Wavy shapes and sinuous surfaces inspired by the abstract paintings of Roi James and the pleated sculptures of Amilcar de Castro outline the GIADA Fall-Winter 2018/19 collection.

A harmony of movements that takes hold of the silhouettes and surfaces hallmarks an enveloping although geometric softness that amazes due to its delicate and calculated stratagems. 

The exquisite coats – the key element of the collection – in double-layer wool-silk crepe and cashmere have a circular architecture on the sleeves that are roomy and then gathered to form a large fold at forearm height, fastened on the side by artistic brooches. This constructive design also updates the image of the classic cape in the mini or maxi version, the cashmere jacket or the dress whose waist is highlighted by a double belt with jewel buckle.

Maxi shawls incorporated in the garment itself wrap around the body or are left to hang on the side to redefine the vertical silhouette slightly shortened by skirts and flowing trousers.

Movement also seizes control of the fabrics.

The precious jacquards with their faded look, almost as if to emulate the daring spirals projected into space of Lauren Martin's sculptures, are crossed by a raised mohair yarn, and the panels of wool are crossed by variegated waves. Sunray pleat inserts throw the linearity of a dress or a skirt into disarray to unveil new vistas with every step taken. The pleating is suddenly interrupted to open up into rays, while airbrushed effects place emphasis on the surfaces in an image that is also found in the cashmere and silk knitwear.

The sheepskin is ultra-light with a flat surfaces, and is surface-dyed to get a light frosted-effect on the coats or on the maxi funnel shawls. Snug and cosy wrap-around coats are created in baby alpaca.

Very fine plongé nappa leather bonded with silk is used to make skirts and ankle-length trousers, while dresses in silk with a crisp hand are the light element of a collection that unfolds in the shades of grey, blue, emerald and almond, going all the way to touching on warmer cream and amber nuances and a special shade of burgundy-mulberry.

In the finale, movement and fluidity make room for more essential geometries. A sharp line made with needlepunch wool crosses through all the latest creations like a clear-cut styling statement.

This season, the looks are completed by soft folding bags restrained by jewel handles partially covered with leather or fastened to the wrist by golden bracelets.

What we find at the feet are ankle boots crossed by shiny piping with flat, extra slim heels, knee-high boots or closed-toe sandals.

Francesco Hayez

《The Kiss》

Autograph letters by Francesco Hayez

The pieces of jewellery that are creations forged in organic shapes and that exalt GIADA’s flower symbol, the calla, are must have accessories. They come in broaches and buckles, dipped in voluptuous flows of gold, plait motif earrings, bracelets draping on the wrist like fabrics around the body, and necklaces with floral patterns that create a metallic wake of light.

From left: Giuseppe Silvestrin,James Bradburne,Carlo Ducci

Right: Claudio Silvestrin

Left: Emanuela Schmeidler

From left: Emanuele Farneti, Angelica Cheung

Third left: Giovanni Bianco

Zhang Li

Paris Wang

Gianluca Cantaro

From left: Sara Maino,Francesca Airoldi

Gemma Williams

Alan Prada

Gresy Daniilidis

Italian KOLs

Again this season GIADA is upholding its commitment to Italy and its cultural and artistic heritage. It in fact donated two lots of autograph letters by Francesco Hayez to the Biblioteca Braidense library on the occasion of the Fall-Winter 2018/19 fashion show. These collections of letters are considered to be of enormous interest for Milan and for the fund of great value dedicated to the Italian painter that the library preserves.

Giada will officially hand over the letters to the top management of the Milanese cultural institution at the end of the fashion show.