If the eccentric Milanese-born Marchesa Luisa Casati were alive today, “she’d probably be part of The Attico tribe.” Gilda Ambrosio and Giorgia Tordini dedicated their new collection to the aristocratic “living work of art,” as the Marchesa was known at the time. Parading around swathed in flimsy dark veils with a couple of cheetahs on the leash and a snake in place of a Cartier necklace certainly counted for an act of artistic bravery. “We like her egocentric fabulousness,” they explained. “She was a decadent, a show-off, just like The Attico girl.”
The Marchesa’s fearless sense of drama and dark aura are what appeal to Gilda and Giorgia, who went all-out for the languid, sexed-up vintage glam that is their forte. This collection is replete with party frocks; surefire showstoppers not for the faint of heart, they ooze a sort of old-world allure, tinged with cool and flavored by some laid-back dazzle. Barbiecore is definitely not in the picture.
Daughters of the zeitgeist, The Attico founders dress as their customers do. Part femme fatale, part tomboy, they’re as at ease flaunting almost-nude, bold sequined numbers as they are sporting oversized cargos and XXL hoodies and sweats. True to their rule of thumb, here they inflected sophistication with some rough-edged insouciance; the look book was shot in a dilapidated Brutalist villa, which made for a counterintuitive backdrop to their temptress/gamine repertoire. The model Steinberg was on duty as muse.
Eveningwear was the focus, and they tempered their seductive dresses with nods to both the vintage glamour of the ’20s and ’40s and a modern sense of ease and freedom of movement. Glitzy, body-skimming numbers were accented with plays of asymmetries, and an abundance of feathers, fringes, and slashes amped up the audacity. “It’s sassy yet comfortable,” they explained. “Feeling constrained or awkward isn’t sexy.”
On the opposite side, oversized tailored pantsuits, chenille ensembles with broad jumpers worn over form-fitting mermaid skirts, and roomy multi-pocket cargos hinted at the insouciant tomboy hidden inside The Attico seductress. For the designers, contrasts and oppositions are the essence of femininity, but also give off an attitude of moody non-conformity. “We see Marchesa Casati as a sort of ante litteram punk,” they offered. “We like that she was unapologetic about being so unconventional.”
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