Jones has landed at Fendi at an opportune time. Its womanly sensibility offered a counterpoint to the more youthful pieces elsewhere. Because Delfina came out for the group bow in a narrow, 3/4-length skirt (she’s the artistic director of jewelry for Fendi), it’s worth paying extra attention to that silhouette. Trousers were high-waisted and leg-elongating, but for every pair of pants there was a pair of shorts, often offset with a waist-defining half-apron or topped by a corset. Here, his tweed jackets were cut lean and longish with softly shaped waists or cropped right below the rib cage, the collars turned up against the neck. Naturally, Jones updated these looks too, starting by layering them over matching flutter-edged underpinnings.Īs he’s shown time and again at Dior Men, he’s an exacting and imaginative tailor. An editor who was in Lagerfeld’s audience 22 years ago clocked the reference right away. Then, because he was after lightness, he combined those references with a callback to another Lagerfeld-designed Fendi collection for spring 2000, one with a delicacy in direct opposition to the blousy proportions of the ’86 show. Jones recolored the print and collapsed the more obviously ’80s proportions of that show’s tailoring into separates, some in menswear fabrics, others in denim. “I took it off her back and put it on the research rail,” he said. Backstage today Jones explained that the genesis of his new fall collection was seeing Delfina in the Rome office wearing a blouse of Silvia’s from a 1986 Fendi collection by Karl Lagerfeld, when he was in his Memphis phase. Fendi’s best asset, as Kim Jones knows, is the Fendi women themselves, mother and daughter Silvia Venturini and Delfina Delettrez.
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