Shows

FW20.21

To present his Fall Winter 2020/21 collection Simon Cracker chose a warm, cozy location: Ostello Bello. It’s a place where people of all kinds get together from all over the world. It’s the same concept that the designer expresses with his collections. This time more than ever, he surrounded himself with inspiring souls and built his family, free of any label.

On the catwalk we saw a congregation of witches, ready to fight discrimination of size, sexual orientation and gender. Witches, yes, but very different from those wearing black dresses in children’s books.

The inspirations were many: first of all, the witches that have made the history of cinema. Simon explains that, when he was in middle school, he felt excluded like Lidia from “Beetlejuice”, strange, in a world that only she could see. He loved to explore esoteric shops to buy incense, like in “The Craft” and he used to watch “Bell, Book and Candle”’s VHS (less dark and more naïf), until he ruined it.

All these film scraps gave life to the creatures that became the protagonists of this season. Braided wool, hazel tones and rubbery fabrics, striped knitwear like Tim Burton’s sand snakes, fluttering dresses, in contrast with work clothes, de-structured and one-size.

Everything that resembles a uniform, which usually defines a category, becomes a unique piece, something that does not go unnoticed: overalls, suits and then the Scouts, telling scary stories at camp of terror.

 

RESORT20

On this catwalk I will fight “Fast Fashion” and all of its implications.
I imagined a ZOMBIE ISLAND as the last macabre attraction that attracts all the influencers that can’t miss the new trend to post on social media, even if they risk death.
I took advantage of the theme to finally show off my culture in the horror movies, which I developed since I was very young at BLOCKBUSTER. References to 70’s silhouettes and color palettes from SUSPIRIA by Dario Argento, Fabrics and coated materials, destroyed and “slimy” from Romero’s “the night of the living dead”, to the 90s pop with the blonde who always dies first, from “scream”,the muse: Rose Mcgovan in mini skirt, tight top and acid green everywhere.
The monsters who will parade during my show are the most famous trends of all time, leopard, pvc, Spongebob, shiny objects, paillettes, Kimono textures, stripes, my evergreen graffiti from the street, destructured knitwear and the word of the moment “NO BUDGET” with the attempt to make them become pieces that remain over time, that you still want to wear, after 3 years in the closet. Therefore, they must have character, they must be opposed to the tendencies of the moment.
I hate the words “glamour”, “trendy”, “chic”, I think they are belittling in describing what a designer DOES in creating a collection. I’d prefer if people considered my collections horrendous, terrifying, that would mean that I really expressed an emotion. I don’t care which one.

SS20

“The tourist” has always fascinated me. The fact that they behave in a way that is different from mine, because of their background and their hometown traditions, lead me to study them.

Trip to Zurigo, 1993, I was the tourist, on a small boat that went all around the lake in an hour. In that moment I focused on all the tourists that surrounded me, people coming from different countries in just a few square meters. I could feel the potpourri of languages and I was sewing a patchwork of funny faces with my eyes.

These memories inspire me and push me toward the spring-summer I imagined. Little people who explore the world, with their cameras and comfortable sandals.

The knitwear was modeled after striped one-piece swimsuits from the 30’s. The pieces break, they tear up until they become tops, shorts and pencil skirts made of thousands of colored stripes that resemble upholstery fabric samples that spread out like a rainbow onto the genderless trenches, as well. Souvenir t-shirts paired with sand-colored tailored suits decorated with pen graffiti, silicone, deconstructed and de-structured. Silk-like floral jumpsuits reminiscent of the 90’s. I wanted to replicate the spontaneity of those who disinterestedly combine contrasting patterns and fabrics to reach comfortability, to be able to walk, get dirty and sweat in between a museum visit and the following one.