Anna Molinari's stylistic concept for Blumarine is characterized by simplicity, but it combines elements such as fantasy, passion, curiosity, fascination and romance. These features not only shape fashion, but also reflect the personality of the typical Blumarine woman. When you look at Anna Molinari - her intelligence, liveliness, creativity, femininity and passion - you see a vibration between angel and femme fatale. The renowned fashion photographer Helmut Newton recognized this essence and, in collaboration with Anna Molinari, created a new concept of female power.

Blumarine and Helmut Newton

A Blumarine advertisement, for example, offers a glimpse of a girl who comes out of her older sister's closet, half innocent, half cheeky, and enters the sophisticated world. There is also an edgy defiance in the garments, designed by a woman who combines her intelligence with the feminine powers of seduction. Fashion photographer Helmut Newton has created a powerful image for Blumarine since his work styling and photographing advertising. Whether it's set in the seedy setting of a back-alley hotel with tacky 1970s decor or on the shores of a trashy Mediterranean seaside resort, there are always strong sexual connotations in the imagery. The clothing is styled with revealing accessories - suspenders, the dominatrix's pointed patent leather boots or dog collars as chokers. The poses of the models, especially Nadja Auerman, who is reminiscent of an early 1980s Debbie Harry, are seductive. The images, both by Molinari and Newton, are always provocative.

The emphasis is on femininity!

Molinari likes to emphasize the female figure, which is often achieved through exaggerated feminine styles. Very popular is her tutu mini skirt, which features a tiny fitted waist that suddenly explodes into a full bell skirt, and layer upon layer of mesh and lace underskirts. The line also included delicate black lace babydoll dresses cut dangerously short, lace-up corsages, short striped dirndl dresses, tiny cardigans and figure-hugging sweaters, always worn to reveal a lace bra or satin-trimmed underpants. Popular fabrics included lace, brocade, chiffon and fake fur, either used as embellishments or made into a fitted jacket. Accessories are important – bo-peep hats worn with schoolgirl-style pigtails, large feather boas or top hats. Ruffles often reappear in collections, on shirts or as flounced cuffs and necklines.

The emphasis is on femininity!

Color combinations are always refreshing and unexpected: ice blue mixed with burgundy, peach and cream or chocolate brown mixed with sky blue and tangerine; However, the predominant color is always black, always sexy and suggestive. Blumarine has also explored many trend-setting fashion themes in collections. For Spring/Summer 1995, Molinari used the season's most precise depiction of the "disco diva" look, with short, knee-length pleated skirts in sherbet satin paired with fitted jackets, good-time hot pants, and kitsch-print lurex T-shirts . Other collections exploit what Anna Molinari considers to be the dual personality in every woman: shyness combined with passion or the little girl combined with the seductress.

Young and opulent

The company has continued to grow in influence and is now recognized as one of the world's trend-setting, risk-taking fashion brands, with showrooms in Milan, New York and Paris and an ever-growing number of boutiques in Hong Kong, Milan and London. Courting wealthy shoppers under 30 brought a sharp shift in style and taste. The arrival of Molinari and Tarabini's daughter Rosella to the design studio in 1998 brought an overtly youthful vibrancy over the Blumarine high-fashion heaviness. Long gone are the days of knitwear, Blumarine's theatrical reds and purples, searing pinks and turquoises, teamed with satin, leather and crocodile cigarette skirts and fitted suits with fur collars and covered with fox stoles and fur coats.

Nostalgic and bold

In March 1998, Molinari presented satin and pointelle slip dresses, fur collar velvet coats and sweater sets for fall, a nostalgic return to the sweater girls of the 1950s and 1960s with a touch of the flappers. For festive occasions, she emphasized beaded eveningwear for an eye-catching party appearance. In her second season, designer daughter Rosella tempered her exuberance with less exhibitionism, more control over her festive florals, sequined slip dresses, tailored pantsuits, and polka-dot organza with ruffled hems and voluminous sleeves. Molinari's designs, which balance a mother's bold boldness with a mother-knows-best feel, drew fans on the West Coast to Heaven 27, Sofia Coppola's Los Angeles store that opened in 1999.

From the heart

In successive spring shows, Blumarine continued the print with playful sophistication and a dash of Rosella's heart prints, an enticement for fashion's youngest followers. New lines reinforced the house's flirty chic image with embroidered and jeweled mules for 2000. Fall/Winter 2000 also looked to bygone luminosity and sparkle with black dresses from the 1980s and festive wardrobes with beads and sequins, embroidery, ethereal lace and silk, with daring slit skirts, chiffon blouses and Swarovski crystal mesh.