6267 (Q8362)
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6267 is a fashion brand from Vogue
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | 6267 |
6267 is a fashion brand from Vogue |
Statements
After winningVogue Italia's young-designer competition last year—an initiative to seed the next generation of Dolce & Gabbanas and Alessandro Dell'Acquas—Roberto Rimondi and Tommaso Aquilano of 6267 took to the runway for their third show. Still, even with such prime exposure, it takes time for the identity of a new line to properly coalesce. What 6267 presented this season was a slightly hard-edged take on the ubiquitous dress-over-trousers look. Their spin was to add a layering of twenties flapper influences, putting bugle-beaded, dippy-hemmed tunics under jackets and over skinny, ankle-cropped pants. The designers followed that conceit into slouchy, hip-slung, satin dresses—some were a tad too Milano-disco, but a couple worked fine. It was the tailoring, though, that in the end looked most promising. Cutting a mean jacket is a skill that few young designers have down, and these two might be smart to press that advantage further.
25 September 2006
The extent to which upscale American and British retailers are betting on 6267 as the great hope for Italian fashion's future could be gauged by the impressive lineup in the front row. "We're here because they're the only young ones coming up, and people are talking about what they're doing at Malo," said one buyer. No one had exactly laid out the welcome mat for the audience, though. It was after 8:30 by the time everyone battled through two major door crushes, and polite expressions were wearing off.To be fair to Tommaso Aquilano and Roberto Rimondi, the clothes on the runway weren't as shambolically amateurish as the hospitality arrangements. The collection was strong on coats, starting with an enveloping gray cashmere edge-to-edge wrap, and a camel man-tailored coat, seamed at the torso. The designers also came up with good showpieces at the end, like extra-chunky cable knits and a shaggy goat-hair chubby. But the middle of the show was too wobbly—it was derivative of Azzedine Alaïa in the sculpted, big-shouldered, tiny-waisted gray jackets, while the overcomplicated dresses read as a clumsy homage to everything Alber Elbaz had covered far more prettily last season.Edited by world-class buyers, what 6267 has to offer might still respectably fill a niche. But to up their game, this pair needs to hire advice on presentation and making sure their identity comes through more strongly.
19 February 2007
At whom is 6267 aimed? "Tutto," enthused Tommaso Aquilano, who with partner Roberto Rimondi wonVogue's Who Is on Next competition last season. While 6267's fall collection (the line is named after the number Rimondi was assigned at summer camp) might not actually suiteverywoman, it had a lot to offer—especially for those with a taste for elegance and an eye for line. Spring's slim-leg, high-waist silhouette was back, and mixed in with the more tailored pants in menswear fabrics was this season's resurgent staple, leggings. The latter could be read as an acknowledgement of the designers' stated touchstones: an eighties sportiness and a fifties couture feeling. Clearly, Aquilano and Rimondi lean toward the earlier decade, as their curve-accentuating dresses and a strict black cape especially showed. Their attempts to forge a "younger look" with pleated and bubble skirts were less successful, but they were on track with sweet bead-speckled pleated dresses that hit well above the knee. Hands down, the showstoppers were the feather coats at the close of the show. Combining lightness and luxury, they suggested that 6267 is earning its wings.
20 February 2006
With Champagne and sugar-dusted fruit greeting guests, it appeared the 6267 duo had taken to heart last season's advice to elevate their production values. The clothes proved equally satisfying. Maybe they'd stacked the standing-room section with friends and fans, or perhaps everyone was just happy to be approaching the end of an at-times-grueling 12-hour day, but Roberto Rimondi and Tommaso Aquilano received more sustained applause for more looks than any designer thus far this season.Uniting two disparate themes—fifties couture and Japanese samurai, according to the program notes—was a polish that belied the label's still-newcomer status. The fluid silk pants (worn with flowy blouses and swingy vests), floral chine sheaths, and raffia-embroidered miniskirts no doubt set hearts aflutter among the retailers in the audience. These are timely silhouettes that everyone understands, but they were done in a luxurious manner and, even better, were not easily identifiable by brand.The show's standout piece suggests, however, that Rimondi and Aquilano have an untapped avant-garde streak: Coming, the dress looked like a sculptural, full-blown trapeze; going, it revealed itself to be a body-skimming, provocative sheath. This two-dresses-in-one trick, in more subtle form, became a recurring motif—as in, for example, a narrow frock that was solid navy in front and a painterly floral in back. Extra points for difficulty, boys. Well done.
24 September 2007
The sight of an A-list lineup of editors and buyers trooping into a 6267 show at 8:30 p.m. on a cold Milan night (and after Prada, too) is proof of the industry's goodwill toward any sign of young life springing up in this city. 6267's Tommaso Aquilano and Roberto Rimondi, a pair of ex-MaxMara designers, have earned a certain level of respect from the international fashion community in the past couple of years: They have a handle on the "Made in Italy" quality that cuts it in major department stores, and as the show started, hopes were high that they'd be able to put over something fresh.Did they succeed? In part. The collection was inspired, they said, by Josef Hoffmann and the Wiener Werkstätte—a sort of black-and-white alternative to the gilded exoticism of Gustav Klimt, which has been gaining so much currency elsewhere this season. The first look—a narrow black maxi coat with a raised waist and a high, furled collar—and a couple of columnar print dresses later in the show, put Aquilano and Rimondi in sync with the emerging feeling for longer lengths. Their concentration on working neatly tailored jackets and a skinny-leg pant widening to a slight flare also proved an awareness of directional trends. Still, as a whole, the designers' use of diagonal windowpane check; a narrow, poufed shoulder line; tubular trimmings on necklines; flat bows; and silver buttons was too derivative of Nicolas Ghesquière's Balenciaga. These guys undoubtedly have talent, but, like so many other young designers, they need to articulate what they want to say in a voice of their own. Holding back from overworking their things would be one step in the right direction—as would getting out to experience the world a bit more. Milan is still a great city in which to make clothes of quality, but it's also a provincial place from which it's not always easy to grasp the bigger picture.
18 February 2008