Trussardi Spring 2017 Ready-To-WearRunwayRunway Gaia Trussardi’s last menswear collection was a treat: hilariously pretentiously presented but full of great clothes. Which makes it awkward to state that this womenswear collection was unsuccessful. The problem is that Trussardi’s abundance of ideas were not matched by the quality of their execution. There was no patina. She said preshow backstage that she had been thinking of how sub cultures used to inspire fashion and that she wanted to invert that by generating a form of runway-borne spontaneous expression. So she again recruited a band to sing songs, the first of which she’d written herself, to soundtrack the show. “Lady / She’s a baby / Elegantly pop,” they sang. Unfortunately, the elegance on offer seemed akin to that of the Sanremo Music Festival in 1982 without the touted coat of irony to subvert it. Trussardi spoke of architecture influencing the diagonal line above a fruitily split pencil skirt in a jacket and skirt combo of what could have been a pleasant logomania print. But it was simultaneously too much and too little. There was so much work here, like her invention of a pleasant new future-retro logo for the brand, but also so many awkward car crashes of execution—like the Lurex tinted Spanx. And the less about the dungarees, the better. The Trussardi label is a fabulous house with a compelling story, but when the sliver of today’s insular runway audience that has a broader perspective on fashion talked after the show, they were less than complimentary.