N°21

Fall 2019

 

 

Whether worn as a suggestive midpoint somewhere between dressed and undressed or zipped up and done up, this was a collection bulging with merchandise worth heavy-breathing over. The ragged-pattern lace—which mirrored the disarray of that bouclé—and the richly embellished silks were precision-cut to punctuate the form within.

Dell’Acqua said he had been inspired by Brian De Palma’s Dressed to Kill, a very stylish but very much male-gaze “erotic thriller” that reflects the mores of 1980. Some touches, like the large bows on the back of certain dresses—which, in the context of the presentation, seemed to suggest the wearers were somehow gifts—and the choice of the name given to the handbag that many models were dangling, the Lolita, seemed pretty dubious. Yet you could see that Dell’Acqua’s exploration of what he called “the sexiness situation” came from a sincere and, to him, feminocentric place: These were clothes that allowed the wearer to compel, repel, or impel the male eye depending on the manner of their deployment. In 2019, the so-called sexiness situation, however, is a territory whose rapidly shifting churns, currents, and corrections all require careful and nuanced navigation.

Courtesy of vogue.com

 

Available in Jade Plaza Indonesia

N°21

Spring/ Summer 2019

 

 

Paillettes shimmered and feathers shivered across a suite of rosily-accented to sand-toned looks (“these were one of my favorite tones to work with”). They were sometimes utterly evening: sheer and tiered dresses with lingerie details or ruche-fronted skirt-and-shirt combinations (the lace in Look 20 was the very same botanical pattern as the first lace this designer ever used). More contemporarily put together looks incorporated leather parkas with crystal-lined hoods and leather shirts, or cropped knit cardigans worn over detached leather hoods.

A black-based section featured that pivotal Look 35, plus skirts and a tulle-sheathed jacket in a black nylon long-ago favored by this designer. Under it, a tulle layer skirt was garlanded with a silvery abstract floral, exactly the same as one worn in the aforementioned Spring/Summer ’97 show. So why was Dell’Acqua so into one particular season that went on sale 20 years ago? The answer was simple: “This was my favorite collection. And it was very, very successful too.” And why copy himself? The answer was carefully diplomatic: “For me, in this moment, fashion is very confused.”

When all around you is in flux, know thyself.

Courtesy of vogue.com

 

Available in Jade Plaza Indonesia

N°21

Fall/ Winter 2018

 

Individuality was definitely celebrated here, starting with Dell’Acqua’s lookbook model: “I’ve known Kirsten Owen from the ’90s, she opened all my shows back then,” the designer said. “She has character and personality; and she’s a woman, not just a girl. Time has been kind to her; it’s just softened her features, making them even more special. I basically styled the collection with Kirsten in mind.”

On set, Owen radiated a serene charm; she looked at ease in Dell’Acqua’s looks. The new collection was built around strong, sporty outerwear and masculine tailoring played against sexy pieces, all peppered with a dose of quirk. It’s a recipe that has served Dell’Acqua well at No. 21. A massive bomber was patch-worked with nylon, quilted wool, and knitwear, and nonchalantly thrown over a sexy body-con dress. Adding to the contrast play, a masculine bowling shirt sparkling with golden paillettes was paired with a sexy pencil skirt printed with a California-inspired landscape motif. One of the best looks was an elongated yellow turtleneck sweater with a fluffy feathered trim, accompanied by a turquoise paillette midi skirt; it showcased Dell’Acqua’s penchant for unlikely color combinations. Courtesy of vogue.com

 

Available in Jade Plaza Indonesia

N°21

Pre-Fall 2018

 

On set, Owen radiated a serene charm; she looked at ease in Dell’Acqua’s looks. The new collection was built around strong, sporty outerwear and masculine tailoring played against sexy pieces, all peppered with a dose of quirk. It’s a recipe that has served Dell’Acqua well at No. 21. A massive bomber was patch-worked with nylon, quilted wool, and knitwear, and nonchalantly thrown over a sexy body-con dress. Adding to the contrast play, a masculine bowling shirt sparkling with golden paillettes was paired with a sexy pencil skirt printed with a California-inspired landscape motif. One of the best looks was an elongated yellow turtleneck sweater with a fluffy feathered trim, accompanied by a turquoise paillette midi skirt; it showcased Dell’Acqua’s penchant for unlikely color combinations. Macramé lace, chiffon, and various plumages added to the feminine flair, set against more substantial textures like shearling, raw denim, and leather. White lace-up sneaker boots with a thick molded sole were the accessory of choice. Courtesy of vogue.com

 

Available in Jade Plaza Indonesia

N°21

Spring Summer 2018

 

Dell’Acqua lost creative control of his eponymous label some years ago, a cruel fate that has befallen many excellent designers. He has since felt, he said, very “sad” about the situation, but has worked through it. Today, he set out to reclaim his codes. The label he founded in 1996 was very different to No. 21—which is a sportier, more casual, less evening line—and here, Dell’Acqua salvaged one to extend the other.

 

Paillettes shimmered and feathers shivered across a suite of rosily-accented to sand-toned looks (“these were one of my favorite tones to work with”). They were sometimes utterly evening: sheer and tiered dresses with lingerie details or ruche-fronted skirt-and-shirt combinations. More contemporarily put together looks incorporated leather parkas with crystal-lined hoods and leather shirts, or cropped knit cardigans worn over detached leather hoods.

 

Available in Jade Plaza Indonesia