe.
Stepping to the precise and emotional soundscaping of renowned composer and longtime collaborator Max Richter, models carried bespoke Fendi Baguettes in a variety of sizes by Silvia Venturini Fendi in the same materials as the clothes. She also introduced a new line of ‘Gems’ Baguettes which were created with 18k white gold hardware and white diamond-pave-encrusted buckles or platinum leaf. Individually tailored ‘Singular Vision’ fine eyewear by Delfina Delettrez Fendi rested atop noses.
Jones truly tapped into the simplicity in geometry, taking an approach to couture which aimed to reaffirm the humanity of the person wearing it. “They are always ‘someone’ rather than ‘something’.” It felt refreshing.
Photography courtesy of Fendi.