And so concludes another Milan Fashion Week, a season marked by its debuts: across the week, Maria Grazia Chiuri presented her opening vision for Fendi as the house’s first sole creative director, young Belgian designer Meryll Rogge made an expressive debut at Marni, and Demna hosted his first runway show for Gucci – a virile mediation on sex and the body which had everybody in fashion talking. Meanwhile at Giorgio Armani, Silvana Armani – the niece of the late eponymous designer – made her ready-to-wear debut at the house. Though true to Mr Armani’s well-established codes, she said this was ‘a new perspective on the Armani style’ – light, fluid and purposely ‘imperfect’.

Alongside, there were standout shows from Prada – in a feat of quick changes and expert layering, 15 models wore 60 looks without pause – and Bottega Veneta, where Louise Trotter conjured Maria Callas and Pier Paolo Pasolini in a riot of colour and texture. While at Jil Sander, Simone Bellotti found new freedom in his sophomore runway show after the rigour and restraint of his debut.

Here, reported by Wallpaper* fashion & beauty features director Jack Moss and contributing writer India Jarvis, the 14 standout shows which defined the week.

Fendi

‘Less I, More Us,’ was the mantra Italian designer Maria Grazia Chiuri chose for her debut as sole creative director for Fendi, emblazoning it across the runway which stretched the length of the house’s Milanese HQ on Via Solari. Chiuri is fond of such mission statements: for her debut collection as the first female creative director of Dior in 2016, she printed the title of Nigerian author Chimamanda Ngozi Adichie’s book-length essay ‘We Should All Be Feminists’ across a T-shirt. Over the nine years which followed, she would champion numerous women artists and collaborators.

Her mantra at Fendi is perhaps a feminist one too, despite the fact that Chiuri also showed menswear on the runway (and will be equally in charge of the house’s mens- and womenswear lines). It was, in part, a reference to the collective force of the formidable Fendi sisters: Alda, Carla, Paola, Franca and Anna Fendi, who took over from their parents, house founders Edoardo and Adele Fendi, in 1946. Speaking before the show, she said that people speak too often of Karl Lagerfeld’s influence – the designer was creative director of the house for 54 years – and not enough of the sisters, who employed him and would work alongside him until the company was sold to LVMH in 1999. ‘I would like people to remember all that they created at Fendi,’ she asserted.

Chiuri, who began her career at Fendi in 1989, working with the sisters until her own departure in 1999, said she credits her working ethic to them: ‘They were my mentors. They gave me my career. And I felt part of their teamwork.’ In the show, the idea of collaboration came through projects with women artists SAGG Napoli (colourful football-like scarves were created alongside the Naples-born artist) and the estate of Mirella Bentivoglio, whose slogan-like works appeared across garments. But the idea of a collective ‘us’ stretched to dissolving the divide between mens- and womenswear, too, the designer said: ‘Feminine and masculine cease to be categories of opposition and become adjectives used to describe shared qualities,’ envisioning not two separate collections but ‘one wardrobe’.

As such, the A/W 2026 outing – which eschewed theatrics in favour of a more pragmatic approach – moved between sleek, elongated tailoring and flourishes of romance, from layers of sheer tulle and lace (some evocative of her work at Dior). Meanwhile fur – the founding material of the house – came back to the fore, with Chiuri introducing the ‘Echo of Love’ project whereby clients can have their old furs transformed in an act of circularity. Across vivid two-tone chubby fur coats and patchworked fur handbags, all the materials had been sourced from leftovers in the house’s fur department – another act of practicality over spectacle. ‘Fashion is not entertainment. Fashion is a job. I am that kind of designer,’ she said. Jack Moss

READ: ‘Less I, more us’: Maria Grazia Chiuri lays out her vision for Fendi in Milan

Jil Sander

After a brilliant debut last season, Simone Bellotti continued to cleverly hone his vision for Jil Sander with a sophomore collection which he said was inspired by the idea of ‘home’. Presented in the house’s stark Milanese HQ – this season, warmth was added by the addition of a rust-coloured carpet which had been installed the length of the upper floor – the former Bally designer said he was thinking about home as an ‘an emotional space where one lives, feels safe and belongs to’, leading to a collection which diverted from restraint and rigour of last season towards something freer, more eclectic. Indeed, the designer said this was a collection about ‘flow, flou [and] movement’, with Bellotti imagining garments imbued with a life of their own through an intriguing use of pattern cutting – whether raised shoulder lines, curving seams, folded waistlines, or intentionally puckered tailoring (the slashes through garments also returned from his debut). Meanwhile evocative moments of colour and pattern added visual richness: flashes of electric blue and leopard print met fabrics evocative of interiors – a nod, Bellotti elucidated, to his father’s career as an upholsterer. ‘The question this season is whether abandon can convey restraint,’ he said of this newly liberated approach. Jack Moss

MM6 Maison Margiela

One of life’s great pleasures is watching other people, and what better place to sit and do it than a train terminal? It’s a pleasure that MM6 Maison Margiela tapped into for its A/W 2026 show – one designed around the comings and goings of passengers in an ‘archetypal train station’, in this case Milano Centrale. An archetype is a recurrent, even constant, principle, whereas a station is innately transient – how do the two meet? At MM6 it was with ‘a veritable spectrum of individuality’, and ‘sartorial actions rooted in the genuine appreciation for garments as they are, looking for ways to see them anew, which is where the fun lingers.’

What does that look like? It looks like pea coats with bunched and scrunched hems, loosely tacked to reveal quilted or flannel linings. Clashing stripes with check – something you might serendipitously pair when hurrying to get dressed. Backless khaki trench coats and skirts. And lots of tucking: hair tucked into jumpers, jumpers tucked into jeans, jeans tucked into high-gloss Wellington-style boots.

There was a strong equine theme too – afterall, 2026 is the year of the firehorse, a symbol of forward movement and independence that is characteristically MM6 – from horse motifs printed on oversized T-shirts and teddy fleeces, to full cotton flounced skirts with a decidedly American frontier feel. A train station welcomes all kinds of people going all kinds of places, after all. India Jarvis

Prada

This season, Miuccia Prada and Raf Simons played a clever runway trick: instead of the usual 40-or-so models cast in a given season, the pair chose just 15 to walk the A/W 2026 show. In an impressive act of timing, they wore 60 looks in total, walking the runway four times each in quick succession, achieved through removing a layer of clothing during each quick change. When you realised the conceit (for me, I wondered if Bella Hadid had a doppelganger or secret twin after what seemed like an impossibly quick reappearance on the runway), it made for one of the most thrilling Prada shows of recent times – there was a near-breathless energy to the spectacle. (Indeed, chatting to one of the models backstage, she said she had never sweated so much, or walked so far, in a runway show during her career.)

But this was no gimmick: post-show, the co-creative directors said the collection was a reflection of the way that women wear clothing on a given day – the removal of a coat to reveal a cocktail dress, the addition of a scarf. ‘It’s about life, and how you dress each day with the clothes you have,’ said Simons. ‘About real, human people.’ The garments themselves were infused with Prada-isms: purposeful marks of wear (some appeared stained or creased; others saw layers of fabric torn away to reveal another beneath) met an insouciant, bourgeois-inflected glamour in embroidered stockings, feathered and beaded footwear and a use of satin and organza. A feeling of utility, meanwhile, came in uniform-style tailoring and riffs on classic outerwear styles, from the parka jacket to the raincoat. ‘As a woman, your life is layered – each day demands not only a shifting of clothes, but a richness of identities within yourself,’ said Mrs Prada. ‘You make choices, you decide who you want to be.’ Jack Moss

Max Mara

Is a growing interest in the history and aesthetics of the Middle Ages a reaction to the hyper-digitised, blue-lit world of today? An idealised fantasy of a pre-capitalist society? Or perhaps a byproduct of the popularity of the romantasy genre? Whatever the answer, for Max Mara’s Ian Griffiths​, whose unlikely seasonal muse was the 11th-century diplomat and military commander Matilde di Canossa, ‘there is something so strikingly of the now about so-called Dark Age design’.

Griffiths’ interpretation of pre-enlightenment era clothing saw tunics in luxurious, butter-soft suede, ankle-skimming cashmere coats and hooded garments reminiscent of the coif shapes worn by Di Canossa and her contemporaries. Standout pieces included a caramel-coloured bias-cut silk gown with a mohair, funnel-necked yoke; a suede muff worn belted around the waist; and a taupe wool playsuit accessorised with the gathered suede, elbow-length opera gloves that were seen throughout the show. Griffiths has been with the house since graduating from London’s RCA in 1987, and over the four decades which have followed, there is nobody who knows the Max Mara woman better than he. The A/W 2026 collection offered new-yet-medieval twists on the tried and tested house codes, which keep this woman returning to the brand, season after season. India Jarvis

Emporio Armani

Following the death of its eponymous founder in the autumn of 2025, Emporio Armani took an understandable hiatus from showing at menswear week in January, but returned for A/W 2026 with a combined men’s and women’s runway outing. ‘Maestro’, as the collection was titled, was not only a narrative device, but an ode to Mr Armani himself – the eminent composer, conductor, and virtuoso of fashion symphonies for almost 50 years.

The imaginative backdrop for the season was, according to show notes, a music school, and the maestro – and maestra, for this is a co-ed conservatoire – who stepped out in Leo Dell’Orco and Silvana Armani’s first jointly developed collection wore loosely tailored overcoats and baggy denim, and student-y accessories including baker boy caps, backpacks, and ties just visible beneath oversized striped knits. Leg warmers styled over patent leather pumps evoked the chill of a rehearsal auditorium, whereas the show’s second act saw rather more performance-ready pieces in the form of draped velvet, wide-lapelled tuxedo jackets, and starched white collars (a recurring motif in Milan this season: most notably in Maria Grazia Chiuri’s riff on Claudine à l'école at Fendi).

For the finale – the crescendo, if you like – the models turned out in Lydia Tár-esque monochrome. Tight leggings or flowing slacks on the bottom, white dress shirts on top, each with a different button, brooch, pin, collar, or embroidered flourish. ‘A simple and rigorous statement – now more than ever rebellious – of modernity and self-awareness,’ that could only be Armani. India Jarvis

Marni

The Belgian designer Meryll Rogge chose to collaborate with Formafantasma on the runway set for her debut show as creative director of Marni. Transforming the house’s Milanese headquarters with wood-effect panelling and fabric-covered benches – recalling a banal office space, or entranceway to a Milanese apartment block – the space was punctuated with mirrored panels which had been painted with ‘fragments drawn from quotidian life’, from office chairs to cigarette lighters. ‘The structure of the set suggests a bourgeois interior wooden frame, hints of domestic architecture – but fragmented, slightly taken apart. It feels familiar yet unsettled, as if a room has been carefully disassembled and reassembled in another order,’ Formafantasma’s Andrea Trimarchi and Simone Farresin told Wallpaper*.

It linked with Rogge’s vision for her tenure at the Italian house: to create something which felt both familiar and contemporary, evoking Marni’s founding principles with her own distinctive twists. ‘I have a very personal connection to Marni,’ she said. ‘It’s a brand that shaped my design sensibility during my formative years, and through the show I wanted to acknowledge that sense of familiarity.’ It made for an astute opening outing: there was the irreverent spirit of founder Consuelo Castiglioni in its eclectic combinations, not only in its amalgam of nostalgic prints, swinging paillettes and boldly graphic jewellery, but also in the way a sweater might be worn with a cocktail dress, or a colourful sporty parka over a suit and tie. Rogge’s own twist on the Marni protagonist was a newfound toughness, figured in some great leather trousers and skirts, some with Western-inspired detailing. In their slung-on sensuality – imbued with a certain 1980s nostalgia – they might well fill a gap for those who are already missing Dario Vitale’s Versace. Jack Moss

READ: Formafantasma created the ‘familiar yet unsettled’ show set for Meryll Rogge’s Marni debut

Sportmax

If there are a few thematic ideas that inevitably crop up and play out in different ways by different brands in any one season, then for A/W 2026 one such example could be travel. At Loro Piana and MM6 Maison Margiela the vehicle of choice was a train; at Sportmax, the journey seemed to be taken by air. ‘Dynamism’ was the word they used, but ‘aerodynamism’ may be just as apt – as the brand itself puts it: ‘There is no clutter weighing the Sportmax woman down.’

Dresses were close-fitting and body-skimming but with movement in the draping, worn with long wraps which fell backwards over the shoulder like wings. Some of the weightier outerwear nodded to aviator-style jackets with their gargantuan lapels and collars, and contrasting textures and fabrics. Clutches were spheroid, almost discus-shaped; one could imagine them flying through the air with ease. Flashes of skin were visible beneath a kind of jumbo mesh effect leather, used for tops which were worn as a base layer beneath more autumn-winter suitable coats and gilets. Speed and movement were the defining characteristics of the collection – even the show itself was a particularly fast-paced affair – as the show notes said, the Sportmax woman has ‘places to go’. India Jarvis

Gucci

Prior to his debut runway show for Gucci, the mononymous Georgian designer Demna said he had been searching for the ‘Gucciness of Gucci’, a trip which took him to the Tuscan city of Florence, where the house was founded as a leather goods company in 1921. There, he visited factories and the archive, though it was stood in front of Sandro Botticelli’s The Birth of Venus at the Uffizi Gallery – just a few hundred metres from the Palazzo Gucci on Piazza della Signoria – that Demna had his lightbulb moment. ‘Standing in front of it, I felt overwhelmed,’ he wrote in a letter distributed before the show. ‘The beauty in it was unconditional; it was absolute. It made me realise how deeply the Italian Renaissance shaped everything I understand about art, about proportion, about desire, and about beauty. When I left the museum and stepped into Piazza della Signoria, the first thing I saw was Palazzo Gucci. In that moment, I understood the place Gucci holds within Italian culture.’

It was part of the reason why he staged the A/W 2026 collection amid an imagined museum constructed in Milan’s Palazzo delle Scintille, clad in marble and populated with plaster recreations of ancient sculptures (the vast statues had been 3D-scanned and crafted by Tuscan artisans to appear as if hewn from marble). This was a veneration of Gucci as an expression of Italian style and insouciance: after the show, he said this opening act was simply about capturing a feeling, rather than anything more intellectually overwrought. ‘I hope I made you feel Gucci today,’ he said, expressing a desire for Gucci to become an ‘adjective’. ‘That was my main purpose with this show.’

The essence of ‘Gucci-ness’ that Demna landed on was one of unbridled sensuality, a morning-after-the-night before glamour which borrowed from Tom Ford’s transformative tenure at the house in the 1990s (all the way down to a recreation of his 1997 double-G G-string, which here appeared as an in-built thong in a gown worn by Kate Moss to close the show). Other garments had been constructed without seams or with curved hemlines in order to emphasise the relationship between body and garment, while muscled male models burst out of skin-tight T-shirts and jeans. Slung on jackets, lean tailoring, and a final flurry of shimmering evening gowns completed the look. ‘[I think] it’s because of my relationship with myself, to my own body, to the way I want to see myself,’ he said. ‘I want to feel like that. I want to feel sexy.’ Jack Moss

Tod’s

It takes deft craftsmanship to imbue leather with real lightness – after all, leather is better known as a material of protection and toughness. But Tod’s’ A/W 2026 ready-to-wear was characterised by a levity of touch that could only be the handiwork of a house that makes an art out of leather (and a designer who’s got pedigree when it comes to this particular material).

In Matteo Tamburini’s latest, leather may have been the protagonist, but the plot itself was all about artisanal excellence – a fact reinforced by the real craftspeople stitching, folding, or carving objects in the entryway to the venue at Padiglione d'Arte Contemporanea – cherry-picked by the brand for their impressive skill. Amongst these were brothers Vincenzo and Manuel Aucella, coral artisans and cameo carvers who represent the fourth generation of a family tradition that began in 1892 (that’s around 30 years before Filippo Della Valle started the shoe-making business that would later become Tod’s).

As for the clothes themselves, feather-light asymmetrical leather dresses fluttered with all the delicacy of a silk handkerchief, blanket-style outerwear enveloped luxuriously about the shoulders, and saddlery techniques and hand-finishing synthesised tradition and modernity. Overall, the effect was a masterclass in Italian craft and sprezzatura. India Jarvis

Ferragamo

The 1920s were a formative decade for Salvatore Ferragamo: in 1927, he founded his eponymous footwear company in Florence after returning from Los Angeles, where he worked as a shoemaker for the burgeoning film industry in Hollywood. The British designer Maximilian Davis has found fertile creative ground in the decade, with recent collections channelling what he sees as the ‘liberated elegance’ of the era – one in which conventions of dress were interrupted and marginalised groups found new freedoms (last season, Davis evoked the Harlem Renaissance, the proliferation of Black art, culture and intellectual output from the New York neighbourhood in the 1920s).

This season, in one of the curving Giovanni Muzio-designed upper galleries of the Triennale di Milano museum – dimly lit and sheathed with floor-to-ceiling curtains – he evoked the 1920s speakeasy, ‘a locus of liberation; a space where conventions of class and identity are disrupted’. As such, a louche, after-dark mood infused the collection – negligées, molten-gold dresses and vampish stilettos all featured – while riffs on maritime attire were a nod to those who frequented such drinking spots. Though the evocation of the sailor also nodded to the notion of travel which informs the Ferragamo story – the transformative experience of moving away from your home in search of something new.

‘That’s something that both Salvatore and my own family experienced – he left his home in Italy for America before returning home, and my family moved from Trinidad and Jamaica to Manchester,’ said Davis. ‘They all crossed the water to discover new beginnings.’ Jack Moss

Dolce & Gabbana

Dolce & Gabbana’s A/W 2026 collection was an assertion of brand identity, said designers Domenico Dolce and Stefano Gabbana, all the way down to a front-row cameo from Madonna – perhaps the most well-known house muse and the current face of The One fragrance. The musical powerhouse watched on from the front row as the pair performed their own greatest hits: an outing near-entirely in their signature vampish black, replete with house hallmarks – lingerie-inspired silhouettes, hourglass LBDs, and, of course, plenty of lace. Though perhaps most desirable this season was the tailoring: if best known for their body-contouring dresses, the pair have always possessed a strong sartorial prowess, here encapsulated in some brilliant tuxedos which nipped at the waist and flared across the shoulder, inspired by archival silhouettes from the 1990s (they would make a great Oscars look for those wishing to eschew the traditional princess gown). Post show, Domenico and Stefano were keen to make clear that drilling into the archive was not about ‘nostalgia’ but ‘presence’, ‘a language built on roots that are still alive – Sicily as emotion, black as strength, lace as intimacy, tailoring as authority,’ they said. Jack Moss

Bottega Veneta

The particular joy of good fashion is that it’s a work of art you can actually touch – and with Louise Trotter’s sophomore collection for Bottega Veneta, touch is exactly what you want to do. The shaggy, curvaceous shapes she creates out of fibreglass need to be felt to be believed. Great piles of shearling cry out to be fondled. Even less immediately showy pieces, like a tailored grey coat with exaggeratedly round shoulders and cinched waist which was made from a thick, almost foamy looking fabric, was just begging to be squished between the fingers.

It’s the mark of a talented designer that to describe their work as ‘wearable’ doesn’t just mean ‘commercial’, or, worse ‘boring’. The Sunderland-born designer, whose previous creative director roles were at Lacoste, Joseph, and Carven, makes clothes that are infinitely wearable, but here the word might mean things that feel really wonderful to actually wear. On the practical side: pieces have pockets, shoes are flat, and bags are roomy. The more flamboyant garments are countered by easy tank tops and shirts. But more than that, there is a sensuality and tactility that sets Trotter’s work apart. Is this the byproduct of being one of the few women making womenswear at the head of a luxury house? Whatever the case, there’s no doubt that she is one of the most credible designers working today.

The A/W 2026 collection carried what Trotter described as a ‘suggestion’ of Maria Callas and Pier Paolo Pasolini – two of 20th-century Italy’s most erudite and subversive exports, and unlikely friends. Both figures have been brought back to the forefront of the cultural conversation in recent years – operatic prima donna Callas was played by Angelina Jolie in a 2024 biopic, and before that her life and lonely, premature death was dramatised on stage in an opera project conceived by Marina Abramović and co-starring Willem Dafoe. Dafoe, in turn, has played Pasolini, the poet and filmmaker whose brutal murder, presumably at the hands of far-right thugs, was commemorated on its 50th anniversary in the autumn of 2025 through a series of cultural programming and new publications. If these sound like unlikely characters to influence a ready-to-wear collection, consider that Callas and Pasolini had more in common than just tragic ends: formidable artistic talent, potent sexuality, and confident personal style amongst them. For Trotter’s debut last year she described her use of intrecciato as a conceptual device as well as a literal braiding technique – by citing these two artists she is articulating a continuation of that weaving principle, but also making a bold declaration of what Bottega Veneta, under her stewardship, is going to be. India Jarvis

Giorgio Armani

The Armani Privé show in Paris marked the debut collection from Silvana Armani, the late Giorgio Armani’s niece, who worked closely with the designer in his lifetime and was a fitting successor to uphold his legacy. On Sunday in Milan, she made her ready-to-wear debut at Armani, selecting the house’s headquarters on Brera’s Via Borgonuovo to show the A/W 2026 collection (the address was also the site of Mr Armani’s personal Milan home). At the time of the Privé show, we wrote that she had presented a collection ‘not of divergence but of continuance’, and the same could be said of this collection – it felt recognisably Armani in its louche, unstructured tailoring and interplay between Eastern and Western tropes of dress – though there was a greater feeling of softness and ease. Indeed, Silvana Armani said she was looking for lightness in both construction and spirit: jackets were assembled without padding, wrapped silhouettes appeared thrown on, and the slouchier, pleated trousers – held in place with wide belts – felt contemporary in proportion. She called it ‘a new perspective on the Armani style,’ one which she said was informed by being a woman, designing for women. ‘It is fluid, enveloping, perfectly imperfect.’ Jack Moss

Welcome to Milan Fashion Week Men’s A/W 2026

As Pitti Uomo culminates in Florence (catch up on our highlights from the menswear fair here), eyes turn towards Italy’s capital of style, Milan, where the A/W 2026 edition of Milan Fashion Week Men’s takes place this weekend (16-19 January 2026). There is something of a back-to-school feel to the event: the four-day happening marks – bar a handful of guest designers at Pitti Uomo, including Hed Mayner – the first runway shows of the A/W 2026 season, which will continue after Milan in Paris, later this month (after that, the A/W 2026 womenswear season will begin in February, in New York).

As ever, the Wallpaper* style editors are on the ground: despite a relatively sedate schedule, there are still a number of notable runway shows happening across the weekend, including Prada (expect a transporting OMA-designed set and a runway show that will no doubt set the tone for the season ahead), Dolce & Gabbana, Zegna and Giorgio Armani (the last marks the first menswear show since the eponymous designer’s passing last year). Elsewhere, British designer Paul Smith will also host his A/W 2026 show in Milan, following his move to the city last season, while Ralph Lauren will make its menswear runway return to Milan, having last shown here 20 years prior. Numerous presentations and events – including Ferragamo’s celebration of its ‘Tramezza’ shoes on Sunday evening – will take place alongside the main shows.

Here, follow our real-time look at Milan Fashion Week Men’s A/W 2026 – from behind-the-scenes glimpses to access to the shows, presentations and parties – as seen through the eyes (and iPhones) of the Wallpaper* editors. Stay tuned.

Zegna opens Milan Fashion Week Men’s by delving into the ‘family closet’

And so it begins – the first looks of Milan Fashion Week Men’s came from Zegna this afternoon, where Alessandro Sartori made his return to the Italian style capital after showing his S/S 2026 collection in Dubai last season (the house also moved from its traditional spot closing the week to opening it). The setting was Palazzo Del Ghiaccio, whereby the expansive main hall had been transformed with a series of towering ‘imaginary closets’ which were nonetheless filled with real clothing sourced by Sartori from Gildo and Paolo Zegna, both third-generation members of the Zegna family (Gildo is the house’s Group Executive Chairman).

Inherited through the family line, they inspired a collection of eclectic, nostalgic elegance – nonetheless cut to Sartori’s generous, contemporary silhouette. ‘I am after the sense of wonder that happens when one finds a piece that was owned by one's father, grandfather, uncle; the discovery that comes from studying other ways of dressing, which prompts a willingness to try something new,’ said Sartori. ‘The idea of creating something that can be kept energises us.’ The casting was equally cross-generational – an age-diverse casting that has become Sartori’s signature in recent seasons.

Ralph Lauren returns to the Milan runway after 20 years

Ralph Lauren opened the doors to his eponymous Milanese palazzo this evening, hosting an intimate presentation of his A/W 2026 menswear collections in the striking Mino Fiocchi-designed building that the brand acquired in the 1990s. Moving away from the usual static presentation format, Lauren instead chose to show his latest Polo Ralph Lauren and Ralph Lauren Purple collections for men in a back-to-back runway show that marked his first catwalk show in the city for two decades.

He said that the A/W 2026 collection itself was ‘inspired by the different ways men live’, eschewing tight thematics for a broad collection which married his distinct style tropes – from the preppy uniform for which he is best known (here: houndstooth jackets, yellow cable knits, Polo-branded caps and the like) to on-the-ranch Americana and old Hollywood eveningwear. As ever, it felt impossible not to be seduced by his optimistic vision. ‘[These collections] stand for the worlds I have believed in and lived,’ he said. JM

Jacob Cohën opens a one-night-only hotel

The dramatic Luigi Perrone-designed Circolo Filologico Milanese was momentarily transformed last night into a for-one-night-only Jacob Cohën hotel to present the brand’s A/W 2026 collection (an undertaking only a little less ambitious than last season, where owner and creative director Jennifer Tommasi Bardelle created a whole Jacob Cohën village). Cue Jacob Cohën bell boys who led guests through to the ‘lobby’, where models lounged on Chesterfield sofas while a jazz band provided a live soundtrack (champagne, naturally, was on tap). Upstairs, there was a chance to see the highlights up close: highlights included the super-lightweight suedes in Jacob Cohën’s signature denim blue, some lined with fluffy shearling for warmth. JM

Simon Holloway looks to Lord Snowdon’s personal wardrobe to inspire his A/W 2026 collection for Dunhill

This season, Simon Holloway chose to show his A/W 2026 collection for British heritage house Dunhill at Villa Mozart, one of Milan’s discreet architectural gems (the Piero Portaluppi​-designed villa is recognisable for its ivy-covered exterior). A shift away from the runway presentations of recent seasons, Holloway instead hosted a series of intimate talk-throughs for press, introducing a collection which was inspired by the insouciant style of Antony Armstrong-Jones, Lord Snowdon. For Holloway, the British photographer – who married Princess Margaret in 1960 to become the Earl of Snowdon – encapsulated the mood of the heady decade which followed, where high society mingled with rockstars, and the stuffy dress codes of the 1950s were abandoned (American photographer Ethan James Green sought to capture the era in an accompanying photo series, starring artist and model Henry Kitcher).

‘[It’s about] the tension between aristocratic formality and unguarded artistic expression,’ said Holloway of the collection, which came largely in shades of grey (it is an ‘always favourite’ he told Wallpaper* of the hue at the preview this morning). Bolder flourishes came in ‘haberdashery’, like colourful silk pocket squares and cashmere scarves, while motifs drawn from Arts & Crafts textiles adorned jacquard tailoring and slippers. Indeed superlative fabrications were the order of the day: from fluffy alpaca and hand-finished double-faced wool to soft-to-the-touch suede, which was used to construct a (very desirable) pair of ‘jeans’.

A fishing trip to Greenland inspired Satoshi Kuwata’s latest Setchu collection

For his sophomore Milan show, Kyoto-born designer Satoshi Kuwata – winner of the 2023 LVMH Prize for his 2020-founded brand Setchu – welcomed guests into his new brand’s ‘home’, a light-filled studio on Via Privata Rezia (for the occasion, the space had been lined with tatami mats, traditionally used for sleeping in his native Japan). Ever hospitable, Kuwata appeared at the start of the show to welcome guests, going on to talk through the collection’s inspirations, which included a memorable fishing trip to Greenland (fishing is one of Kuwata’s favourite pastimes; Greenland’s waters offered plentiful supplies). It led to a series of intriguing garments which married outdoorsy function (bags that transformed into garments through clever zip placement, warm layers of quilting, enveloping bombers and the like) with his signature unconventional pattern-cutting, honed by the designer during his time on Savile Row. Playful flourishes – like booties and slides made woven from straw, or shaggy, yeti-like ‘furs’ – added to the uplifting mood. ‘It just makes you happy,’ said my seatmate. JM.

Dolce & Gabbana was about the multiplicity of man

This season, Stefano Gabbana and Domenico Dolce moved away from the singular themes of past collections (for S/S 2026, it was ‘pyjama dressing’) towards a more wide-ranging ‘portrait’ of style that sought to capture the multiplicity of man. ‘The runway becomes a contemporary gallery of living portraits, where every look functions as a psychological and sartorial self-portrait,’ said a booming voiceover at the start of the show. ‘[It] unfolds through a sequence of micro universes, each representing a distinct portrait of man – the introspective thinker, the creative visionary, the Mediterranean sensualist and the restless romantic’. As such, an eclectic mode of dressing was the order of the day, shifting between the bold (an enormous striped shaggy ‘fur’ coat which opened the show; colourful jumpers in fuzzy mohair), the bookish (thick-rimmed glasses, jackets in heritage fabrications), and the sporty (a handful of models in walked the runway in a Dolce & Gabbana-branded football kit). And – in a nod to last season – a pair of pyjamas and a leopard print robe. ‘There are infinite possibilities. Each one deserves its portrait,’ the voiceover concluded. JM

Paul Smith looks back into the archive for his latest Milan show

For the second season running, Paul Smith chose to show in his Milan headquarters – an ‘intimate, salon-style’ presentation narrated by the designer via voiceover. ‘[It’s about] putting classics together in a way that’s a bit irreverent and odd, sometimes playful,’ he said, noting that several of the designs were rooted in pieces his design team had discovered in his expansive Nottingham archive (it numbers over 5000 pieces of clothing and ephemera, collected over the course of Smith’s career). The 1980s and 1990s were particular touch points: some memorable inside-out tailoring was revisited, while other blazers recalled the wide-shouldered, double-breasted silhouette of the 1980s (albeit in louche, contemporary style). Meanwhile, playful flourishes – from hanging glass bag charms and botanic motifs to a jaunty riff on the tricorne hat – captured an artistic sensibility, which Smith said was inspired by Jean Cocteau. Consensus in the room was that this was the designer’s best collection in some time. JM

Stone Island presents its latest ‘Prototype Research_Series’

It is well-known that Stone Island has an avid, cult-like following, a group of technical-wear obsessives who devote their time to establishing comprehensive collections of rare and limited-edition garments. The ‘Prototype Research_Series’ is one such project – an annual initiative which showcases the spoils of the brand’s latest Wonka-like experiments in textile manufacturing, for which they remain best known (we took a trip to their extraordinary research lab in Ravarino, Italy last year, to find out more). For its ninth edition – presented in an immersive installation in Stone Island’s Milan headquarters last night – the technology in question was an ’air-blown lamination knit’, a 3D process which uses hot air to bond a membrane onto the chenille knit using an inflatable mannequin (doing it onto the ‘body’ in this way ensures perfect adhesion, according to the brand). 100 colourful pieces have been made in total – the race is no doubt on as to who can add it to their collection first. JM

A first look at the show set for Prada’s A/W 2026 menswear show

A first look at the OMA-conceived set for Prada’s A/W 2026 menswear show, taking place in Fondazione Prada this afternoon in Milan. Transforming the hangar-like Deposito space – where Prada traditionally holds its shows – the pastel-coloured set is a cross-section of a traditional Italian villa or palazzo, as if sliced through its floors. It comes complete with wood-panelled doors and fireplaces in differing marble hues.

Prada’s A/W 2026 menswear collection was about ‘evolution not erasure’

‘What can we build, from what we have learned?’ asked Miuccia Prada and Raf Simons at their A/W 2026 Prada menswear show this afternoon, which took menswear hallmarks – from cuffed shirts to double-breasted tailoring – and reimagined them in renewed proportions.

Presented in Fondazione Prada’s Deposito space – which appeared as if an Italian palazzo had been sliced away through its floors in a show set by OMA – the designers elaborated that this was a collection about ‘evolution not erasure’. ‘There is a sense of the before, which interests us, even as we search for the new,’ said Miuccia Prada. ‘That is a sign of respect – you want to move on but not erase what came before. Holding an idea of beauty and changing it into something new.’

‘We wanted to focus on important things, beautiful things that feel familiar but can be reconsidered,’ Simons added. ‘I have always liked that from the very start Miuccia’s work has been about challenging, questioning and investigating. [Here], we questioned what should remain, from the past – and what can you build, from what you learn?’

Read our full report on Prada’s A/W 2026 menswear show: ‘It’s a kind of archaeology’

Raf Simons likened his and Miuccia Prada’s latest menswear collection to a kind of ‘archaeology’. ‘There is a lot here from the past,’ he said backstage. ‘If you take the layers away, you always find a kind of beauty. There’s the knowledge that you still want to celebrate and use, but you also want to innovate.’

The show took place in Fondazione Prada’s hangar-like Deposito space, which this season had been transformed by OMA into the ruins of an Italian palazzo. Though there was no dust or rubble; instead, it was as if the various floors had been neatly cut away to reveal a cross-section of the rooms inside (in typical Prada style, they were painted in pastel shades and were installed with wood-panelling and marble fireplaces, suspended at height around the room). Only the jagged remains of ceiling beams and floorboards were evidence of any destruction having happened before.

Perhaps, then, this was a collection not of archaeology but of renovation: to make something that exists new, what do you keep, and what do you strip away? Or, as Simons elaborated: ‘We questioned what should remain, from the past – and what can you build, from what you learn?’

Continue reading our A/W 2026 Prada menswear show report.

Tod’s takes over Villa Necchi to present its latest menswear collection

For its latest menswear presentation, Tod’s once again took over Villa Necchi, the Piero Portaluppi-designed home on Via Mozart that is perhaps best known as the setting for Luca Guadagnino’s I Am Love. The house’s latest menswear collection was scattered across the villa’s ground floor, with the Gommino – its signature driving shoe – continuing to take centre stage. This season, it was the ‘Winter Gommino’, a heftier version of the style which also comes in a lace-up boot iteration (for A/W 2026, they had fluffy shearling or cashmere linings). For ready-to-wear, leather was central: a new ’Pashmy’ leather – named after the pashmina as a nod to its softness and lightness – was used to coach jackets and patch-pocket blazers. JM

Giorgio Armani holds first menswear show since the death of the eponymous designer

This morning, guests gathered at the Palazzo Orsini headquarters of Giorgio Armani on Milan‘s Via Borgonuovo for what would be the first menswear show since the death of the eponymous designer last September. What followed was a respectful continuation of the Armani’s singular aesthetic: namely, louche, unrestricted silhouettes and a rich melange of fabrics. This season, the nexus was ‘cangiante’, an irridescent silk, that here became a ‘metaphor’ for the collection – ‘something in constant transformation... catching the light in ever new ways’. The show would mark the debut of Leo Dell'Orco, head of the men's style office of the Armani Group and Mr Armani’s right-hand man, who took an emotional bow at the show’s close. JM

Hotel slippers to flip-flops, house socks to bath robes, recent seasons have seen designers reimagine indoor wear for the outside world – a reflection of our desire for home comforts, even when we're on the go. The Row has proved masterful at this switch-up, taking humble homewear and reimagining it in uber-luxurious style – what greater pleasure, designers Mary-Kate and Ashley Olsen seem to say, than stepping out of bed and straight onto the street?

It goes some way to explain the proliferation of bedwear on the runway for A/W 2025, most notably at Prada, where the house’s men’s and womenswear collections both featured pyjamas as a proposition for the everyday (at the men’s show, pyjama sets were shrunken in size and worn with cowboy boots – as if on an early morning or late night wander – while for women, night shirts were stuffed into the waistbands of skirts). They appeared as part of collections that explored the idea of sartorial freedom: ‘within feminine beauty, when you think of its archetypes, there is lots of restriction of the body – here, it is free,’ said co-creative director Raf Simons of the womenswear collection, where the pyjamas’ relaxed proportions were symbolic of this liberated mood.

10 of the best pyjama shirts to take you from bed to street

Though despite their synonymy with relaxation, there is also an innate elegance to classic pyjamas, particularly the shirt – after all, it is a button-up you wear to bed, often rendered in silk, satin or cotton poplin, and cut with a louche, evening-time silhouette that is not unlike traditional formalwear. Dolce & Gabbana’s men’s and women’s collections for S/S 2026 mined this mood – pyjamas were reimagined with smatterings of crystal embellishment or twisting floral embroidery (lingerie-inspired gowns and vertiginous heels presented an even more glamorous counterpoint)

Here, as selected by the Wallpaper* style team, are ten of the best pyjama shirts – good enough to wear out of the bedroom and onto the street.

A wild, animalistic mood permeated the A/W 2025 collections, where a frenetic collage of clashing animal prints, slices of faux fur and shearling, and fronds of feathers suggested a need for escape and release. This was the starting point of the cover shoot for the September 2025 Style Issue of Wallpaper*, an exploration of the uninhibited, subversive glamour which ran through the season, where tropes of luxury were twisted, or turned on their head.

Photographed by Austrian image-maker Nicole Maria Winkler and styled by Wallpaper* fashion and creative director Jason Hughes, the shoot sees model Costanze Van Rosmalen – who made a memorable runway debut at Prada’s A/W 2025 show, titled ‘Raw Glamour’ – inhabit a surreal domestic scene, a hallmark of Winkler’s work (for Wallpaper’s March 2025 Style Issue, she created a liminal apartment complete with disorientating trompe l’oeil wall coverings, part of an ongoing collaboration with set designer Kim Harding).

‘What I find exciting is creating deconstructed settings which emphasise the model’s performance for the camera. It doesn’t feel like her natural habitat but a constructed scene,’ she says. ‘In this instance, the double-height stage resembled a domestic set-up – a living room complete with sofa and TV and a bed on top. In another setup our model Constanze casually speed-walked on a treadmill wearing thigh-high Acne Studios boots – one of my favourite moments.’

‘Faux animal furs and reptile skins were really prevalent this season,’ adds Hughes. ‘For this shoot, I liked this idea of clashing them to create these surreal hybrid combinations, layered up in a single look. They are also textures synonymous with traditional glamour and luxury – we wanted to play with them to create a modern way of dressing up.’

Explore the shoot below.

The September 2025 issue of Wallpaper* is available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

This summer, the runway leads to the Riviera. Primarily across Europe, luxury hotels are quietly slipping into their seasonal roles as extensions of major fashion and lifestyle brands. Behemoths such as Burberry and Dolce & Gabbana are migrating from urban fashion capitals to the coast in the coming months, trading marble flagships for fresh ocean air and beachfront real estate. The formula is straightforward: exclusive pop-up boutiques flanked by monogrammed loungers and umbrellas, and occasionally, chef-led restaurants. Here are some of the hotel takeovers making a splash this summer – where you too can pop up in style.

Fashion hotel takeovers happening this summer

Burberry at The Standard Ibiza

Hot on the heels of its takeover at The Newt in Somerset, Burberry is off to embrace the Mediterranean sunshine, landing at The Standard, Ibiza, until October. The hotel’s seasonal rooftop bar and restaurant, Up, has been Burberry-ified with a bespoke check pattern in bright yellow. This energising design adorns the site’s loungers, parasols, and seating, as well as a photo booth in the lobby. Starting in mid-July, weekly DJ nights, featuring guests such as Phil Mison, Eric Duncan, and Nicolas Matar, will be accompanied by a curated cocktail menu. For those who can’t get enough of the partnership, Burberry and The Standard also propose a summer capsule collection ‘for warm days and balmy nights’, with swimwear, sunglasses, and hats available for purchase.

The Standard, Ibiza is located at Carrer de Bartomeu Vicent Ramon, 9, 07800 Ibiza, Balearic Islands, Spain.

Dior at Jumeirah Capri Palace

For the fifth time, Jumeirah Capri Palace, which recently unveiled new suites by Patricia Urquiola, welcomes the return of Dioriviera to its seafood restaurant, Il Riccio. The breezy setting, surrounded by Anacapri’s rocky cliffs and adjacent to the island’s magical Blue Grotto, is now decorated with Dior’s Toile de Jouy pattern and animal statues. Guests can choose to sip limoncello spritzes on the beach club terrace or dine at the restaurant, on dishes such as spaghettino with sea urchins. Meanwhile, a Dior boutique pop-up features a summer-ready wardrobe.

Il Riccio is located at Via Gradola, 4, 80071 Anacapri, Italy.

Dolce & Gabbana at Four Seasons Hotel Taormina

Despite occupying its privileged hilltop position for centuries, San Domenico Palace, Taormina, entered the modern zeitgeist in 2022 after serving as the fictional ‘The White Lotus’ hotel. The property, which was acquired by Four Seasons in 2020, is also a beloved part of the Dolce & Gabbana universe, as the Italian brand has taken over its pool area for a couple of years in a row. The now familiar bespoke Blu Mediterraneo theme, seen across parasols, cushions and towels, seeks to reflect the region’s vibrant seaside blues and celebrates the artistry of handmade Sicilian ceramics. Wallpaper’s fashion features editor Jack Moss visited the activation last month to celebrate Dolce & Gabbana’s ninth collaboration with Mytheresa, describing the experience as ‘a day of sunshine, food and spritzes’. Until the end of the season, guests will also be able to browse an exclusive pop-up boutique offering a selection of clothing and accessories, including some location exclusives.

San Domenico Palace, Taormina, A Four Seasons Hotel is located at Via S. Domenico, 5, 98039 Taormina, Italy.

Herno at Phi Beach

The rugged granite landscape of Baja Sardinia provides the perfect backdrop for Herno’s sophisticated take on exploration, travel, and outdoor living. In collaboration with Phi Beach, the Italian brand is showcasing its vision of seaside leisure for the second consecutive summer, lasting through the first week of September. Alongside dressing the exclusive club’s cabanas and deckchairs in sandy, deep brown tones, Herno has also introduced its first fully designed restaurant, Herno Suite. Here, chef Claudio Marenzi presents culinary delights on ceramics inspired by the Erno River, paying tribute to the brand’s roots. With a focus on natural aesthetics and sustainability, bill holders, menus, and coasters are made from natural cork sourced from Sardinia. A selection of ‘open-air accessories’ is available for purchase, including beach towels, tote bags, water bottles, baskets, and hats.

Phi Beach is located at Via Forte Cappellini, 07021 Arzachena, Italy.

Jacquemus at Monte-Carlo Beach Club

As part of a strategic transformation of the area, Monte-Carlo’s emblematic beach club has reopened for the season with a complete redesign of its deck and pool area by French interior designer Dorothée Delaye. Adding a burst of Provençal panache, a sun-kissed collaboration with Jacquemus is underway until 7 October. Inspired by ‘La Croisière’ collection unveiled in Paris in January, the takeover dresses sunbeds, towels, and parasols in banana-yellow, coconut milk, and black stripes. This theme extends to the adjacent Pool Café, which features speciality brews and an Olympic-sized pool, as well as two newly opened Jacquemus boutiques, featuring sketches by Renoir and Matisse on their walls.

Monte-Carlo Beach Club is located at Av. Princesse Grâce, 98000 Roquebrune-Cap-Martin, Monaco.

Louis Vuitton at White 1921 Hotel

For the third consecutive year, the Arnaud Donckele & Maxime Frédéric at Louis Vuitton restaurant has returned to the White 1921 Saint-Tropez hotel for the season. Michelin-starred chef Arnaud Donckele and chef pâtissier Maxime Frédéric present a bountiful menu, available for lunch, tea time, and dinner, spotlighting local, seasonal produce and creative twists. Think dishes such as grilled blue lobster enriched by a shiso-infused sauce, or Wagyu beef served in a fragrant bouillon. The restaurant’s interior features natural macramé touches paired with rattan furnishings and tables dressed in seasonal Louis Vuitton tableware. Crockery is adorned with interpretations of the maison’s signature Monogram Flower.

The Arnaud Donckele & Maxime Frédéric at Louis Vuitton restaurant is located at Hotel White 1921, Trav. des Lices, 83990 Saint-Tropez, France.

Missoni at JW Marriott Venice Resort & Spa

Nothing embodies summer quite like Missoni’s signature zig-zag motif, a warm-weather staple cherished by many for its cheerful, multicoloured hues and light texture. On the private Isola delle Rose in Venice, the Italian label has established a bijou pop-up store at the JW Marriott Venice Resort & Spa, making it convenient for guests to stock up on its beachwear essentials. A serene blend of blue and azure, combined with warm ochres and beige, dominates an exclusive collection of men’s and womenswear, ranging from swim trunks and bowling shirts to bikinis and long cover-ups. This same pattern features in the shop’s sofas and pouffes, as well as the large-scale bunny welcoming visitors. The pop-up is open at JW Marriott Venice Resort & Spa until 15 September, with another Missoni Resort Club takeover occurring in Oku Ibiza in the form of a branded poolside lounge.

JW Marriott Venice Resort & Spa is located at Isola delle Rose, Laguna Di San Marco, 30133 Venice, Italy.

Alo at Mandarin Oriental, Bodrum

Turkey is familiar territory for Alo Yoga, which launched its first Istanbul brick-and-mortar store last year. This summer, the lifestyle brand has set its sights on the Aegean coast – in particular, Mandarin Oriental Bodrum’s private shoreline, to debut a second boutique, an immersive beach club experience, and wellness workshops. Complementing the oak and pine beach umbrellas are branded cotton towels and seating in an earthy hue, while a customised cart offers refreshments served in coconut cups. Until September, international Alo instructors will lead a wellness programme for hotel guests, including sunrise yoga and pilates alongside sound healing and meditation sessions.

Mandarin Oriental, Bodrum is located at Gölköy, 314 Sokak No.10, 48483 Muğla, Turkey.

The Sicilian town of Taormina, located on the island’s eastern coastline, has occupied its teetering hilltop position for two and a half millennia. Flanked on one side by the towering Mount Etna – a sight so arresting it appears like an enormous green-screen illusion – and the glimmering Ionian sea on the other, the picturesque clusters of hotels, restaurants and terraces seem to clamour along the cliffside to lay claim to Taormina’s best viewpoint.

The past weekend (31 May – 1 June), guests of German e-retailer Mytheresa and Italian fashion house Dolce & Gabbana – who were celebrating their ninth collaborative collection – gathered on the terrace of Taormina’s San Domenico Palace, part of the Four Seasons hotel group, to consider the sweeping view at dusk over aperitivo. It was a strangely familiar sight: in 2022, the San Domenico Palace entered the cultural consciousness as the site of the fictional ‘The White Lotus’ hotel for the second series of Mike White’s darkly comedic satire of such luxury establishments and their ultra-rich patrons.

Mytheresa and Dolce & Gabbana take over Taormina, Sicily

As Mytheresa CEO Michael Kliger reminded in his opening speech, Tanya McQuoid – the wealthy, permanently perplexed American multi-millionaire played by Jennifer Coolidge in the show’s first two seasons – remarked on the hotel’s unique position: ‘Oh, God. This is such a beautiful view. I wonder if anyone’s ever jumped from here.’ Thankfully, as guests dined on tables strewn with ripe oranges, cacti and wild flowers, the only drama was the rising gusts of sea winds (a momentary interruption to the otherwise serene scene, which unfolded on the lawns of the hotel’s scented Belvedere Gardens).

But Coolidge’s dryly delivered line speaks to the heady appeal of Taormina – and, indeed, Sicily in general – where an amalgam of cultural influences, near-perpetual heat, and its proximity to a bubbling volcano offer a particular appeal, which teeters between seduction and delirium (indeed, the day after guests left the island, Mount Etna emitted a dramatic plume of ash and smoke).

It is a locale which has provided infinite inspiration for Domenico Dolce and Stefano Gabbana’s particular brand of La Dolce Vita at their eponymous Milan-based fashion house – the former having been born in Polizzi Generosa, Sicily, the latter a regular visitor (the pair have held Alta Moda shows – the couture arm of Dolce & Gabbana – in locations across the island, from Palermo to Taormina). ‘We built our fashion around three fundamental concepts: Sicily, tailoring, and tradition,’ Domenico Dolce said in 2010.

For this latest collaboration with Mytheresa, the pair looked towards Toarmina for inspiration with a colourful, print-and-pattern-adorned collection for women and children which draws on hallmarks of the town – whether the patterned Sicilian ‘majolica’ tiles which decorate walls and stairways, motifs of ripe fruits and flowers, or swirling Baroque prints recalling the interiors of Taormina’s many churches. Silhouettes move from the breezy – kaftans, silk shirt dresses, maxi skirts and the like – to the Dolce & Gabbana hourglass, while accessories drip with references to Sicilian culture, from colourful pom poms to woven raffia.

The denouement of the two-day trip – for which the San Domenico Palace provided a luxurious base – was a takeover of Taormina’s Piazza IX Aprile, a cinematic town square recognisable for its checkerboard paving, cluster of churches and dramatic sea view (as such, through the day and evening, tourists can be seen peering over its edges).

Recalling a traditional Italian market – tables were laden with local arancini, fruits, colourful Dolce & Gabbana Casa homeware, and Sicilian Moor’s Head ceramics – the buzzy happening concluded with a rousing parade of local musicians, Dolce & Gabbana-clad models and maypole dancing (there was even a Mytheresa and Dolce & Gabbana-branded Fiat adorned with Sicilian motifs). Among the guests were model Alton Mason, actress Alice Pagani and Beatrice Grannò – who played Mia in the second season of ‘The White Lotus’ – each gamely leaping up and joining the sun-soaked festivities.

Afterwards, heady from a day of sunshine, food and spritzes, everyone decamped back to the hotel’s infinity pool, which for this summer has been transformed by Dolce & Gabbana with colourful parasols, cushions and towels as part of their Resort takeover across Europe (other locations include Le Carillon, Portofino, Casa Amor, Saint Tropez and La Cabane, Marbella). Snoozing in the sunshine, talk turned to plans when back at home. Top of everyone’s list? A White Lotus season two re-watch.

The Dolce & Gabbana x Mytheresa ‘Taormina’ collection is available at mytheresa.com.

Fashion currently feels in a state of limbo. With a slew of creative directors taking up tenure in the coming months, menswear fashion week – which took place in Florence, Milan and Paris this January – felt somewhat subdued, with the distinct feeling that designers and houses were taking stock ahead of some seismic changes ahead (the number of debuts taking place from now until September has reached the double digits, including Matthieu Blazy at Chanel, Sarah Burton at Givenchy, and Haider Ackermann at Tom Ford). As of yesterday morning, the changes kept coming: Kim Jones is set to leave his position as creative director of Dior Men after seven years at the creative powerhouse. As for his replacement, rumours abound.

The changes also meant a more scant schedule than in recent seasons: Gucci and Fendi were off the Milan Fashion Week schedule (both will show co-ed in February), as was JW Anderson, who has shown in the city since the summer of 2022. In Paris, Loewe was notably absent, as was Dries Van Noten (the latter will show its first collection by Julian Krausner next month), while Givenchy also chose to wait until womenswear fashion month to unveil Burton’s vision for the house. There were some additions, though: buzzy American designer Willy Chavarria swapped New York for Paris, and brought some much-needed energy, while Peter Copping debuted his men’s and womenswear collections for Lanvin on Paris Fashion Week Men’s final evening.

With all that said, there was still plenty to unpack from the month-long schedule of shows, which largely continued to move away from quiet, understated luxury towards a bolder, more eclectic wardrobe – Prada, Giorgio Armani, Louis Vuitton, Sacai and Magliano all proposed the idea of individual style over a prescribed uniform. There was also an intriguing re-examination of eveningwear, an influence of the outdoors, and some extraordinary expressions of craft. Meanwhile faux fur became the surprising fabric du jour.

Here, Wallpaper* fashion features editor Jack Moss unpacks the trends and takeaways from menswear month, which concluded in Paris this past Sunday.

Men’s Fashion Month A/W 2025: the trends and takeaways

Designers continued to embrace the eclectic

After Miuccia Prada and Raf Simons’ paean to individual style at their S/S 2025 womenswear show in September – complete with 49 radically different looks – the pair continued to eschew thematics for a bold assemblage of elements which Simons describe as akin to an ‘unconscious’ stream of thought. As such the collection teetered between the romantic – floral motifs, washed-out plaids, shrunken knits adorned with metal charms, boyish pyjamas – and something more ‘primitive’ in faux fur hoods and tabards, cowboy boots, and suits made from patchworked pieces of leather. Mrs Prada said it was about ‘instinct, passion and romance.... which is so crucial at the moment; it’s the season of artificial intelligence, and this is our move again towards humanity.’

It was a mood which infused much of the season, whereby designers largely rejected the quiet and understated in the pursuit of bolder expressions of personal style. At Giorgio Armani, the 90-year-old designer presented a collection of ‘elegance to live in’ which he said was a rejection of a ‘pre-packaged formula’ (as such, the collection moved between typically fluid tailoring, iridescent skiwear, and a multitude of enveloping textures and surface finishes). At Sacai, Chitose Abe drew inspiration from Maurice Sendak’s 1963 children’s book Where the Wild Things Are, in which the protagonist travels to a magical realm of beasts and creatures; in the collection, this meant a heady mash-up of faux fur, skiwear and the tuxedo, alongside playful collaborations with Carhartt and Ugg.

Opening Paris Fashion Week Men’s, Pharrell Williams drafted fellow designer Nigo to collaborate on a Louis Vuitton collection inspired by their personal archives – from CDs and toys to varsity jackets and sneakers – which were displayed in the Louvre showspace. The collection itself had a similarly eclectic mood, an uninhibited ride through the pair’s shared obsessions, from playful Japanese motifs to souped-up riffs on workwear and uniforms. Like at Prada, it was an invitation to experiment and play.

Evening wear was re-examined

‘I think it’s time to bring back the pleasure of wearing a suit, not because you have to, but for the fun of it,’ said Véronique Nichanian at the end of her A/W 2025 show for Hermès, which culminated with louche, 1970s-inflected tailoring. Indeed, a desire for dress up – and the continuing renaissance of tailoring – ran through the season, with designers embracing (or indeed deconstructing) traditional formal wear. At Wooyoungmi, a riff on the tuxedo opened a show which saw designer Madame Woo rework menswear archetypes (the suits were sculpted at the waist, and came adorned with 3D-appliqué flowers in tailoring wool), while at Sacai, the closing look saw black blazers sliced away to reveal their lining, trimmed with faux fur, or reconstructed into flared, peplum silhouettes. Meanwhile Kim Jones, in what would be his final collection for Dior Men, looked towards the ‘graphic and angular’ tailoring of Christian Dior’s mid-century Ligne H collection, presented in the mid-1950s. It led to some extraordinary pieces: a crossover single-breasted tuxedo, nipped at the waist; a ballooning black kimono jacket, or a white blazer adorned with a single white bow along its back. They continued Jones’ assertion that clothing must be precious to warrant your attention: ‘people want something that noone else has,’ he told Wallpaper* in 2024.

Faux fur was everywhere

Occasionally, a trend emerges in such a way that you feel convinced that designers must have plotted up the idea together beforehand. This season, it was faux fur, which began in Milan with Dolce & Gabbana’s shaggy 2000s-inspired hooded jackets (the collection was tilted ‘Paparazzi’, and the collection was an ode to celebrity street style) and continued in Prada’s S/S 2025 collection, whereby Miuccia Prada and Raf Simons said animalistic slices of faux fur represented an intuitive, primitive way of dressing (after all, the desire to swaddle oneself in fur and animal hides dates back to the neanderthals). In Paris, Auralee’s faux fur jacket – worn beneath an overcoat with a baby blue collar poking out from beneath – offered a more quotidien take on the trend, while at Saint Laurent, which closed the month with a surprise show, Anthony Vaccarrello showed a series of showstopping ‘fur’ coats which were actually constructed from thousands of feathers. In a similar vein, shearling was also in abundance throughout the season – Zegna, Hermès and Sacai all used the enveloping fabric in their collections – suggesting a collective want for protection against the elements (whether adverse weather or something more existential).

Designers were ready to head outdoors

Utility and pragmatism were a throughline of the season, with a number of designers looking towards outdoor-wear for inspiration (with the churn of world news continuing across fashion month, it was unsurprising that designers sought refuge in the call of the wild). A rugged collection from Japanese label Junya Watanabe MAN, featuring a series of burly, bearded models, set the tone with a collaboration with Filson, a historic American outdoorwear brand which dates back to 1897. Citing a desire for ‘something real’, Watanabe’s signature workwear silhouettes were presented alongside plaid shirts, waxed jackets, patchworked jeans and trucker hats (the sounds of bearded American folk singer Avi Kaplan provided the soundtrack). Both Giorgio Armani and Emporio Armani had whole sections of outdoor-wear (the former in gleaming iridescent skiwear, the latter in piled-up fluoro hiking gear), while at Yohji Yamamoto and IM Men (an Issey Miyake offshoot), quilted fabrics were used to enveloping effect. Most intriguing, though, was Kiko Kostadinov’s latest collection, which he said was inspired by the stark, isolated natural environments of Hungarian director Béla Tarr. In his signature queasy colour combinations, models trudged across a runway of fallen leaves, wearing riffs on fleece hiking jackets, military overcoats and swaddling ponchos, while a pair of tabi sneakers (the latest in a collaboration with Japanese sportswear brand Asics) were this season’s most covetable footwear.

High-level craft remained key

Rick Owens titled his latest collection ‘Concordians’, a reference to the industrial Italian town, close to Venice, where he produces his collections. In its austerity, he called it a kind of creative monastery, a space for him and his teams to work on ideas in total isolation (‘this cloistered life seems to be what it takes to be able to focus on reaching for something weird and wonderful,’ he said). As such, his A/W 2025 collection was an impressive demonstration of craft, from the ‘megacrust’ jeans (made from bronze foil and wax painstakingly applied onto denim), to the sweeping tops made from millefeuille layers of hand-cut rubber, or the incredible boots adorned with scale-like layers of laser-cut leather (a collaboration with Victor Clavelly). Make no mistake, despite their purposeful appearance of rawness and dishevelment – a Rick Owens signature – this craft was couture level.

Indeed, a focus on high-level craft ran throughout the season, not least at Dior, whereby his latest couture line for men (interspersed with the ready-to-wear collection) melded impressive construction with breathtaking beadwork and embellishment, like a twinkling of crystals across the shoulder of a blazer that gave the appearance of having been caught in the rain. At Louis Vuitton, there were mink intarsia hoodies replicating the house’s checkerboard motif, while at Saint Laurent, the aforementioned ‘fur’ coats were constructed from delicate fronds of feathers painstakingly hand-applied. Meanwhile at Giorgio Armani, which will celebrate 50 years in business this year, the show ended with a black velvet blazer adorned with smatterings of sparkle, evoking a night sky dotted with stars.

Milan Fashion Week Men’s arrived this past weekend in the Italian fashion capital with a somewhat depleted schedule: with Gucci and Fendi choosing to show co-ed during womenswear week next month, and JW Anderson sitting the menswear season out, there was plenty of chatter about the relative sedateness of the four-day-long event, and thus its future.

Despite this, there were enough highlights so far to retain a largely buoyant mood, not least the continuing pull of Prada, whereby co-creative directors Miuccia Prada and Raf Simons set the fashion agenda season-on-season with increasingly cerebral collections which are nonetheless rooted in the reality of clothing. This season, an eclectic collection celebrated liberated, instinctual dressing – from ‘primitive’ slices of faux fur to pyjama sets and cowboy boots – in ‘a move towards humanity,’ as Miuccia Prada described backstage.

Elsewhere, there was the usual run of Italian mega-brands: Dolce & Gabbana’s musing on red-carpet style took place on Saturday to a backdrop of flashing paparazzi (‘the public and private sides of cinema icons,’ described Stefano Gabbana and Domenico Dolce of the La Dolce Vita-inspired collection), while at Emporio Armani the eponymous designer explored the idea of ‘seduction’ in typically louche style. Zegna, Giorgio Armani, Dunhill and rising Bologna-based label Magliano rounded out the week, alongside a slew of presentations, from Tod’s and Brunello Cucinelli to Our Legacy, Stone Island and C.P. Company.

Here, reported from Milan, Wallpaper* fashion features editor Jack Moss unpacks the highlights from Milan Fashion Week Men’s A/W 2025.

The best of Milan Fashion Week Men’s A/W 2025

Giorgio Armani

‘Elegance to live in,’ described Giorgio Armani of a menswear collection which reflected fashion’s prevailing mood – an embrace of individual style and eclectic dress codes over what the designer calls a ‘pre-packaged formula’. It made for a strong collection, moving between fluid elegance and utility in typically Armani style, seeming to draw inspiration from the easy silhouettes of sweatpants and pyjamas (albeit in the so-called ‘noble fibres’ merino wool, silk and cashmere of – ‘softness reigns’, says Mr Armani). Tailoring came with pockets on the blazer and trouser – a luxurious take on the cargo pant – while a mid-way interlude of technical mountain-wear and skiwear was imagined in a gleaming iridescent fabric (and provided a through line to the outdoor mood at Emporio Armani earlier in the week). What was most striking about the collection, though, was the continuing singularity of Mr Armani’s vision: in recent seasons, his definitive collections of the 1980s and 1990s have been much referenced (and, indeed, the resale market for vintage Armani is booming, particularly among younger consumers). Here, the designer stamped his authority over that archive once again, showing that when it comes to the pragmatic glamour with which he is synonymous, Mr Armani knows best.

Zegna

It was 1963 that Ermenegildo Zegna first established the ‘Wool Trophy Awards’ in Australia, which, alongside New Zealand, has long been the home of the pinnacle in merino wool production. Yesterday afternoon in Milan, in a vast conference centre on the city’s outskirts, the house had erected a simulacrum of the undulating meadows on which these prime sheep roam, complete with vivid green blades of real grass (meanwhile enormous screens showed the sheep back in their natural habitat).

It set the scene for a celebration of Zegna’s work with the material, particularly Vellus Aureum, the ultra-lightweight wool fleece which has a world record for its lightness. Here, Vellus Aureum became wool shirts so light they could have been cotton, while heritage houndstooth overcoats and tailoring – cut in Alessandro Sartori’s easy, oversized proportions – nodded to both a countryside uniform and a traditional sartorial elegance, as if passed through generations. A series of shearling-collar jackets, double-breasted and satisfyingly cocooning, were some of the highlights of the A/W 2025 season so far.

Sartori said the collection was rooted in the dress codes of the northern Italian city of Turin, close to where Zegna was founded in the Biella Alps. ‘The man I have in mind has raided a wardrobe in which pieces have been collected over the decades, for their emotional and material value,’ he said. ‘Working with washed wools and Vellus Aureum we have been able to transfer lived life into the garments. There is something quintessentially “Torinese” to this collection, in the cultured attitude the shapes suggest and the insouciant manner they are worn, which is a particular way of being Italian.’

Dunhill

British heritage label Dunhill took over the Società del Giardino, a Milanese private member’s club housed in an opulent palazzo, to stage its second show in the city under current creative director Simon Holloway. Befitting the member’s club mood, guests sat around tables laden with champagne and cucumber sandwiches, a nod towards Holloway’s desire to revive traditional British dress codes (‘English classicism, casual elegance and consistently appropriate wardrobing,’ describes the designer of his Dunhill mission statement). It makes for collections which stand outside of trends or thematics, with Holloway instead choosing to design by refinement, taking existing menswear garments and perfecting them in cut and fabrication. This season, he looked towards the English Drape Suit – also known as the ‘London Cut’ – which is defined by a slightly more fluid silhouette with a nipped waist and sporting shoulder, rising to prominence in the 1930s. His interpretation – in pinstripes or plaids – captured the louche spirit of the decade. Wide-lapelled camel overcoats, high-waist trousers and ribbed knitwear also signalled a bygone glamour, as did the collection’s eveningwear looks, which were worn with velvet slippers. Holloway called these cocktail suits the result of ‘131 years of tailoring finesse’ – a facet of the house that the designer, who is now in his third season, wants to bring back to the fore.

Prada

Prada’s latest menswear show, staged on a monumental scaffolding show set at Fondazione Prada’s Deposito space – which stretched over several floors and featured an art nouveau carpet – continued the exploration of eclecticism and intuitive style which defined the house’s previous womenswear collection. Raf Simons, co-creative director with Miuccia Prada, described that show, which featured 49 entirely unique looks and was staged last September, as making the ‘individual a superhero – with their own power, their own story’.

The A/W 2025 menswear collection followed a similar track, with a series of freewheeling looks that Simons called ‘unconscious’, clashing suggestions of naivety and romance – floral motifs, hanging charms, pyjamas, boyish sweaters – with something more ‘primitive’ in tailoring constructed from patch-worked brown leather and raw-cut slices of (faux) fur across sweaters and overcoats. There was something cinematic in looks that referenced Americana, like twisted, turned-up-at-the-toe cowboy boots or jumpers sliced open at the chest to recall the yoke of a Western shirt. ‘We do not want to limit ourselves,’ said Simons.

Backstage, after the show, Miuccia Prada elaborated that this was a collection of ‘romance’ and ‘passion’, capturing ‘a liberating instinct’. She called this instinct ‘crucial’ at this current moment, referencing the rise of both artificial intelligence and conservatism (the show took place the day prior to Donald Trump’s inauguration). ‘This is our move towards humanity,’ she said.

Magliano

Luca Magliano evoked Italy’s Adriatic coastline with his latest show, running a slice of sandy beach through the underground show space. Though as is typical of the Bologna-based designer’s style, this was not all Edenic white sands and blue skies, but rather a trip to the darkened beach in the dead of a windswept winter’s night, where techno revellers engage in hidden trysts or lonely wanderers search for solace in the waves (a dramatic soundtrack by Berlin-based Aase Nielsen set a cinematic tone). As such, Magliano imagined clothing turned inside out, as if pulled on in haste – knickers stretched over a handbag, trousers turned down at the waist, faux fur slouching off the shoulder – while the garments themselves continued the dishevelled mash-up of Italian bourgeois style and queer clubwear which has run through his oeuvre so far. ‘I love the underground,’ he previously told Wallpaper*, with Magliano the label rooted in Bologna’s history of protest and revolution. With this collection, he continued to draw inspiration from those living life on society’s edges.

Dolce & Gabbana

Stefano Gabbana and Domenico Dolce are well-versed in red-carpet dressing: they have outfitted pretty much every Hollywood power player since they founded the Italian maison in the mid-1980s, their clothing a mainstay of premieres and award ceremonies the world over (including dressing a coveted Best Actress Oscar winner in Susan Sarandon for Dead Man Walking in 1996). For this season’s menswear show, housed in Dolce & Gabbana’s Metropol space (fittingly, a former cinema), the pair turned the runway into a burgundy-hued red carpet flanked by hordes of sharply-dressed paparazzi, whose cameras flashed and whirred as the models made their way onto the runway (the show’s title, as printed on the crimson invite, was ‘Paparazzi’).

The inspiration, they said, began with Federico Fellini's La Dolce Vita, a longtime touchpoint for the designers and the film in which the word ‘paparazzi’ was first coined. Its influence was felt particularly in the latter half of the collection – a series of riffs on the tuxedo, nipped at the waist with a cummerbund or adorned with glimmering crystal brooches and buttons – though the collection largely played with a more contemporary imagining of a leading man, recalling D&G collections of the early 2000s in bulked-up faux-fur jackets, slouchy denim jeans and cargo pants, baker-boy hats, and flourishes of leopard print and sequins. ‘The public and private sides of cinema icons... an actors’ lifestyle from dawn to dusk, from the comfort of free time to the elegance of the red carpet,’ the pair described of the collection, which in its undone glamour continued their astute return to the codes which defined Dolce & Gabbana in the 1990s and 2000s.

Emporio Armani

Giorgio Armani said that he was thinking about the idea of ‘seduction’ this season at Emporio Armani – the power of clothing to ‘draw people in, to captivate’. He largely did so through a rich and tactile catalogue of fabrics, from molten velvet – used for typically fluid tailoring – to shimmering lurex knitwear and patchworked brocades. The latter conjured a mood of travel, which continued in pieces which looked set for traversing mountainous realms, from enveloping yeti faux furs to puffer jackets and hiking backpacks. To describe these shifts between the functional (crossbody–bags, technical outerwear, utility pockets) and more typical moments of Armani-esque glamour, the designer said he was interested in exploring the interplay of ‘extremes’. It made for a satisfyingly eclectic outing, continuing Emporio Armani’s raison d’être – to create a truly all-encompassing (and here, all-weather) wardrobe for men. As ever, it ended with a rapturous reception for the designer, who will continue his celebratory 90th birthday year with his latest collection for Giorgio Armani on Monday morning (20 January 2025).

Stay tuned for more from Milan Fashion Week Men’s A/W 2025.

Domenico Dolce and Stefano Gabbana are celebrating 40 years of their luxury fashion empire at Paris’ Grand Palais with ‘Du Coeur à La Main (From the Heart to the Hand)’, the duo’s second passionate love letter to Italy following the exhibition’s debut at Palazzo Reali in Milan last spring.

The show is breathtaking. Less a retrospective, more a Grand Tour, it takes us from Stefano’s birthplace of Milan to Rome, Florence, Naples and Capri, then to Domenico’s birthplace of Sicily, Palermo and Taormina, to marvel at the opulence of Italy’s art and culture, transcending the ephemerality of fashion.

Dolce & Gabbana’s ‘Du Coeur à La Main (From the Heart to the Hand)’ exhibition at Paris’ Grand Palais

For those who missed its Milan debut, or not lucky enough to score front-row seats at their shows, ’From the Heart to the Hands’ provides a unique close-up of the artistry and craftsmanship of the label.

Curated by Florence Müller, it unfolds through twelve retina-searing tableaux, with 200 one-off Alta Moda and Alta Sartoria creations, 300 handmade accessories including Alta Gioielleria, and 130 original artworks, spread over a 1,200 sq m extravaganza on three floors.

Blacked-out corridors lead to heavy, black velvet drapes. Parting these, each set bursts exuberantly into life in one of its twelve theatrical acts; Fatto a mano; Architecture and Artists; Dream of Divinity; Divine Mosaics; Sicilian Traditions; White Baroque; Devotion; Italian Ornaments and Volumes; The Leopard; In the Heart of Milan; Opera, and the finale, The Art and Craft of Glasswork, alongside the opportunity to see the house’s craftspeople at work.

Catholic imagery abounds, with religious icons woven into sweaters, a bishop’s mitre as headwear, and a thurible handbag carried on a chain by a male model. On the staircases, clusters of the designers’ signature Sicilian widow silhouettes clutch rosary beads in black form-fitting silk-satin gazar and lace. The Sacred Heart symbol is a recurrent motif, suggesting that creativity cannot exist without divine passion.

Here, Müller recounts to Wallpaper* the story behind the extraordinary exhibition.

Jean Grogan: What does bringing this exhibition to Paris, epicentre of haute couture, mean to Domenico Dolce and Stefano Gabbana?

Florence Müller: Domenico Dolce and Stefano Gabbana are the designers most inspired by Italian culture, and the ones who represent it most accurately. The exhibition was created in Milan, Italy’s fashion capital, now it comes to Paris, France’s fashion capital, the epitome of haute couture.

Making haute couture with Italian savoir-faire is a dream they have fulfilled since launching their Alta Moda line in 2012. The arrival of From the Heart to the Hand at the Grand Palais is an affirmation and recognition of the significance of their work as couturiers and of Italian savoir-faire.

In a previous interview they said: 'Getting here was a dream come true, we wanted to be Chanel.’

JG: Was your curation chronological? What was your selection process?

FM: Curating an exhibition like this is a very complex process. I began by delving into the history and archives, looking at what has been preserved and then discussing with the designers to understand their creative intention, and what they wanted to communicate. The exhibition is an homage to the encounter between the creative idea, the master craftsmanship, and the creative passion that brings the designer desire to life. I feel very privileged to be able to understand their work, their intention and their dream of creating beauty from the inside out.

JG: Each tableau is extremely distinctive and self-explanatory.

FM: Yes, there is no need for the visitor to read the introductory text to each room to grasp what we’re trying to say. The scenography is reflected in the creations and vice versa.

JG: What are the main differences between these two exhibitions?

FM: The Grand Palais is more spacious than the Palazzo Reali, which allowed us to exhibit more jewellery, Baroque furniture and decorative objects meaningful to the designers’ universe.

One room, Divine Mosaics, has a completely different shape to that of Milan, it is circular, whereas in Milan, it was square, covered floor to ceiling with glass mosaics and gold leaf. The same mosaic panels created by the Orsoni 1888 house in Venice were reassembled in the Grand Palais, but adapted to this new format.

JG: Parting the curtains to enter each mise-en-scène gives the exhibition a ‘Through the Looking Glass’ feel. Was this your intention?

FM: The original intention of the curtains was to contain the music soundtrack specific to each room, to avoid sound pollution from one space to another. But as the project progressed, the curtains became an integral part of the dramaturgy, heightening the effect of mystery. Lifting the curtains is like opening a gift to reveal the surprise inside.

JG: What is the next stop on this global tour?

FM: The next stop is top secret, to maintain the element of surprise. This exhibition proves one thing. The past is not dead. The past can be brought back to life by l’Alta Moda. Or in the words of Tancredi in the designers’ favourite cult movie, The Leopard: ‘If we want things to stay as they are, things will have to change.’

‘Du Cœur À La Main: Dolce & Gabbana’ runs at Paris’ Grand Palais until March 31, 2025.

dolcegabbana.com

2024 was a year of fashion ephemera, whereby designers spoke not only through the clothing they showed on the runway, but the objects which they chose to populate their universes. The result was a conveyor of printed publications, furniture, artist collaborations, edible produce and collectable invites, which were often as intriguing and illuminating as the collections themselves.

Here, we look towards seven objects which tell the story of fashion in 2024, none of which are items of clothing or accessories. Some speak of a newly intimate relationship between fashion and design, like Sabato De Sarno’s reissue of an Enzo Mari classic for Gucci, while others – like Willy Chavarria’s enormous American flag – symbolise an engagement with the wider political landscape. Others are simply gleefully surreal: Blonde Ambition Madonna wigs at Dolce & Gabbana, JW Anderson’s pint of Guinness, or a series of giant cats at Dior Men.

Collated by Wallpaper* fashion features editor Jack Moss, together they provide an unconventional but illuminating portrait of style in 2024.

Bottega Veneta’s beanbag animals

Matthieu Blazy said he wanted his S/S 2025 collection for Bottega Veneta to capture the ‘power of wow’, mining a mood of childlike wonder for a vibrant collection which featured animal motifs, colourful tasselled wigs, plays on corner-shop plastic bags, crocheted flowers and enormous tailoring, as if a child was playing dress up in their parents’ clothing. It captured a new mood of eclecticism that pulsated through the season – from Prada to Louis Vuitton – and was presented in Milan amid a menagerie of leather beanbag animals. Inspired by Zanotta’s Sacco easy chair, each guest had a different animal – from yellow chicks to killer whales and foxes – with Blazy saying that he was inspired by the scene in E.T. whereby the titular extra-terrestrial conceals himself in a closet full of soft toys. Looking through a child’s eyes, said Blazy, allowed him to take a creative leap. ‘In a kid’s world everything is possible. You can really approach reality in a different way.’ It would also prove to be his final show for the house: last week, he was announced as the new artistic director of Chanel (at Bottega Veneta, Louise Trotter will take the helm). Read more.

Gucci’s reissue of Enzo Mari’s perpetual calendar

Since the beginning of his tenure as creative director of Gucci, Sabato De Sarno has forged links with the design world: in 2023, just after his appointment, he collaborated with a slew of Italian furniture titans to reissue their most memorable pieces in his own signature shade of oxblood ‘Ancora’ red (the project included designs by Piero Castiglioni, Mario Bellini, Tobia Scarpa, and more). It fit with a wider embrace of the design world from fashion in 2024 – proved by the numerous houses which took over this year’s Salone del Mobile – and was complemented later in the year with a reissue of Enzo Mari’s perpetual calendar, which served as the invite for De Sarno’s S/S 2025 womenswear show in Milan. It reflected a collection he described as about ‘a precise moment in time... a moment to seize and live to the fullest. This collection is a tribute to those moments, and an invitation to stop, seek your own moment.’ Read more.

Dolce & Gabbana’s Madonna wigs

It was perhaps Milan Fashion Week’s worst-kept secret: Madonna, the queen of pop, would be turning up to Dolce & Gabbana’s S/S 2025 show (she is a longtime wearer of Domenico Dolce and Stefano Gabbana’s high-voltage clothing). Arriving clad in a black veil and evoking the house’s brand of Sicilian glamour, the show itself would prove an ode to the musician, with each and every model clad in a Blonde Ambition-esque wig and wearing riffs on Madonna’s signature outfits, including Jean Paul-Gaultier’s pneumatic cone bra. It was a reminder of the fashion show as entertainment, a joyous celebration of a figure who has long defined pop culture – indeed, fashion. ‘Madonna has always been our icon. It’s thanks to her that a lot of things in our lives changed,’ the designers said, embracing a clearly emotional Madonna at the end of the show.

JW Anderson’s pint of Guinness

In one of the more unexpected – and yet somehow totally fitting – fashion collaborations of 2024, JW Anderson united with Irish stout producers Guinness for a capsule collection which first appeared as part of the brand’s S/S 2025 menswear show this past June in Milan. Encapsulating Jonathan Anderson’s eye for the idiosyncratic, historical Guinness advertising adorned sweaters and T-shirts in the playful capsule. ‘I’ve always been obsessed by Guinness and their brand,’ he said. ‘I think they are still today one of the greatest advertisers... I’ve always wanted to be able to show some of it, because in fashion we think we are so radical but actually, Guinness was way before all of that.’ It made for perhaps 2024’s best fashion party: a celebrity-filled Guinness-on-tap booze-up at buzzy London pub The Devonshire, purportedly the best pull of Guinness in town (we drunk responsibly, of course).

Hylton Nel’s cats at Dior Men

‘Homepsun monumentalism’ is how Kim Jones described the work of South African potter-artist Hylton Nel, who provided the inspiration behind his latest collection for Dior Men. On the runway, Nel’s playful, naive cat sculptures – which feature hand-drawn motifs and anthropomorphic elements – were blown up to enormous size, while the collection itself the artist’s work became pins, embroidery and intarsia knits. ‘He’s an old friend of mine, I’ve known him maybe 12 years,’ Jones told Wallpaper*. ‘I love his work, and I wanted to take that idea of working with an artist and working it through the Dior archive.’ Capturing not only the veneration of homespun craft which has run throughout the year’s collections, but it was also one of a slew of art-led show sets, from Jonathan Lyndon Chase’s twisted living room for Acne Studios to Gary Hume’s reimagining of a 1990 work to backdrop Burberry’s S/S 2025 show in London. Read more.

Miu Miu’s ‘The Truthless Times’ newspaper

Miu Miu‘s S/S 2025 show took place amid a set created by London-based, Poland-born artist Goshka Macuga, evocative of a printing press. Over the ceiling ran moving conveyors of hundreds of hanging newspapers: copies of ‘The Truthless Times’, a satirical publication dreamt up by Macuga to capture the disorientating times in which we live (‘Endings Unending as Future Moves to Past’ ran one of the purposely impenetrable headlines). ‘The struggle for truth and meaning in contemporary society,’ said Macuga of the installation, which also featured a short film of sparring lovers amid a futuristic printers (the work was also part of Art Basel Paris 2024 later in the year, supported by the brand). Miuccia Prada responded with a collection which looked towards youth – a ‘period of absolute truth.’ ‘It’s a reaction to an era of overstimulation and over-information, simplicity in clothing may offer clarity and precision, and serve as an honest frame of character,’ elaborated the ever-perceptive designer.

Willy Chavarria’s American flag

Willy Chavarria’s S/S 2025 show was titled ‘América’ – a nod, said the designer, to the immigrant communities who take on the weight of the country’s labour (Chavarria is of Mexican-American descent). Taking place on Wall Street – a temple to American commerce – the show’s runway was backdropped by an enormous American flag. It was given greater significance by the then-looming American election, which would take place two months afterwards in November (as guests left they were given a sticker to remind them to vote). ‘Given the time that we're in – around the corner from a major election – I wanted to shine light on the people who make this country work, and also celebrate immigration and those people who have built the country and are still the backbone of the country,’ he told Wallpaper* at the time, reflecting a wider mood at New York Fashion Week whereby designers grappled what it meant to be an American designer today. ‘We haven't had the opportunities or the benefits that a lot of our white brothers and sisters have had. It's about giving, showing dignity to all of these people.’ Read more.

Earlier this year, Jonathan Anderson described his S/S 2025 menswear collection as one of ‘irrational clothing’ – an embrace of the strange and the unexpected, inspired by the experimental attitude towards dressing he had witnessed among young people at Primavera Festival in Barcelona earlier that summer. ‘The experimentation with clothing among younger generations is incredible,’ he said at the time. ‘The eye has changed.... people want something that is really challenging.’

Anderson is astute with a soundbite, and the idea of ‘irrational clothing’ could equally have been applied to the womenswear collections shown this past month in New York, London, Milan and Paris. By and large, there was a marked disavowal of ‘quiet luxury’, seeing restraint thrown out the window in the pursuit of the bold and eclectic. If sometimes this led to a lack of cohesion – with designers seeming to ricochet between ideas – when it was done well, it made for some enlivening fashion moments. Such was the case at Prada, where Miuccia Prada and Raf Simons presented a freewheeling collection that paid homage to individual style, traversing Prada eras and comprising 49 near-completely different looks filled with colour, texture and shifting silhouettes. A similarly eclectic approach provided transporting collections from Valentino, Bottega Veneta, Loewe and Louis Vuitton, which were among the highlights of the season.

Here, Wallpaper* fashion features editor Jack Moss unpacks the S/S 2025 womenswear shows, from an embrace of the eclectic to a new mood in tailoring, and clothing where nothing was quite what it seemed.

The season was an homage to individual style

A Prada show is usually a barometer for the season, such is the knack that Miuccia Prada has for shifting the fashion needle, reimagining the familiar in oftentimes electrifying new ways (now, she does so alongside Raf Simons, her co-creative director and another fashion soothsayer). For S/S 2025, a radical new proposition from the pair: the decision to do away with trends or thematics entirely, choosing instead to present a freewheeling and eclectic collection that celebrated individual style. It was a riposte, said Mrs Prada backstage, to the way that the social-media algorithm smooths personal style and siloes us into social-media echo chambers. ‘We are driven by algorithms,’ she said. ‘We like things because people tell us to like them.’ As such, the pair spoke about rejecting the ‘derivative and expected’ for a stream of 49 near-entirely different looks that veered between sculptural high-shine silver skirts dotted with enormous eyelets, leather dresses with BDSM hooks and elements of trompe l’oeil (there were also feathers, bug-like sunglasses, and day-glo anoraks). It made for an enticing visual feast, ‘a Prada for each individual’. ‘We thought of each individual as a superhero – with their own power, their own story,’ said Simons.

Also in Milan, Matthieu Blazy struck a similar mood at Bottega Veneta, which he described as an attempt to evoke a sense of childhood wonder (as such, the animal-shaped beanbag chairs were a reference to the scene in E.T. when the title character hides amid a closet full of cuddly toys). Blazy said that the collection began by thinking about a suited businessman taking his child to school while carrying their pink cartoon rucksack or lunchbox over his shoulder. The collection was full of such juxtapositions, seeing ‘Italian sartorialism’ clashed with playful flourishes, from tasselled wigs to blown-up tailoring and animal motifs. Like at Prada, barely two looks were the same, and it was a definitive statement that luxury fashion needn’t be discreet nor restrained – rather, it should spark joy. ‘[This collection] encompasses the joy of looking, discovering and dressing,’ the designer said. ‘Last season was maybe more contemplative. But at the same time, we need beauty. We need joy. We need this moment for ourselves, and continue to play.’ In Paris, Nicolas Ghesquière felt similarly liberated – his 1980s-infused collection seemed to recall the flamboyant, individual style of the New Romantics, albeit with the designer’s always-futuristic sheen – while Alessandro Michele opened his tenure at Valentino with a musing on beauty that was as richly expansive as his collections for Gucci (he left the Italian house in 2022). Over the collection’s mammoth 85 looks were hundreds of elements, among them ruffles, feathers, polka dots, floral motifs, wide-brimmed hats, facial piercings, ladylike handbags (sometimes worn two-a-piece) and ribbon-tied pumps. Again as at Prada, it was a bold invitation to experiment with clothing – a maxim that defined the season.

Designers reimagined the everyday

Despite its more dramatic flourishes, Blazy’s latest collection for Bottega Veneta was rooted in the idea of everyday style (‘everyday adventures’, is how he described the collection’s mood). As such, objects like the plastic corner-shop bag – here recreated in heat-pressed nylon – were elevated onto the runway, alongside bunches of flowers (woven from leather), brown paper bags (more leather), and shopping baskets (also leather). Such transformations were also applied to clothing: this season, he continued to riff on everyday garments like jeans, crumpled T-shirts and corporate tailoring, albeit in luxurious style. ‘I was interested in the simple acts of fashion that happen everyday,’ said Blazy. Demna, creative director of Balenciaga, is also known for taking disparate objects – like crisp packets, toolboxes and rubbish sacks – and turning them into fashion accessories. This season, though, Demna looked towards archetypal garments, like denim jeans, and radically altered their proportions (his version sat perilously low on the waist). Elsewhere, dresses looked as if a classic trench coat had been tied around the body, while padded jackets were reshaped to recall Cristóbal Balenciaga’s ‘cocoon’ silhouette.

At Issey Miyake, models carried shopping-style bags filled with bunches of flowers, as if on a trounce to the market, while Anderson’s latest Loewe show featured feathered T-shirts handpainted with works by Vincent Van Gogh, including Irises and Sunflowers. Reflecting the designer’s idiosyncratic approach, these were not inspired by encountering the paintings in a gallery, but by the reproductions he sees on tea towels and T-shirts while driving to work each day past the tourist markets that line the River Seine. ‘We get so used to them that they become a kind of high-low culture,’ he said, placing what he called the ‘burned-out’ images in a new context as an attempt to shift the eye. ‘[They are artworks] we are always magnetically drawn to... There’s something that we want to be part of, something, even if we don't understand it.’ The same can be said for Anderson’s collections for Loewe, which continue to intrigue.

There was a tailoring redux

Backstage after that show for Loewe, Anderson touched on the evolution of tailoring at the house during his tenure. ‘Historically, tailoring was something Loewe wasn’t good at for a long time, but I think we’ve been able to do it right, and come up with a kind of signature,’ he said. ‘Tailoring is about the subtlety of the change, and it’s taken me years to understand that.’ His proposition here was a tailored jacket with long, gently flared sleeves and baggy trousers that twisted cleverly towards the waistline. The result was roomy and generous, though the silhouette – a move from a relatively narrow shoulder line towards the more voluminous weight of the trouser – was one of louche elegance. It was proof that tailoring remains fertile ground for designers, something Simon Chilvers discussed in the September Style Issue of Wallpaper*, in regards to men’s tailoring. Womenswear, if anything, allows for even more sartorial experimentation, unrestrained by the still-conservative mores of men’s suiting.

Such experiments were in evidence across the various cities: in Paris, Victoria Beckham turned blazers inside out or sliced tailored trousers down the leg to expose the pocket lining, while another trouser shape sat away from the waistline through clever use of corsetry (in New York, Tory Burch evoked a similar effect on skirts). At Dolce & Gabbana in Milan, jackets were inserted with a Jean Paul Gaultier-inspired ‘cone-bra’ (an ode to Madonna, who sat front row and inspired the collection), while at Emporio Armani, the designer revived his 1980s suit and tie for women with a multitude of iterations of the blazer, including those folded sharply along their front. At Seán McGirr’s sophomore show for McQueen, jackets were cut to evoke the feeling that they were being grasped close by their wearer to protect them against the elements. Though perhaps the most seductive proposition for this season’s tailoring was that at Saint Laurent, where Anthony Vaccarello revived the languid, broad-shouldered tailoring of his menswear collection earlier this year – which was no doubt was inspired by Mr Armani’s tailoring of the 1980s – to evoke the wardrobe of Yves Saint Laurent himself, from a fluid black tuxedo (modelled by Bella Hadid who also wore the couturier’s famous thick-rimmed glasses) to beige and grey double-breasted tailoring.

American fashion was dissected

On the final Tuesday of New York Fashion Week was the first – and perhaps only – television debate between Kamala Harris and Donald Trump. Such was the anticipation there were fears that Luar’s runway show, due to take place that evening, would be underattended (it wasn’t: Madonna even made a rare front-row appearance), while those already travelling to London for the next fashion week leg made complicated plans to watch the debate while in the air (they managed, thanks to a BBC iPlayer live stream and aeroplane wifi). Which is to say, the upcoming election loomed large in New York, prompting a dissection of American fashion and what it represents – or what it could represent. Such was the case at Willy Chavarria’s latest show, which saw the designer present an homage to America’s immigrant communities, like those he grew up around in his home city of Fresno, California (Chavarria is the child of an Irish-American mother and Mexican-American father). He did so through riffs on uniforms: hotel managers, farm workers, and employees at electronics chain Circuit City, albeit in his distinct style, which instils a mood of elegance through abundant silhouettes and references to haute couture. ‘Given the time that we’re in – around the corner from a major election – I wanted to shine a light on the people who make this country work,’ he told Wallpaper* at the time. ‘It’s about giving, showing dignity to all of these people.’ Afterwards, guests were given a sticker to remind them to vote.

Other designers looked towards the history of American fashion: Tory Burch continued to reference figures like Claire McCardell, a pioneer of American sportswear, as inspiration for her breezy summer collection, while Tommy Hilfiger drafted Wu-Tang Clan to perform at his latest show, a reminder of the longtime synergy between his namesake label and hip hop music (the show took place on a former Staten Island ferry owned by the comedians Pete Davidson and Colin Jost). Sometimes it took an outsider’s eye: against the backdrop of the gleaming New York skyline in Brooklyn Bridge Park, Off-White creative director Ib Kamara staged his debut show in the city, in part an ode to founder Virgil Abloh’s American heritage. It made for a vivid, continent-swapping collection from the Sierre Leone-born designer, which celebrated America as a cultural melting pot. ‘I have vivid memories of what America, and New York in particular, represented in the collective imagination of Africans: a dreamland of utopias made real, a place of opportunities,’ he said. Also making his debut in New York was Belgian designer Pieter Mulier, who showed his latest collection for Alaïa in the dramatic spiralling atrium of the Guggenheim Museum, swapping from Paris for the season. Conjuring the easy glamour of figures like Charles James, Adrian and Halston, as well as McCardell, it was an exemplary collection that showed the rich potential American fashion history still holds for contemporary designers (it was a show that felt like it had been percolating since his exit from American powerhouse Calvin Klein, where he worked alongside Raf Simons, in 2018). ‘[This collection] is a celebration of an American ideology of dress, and through that of a spirit that can unite New York and Paris – of the body in motion, liberated,’ Mulier said. ‘As Alaïa always has been.’

Sometimes things weren’t what they seemed

Balenciaga’s S/S 2025 show began with what appeared to be lingerie, though on closer inspection was actually a series of nude bodysuits embroidered with bras, knickers and stockings for a playful visual trick. It captured a mood of disorientation which ran through the season, reflecting the menswear shows earlier this year. Back then, Anderson spoke about ‘things not being what they seem’ in his JW Anderson collection (inspired by the experience of hypnotherapy dredging up past memories), while at Prada the designers spoke about the idea of ‘truth and pretence, the real and the unreal’, a response, they said, to a world where these categories feel increasingly blurred. As such, the technique of trompe l’oeil – the illusion of one garment imprinted onto another – continued to be evoked by designers across women’s fashion month, from JW Anderson’s mini dresses decorated with faux buttons and zips, to printed fur collars and belts in-set into trousers at Prada. Meanwhile, at Moschino, simple white-cotton garments adorned with childlike impressions of trench coats and sailor’s scarves. A similarly illusory mood was conjured in pieces that appeared to have a life of their own – or, indeed lived a life already – whether purposely creased garments at Ferragamo, Bottega Veneta or Victoria Beckham, or dresses at Prada constructed with twisting wired seams. Set into skewiff proportions, they appeared to be leaping off the models’ bodies.

Revisit our coverage of New York, London, Milan and Paris fashion weeks.

Soft curves, streamlined silhouettes and sleek fabrics: the A/W 2024 menswear collections were imbued with a new flamboyance, seeing classic ensembles reimagined with a sense of panache and performance.

There was Loewe, where creative director Jonathan Anderson looked towards the ‘iconography’ of Hollywood and the ‘collaged realness’ of social media with a collection adorned with theatrical flourishes. This included bows and beads alongside the delirious illustrations of Los Angeles-based artist Richard Hawkins (‘it’s all about different types of validation… how we perceive ourselves to the outside world,’ said Anderson at the time).

At Saint Laurent, Anthony Vaccarello proposed louche, oversized tailoring and outerwear which recalled the 1980s silhouettes of American Gigolo. ‘Fluid, with an intentional slouch, an illusion of fabric turning liquid,’ said the designer. Meanwhile, Dolce & Gabbana’s latest menswear offering was titled ‘Sleek’: a ‘story of elegance and handmade… a sartorial essay,’ described Domenico Dolce and Stefano Gabbana of the largely black collection, which demonstrated their tailoring prowess.

Here, taken from the September 2024 Style Issue of Wallpaper*, photographer Matthieu Delbreuve and fashion editor David St John James put a series of these menswear looks centre stage in a series titled ‘Quiet on Set’.

Model: Indy van Opstal at Ford Models Paris. Casting: Svea Casting. Grooming: Chris Sweeney at One Represents using Sunday Riley and Sisley. Interiors: Olly Mason. Photography assistant: Kevin Ramos. Fashion assistant: Olivia Meghan. Interiors assistant: Archie Thomson. Production assistant: Minna Vauhkonen.

This article appears in the September 2024 issue of Wallpaper*, available in print on international newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

September, so said legendary American Vogue editor Candy Pratts, is the January of fashion. Following a brief summer break after the conclusions of menswear and haute couture – which took place over June and July – Women’s Fashion Week S/S 2025 arrives in New York next week on September 6 2024, with subsequent stops in London, Milan and Paris. Think of it as a new fashion term.

The schedule is now set, with a few surprises along the way. Among them, the news that Pieter Mulier will show his next Alaïa collection in the city on September 6, heralding the start of fashion month. It is over four decades since the house’s eponymous founder, Azzedine Alaïa, first showed in the American city, when he presented a collection in September 1982 to an audience which included Andy Warhol and Paloma Picasso. No doubt Mulier – who has garnered plenty of high-profile devotees of his own – will draw a similarly starry crowd. Meanwhile, Ralph Lauren will show the day prior with a special show in the Hamptons on September 5. London-based label Cos has also announced a return to New York, having shown last season in Rome.

Elsewhere, it will no doubt be the season of debuts: chief among them is the much-anticipated arrival of Alessandro Michele at Valentino, who will show as part of Paris Fashion Week. Eyes will also be on Givenchy, Chanel and Dries Van Noten which – at the time of writing – are each without creative directors.

Here, everything Wallpaper* knows about Women’s Fashion Week S/S 2025.

Women’s Fashion Week S/S 2025: what to expect

New York Fashion Week S/S 2025 (6 – 11 September 2024)

New York Fashion Week S/S 2025 will begin – unofficially – on September 5, as American fashion behemoth (and member of the Wallpaper* USA 400) Ralph Lauren presents his latest collection in an exclusive show in the Hamptons, the beachside Long Island locale which has long played host to the rich and famous. ’The Hamptons is more than a place,’ said Lauren in a statement. ’It’s a natural world of endless blue skies, the ocean, green fields, and white fences, rusticity and elegance with a quality of light that drew artists here decades ago. It has been home, my refuge and always an inspiration.’

The day afterwards, Pieter Mulier will show his latest Alaïa collection in New York, four decades after Azzedine Alaïa first showed in the city in 1982. It will be his second time showing outside of Paris – an intimate show at the designer’s brutalist home in Antwerp, Belgium took place in 2023 – and will no doubt be one of the highlights of the schedule. ’A city close to Pieter Mulier’s heart and the maison’s,’ said Alaïa on Instagram. It will be accompanied by ‘a series of exclusive moments’ which will take place in the city from 6–8 September. Meanwhile Cos – which last season showed at Corsie Sistine in Rome – will return to New York with a show on September 10 in Brooklyn. ‘New York is a dynamic city with so much character – it’s a place of inspiration, full of interesting and creative people,’ says the brand’s design director Karin Gustafson. Another new arrival is Off-White, who under creative director Ib Kamara will swap Paris for New York, showing on the afternoon of Sunday 16 (the title of the show is ‘Duty Free' and will take place at Brooklyn Bridge Park). Nanushka will also debut at the week, showing on the afternoon of September 7.

Elsewhere, expect a continuation of the Tory Burch renaissance as the designer presents her S/S 2025 collection on the evening of Monday 17, while New York stalwarts Coach, Michael Kors and Carolina Herrera will all show during the week. Wallpaper* USA 400 members Willy Chavarria and Peter Do, the latter showing his third collection for Helmut Lang, will round out the schedule, alongside rising names Zankov and Diotima. Tommy Hilfiger has also confirmed a spot on the week’s schedule, having initially been absent. He will show his latest collection at 6.30pm on Sunday 16.

London Fashion Week S/S 2025 (12 – 17 September 2024)

Beginning slightly earlier this season to avoid a clash with Milan Fashion Week (which starts this season on September 17), London Fashion Week will continue its 40th birthday celebrations with a packed schedule comprising the usual slew of energetic, emerging labels amid a smattering of more well-established names. Of the latter, Burberry will remain the chief draw for international editors visiting the city – Daniel Lee will show his fourth runway collection for the British label – while JW Anderson will present another agenda-setting collection on Sunday morning, his usual slot.

Other names showing this season are Simone Rocha, Roksanda, Erdem, Ahluwalia and Aaron Esh, alongside a new edition of London-based incubator Fashion East (participants are yet to be announced). Watch out for Derrick – Luke Derrick’s burgeoning London-based label had plenty of buzz last season for its sleek, contemporary riff on men’s tailoring – and Nensi Dojaka, who returns to the schedule after a hiatus. Feben will also return to London, having shown last season with the support of Dolce & Gabbana in Milan. Look out too for the rebirth of Kent & Curwen, with the British label having been purchased by Chinese golf brand Biem.L.Fdlkk Garment in 2023.

London Fashion Week will also have a new home this season, the central Newgen space moving from Old Selfridges Hotel back to 180 Strand.

Milan Fashion Week S/S 2025 (17 – 23 September 2024)

Milan Fashion Week will run a day longer this season, part of a re-jigging of the fashion month schedule led by Camera della Moda, the week’s organising body. ’I’m very satisfied with this synergetic effort by the four main players on the fashion circuit,’ said the organisation’s president Carlo Capasa. ’[We] had for some time been asking for an extension of the Milan Fashion Week, given its calendar of over 200 appointments.’

As such, the week will begin with Fendi on September 17, the Roman house presenting its S/S 2025 collection at 3pm (this time, the show will take place on a Tuesday, as opposed to its usual Wednesday). Elsewhere, expect a continuation of Prada’s ‘fairytale ravescape’ set which it revealed as its menswear show in June (the house’s womenswear sets usually riff on their menswear predecessors ), alongside similarly blockbuster shows from Gucci, Versace, Ferragamo, Dolce & Gabbana and Bottega Veneta.

Absent from this season’s schedule is Tom Ford – after the departure of creative director Peter Hawkings earlier this month – and Giorgio Armani, the latter showing in New York off-schedule in October. Also currently absent are MSGM and Blumarine (David Koma will show his debut as creative director next season), while Central Saint Martins graduate Susan Fang will show with the support of Dolce & Gabbana on Sunday morning.

Paris Fashion Week S/S 2025 (23 September – October 1 2024)

No doubt the biggest moment of Paris Fashion Week will be the arrival of Alessandro Michele at Valentino, who will present his first runway show this September (the ex-Gucci creative director’s first collection for the house, titled ’Avant les Débuts’ was revealed in a surprise lookbook drop this past June). ‘It’s an incredible honour for me to be welcomed at Maison Valentino. I feel the immense joy and the huge responsibility to join a maison de couture that has the word “beauty” carved on a collective story, made of distinctive elegance, refinement and extreme grace,’ said Michele in a statement issued after his appointment in March 2024. He will show on the afternoon of Sunday 29.

A number of other houses – among them Givenchy, Dries Van Noten and Chanel – are currently without creative directors. Givenchy is absent from the schedule (the new creative director will likely debut in February 2025), Dries Van Noten is slated to show on the afternoon of Wednesday 25 (it will be the first show since the eponymous creative director exited in June), and Chanel will retain its usual spot on the morning of Tuesday 1 October. An otherwise busy schedule – as has become the norm for the city – will include shows from Loewe, Louis Vuitton, Rick Owens, Dior, Saint Laurent, Hermès and more. Balenciaga, meanwhile, will show on the evening of Monday 30, shifting from Sunday morning.

In other news, Paris label Coperni will host its S/S 2025 show on October 1, 2024 at the so-called happiest place on earth – Disneyland Paris. Founders Arnaud Vaillant and Sébastien Meyer have said the collection will blend ‘magic with reality, paying tribute to the beloved Walt Disney Animation Studios movies of our childhood’. Meanwhile Ganni, the stalwart of Copenhagen Fashion Week, will shift to Paris this season, following the appointment of Laura du Rusquec, previously of Balenciaga, as CEO this past April.

Stay tuned for more from Women’s Fashion Month S/S 2025.

A new injection of energy came to Milan Fashion Week Men’s this season thanks to something of a British invasion: Martine Rose, who is largely inspired by underground subcultures in her idiosyncratic menswear collections, made her debut week on Sunday afternoon (16 June 2024), while heritage house Dunhill also joined the Milan schedule, seeing Simon Holloway present a collection he described as ‘radically classic’. Elsewhere, London-based label JW Anderson continued to show its menswear collections in the city, this season creating a collection titled ’Real Sleep’ inspired by the slumber state of hypnotherapy.

Other talking points of the weekend included Sabato De Sarno’s sophomore menswear collection for Gucci, which this season shifted to Monday morning (17 June 2024) and took place at Triennale Milano, the design gallery first constructed in the 1930s (it continued De Sarno’s desire to foster a link with the arts, having shown his Cruise 2025 collection at London’s Tate Modern last month). Prada, meanwhile, took over the timeline with a typically transporting set created alongside OMA/AMO – this time, a ‘fairytale ravescape’ featuring a cabin on stilts that had been erected in the Fondazione Prada space – backdropping what was one of the season’s defining collections. 

The schedule was rounded out by the titans of Milanese style: among them Dolce & Gabbana, Zegna, Fendi and Armani, while Massimo Giorgetti celebrated 15 years of his Milan-based label MSGM.

Here, Wallpaper* selects the highlights from Milan Fashion Week Men’s S/S 2025. 

The best of Milan Fashion Week Men’s S/S 2025

Zegna

A field of linen had been recreated in an enormous sound-stage-like venue on Milan’s outskirts, close to the city’s Linate airport, for Zegna’s latest runway show. Artsistic director Alessandro Sartori said that he wanted it to feel like the blades of linen – here constructed from featherweight strips of metal – were invading the otherwise industrial space. This shifting between man and nature was the catalyst for the collection, said Sartori, which was at once precise and organic, seeing sharply defined tailoring meet natural earthy hues of terracotta, beige and warm yellow and languid silhouettes. Much of the collection was crafted from linen – ‘Us, in the Oasi of Linen’ was the collection’s title – making use of the house’s near-unrivalled production and innovation with the material, which is also far more sustainable that other natural fibres like cotton. ‘[Linen is] as malleable and sensual as the idea of summer dressing we are prompting,’ the designer said, noting that it ‘moulds to individual personalities… [for men] who play buoyantly with their own appearance.’ This included the Danish actor Mads Mikkelsen, something of a house muse for Sartori, who closed the show with an elegant runway turn.

Gucci

This season, Sabato de Sarno shifted Gucci’s menswear show to its final Monday, choosing the Triennale Milano, the city’s 1930s-built design gallery, as a new venue. The clean white lines and light-filled atrium of the Giovanni Muzio-designed space provided something of a fresh slate for De Sarno, whose sophomore menswear collection felt like his strongest vision for the Italian house yet. There was an optical clarity to the season’s looks, which had been inspired by surfing, here figured in graphic short-and-shirt sets, swim slippers and luminous wraparound sunglasses which sat around the neck on Gucci-adorned straps like chokers. The mood was youthful: super-abbreviated shorts (an ode, perhaps, to house ambassador Paul Mescal, who sat front row in his own pair of Gucci short shorts), sheer net polo shirts and the poppy colour palette all skewed younger than the winter season (befitting this mood, 400 students were in attendance for Milan’s fashion and design schools). As has become a signature of De Sarno, flourishes of embellishment were used to elevate everyday garments, like the extraordinary beaded polo shirts or dangling tassels of beads across shirts and jackets, which lent a feeling of material richness to an otherwise streamlined collection.  

Giorgio Armani

Mr Armani presented his eponymous menswear collection this season without any accompanying notes, preferring to let the clothing speak for itself. It is something that the designer – who turns 90 next month – has done across his five-decade-long career as a figurehead of Italian design, preferring to eschew seasonal gimmicks and complex runway sets for a mood of considered design and quiet elegance. Watched on by a Hollywood front row (another thing Mr Armani is synonymous with) which included Russell Crowe and La La Land director Damien Chazelle, this was an exercise in Armani-isms: unstructured tailoring in louche, generous proportions, diaphanous shirts and waistcoats, and a simple palette of Armani greige and navy. A mood of travel also permeated the collection – another hallmark of the designer – here figured in hazy palm-tree-frond prints and straw or cotton sunhats. Joined for his bow by team members Leo Dell’Orco and Gianluca Dell’Orco, the designer known as ‘Il Maestro’ received a warm standing ovation from the Teatro Armani crowd.

JW Anderson

The slumbering between-state of hypnotherapy was the starting point for Jonathan Anderson’s latest collection, a free association of ideas that saw the Northern Irish designer at the peak of his creative powers, balancing the strange and seductive in polished style. Looks emerged at first in threes: three duvet-like quilted jackets, three oversized utility gilets, three blown-up knit cardigans. Their play on proportion continued throughout – other silhouettes were stretched or shortened, and an enormous tie was gleefully oversized – while protrusions of coloured satin, or a series of bulbous padded T-shirts, lent a sculptural feel. Elsewhere, surreal motifs emerged like repressed memories or dreams, whether Guinness-adorned sweaters (Anderson said he remembered its unexpected advertisements growing up in Northern Ireland) or knitted dresses adorned with images of houses, as if lifted from a children’s storybook (on one, a tiny three-dimensional bird sat on the shoulder). Part of the inspiration for the liberated, freewheeling mood was a recent trip to Barcelona’s Primavera Sound festival: ‘The experimentation with clothing among younger generations is incredible,’ said Anderson. ‘The eye has changed within menswear and within womenswear. People want something that is really challenging.’

Martine Rose

Prior to the Martine Rose show – which happened just after Prada, and just a few hundred yards away – people questioned just how the London-based designer might bring her idiosyncratic, underground-infused brand of menswear to Milan, in what would be her first showing on the city’s fashion week schedule. Would she succumb to the city‘s sartorial polish? Presented in a former industrial building, the floor scattered with Martine Rose flyers – like those you might have found for a 1990s rave – the answer was a resolute no. Models stomped and slithered around the space with prosthetic noses (purposely haphazard) and wearing matted wigs so long they almost dragged along the ground. Men wore pencil skirts and fishnet stockings, or tailored trousers cut to appear like chaps (the crotch part was leather, an inversion of the expected), while for women the padded protection of a motorcycle jacket became the bust of a dress. Martine Rose signatures recurred throughout – shrunken football shirts, warped tracksuits, zip-away denim – alongside the requisite nods to nightlife and its dress codes. ‘When you’re young, you think that when you grow up your tastes are going to mature with you,’ she told Wallpaper* prior to the show. ‘This is the sort of irony.’ 

• Read our exclusive interview with Martine Rose

Prada

This season, the Fondazione Prada’s Deposito space had been installed with a new dwelling – a small white hut, raised on stilts, and with a long walkway leading down to the curving white runway below. From its windows and door, left slightly ajar, pulsated the sound of Faithless’s Insomnia, while flashing lights suggested a party was happening within, just out of sight. Here in this ‘fairytale ravescape’, said co-creative directors Miuccia Prada and Raf Simons, was a collection which mused on ‘freedom, youthful optimism and energy’, something the former reiterated backstage after the show. ‘Youth is the future… it is hope,’ she said ‘We wanted to do something that would express youthful optimism because the times are so bad.’

The pair did so in pieces which appeared to have ‘lived a live, that are alive in themselves’. Silhouettes were dynamic: purposely creased, warped, shrunken and exaggerated, ‘like clothes you already live with,’ said Simons. Sleeves were short, as if garments had been borrowed or swapped between people. Shirts were skewiff and twisted around the body – like after a long night – while narrow trousers sat low on the waist and pooled at the ankle. Other pieces were made to question the reality of what you were seeing, demanding a second look. Like trompe l'oeil Breton T-shirts, where the stripe was warped and distorted, or low-slung leather ‘belts’ which were actually set into trousers. Enormous visor sunglasses – their lenses decorated with photographs of raves, Roman statuary and American highways – and prints by the artist Bernard Buffet, the latter appearing ‘like a concert T-shirt’, added a surreal, disorientating edge. 

The pair said that it came down to working with intuition, of following what they were drawn to without asking why. ‘Sometimes when you are older you start to overthink, and you limit yourself. When you are young, you just go,’ said Simons. ‘We wanted to create clothes that have lived a life, that are alive in themselves,’ the pair concluded. ‘There is a sense of spontaneity and optimism to these clothes - they reflect instinctive but deliberate choices, freedom.’

Dunhill

A serene Milanese garden, close to the city’s rarefied shopping street Via Monte Napoleone, provided the setting for Simon Holloway’s sophomore collection for British heritage brand Dunhill, here shifting to the Italian city after showing last season at London’s National Portrait Gallery. This was a continuation of that debut, seeing Holloway once again explore the tropes of British dress – particularly those over a summer season of sporting and society events – in pursuit of what he called ‘radical classicism’. As such, he ran a gamut of typically British looks, from the casual – a suede utility jacket worn with driving gloves, cable-knit sweaters and pleat-front jeans – to the sporty – rugby shirts and shorts, striped varsity socks – and the unapologetically grand, like the collection’s final look, a black morning suit worn with an ivory silk scarf and cane. ‘These are not basic clothes for going into the office,’ said Holloway. ‘These are clothes for enjoyment, for a life well-lived.’

Emporio Armani

Unbridled horses frolicking in the surf, purple fields of lavender: the projections on the wall of the Teatro Armani showspace set the scene for an Emporio collection titled ‘Freedom in Nature’ which saw Mr Armani supplant his man for the season from his usual urban sprawl and into the wilds. The mood was one of adventure and abandon: shirting was plunging and worn with voluminous pants and heavy boots – the latter a nod to equestrianism – while superfine tailoring recalled safari jackets and kimonos. A focus on the waist ran throughout, whether in the belted utility jackets or the loops of leather which narrowed the waist of the designer’s louche, lightweight tailored blazers. It ended with the scent of lavender as a stream of lederhosen-clad men promenaded the space with baskets full of the springtime-blooming flower. Here, nature might have been somewhat tamed, but it nonetheless made from a transporting closing milieu, with the models surrounding Mr Armani – this season joined by Leo Dell’Orco and Silvana Armani, who look after the house’s men’s and womenswear collections – for his usual ovation, this year all-the-more celebratory in anticipation of his 90th birthday next month. 

Fendi

Fendi left behind its usual showspace in the house’s Via Solari HQ (renovations and an expansion are currently underway), transporting guests to a studio lot-like showspace on Milan’s outskirts. It lent the presentation a grander scale, a feeling mimicked by the enormous mirrored blocks which danced around the runway as if operated by remote control, reflecting both audience and models across their spinning surfaces. Silvia Venturini Fendi, who heads up the house’s menswear and accessories collections, said that this season she was inspired by a deep dive into the Fendi archive. The Roman house will turn 100 this year, and the designer created a celebratory crest comprising four of the house’s motifs, including the famed double-F emblem, which here adorned sweaters and shirts. It lent the collection a varsity feel – Venturini Fendi talked before the show about wanting Fendi to feel like a team, or club – where striped knit rugby sweaters and ties met plaid jackets, school blazers and a playful riff on the football shirt. This was a uniform for the Fendi clan – and its wide-reaching international fanbase – to sport with pride in its centenary year.

Dolce & Gabbana

‘Italian Beauty’ was the title of Domenico Dolce and Stefano Gabbana’s latest menswear collection, which saw the duo make a subtle gear-shift from the sharp, reduced line of recent seasons towards something softer, inspired by effortless Italian summers and actors like the louche Marcello Mastroianni. Raffia, a distinct hallmark of Italian furnishings, was one such motif, used here to create airy summer jackets and oversized polo shirts, while ever-astute tailoring – here largely double-breasted and worn with pleated trousers which narrowed towards the hem – harked back to the 1950s. Elsewhere, the collection was enlivened with flourishes of embroidery and embellishment, like the sprays of delicate red flowers which aodrned crisp white trousers and jackets.

MSGM

It was 15 years ago that Italian designer Massimo Giorgetti founded MSGM, a landmark celebrated with his latest menswear show held in a former industrial garage on Milan’s outskirts on Saturday morning. The crisp, optical collection, which looked towards the sea for inspiration, was backdropped by explosions of primary-colour paint against a series of Perspex boxes which lined the runway. They were an ode, Giorgetti elaborated, to an early collection he drafted an artist to daub with paint after fearing it was too safe. It also referenced the broad strokes of colour and graphic motifs the designer has evoked over the last decade and a half, here conjured in a vivid array of pattern, from riffs on nautical stripes and colourful daisies to painterly prints of seaside scenes. Indeed, Giorgetti said it is in his cliffside home in Liguria, close to Portofino, where the ideas for the collection percolated. As for the mood, this was a Mediterranean summer at its most evocative: ‘the rocks, Mediterranean pines, agaves, the scent of salt and resin,’ he listed, transporting guests – in Giorgetti’s typically uplifting fashion – from a cloudy Milan to the Italian riviera. 

Stay tuned for more from Milan Fashion Week Men’s S/S 2025.

And so it begins again: as the warm early days of June roll in, so too does Men’s Fashion Week S/S 2025, a Europe-wide menswear tour with stops in London, Florence, Milan and Paris, seeing designers both emerging and established present their vision for the season ahead.

Beginning today (7 June 2024), the first stop is London: the relatively scant schedule, with just a handful of designers showing over the weekend, serves as sedate warm-up for crowded days of shows in the coming days (accompanied by a new culturally minded schedule of talks and exhibitions). The next stop is Florence for historic menswear fair Pitti Uomo; there, subversive French designer Marine Serre – best known for her sliced-up, upcycled garments and signature crescent-moon print – and British design legend Paul Smith will both show as guest designers. 

In Milan, British designer Martine Rose joins the schedule for the first time, alongside heritage house Dunhill, which also makes the move from London to the Italian fashion capital (both will show on Sunday 16 June). Meanwhile, in Paris, highlights will include Pharrell Williams’ latest blockbuster menswear outing for Louis Vuitton and the final show from Dries Van Noten (the designer announced he would be exiting his eponymous brand last month).

Here, in an ongoing list, is everything Wallpaper* knows about Men’s Fashion Week S/S 2025. 

Men’s Fashion Week S/S 2025: what to expect

London Fashion Week (7 – 9 June 2024)

London Fashion Week’s 40th anniversary celebrations will continue this June with the event’s summer iteration, which, as in previous years, spans shows from both mens- and womenswear designers (prior to the pandemic, it was exclusively menswear on the schedule). This season, expect a new format from the British Fashion Council-helmed event, beginning with a program of activations at the Institute of Contemporary Arts – including exhibitions, panel discussions and performances – that will focus on highlighting designers spotlighting Black, South Asian and queer cultures. Elsewhere, across London a ‘40 for 40’ schedule will see 40 designers and brands host events across the city, while Soho nightspot Groucho Club will become a ’dynamic activation space’ hosting designers both established and emerging. 

‘The new format is a direct result of the conversations we are continuously having with the BFC community,’ says BFC CEO Caroline Rush. ’We want to ensure we are recognising the business needs of our designers and providing them with a global showcasing platform which is both relevant and beneficial. This iteration of London Fashion Week is a really exciting opportunity to future-proof and innovate the UK’s fashion showcasing capabilities and highlight the city’s point of difference during men’s fashion month.’

Elsewhere, in an intimate off-schedule presentation at his Docklands studio earlier this week (5 June 2024), Craig Green held his first runway show after a two-year hiatus, a heartfelt musing on ‘sons and fathers’. Over the weekend, a handful of other designers and brands will show on the relatively scant schedule, including Charles Jeffrey Loverboy, Qasimi and Denzilpatrick. 

Pitti Uomo (11 – 14 June 2024)

Each season, Pitti Uomo – a historic menswear and trade fair that takes place twice yearly in Florence, Italy – selects a handful of international guest designers to show as part of the unique line-up, which sees runway shows held in an eclectic array of venues across the city, from Renaissance palazzos to abandoned industrial lots. Recent iterations have seen appearances from Fendi, SS Daley, Martine Rose, Grace Wales Bonner and Luca Magliano, while Vivienne Westwood, Raf Simons, Giorgio Armani, Jonathan Anderson and Yohji Yamamoto have all previously shown as part of the definitive menswear event.

This year (see our Pitti Uomo 106 highlights) the first guest designer is Marine Serre, a buzzy French designer known for her sporty, subculture-infused pieces, which often feature reworked deadstock garments and her signature crescent-moon print (the latter, usually adorning second-skin tops, body suits and leggings, have gained her a legion of famous followers, from Beyoncé to Rosalía). Showing on 12 June 2024, she will present a menswear collection at a location that is yet to be announced. ‘I am really excited to present my next show in Florence,’ she says. ’We’re looking forward to bringing the essence of Marine Serre to Florence, mixing craftsmanship our way, and shaking the lines of what’s expected to be, bringing imagination at the service of transformation.’

Meanwhile, British design legend Paul Smith – who has shown at the fair previously – will begin proceedings with the launch of his S/S 2025 menswear collection on 11 June 2024. The choice of Pitti Uomo to show next season’s offering comes from the British designer’s ‘reverence for tailored clothing’, he says, noting that after first appearing as a guest designer in 1993, ‘the return to Florence feels like just the right thing to do’.

Milan Fashion Week Men’s (15 – 19 June 2024)

Highlights of Milan Fashion Week will no doubt include Sabato De Sarno’s sophomore menswear collection for Gucci, where he will continue to hone his elegant new vision for the house, which draws inspiration from the insouciant style of the Italian street. The show will take place on Monday 17 June, a move from last year’s Friday spot. Prada, meanwhile, will present its S/S 2025 collection amid a typically dynamic set created in association with OMA/AMO – Rem Koolhaas unpacked the architectural practice’s 25-year collaboration with Prada in Wallpaper’s March 2024 Style Issue.

Elsewhere, there is something of a British invasion: Martine Rose will show on Sunday 16 June in her first outing in the Italian city, as will heritage house Dunhill, which showed its first collection under new creative director Simon Holloway in London this past February. JW Anderson will also continue to show its menswear collections in Milan, also on Sunday evening.

Rounding out the schedule are Italian stalwarts Dolce & Gabbana, Zegna, Armani and Fendi, while rising Bologna-based brand Magliano will return to Milan after showing as guest designer at Pitti Uomo last season. MSGM, meanwhile, will celebrate 15 years with a co-ed show runway show on the morning of Saturday 15 June. ‘In June 2009, I presented the first MSGM men's collection alongside the women's resort,’ says founder Massimo Giorgetti. ’I would like to celebrate that memory and recreate the same energy.’

Paris Fashion Week Men’s (18 – 23 June 2024)

After the announcement that ex-Gucci creative director Alessandro Michele is set to take the helm at Valentino, replacing Pierpaolo Piccioli, fans of Michele will have to wait a little longer to see his vision for the Roman house – earlier this month, Valentino confirmed that it would not present a men‘s or haute couture collection in June, saving his debut for womenswear fashion week in Paris in September.

That said, an expansive schedule awaits elsewhere: notably, Pharrell Williams will show his third menswear collection for Louis Vuitton, which follows a Western-themed outing for A/W 2024 (a precursor of sorts to Beyoncé’s Cowboy Carter, the musician chose to wear a look from the collection for her appearance at the 2024 Grammys). His last June show, which marked his debut, saw him shutting down central Paris’ Pont Neuf for the extravaganza, while in January he erected an enormous box in Paris’ Jardin d'Acclimatation, complete with a flurry of faux-snow for the dramatic finale. His upcoming show will likely be just as social-media ubiquitous, taking place at 8.30pm on June 18, 2024. Another notable moment will be Dries Van Noten’s final show on the evening of June 22, after the designer announced he would be exiting his eponymous brand last month.

Elsewhere, expect impactful shows from Jonathan Anderson at Loewe, Véronique Nichanian at Hermès, and Rick Owens, who will reveal whether the move to hosting his shows in his own Paris home – as was the case for his last mens- and womenswear shows – is permanent. Watch this space.

Stay tuned to Wallpaper.com for more coverage from Men’s Fashion Week S/S 2025.

January marks the beginning not only of a new year, but a new season in style – gone are the winter collections of last year, in are the S/S 2024 collections, and with them the promise of brighter days ahead.

As part of Wallpaper’s Design Awards 2024 issue, we select the winning men’s and womenswear collections of S/S 2024 – and their standout looks – which will define a season of dressing ahead. These span Sabato de Sarno’s sensual new vision for Gucci (the designer called it a ’story of richness and lust... of sweat, dancing and singing’, and is pictured top left), the eclectic oppositions of Dries Van Noten’s womenswear, and Maximilian Davis’ expertly reduced Ferragamo tailoring. 

Winning collections came too from Miuccia Prada and Raf Simons at Prada, where they reckoned with beauty and craft, the sinuous lines of Kim Jones’ Fendi, or Matthieu Blazy’s extraordinary riffs on the quotidien at Bottega Veneta (here encapsulated his version of a working man’s tie, recrafted in leather). Or Lucie and Luke Meier’s gently oversized men’s Jil Sander tailoring, adorned with glimmering crystal broaches (pictured top right). 

The various looks are captured by London-based photographer Daisy Walker, and styled by Wallpaper* fashion and style director Jason Hughes. 

The standout looks of S/S 2024, selected by Wallpaper*

Courrèges

Dolce & Gabbana

Dries Van Noten

Acne Studios

Hermès

Wooyoungmi

Ferragamo

Saint Laurent by Anthony Vaccarello

Givenchy

Alexander McQueen

Carven

Isabel Marant

Bottega Veneta

Miu Miu

Paul Smith

Fendi

Dior

Prada

Balenciaga

Marni

Valentino

Loewe 

Models: Kerolyn Soares at IMG, Aaron Shandel at Wilhelmina. Casting: Ikki Casting at The Art Board. Hair: Adam Garland using Authentic Beauty Concept. Make-up: Jo Banach using Chanel Les Beiges Winter Glow and No.1 de Chanel Red Camellia Exfoliating Mask. Interiors: Olly Mason. Set build: London Art Makers. Photography assistants: Chloe Yates, Zillah Rauter. Fashion assistants: Kris Bergfeldt, Samela Gjozi. Hair assistant: Annabella Hudgell. Interiors assistant: Archie Thomson. Post-production: Lasso Studio. 

A version of this article appears in the February 2024 issue of Wallpaper* – dedicated to the Wallpaper* Design Awards 2024 – available in print from 4 January, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Dolce & Gabbana has been moving strategically over the past few years. At the beginning of 2022, the Italian fashion house made a surprise announcement, revealing that the brand would be ending its licensing deal with Shiseido and taking its fragrance and beauty lines (founded in 1992 and 2009 respectively) in-house.

Back in 2016, the house tapped French designer Gwenaël Nicolas to completely revamp its brick-and-mortar boutiques across the globe. This included its Dolce & Gabbana store on Old Bond Street in London, expanding the space into a six-floor design marvel (with a Wallpaper* Design Award-winning staircase), a suitably lavish home for its ready-to-wear, accessories, fine jewellery, and watches.

Dolce & Gabbana unveils a new beauty corner in London

Fast forward to the end of 2023, Dolce & Gabbana Beauty continued this new chapter via the release of a fragrance in September. Named Devotion, and described by the brand as ‘luminous and gourmand’, the scent was conceived in Italy by nose Olivier Cresp, and contains transportive notes of orange blossom, candied citrus and vanilla.

The eau de parfum is now accompanied by a make-up line, comprised of a volumising mascara, illuminating face powder and nine liquid lipsticks in varying vibrant shades, with mousse-like textures. Held in gilt packaging, the lipsticks also contain extract from Sicilian avocados, which aids in lipid restoration whilst ensuring comfortable wear.

Rounding off 2023, a new corner of the Old Bond Street retail location has been carved out, solely dedicated to this part of the Dolce & Gabbana world. Located on the ground floor of the store, which sees Nicolas’ veined marble floors reflected in mirrored units displaying the Devotion products and perfumes. The area is complete with an intimate make-up room, where testing sessions and personalised consultations can be held, (which will come in useful with the upcoming launches the house has in store for 2024 and beyond).

Dolce & Gabbana's new beauty corner is located in the flagship store on 6-8 Bond St, London W1S 4PH.

dolcegabbana.com

Sculpted silhouettes, warped weaves, razor-sharp cuts – men’s tailoring is imbued with a spirit of subversion this season, as designers and brands seek to rework and reimagine the suit. Their spoils arrive at the beginning of a season filled with potential for dressing up; here, as taken from the December 2023 Entertaining Issue of Wallpaper* – photographed by Daniel Riera Fashion with fashion by David St John – a selection of that tailoring ready to make an impression over the celebratory winter months ahead.

Razor-sharp men’s tailoring to make an impression this winter

Take the unexpected proportions of Gucci’s elongated double-breasted blazer and wide-legged tailored shorts (top left), a playful top-heavy silhouette nonetheless conjuring the Italian elegance at the heart of the label. Or from Fendi, an immaculate single-breasted suit whereby the trousers are overlaid with a diaphanous apron-like skirt (below); when it was first shown in Milan, creative director Silvia Venturini Fendi said she was inspired by the outré dress codes of infamous New York nightspot Studio 54. 

Others riff on classic tailoring archetypes, like Dolce & Gabbana’s take on the white tuxedo – here cut with a narrow sculpted waist – or the shrunken two-tone lapel of a double-breasted suit by Maximillian Davis at Ferragamo which recalls military uniforms, here reimagined with a minimal rigour. 

Model: Przemek Szubert at Riches Mgm. Casting: Ikki Casting at The Art Board. Grooming: Chris Sweeney at One Represents using Hair Rituel by Sisley. Digi tech: Marc de Miguel. Fashion assistant: Molly Swatman. Retouching: La Cápsula Fotográfica. 

A version of this story appeared in the December 2023 Entertaining Issue of Wallpaper*, available in print from 9 November, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today!

Warm yellow light streams out of the new Dolce & Gabbana Casa boutique on Brompton Road, creating a welcoming embrace for those who step inside. This is one of the brand’s two new spaces in London, the other being a store within Harrods, that are dedicated to the furniture world of Dolce & Gabbana Casa, which made its debut in 2022 in Milan.

The openings are the result of the long-cemented partnership between Dolce & Gabbana and the Luxury Living Group, a front-runner in the luxury furniture and lifestyle industry, which has collaborated on the design, production and distribution of the collection.

Dolce & Gabbana Casa lands in London

The Brompton Road boutique has a gallery aesthetic. Dark-painted walls envelop the interior, creating a canvas for the furniture. Neoclassical pillars and stretching columns are reimagined with a Dolce & Gabbana twist through the black colour palette.

This black backdrop is no gothic veil, but instead, with the accompaniment of glossy lacquers and basalt, provides a crisp, alternative foundation for the bold furniture collection.

Providing elegant essentials, the Casa Collection explores the world of upholstery and eclectic prints, carpets and lampshades, bar carts and dining tables, garnished with decorative objects in signature decadent style.

Dazzling prints feature throughout the Casa Collection, adorning not just textiles and upholstery but furniture, tableware and other objects. Blu Mediterraneo nods to Mediterranian tilework; Leopard and Zebra are self-explanatory; Carretto Siciliano is a riot of vibrant colour; Oro24K is all Baroque opulence; and DG Logo is more understated. Each print explores the boundaries of creativity within the designer furniture space, grounded with technical craftsmanship and design.

The Casa Collection represents an organic development of Dolce & Gabbana’s creative vision, in which the quality, design and execution – whether of a sofa seam stitch or the in-store furniture displays – align with the brand’s Made in Italy traditions.

The Dolce & Gabbana Casa collections are now available at the store on 220 Brompton Road and Harrods, 87-135, Brompton Road

dolcegabbana.com

Add effervescence to any event with our showstopping cocktails and canapés. Take inspiration from our exquisite tablescapes and elegant glassware, and simple but sophisticated recipes, courtesy of Wallpaper* Entertaining Director Melina Keays and Interiors Editor Olly Mason. The art of entertaining starts here.

Cocktails and canapés: hosting in style

The gallery reception, with a Gibson cocktail

Gibson cocktail recipe

Serves 1

70 ml gin
15ml dry Vermouth
ice cubes
2 cocktail onions

Measure the gin and vermouth into a mixing glass. Add ice cubes and stir for 30 seconds. Strain into a chilled cocktail glass. Serve with 2 cocktail onions threaded onto a cocktail stick.

Interval pick-me-ups, with an Amaretto Sour

Amaretto Sour recipe

Serves 1

60ml amaretto liqueur
30ml fresh lemon juice
dash of Angostura bitters
15ml egg white
ice cubes
maraschino cherries

Put all the ingredients apart from the ice and cherries into a cocktail shaker and shake sharply for 30 seconds. Open the shaker and add ice cubes. Replace the lid and shake again for a further 30 seconds. Strain into a cocktail glass and serve garnished with a maraschino cherry.

Candlelit concert

Tea and symphony, with coconut macaroons and madeleines

Coconut macaroons recipe

Makes 12

2 egg whites
100g caster sugar
200g desiccated coconut
1/4 tsp salt
1tsp vanilla paste
6 glacé cherries, halved
90g dark chocolate

Whisk together the egg whites and caster sugar in a large bowl for 2-3 mins until light and frothy, and the sugar has dissolved. Add the coconut, a pinch of salt and the vanilla, and stir until combined. Leave to stand for 10 mins. Preheat the oven to 170°C/fan 160°C/gas 4 and line a baking sheet with baking parchment. Scoop up generous teaspoonfuls of the mixture and roll into balls with your hands. Shape them into 12 mounds and arrange on the prepared baking sheet. Top each with half a glacé cherry. Bake for 10-12 mins until golden, then leave to cool completely on the baking sheet.

Melt the chocolate in a bowl over a pan of simmering water, making sure the bowl doesn't touch the water. Dip the bottom of each cooled macaroon into the chocolate and place on a sheet of baking parchment, chocolate-side up. Place in the fridge for 20 mins, or until set.

Madeleines recipe

Makes 12-16

2 eggs
100g caster sugar
100g plain flour, plus extra for dusting
1 lemon, juice and zest
3/4 tsp baking powder
pinch of salt
100g butter, melted and cooled slightly, plus extra for greasing

Brush the madeleine tray with melted butter then shake in a little flour to coat, tapping out the excess. Whisk the eggs and sugar together in a bowl until pale and frothy. Add the remaining ingredients and whisk them in lightly, then place the batter in the fridge to chill for at least 30 minutes. 

Preheat the oven to 200°C. Spoon the batter into the prepared madeleine tray, place in the hot oven and bake for 10-12 minutes until they are golden and well risen in the centre. Place on a wire rack to cool.

Front row show

Cassata ice cream bombe recipe

Serves 6- 8

500ml chocolate ice cream
300ml pistachio ice cream
250ml vanilla ice cream
30g chopped dried apricots
35g chopped glace cherries
30g chopped candied orange peel
25g chopped pistachio nuts
cocoa powder to dust
1 litre pudding bowl

Take the chocolate ice cream out of the freezer to soften. Line the pudding bowl with a double layer of cling film. Spoon the chocolate ice cream into the lined bowl and spread it up the sides in a thick and even layer. Place it back in the freezer to firm for 15 minutes, then repeat the process with the pistachio ice cream. Take the vanilla ice cream out of the freezer to soften, then spoon it into a bowl and fold in the chopped fruit and nuts. Spoon this mixture into the centre of the ice cream bombe , smooth the top and replace in the freezer to firm for several hours. Dust the bombe with cocoa powder before serving. 

Private view

Box office hits, with lobster rolls

Lobster rolls recipe

Serves 6

500g cooked lobster meat
5 tbs mayonnaise
1 tbs lemon juice
1 stick of celery, diced into small pieces
1 tbs chopped fresh chives
salt and black pepper
6 brioche rolls
3 tbs butter

Chop the lobster meat into large chunks and set aside. Put the mayonnaise, lemon juice, celery and chives Ito a bowl. Add 1/4 teaspoon of salt and a good grind of black pepper and mix well. Add the lobster and fold all together until well combined. Check the seasoning. Slice the rolls lengthways halfway without cutting them completely in two. Open them up to reveal the cut sides. Melt the butter in a large frying pan and place the opened rolls cut side down to warm and toast slightly in the hot butter. Remove from the pan, spoon in the lobster mixture and serve immediately.

Grand finale

Gildas recipe

Makes 12

I jar of pitted olives
12 salted anchovies
12 pickled Guindilla chillies
cocktail sticks

Drain the olives and chillies. Take a cocktail skewer and thread a chilli first, followed by one end of an anchovy. Add an olive and then thread the other end of the anchovy onto the skewer. Serve with drinks and other appetisers.

Set build: London Art Makers. Photography assistant: Louise Oates. Interiors assistant: Archie Thomson. Fashion assistant: Kris Bergfeldt

The December 2023 Entertaining Issue of Wallpaper* is available in print from 9 November, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today!

Dolce & Gabbana is supporting young creatives at Salone del Mobile 2023 this year with an initiative that encourages designers to engage with traditional Italian manufacturing techniques. ‘GenD – Generation Designers’ unites ten designers from around the world in an exhibition curated by Federica Sala. 

In a move reminiscent of an artist residency project, Antonio Aricò, Sayar & Garibeh, Rio Kobayashi, Atelier Malak, Lucia Massari, Bradley Bowers, Ahryun Lee, Sara Ricciardi and Christ Wolston are invited to interpret classic Italian manufacturing methods. The companies that have created the works, and supplied materials, include Bottega Intreccio, Bubacco Brothers, Ceramica Bevilacqua, Foglizzo Leather, Fonderia Artistica Guastini, Forbicioni Studio, Fornace Mian, Fornace Mital, Giordano Viganò, Idea, Incalmi, Lucio Bubacco, Mary Moda di Maria Chiloiro, Mauro and Riccardo Solci, 6 a.m., Soheila Dilfanian, Tabù, TLP di Leonardo Pellegrini and Vito Guardo.

Dolce & Gabbana GenD – Generation Designers

The results encompass a juxtaposition of materials and considered design cues, from Ahryun Lee’s sculptural candleholders in ceramic inspired by the artist’s time in Sicily to Atelier Malak’s furniture set reflecting the peace of a Japanese garden. Antonio Aricò is drawn to the joyfulness of a yellow hue, Bradley Bowers to the intricacies of traditional Venetian glasswork. For Chris Wolston, the unruly Pitahaya vines of the Colombian countryside become meditations on the temporality of beauty, while Lucia Massari distorts the traditional representation of animals for a more offbeat musing on aestheticism. 

Shima Uma reinterprets the stripes of a zebra for a dresser which combines gold-plated glass, wood marquetry and embroidered silk fabric, while an eclectic embrace of materials also appeals to Sara Ricciardi, whose curtain made entirely of sculpted and coloured heartwood plays on domestic themes. For Sayar & Garibeh, furniture becomes imbued with a jewelled craftsmanship, with enamelling and bronze casting creating humorous and anthropomorphic pieces. 

The works will be exposed at the Dolce & Gabbana spaces in 23 Via Broggi in Milan. The exhibition will be open to the public from 18 to 23 April, from 10am to 7pm, subject to registration at dolcegabbana.com/home

Long before patchouli was adopted as the signature scent of hippies everywhere, the flowering herb, with its warm, woody, musky smell, was a symbol of opulence and prestige – rumour has it that King Tut was buried with gallons of patchouli oil. 

Borneo 1834 by Serge Lutens

Centuries later, Madonna put her own spin on the scent by infusing it into pressings of her 1989 album Like A Prayer, while in 2005, perfumer extraordinaire Serge Lutens launched iconic scent Borneo 1834, which blended patchouli with white fowers, cardamom, cacao and labdanum.

sergelutens.com

Tempo by Diptyque

Tempo is Diptyque’s ode to patchouli with three extracts of the essence in one bottle. The richness of the multiple patcholis is complemented by earthy notes of clary sage and maté and rounded out by a light touch of floral violet leaf. 

It is a fragrance that is more on the masculine side but works well for anyone looking for a wearable, sophisticated patcholi scent. 

diptyqueparis.com

Rhizome 01 by Rhizome

Rhizome’s minimalist packaging belies an intriguingly complex range of fragrances. Rhizome 01 is a unisex scent that blends the herby freshness of patcholi with warm spices like cumin and nutmeg. The result is a delicately musky fragrance that is well suited to the autumn and winter months. Perhaps best of all, its reasonable price point makes an accessible purchase without sacrificing quality. 

Those lucky enough to be in Milan can pick up a bottle from our favourite hair salon in the city, Smiths & Co, who have recently collaborated on two new perfumes with the brand. 

rhizomescents.it; smithsmilano.com

Velvet Black Patchouli by Dolce & Gabbana

Perfumer Rodrigo Flores-Roux’s latest creation for Dolce & Gabbana, Velvet Black Patchouli, blends its principle ingredient with notes of Sicilian blood orange, Venezuelan tonka beans and davana oil for a scent that is earthy with an edge of sweetness.

To create the perfume, Flores-Roux looked back to patchouli's past as a highly valuable fragrance that was traded between Asia and Europe. ‘Patchouli really symbolises that rich exchange of cultures,' he says, ‘because it references a time when precious goods arrived from the East to the shores of Italy, cloaked in its mysterious scent.’

dolcegabbana.com

Witchy Woo by Vyrao 

Similarly, Witchy Woo by Vyrao blends patchouli with notes of orris, cinnamon, and rose to create a dark, mystifying scent. The brand, which launched last year, uses aromatherapy principals and energetically charged Herkimer diamonds to create scents that attempt to actively alter emotional states, with Witchy Woo designed to evoke courage and creativity. 

selfridges.com

Celestial Patchouli by Sana Jardin

Sana Jardin is an innovative perfume brand that enables female harvesters from the rural Morocco to become micro-entrepreneurs by up-cycling the waste products from perfume production. Their Celestial Patcholi fragrance combines musky patchouli with delicate rose and smoky leather for a heady feminine scent. 

brownsfashion.com

Cannabis Patchouli by Dries Van Noten

Cannabis Patchouli is one of ten new fragrances within Dries Van Noten’s new beauty line. The patchouli heavy fragrance is blended with herby notes of sage and cedar for a fresh and woody genderless perfume. ‘In Dries world, antagonistic elements are combined to create surprise,’ says Cannabis Patchouli’s perfumer Nicolas Bonneville. ‘This fragrance is like a light and dark olfactive pattern of fresh green leaves of clary sage aromatics rubbing against the woody leaves of patchouli.’

driesvannoten.com

Ground by Gabar 

Gabar is a new women-led fragrance brand inspired by three distinct locations in Myanmar. Their scent Ground is a rich, creamy fragrance of sandalwood, patchouli, saffron, and fig that evokes the arid plains of Myanmar’s ancient capital of Bagan. Its elegant composition is an intriguing mixture of tangy La Phet (tea leaf salad) and the soft scent of Myanmar Thanakha (traditional tree bark). 

gabarmyanmar.com

Splendida Patchouli Tentation by Bulgari

Bulgari’s Splendida Patchouli Tentation combines a trio of patchouli with white peach and velvety musk for a more powdery interpretation of its top note.

bulgari.com

Bold, colourful and distinctively Italian – the same words often used to describe Domenico Dolce and Stefano Gabbana’s fashion can equally be applied to pasta alla Norma, a staple at their Martini Bistrot in Milan, a recurring favourite at the designers’ festive lunches, and their choice for this month’s Artist’s Palate feature. ‘We like the simplest recipes of the Sicilian tradition, those made with fresh local products: tomato, aubergine, salted ricotta, and lots of love,’ they say. Naturally, the dish is best served on tableware from the newly launched Dolce & Gabbana Casa label – specifically from the ‘Carretto’ range, whose vibrant hues and rambunctious patterns perfectly evoke Mediterranean summers. 

A recipe for pasta alla Norma by Dolce & Gabbana

Ingredients

1 aubergine
10 ripe tomatoes, peeled, chopped and deseeded
olive oil
1 garlic clove, peeled and crushed
1 tsp sugar
400g pasta
100g grated ricotta salata cheese
fresh basil leaves
salt and pepper, to taste

Method

Slice the aubergine, sprinkle generously with salt and leave for half an hour. Place the chopped tomatoes in a large saucepan, season with salt and simmer for about ten minutes. Add a little olive oil along with the crushed garlic and sugar, then season with black pepper. Continue to cook until the sauce is reduced, stirring occasionally. Rinse the aubergine slices, then pat dry with kitchen paper and fry in hot olive oil until browned. Place them on kitchen paper to drain the excess oil, then chop coarsely and stir into the sauce. Boil the pasta, then drain and mix with the tomato sauce. Serve in bowls with grated ricotta salata cheese and fresh basil.

A version of this article appears in the September 2022 issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today!

INFORMATION

dolcegabbana.com

Entrepreneur Alicia Liu started her career in fashion, working at the likes of Prada Group and Dolce & Gabbana, and eventually spending seven years as vice president of fashion and e-commerce at New York City retail institution Century 21. But in 2019, she decided to chase her lifelong dream, relocating to Los Angeles in pursuit of a career in the culinary industry.

The Covid-19 lockdown came shortly after her move, giving her plenty of time to figure out her passion play. She would go on to revolutionise organic plant-based ice cream with a collection of Asian-inspired flavours that surprise and delight, all hand-packed into exquisite packaging that she designed herself. ‘First, I had to learn how to make ice cream, then the science behind it. Where I landed was a product closer to gelato, with about half the fat of ice cream, and even less when I turned to plant-based ingredients,’ said Liu.

There were some interesting experiments along the way, from Beet Cayenne to White Pepper – a culinary staple in her ancestral home of Taiwan – to Garam Masala, derived from a family spice recipe given to her by a friend. Liu clearly covered a lot of ground before landing on the  eight flavours available at launch: Black Tahini; Dalgona Coffee; Ginger Turmeric; Lychee Rose; Matcha Stracciatella; Mint Strawberry; Salted Chocolate; and Vanilla Classic.

It’s an elegant and innovative collection of products that Liu makes by hand in her own commercial kitchen, a labour of love that has quickly become difficult to keep up with. Her ice cream is flying off the shelves at her first retail outlet, Erewhon Market – Southern California’s chain of upscale vegan grocery stores – where Black Tahini is the top seller. The ground sesame gives it a rich, nutty flavour and an earthy balance to the sweetness. The second most popular ice cream, Dolgana Coffee, uses freeze dried coffee whipped into a creamy consistency together with cacao nibs, which have a stronger, more solid presence than chocolate chips, creating a delicious, contrasting mouth feel that adds to the experience.

These flavours also lead in on-line sales, shipping in dry-ice directly to customers across the continental United States. With ambitious plans to expand in both retail and online channels, Liu is already looking to increase production, but remains committed to handmade product with only all-organic, plant-based ingredients.

But even with her early success and limited personal bandwidth, Liu can’t stop experimenting. This February she collaborated with Opening Ceremony founder Humberto Leon on an exclusive flavour for his Los Angeles restaurant Chifa, an Almond Jelly ice cream to celebrate Lunar New Year. There are more collabs to come, and no doubt more good things for the Lavender and Truffles brand and Alicia Liu – an inspiring story and a reminder to pursue one’s dreams. §

INFORMATION

Lavender and Truffles plant-based non-dairy ice cream, $15 for 16oz, lavenderandtruffles.com

Dolce & Gabbana Casa opens the doors to its first two dedicated spaces in Milan. Unveiled during Milan Design Week 2022, the two spaces will showcase the fashion house’s rich collections of furniture and accessories, including home textiles, Murano glassware and Sicilian ceramics.

‘With Dolce&Gabbana Casa we wanted to create a unique lifestyle,’ say Domenico Dolce and Stefano Gabbana, who together launched their fashion brand in the 1980s, adding the Casa line in 2021, with a debut during the Venice Alta Moda presentation.

The home furnishings and accessories debut comprises four distinctive collections, each embodying a different Italian spirit. ‘Blu Mediterraneo’ features sensual motifs in the colour of the sea, while ‘Carretto’ looks at unique Sicilian aesthetics and craft, distilled in a series of bright, colourful patterns reminiscent of Maiolica. Finally, ‘Zebra’ and ‘Leopardo’ embody a different Dolce & Gabbana spirit, with animal prints distinctively taking over furniture surfaces and accessories. 

‘The home is, after all, the place that best reflects who we are, that protects us from the outside world but at the same time allows us to open up to it, welcoming it into our own domestic walls.’ The Dolce & Gabbana home, like the brand’s fashion, is inspired by Italian culture and beauty, with traditional patterns, colours and materials found throughout the collection. 

‘Over the years, these elements have been reinterpreted in a unique lifestyle, conceived in the spirit of the Dolce Vita and the joie de vivre,’ continue the designers. ‘Whether in the Faraglioni of Capri, in the blue of Sicily’s sea, in the golden beaches of our coasts, or in the pizza, the pasta, and the sundry sweets that distinguish our culinary tradition, there dwells an extraordinary poetry, a taste for the beautiful and the well-made that for centuries have regaled the world with unique emotions.’

The collections are divided between two locations in Milan: a new space on Corso Venezia 7 is the destination for home accessories, while the brand’s furniture is available at a second space, on Via Durini 23, created with Luxury Living Group.

INFORMATION

The Dolce & Gabbana Casa collections are on view at the two Milan stores, Corso Venezia 7 and Via Durini 23
dolcegabbana.com

When it came to the A/W 2022 menswear season in Milan, aficionados at home – and those watching IRL in the Italian city – had a sweep of style heroes to choose from. At Prada, a host of actors emerged from a futuristic illuminated tunnel at its Fondazione Prada Deposito space, including Twin Peaks’ Kyle MacLachlan, dinosaur-digging (and previously unofficial Prada mascot) Jeff Goldblum, Moonlight’s Ashton Sanders and Sex Education’s Otis Butterfield. Meanwhile, at Dolce & Gabbana, the label appealed to Gen-Z fans, with a performance from a sequin suit-clad Machine Gun Kelly. 

While the A/W 2022 season has been beleagured by the threat of Omicron and rising infection rates in Europe, a host of behemoth and burgeoning brands presented both physical and online shows from the Italian capital. DSquared2 celebrated its in-person return after a Covid-19 induced hiatus, and Prada presented its first physical menswear show under the co-creative directorship of Miuccia Prada and Raf Simons. Ermenegildo Zegna and MSGM favoured a digital presentation, as did JW Anderson, the British brand which had originally been scheduled to present its first physical fashion show in Milan - this will now take place in June 2022. 

6 key takeaways from Milan Fashion Week men’s A/W 2022

Classicism is back on the menswear menu

Since the onset of the Covid-19 pandemic, designers have postulated on the future of the menswear cannon, considering the relevance of tailoring and the staying power of relaxed silhouettes. At Prada, the Milanese label turned this concept on its head, shirking seemingly endless conversations around comfort and loungewear, in favour of a wardrobe firmly rooted in work. ‘The language of sartorial tailoring, a formality which confers an importance,' read the brand's press release, of a collection which welded the executive with the utilitarian, featuring exaggerated leather trenchcoats, asymmetric blazers accented with shearling armbands, hazard-hued slacks and glossy boilersuits. A vital accessory for your vending machine change? A triangle motif coin purse attached to your belt buckle.

At Fendi, Silvia Fenturini Fendi was also captivated by notions of classicism. The Roman house presented a ‘treasure trove of future heirlooms' that riffed on the elegance and sophistication of old world silhouettes: Vichy check tweed overcoats, boxy cropped tuxedos, pilot's jackets and short suits, imagined in raspberry, mocha, taupe and white. In a dandyish flourish, sweeping coats were pinned with shearling corsages, Mary Jane brogues buckled with wristwatch strapes and bags had evening time proportions.

Elsewhere, Aspesi's Laurence Steele was struck by archetypal silhouettes, combining finesse with function, while Brunello Cucinelli mediated between differing sartorial codes, presenting luxurious pieces from peacoats to down jackets, incorporating super fine wools, shearling and Prince of Wales houndstooth. Tod's took inspiration from contemporary Italian art, tracing the line of its A/W 2022 silhouette back to the country's creative cannon, with updated classics in forest tones like fur-effect bomber jackets inspired by the traditional lining of outerwear and cashmere gymwear. 

Deep burgundy and bold blue: choose your favourite hue

Flavoursome news for wine buffs: a deep burgundy bolstered the Milan catwalks, as demonstrated by brands including Fendi, Ermenegildo Zegna and 1017 ALYX 9SM. Zegna's meditations around the ‘new suit', featuring softly rippling tailoring, drew on an organic palette, terracotta and tangerine, while 1017 ALYX 9SM – which presented in Milan for the first time – drew on lilacs, cherry reds and nude. Elsewhere, oceanic blues were favoured, with Brioni's Norbert Stumpfl creating bold suiting, including daytime double-breasted wool suits and striking silk satin tuxedos in exuberant turquoise. 

Inspect your new errogenous zone

Skin was a central element of the S/S 2022 shows, and continues to take extrovert effect for autumn. The erogenous zone of choice for the upcoming season? A sultry sliver of chest. At Fendi, this was demonstrated with heart-shaped cut-outs on cable knit roll-necks and V-necks in cricket white and glittering raspberry. At JW Anderson - whose digital runway show reveled in party silhouettes, fantastical flourishses and an all-out abandon into weirdness, the chest was revealed in knitwear weaved into chunky loops and hula hoop hemline crop tops in bright paintbox tones.

Power to the shoulder

Designers weren't concerned with playing proportions safe for A/W 2022, serving up striking strong-shouldered silhouettes that even David Byrne would be driven to. You'll need to watch out for Prada's work-inspired power-shouldered trenchcoats when you're in the office. Ardusse's Gaetano Colucci was also inspired by the strong shoulder. The label's collection fluctuated between decades, drawing on the frilled prom shirting of the Seventies, grungey long-sleeve tees and Ivy League style of of the Nineties and the power shoulder tailoring of the Eighties, with bold blown up check mohair coats in a square silhouette. 

Meet me in the Metaverse

Brands continue to experiment with the physical and online worlds: JW Anderson and Dolce & Gabbana recently launched NFTs, Phillip Plein accepts cryptocurrency, and glitchy, pixelated prints abound in brands collections - just look to the checkerboard and graffiti prints at Dolce & Gabbana. At Fendi – a brand that continues to experiment with the tech accessory world – the label teamed up with Ledger Nano X, on a Baguette bag shape that incorporates digital hardware wallet for cryptocurrency. JW Anderson also experimented with the digital realm. In anticipation of the brand's online show, the label released short films of female avatars sporting its A/W 2022 designs, jumping from the screens of iPhones and springing on stars. Video also unveiled blinking eyelids accented with bold make-up, with a JW anchor monogram logo at the centre of their pupil. 

Adventure is always on the cards

Happy campers have even more reason to be cheerful, as a host of brands celebrated the great outdoors, revelling in a nomadic and adventurous spirit. DSquared2 went wild with layered silhouettes that nodded to a range of outdoor pursuits from rock climbing to camping, to bouldering and birdwatching, with ponchos and sequinned cagoules, snuggly sleeping bag coats and quilted shorts, that riffed on the high-tech and the hippy. Missoni was also about high altitude. The brand's Mountain Calling capsule collection features psychedelic Nordic knits, featuring alpine scenes and a trippy logo. Etro too inclined to the outdoors, with a collection featuring wolf, fox and snowflake intarsia knit jumpers, jewel tone raincoats and puffers, plus velvet robe coats for a more resplendent take on around-the-campire dressing.

Technical outerwear specialist C.P Company, which continues to celebrate its fiftieth anniversary milestone and is fresh from a collaboration with Emporio Armani, also hosted the exhibition ‘Cinquata', featuring seventy iconic archival designs, sketches and memorabilia, that have defined the label's half-century. A-Cold-Wall also presented a digital film revelling in the label's performance and sportswear tropes, featuring striking foiled trousers and tracksuits swathed in paint, inspired by building materials like clay and plaster. 

A renewned sense of stability is returning to wedding season, and while some ceremonial restrictions are in place globally, it's clear that celebration is on the up. Dressed down for so long that you're lost in how to excel in elegance? Here we present our guide to being an impeccably dressed wedding guest, whether rocking up to a city town hall or sitting en plein air in the grounds of a castle.

Nail the dance-all-night accessory

If pandemic dressing has taught us anything, it’s that ease is essential to elegance. Shirk the stilettos in favour of a foot-friendly mid-heel, like Manolo Blahnik's leopard-print Mary-Jane pumps.

Go for gild

Riff on the Roaring Twenties with an outfit oozing ostentation. Enter Balenciaga’s golden chaimail dress, which reflects the lights of a disco ball as you get down on a dancefloor.

Upturn tradition

Turn heads with an androgynous take on wedding wear. Sport sophisticated tailoring and forget the undershirt, like Petar Petrov's subtly oversized suit jacket.

Carry a coveted accessory

Search out a small style to hold all those matrimonial essentials (hand sanitister, lipstick, face mask). The covetable quilted details of Dior's signature ‘Lady Dior’ bags will turn heads as you take your seat at the wedding service.

Turn black tie topsy turvy

Black tie dress code? Opt for a tradition-shifting pristine white tuxedo jacket with a luxurious satin lapel. Avoid red wine and colourful cocktails at all costs.

Mix and match

Sport a statement shoe

Ditch the classic Derby shoe and err away from Oxfords. Turn heads with something a little more sartorial, like Y/Project's square-toed boot with a bold block heel.

Consider no tie

Consider a more ease-fuelled silhouette and say goodbye to the tie. Fendi's sleek, lightly toned tailoring needs nothing else.

As the Covid-19 pandemic continues to curtail the fashion week schedule, we round up the brands which are bringing sartorial sway to the S/S 2022 menswear shows, whether presenting collections physically or online, from London, Milan, Pitti and Paris.

Kiko Kostadinov

Designing during a third lockdown and fighting the restrictions of Brexit, Kiko Kostadinov found the process behind his S/S 2022 collection creatively exhausting. Lacking the ability to travel and organically absorb inspiration, her took a personal parkour into memory, layering up fragments of narratives and influences that related to his diasporic design journey. Browsing an auction website, he stumbled across a Futurist teapot designed by Futurist artist Nikolay Diulgheroff, who Kostadinov was surprised to learn was a fellow Bulgarian, who settled in Italy in 1926.

The designer's fascination with Futurism began early in his fashion design journey, when Kostadinov began reading a book on socio-political manifestos, and he has found enduring influence in one of the Italian leaders of the movement, Giacomo Balla. The collection referenced the patchwork waistcoats beloved by Balla, also translated into shirting and coats spliced with panels of colour and shorts with pointed fronds in turquoise and brown. The textural brushstrokes in Balla's ‘Dynamism of a Dog on a Leash’ (1912) was also echoed in transparent blazers in circular folds of lace. Kostadinov was also keen to open his show – an interactive digital experience at Brixton Market – with a vest silhouette that slung low across the torso, a reference to the childhood memory of his father's interest in body building. ‘All these points allowed me to dive into the visual aspects of the collection,' he explained. ‘It's very easy to go to a museum or mark something in a book. I need to layer and layer everything in my head.'

Thebe Magugu

Magugu interweaves the facets of his South African heritage into his clothing, and for S/S 2022, the honorary guest designer of Pitti Uomo 100 was inspired by whistleblowers who challenge and stand up for corruption, who are often portrayed as pariahs rather than pioneers. Mandy Wiener's book ‘The Whistleblowers', which offers raw and evocative accounts of South Africa’s whistleblowers by drawing on first-hand narratives, inspired Magugu, who also looked to symbolic dressing traditions in Western films and the white hat-clad heroes and black hat-sporting bandits. Suiting and denim denoted tropes of masculinity, and silhouettes were swathed with archive illustrations by the political cartoonist Jonathan Zapiro. A cowboy-meets-equestrian boot also marked Magugu's first shoe design for his label.

‘We are living in a suspended moment,' mused Ami's Alexandre Mattiussi over Zoom, considering the purgatorial position in life that the pandemic has placed us in. For S/S 2022 the designer served up optimistic, upbeat and party-focused clothing, for stepping out in when we can live in the moment again. For women, this meant sheer mesh dresses twinkling with crystals and lurex bikini tops paired with slouchy tailoring. For men, tuxedo suits paired with louche transparent shirts and vests and leather suiting layered with twinkling net t-shirts. Mattiussi staged his brand's show film at a funfair, explaining that for him, the setting exemplifed ‘a beautiful escape'. He added, ‘the collection is about a promise of new beginnings'. 

Martine Rose

‘Controlled chaos is given full attention,' read the collection notes to Rose's S/S 2022 offering, which celebrated the diverse mix-and-match facets of personal style and ecclecticism over unity. For autumn, this meant traditional tailoring fused with relaxed sporty shapes, for an offbeat take on elegance, flirting with bad taste, like hairy wool wrap blazers paired with sparkly diamante studded denim, flared popper-detail tracksuit chaps teamed with a neon polo neck and smart jacket and bleached jeans paired with colour blocked cagoules. ‘Textures like crushed velvet and velour, satin and faux snakeskin are filled with the innuendo of naffness,' the release continued.

Jil Sander

Fresh from unveiling a naturalistic collection with Birkenstock, Jil Sander showcased a collection that revelled in contrast, tactility and fabrication. ‘This is a sharp urban collection about the right, and duty, to individuality and imagination,' read Lucie and Luke Meier's collection notes, which featured silhouettes with surprise personality-boosting twists, like workwear shirting accented with a pearlescent brooch, parkas layered with leopard print jackets and magenta neck scarves, brushed mohair t-shirts layered with a chunky chain necklace and sleeveless knitted jumpers imagined in colourful mistmatched panels. ‘Eclectic is a both vision and a value,' the notes concluded. What a liberating vision for spring.

Y/Project

It's been a busy S/S 2022 for Glenn Martens. Fresh from unveiling his debut Diesel collection as artistic director, the designer's spring offering for his own label Y/Project, also featured a collaboration with Fila. The link up is the next iteration of Fila's 100th anniversary celebratory capsule collections. Here, Martens has taken signature Fila staples, including the polo-shirt dress, windbreaker and hoody, and spliced and diced them into hybrid, versatile silhouettes which is synonymous with. How each piece is worn is up to interpretation, and features a mash-up of logos, and lines to drape and wrap around the body.

Phipps

Wrestlers, basketball players, footballers, new age hippies, hikers, climate crusaders: masculine stereotypes were top of the moodboard for Spencer Phipps' S/S 2022 offering, an optimistic, humorous and high-energy collection which played with stereotypes, tribalist motifs and the archetypal energies of mankind. In a time-and-location-defying show film, which used XR technology masterminded by ATO Designs, and flitted from forests to colosseums to spaceships, Phipps light-heartedly analysed what makes man today, riffing on the wardrobe of Dennis Rodman (think a gold beaded Chicago Bulls jersey and loin cloth) or a Viking rocker (cue a studded technical jacket and kilt). The designer also spoke of ‘really returning to the roots of Phipps', a label synonmous with an outdoorsy, intrepid and DIY spirit. Fabrications in the collection were technical and highly performing, and the brand worked with a factory that produces pieces for brands including The North Face. A colourful patchwork off road jacket and trousers, with leaf motif patches was functional. ‘It's windproof and rainproof,' Phipps explained. ‘Those leaves are actually fully protective shoulder guards.'

Dior

When Christian Dior travelled around America in the mid 1940s, he journey from New York to Dallas to meet the Neiman Marcus family. For S/S 2022, Kim Jones looked at the lasting impression that the Texan landscapes made on the maison's founder, bringing a contemporary flourish to the creative connection by collaborating with Houston-born rapper Travis Scott. At the brand's IRL show in Paris, complete with a catcus-lined catwalk scene, models strode in Jones' and Scott's collaborative creations: intarsia vests bearing a reinterpreted monograph incorporating the ‘Cactus Jack' initials of Scott's record label, sweaters with horn-clad figurative illustrations and flared neon suiting sparkling with catcus shaped brooches. There was a languid ease to tailoring, saddle shoulder bags were reimagined as bum bags strapped to the hip and the Dior logo reinterpreted with a scrawl and dotted with a desert flower. The collection also boasted a collaboration with artist George Condo, on a series of colourful hand-painted shirts.

Hermès

There was an elevated uplift to the brand's S/S 2022 menswear offering, which saw a return to a physical show at the Mobilier National building in Paris, after a two year absence. In the maison's show notes, Véronique Nichanian used the words, ‘optimism',  ‘energy',  ‘harmonious',  ‘freedom', to describe a collection brimming with contrasted colour and luxurious lightness, offering reinvented versions of timeless wardrobe silhouettes suited to our post-pandemic world. On sweaters, intarsia knits exploded with geometric daisies, shorts were cut into a relaxed Bermuda shape, celadon-green cotton shirts had zip-up Tunisian collars and two button suits were constructed for durable wool canvas. Chocolate juxtaposed faded rose, raw silk offset cotton serge. Nichanian added,  ‘...this creative collection is bursting with the vitality of a world reclaimed.'

Paul Smith

Escapist Mediterranean tones inspired Smith, who for S/S 2022 was fascinated by an optimistically rich colour palette, transcending from dawn until dusk. ‘It's about that pale sun yellow of the morning going through to the bright blue sky of an afternoon,' Smith – who owns a home in Tuscany – explains. The brand's offering of relaxed sports-inspired shapes, subtly nodded to the great outdoors, like transparent parkas with a zig-zag stitch evoking the details of Hobie Cat boat sails, fisherman's hats and jackets and cycling jerseys in Smith's signature kaleidoscopic stripes. Light shirting was also swathed in bold sunflower prints, nodding to the fields of flowers next to Smith's Italian home. The collection also marks a collaboration with Japanese accessories specialists Porter on a series of striped shoulder and duffle bags. ‘The son of the Porter Yoshida family was one my best friends and one of the reasons why I did well in Japan in the early days,' Smith says. ‘It was lovely making the decision to put our mixed up stripes onto the brand's bags.'

Lemaire

Layering was integral to the laid back lilt of Lemaire's S/S 2022 men's and women's offering, which served up a sublime selection of easy monochromatic ensembles screaming to be worn on bustling city streets, from utilitarian workwear to tailoring. Cue loose dark denim suits and ruched shirt dresses, oversized shirting and funnel neck jackets in caramel, stone grey, moss and navy. Following on from the brand's S/S 2021 artist collaboration with Martín Ramírez, for S/S 2022, the label have also unveiled a capsule collection swathed with artworks of American Outsider Artist Joseph Yoakum.

Rick Owens

The S/S 2022 shows have been hit with a heavy does of hedonism. Cue the Metalheadz-inspired silhouettes at Louis Vuitton, the raver-worthy neons at Loewe and the dawn till dusk beach goers at MGSM. ‘With a post-covid in view there might be a sense of frustrated appetites demanding to be doubly satisfied this summer, that might make for a voraciousness forgetting the humbling experience we all just went through together,' Rick Owens wrote in his spring show notes, reflecting on the sense of spiritual and physical abandon to come. For his fourth collection showing on the beach of Venice Lido near his home, Owens offered up a vision of considered hedonism, a hippy-centric collection abounding in dragging denim, laddered knitwear and Pagoda-shouldered structure. Owens was also interested in taking tailoring and pulling it apart, offering up its internal construction. His revellers marched with jackets with ripped sleeves and deepened armholes, reflective shield sunglasses and platform boots.

Louis Vuitton

‘Amen Break', a seven second four-bar drum loop central to seminal hip-hop and jungle, that filtered across genres and mainstream music to become the most popular loop in musical history, was a metaphorical symbol of Virgil Abloh's S/S 2022 epic collection video - directed by Mahfuz Sultan and starring Lupe Fiasco, Goldie, Saul Williams and GZA - which focused on the concept of transmitted ideas across generations and facilitating waves of change. Inspired by the life of Lupe Fiasco's father, an African drummer and member of the Black Panther Party, who grew up on the Southside of Chicago, Abloh's story centred on a father and son united by loss and crossing into a dream world. On their path, whether winding through woods of silver birch trees or witnessing samurai combat, they encounter figures of the elder and younger generations, marked by hybridised tailoring, sportswear and streetwear silhouettes, from belted suits sported with crumpled top hats to bovver boy baggy denim and rainbow leather bomber jackets.

Homme Plissé Issey Miyake

A huge rotated lamp positioned on high illluminated the S/S 2022 designs featured in the Homme Plissé Issey Miyake collection video. In style synonymous with the technical Japanese brand, the collection was divided into several categories, including the ‘Body Movement' series, featuring fluid silhouettes like sleeveless jackets and leggings with a paint and sand print tracking the undulating lines of the human body. Plus the innovative ‘Leno Stripe' series, which employs karamiori (leno weave) a traditional weaving technique that creates net like structures. These grids were transformed into vests with interior pockets and loose shorts, enhanced with a stripe detail formed by the label's signature pleating.

Burberry

Pierced, buckled up, leather-clad, there was a rebellious riff to the models who strode to an intense rave soundtrack amongst Burberry's sand dune-lined setup at London’s Royal Victoria Docks. ‘I wanted the collection to capture that free spirit of youth and its honest and daring attitude, that sense of experimentation and fluidity.... It’s a very raw energy that’s infectious, exciting and full of life. Like an awakening,’ said chief creative officer Riccardo Tisci, of the men's and women's collection, which abounded in bodily affirmation, raw seduction and experimentation. For men, oversized tees were transparent, signature trenchcoats sleeveless and decosntructed, trousers utilitarian and buckled and pocketed. For women, strap dresses had a fluid metallic appeal, outerwear was imagined in clear vinyl and with zebra print inflections and bikinis wrapped in ties around the body. In the wake of the Covid-19 pandemic, young generations around the world have lost out on adventure. For Tisci, they'll be coming back with a bang.

Courrèges

'I was inspired by the archive fabric and shape wise, looking at the codes of the house but never copying them' says Nicola de Felice of his debut menswear collection for the heritage Parisian house, which looked to update archetypal silhouettes like a workwear jacket, 'valuable for one to wear'. De Felice nodded to the first men's iteration of a short Courrèges jacket, softly shouldered with mulitple pockets, and paired with a vinyl tank top and cap and fluid ribbed trousers. There was a contemporary sensuality to his sophomore women's Resort silhouettes – an extension of his debut for A/W 2021 – which nodded to subtle A-line silhouettes and bold cut-out designs, like sunshine yellow pinafores with a hole stamped from the chest and flaring mini-dresses paired with thigh high boots. The designer spoke or bringing a 'sharp aspect' to styles that might appear vintage, focusing on a white women's coat inspired by a 1976s style, the back crafted without a seam, subtly cocooning. 

Lanvin

In the opening to the video for Lanvin's Resort women's and men's S/S 2022 collections, a sunglasses-clad female model sits in hair and make-up, scrolling through escapist beachside images on her phone. Cue the viewer being transported into a trippy, tropical vista, courtesy of a hazy Noughties soundtrack thanks to All Saints' Pure Shores. There was an effusive, nostalgic atmosphere to a collection defined by bold, travel-inspired pieces, which had an easy mix-and-match aesthetic. Think Japanese wave painting print scubas suits paired with plaid coats and exaggerated thong flip-flops, floral print dresses with tassel trim, retro tracksuits and cropped boucle jackets teamed with mini skirts. In a beachy wooden cabin, models lounged in hammocks, played backgammon and engaged in a giggly Chinese whispers. It's exactly where you want to be.

JW Anderson

Many of us have felt nostalgia for the clothes and silhouettes we sported pre-pandemic, or for the mundane moments in life which now appear so simple and carefree. Nostalgia was also on the mind of Jonathan Anderson, who for his third photographic collaboration with Juergen Teller, mounted images of his eponymous brand's men's S/S 2022 and women's Resort collection in the foiled cardboard frames you often find edging kitsch school photographs. He was also taken by the privacy and freedom of dressing up alone in your bedroom, reinterpreting mundane silhouettes, like a striped top, slacks or camisole through a ‘voyage of newness'. Fleece tracksuits, beaded dresses and vests were splashed with a strawberry print inspired by a eighteenth century painting of a squirrel nibbling on berries, ubiquitous rubber sliders were splased with the ‘JW' anchor logo, jogging bottoms puddled like harem pants and retro sports jackets were emboldened with florals. ‘Glorification of being who you are,' Anderson added of the offering's impetus. 

Giorgio Armani

Customarily, Giorgio Armani hosts his runway shows at his brand's HQ Teatro in Milan, a majestic minimalist structure designed by Tadao Ando. It was one of the first locations to be shut down last February at Milan Fashion Week as the Covid-19 virus began spreading throughout Italy. It was prescient therefore that for S/S 2022, Mr Armani showcased his collection away from a stadium seated theatre, and in the intimate garden of his home, where his early shows were held. Titled ‘Back to where it started' the collection was an elegant ease-fuelled offering of insouciant tailoring, new suiting silhouettes, and sportswear shapes: white rolled up chinos paired with a foulard-lined single button navy blazer, Ikat jacquard waistcoats and Bermuda shorts, glossy silk safari jackets and preppy V-neck sweaters. Relaxed and refined, and debuted in a domestic setting, what could be more fitting for the new normal of today's world?

Prada

A simple summer holiday: clear sea, warm sand, a touch of tan, a concept which once seemed almost mundane in its ease, which is now so scant. Miuccia Prada and Raf Simons played on this dichotomy for S/S 2022, describing the collection as a ‘utopia of normality' and transporting Prada's viewers to a Sardinian beach landscape, which models strode into via a surrealist red tunnel. It's a skin-revealing Prada packing list for summer (a theme which has run throughout the Milan shows, perhaps a response to being shrouded under sweats for so long), featuring fuschia towelled hooded jackets, organic deck chair stripe vests and thigh-flashing all-in-ones and wiggle-detail woolen micro shorts layered with mini skirts. There was a subversive spin to these silhouettes, which also featured more traditional tailoring pieces, like ribbed cardigans, baggy suit trousers and pinstripe jackets. The soon to be most coveted piece on the beach? Bucket hats with sporty built-in sunglasses or zipped pouches for your spare change.

Fendi

Confined to one space, one city, one country for so long our personal sense of perspective have never felt so prescient. Silvia Venturini Fendi drew on this concept for S/S 2022, transporting Fendi collection viewers to the brand's Roman headquarters inside the Palazzo della Civiltà Italiana, which boasts panoramic views of the seven hills of Rome, the Apennine mountains and the Mediterranean Sea. There was a light sense of freedom to the collection, which revelled in both loose and body-flaunting silhouettes in sugary, pastel tones, from navel-revealing cropped jackets to long shirts sported with bare legs, transparent trench coats to pocket-detail shorts. Prints had a panoramic appeal, including a cartographic print of Rome and abstract patterns which resemled the striking strata of rock or marble, splashed over city coats or shaped into fleece. There were ‘It' accessories that appealed too, including micro Baguette bags worn as necklaces and bucket hats turned upside down and transformed into bags.

Tod's

Unsurprisingly, escape has been on the mind of many a brand for S/S 2022, whether Canali is lusting after Los Angeles or Dior is dreaming of Texas. Showcasing its collection on the staircase of the winery Cantina Petra in Suvereto – designed by architect Mario Botta – Tod's is getting a taste of Tuscan sun for spring. The Italian brand's collection was drenched in rich Mediterranean tones and revelled in silhouettes fitting for an urban safari, from washed chambray shirting to preppy V-neck sweaters. Collection highlights include a biker jacket with elbows studded with Tod's signature Gommino pads, an utterly luxurious suede hoodie and camera bags, for when life on inner-city safari gets scintillating enough for a quick snapshot.

MSGM

Italian DJ Lorenzo Senni created the heady and hypnotic soundtrack for the Milanese brand's S/S 2022 video, centred on a sun-drenched beach, and featuring models sprawled on craggy rocks, standing in shallow water on on the shoreline and floating out at sea. Founder Massimo Giorgetti looked to Stephen Milner’s photographs, from the Spiritual Good Time series, are the inspiration behind the offering, which have a surf-meets-rave sensibility, swathed in colour and print. Think off the shoulder striped sweaters, conch shell intarsia cardigans, neon shorts, Lycra leggings and cargo pants all paired with beach ready accessories, like zesty sliders, bucket hats and chunky framed sunglasses. Giorgetti is ready for the beach and he's not leaving till sunrise.

Canali

The sun-soaked setting of Los Angeles inspired the Italian tailoring label, who looked to California-cool Nineties dressing codes for S/S 2022. This culminated in louche tailoring and elegant daywear in oceanic and sunrise tones, from fuschia to moss green, aquamarine to sand, and luxurious fabrications like buckskin leather and suede. For summer, the Canali man, whether meandering in Milan or driving down Sunset Boulevard, will be sporting slouchy bomber jackets, floral silk bowling shirts and natty neck ties. The most outré ensemble? A hot pink suit paired with a white tee. 

Dolce & Gabbana

The world has experimented with a series of self-care methods in the wake of Covid-19. For S/S 2022, Dolce and Gabanna turned their attention to ‘light therapy', and to the South Italian tradition of light festivals, were areas are illuminated with a seemingly infinite array of colourful lights. The near-100 look strong catwalk collection was presented IRL at the brand's Metropol Theatre space in Milan and featured Noughties-inflected sportswear and tailoring, swathed in prismatic beads and gems. Metallic jacquards, stained glass and paint-splattered prints also featured in the offering, which abounded in nostalgic silhouettes, like oversized denim, slouchy bomber jackets and flesh-revealing shirting. 

Woolrich

The American label brings an intrepid touch to any location, and for S/S 2022 it had its sights set on both the city and the country. This meant durable and versatile men's and women's designs, with a utilitarian flair, camoflage-meets-florals print parkas in vibrant tones, grey melange tracksuits, dusty pink workwear jackets and pocket-detail shorts. The brand has used spring to celebrate its heritage, with the second drop in the offering titled 'Reimagined Americana', featuring oversized outerwear and paisley shirting.

Ermenegildo Zegna

New social spheres, new dressing codes, new normal: Alessandro Sartori mused on the new routes we find ourselves meandering within in a post pandemic-world with a film featuring models navigating different realms, from the paths of mazes to the steps of ampitheatres. The artistic director has spent the last couple of seasons musing on new requirements of tailoring, sartorial codes that merge sophistication with ease, function with flair. For S/S 2022 this was translated into silhouettes with a light elan, like collarless kimono shapes, utilitarian chore coats, long dusters, oversized overshirts and silhouettes without padding or internal construction. Fabrics were gauzy and luxurious, like featherlight nylon, silk and fluid glazed wool, tones had a water-inspired liquidity from calcite to grainy white and practical flourishes were seen in the form of padded paper leather slippers, foldable backpacks and canvas work bags.

Brunello Cucinelli

The Italian luxury house masterfully merges sartorial codes, bringing the finest materials to elegant-yet-infinitely insouciant silhouettes. For S/S 2022 this take came courtesy of tailoring which had a laid back lilt, like double-breasted pinstripe suits paired with denim shirts, Prince of Wales check jackets layered with loose jeans and white chino trousers sported with a shirt, tie and soft leather biker jacket. Softly padded suede gilets, pocket detail Bermuda shorts and plaid shirts were also Cucinelli's summer check list, with pieces imagined in organic shades, from washed aquamarine to sand.

A-Cold-Wall*

Samuel Ross has long postulated on human kind's relationship with external design forces, whether musing on man's affiliation with Brutalist architecture or how people are affected by constant geological shifts. The London-based designer summarised his brand's S/S 2022 collection in four words: 'Motion. Form. Oscillate. Converge', tenets that have new meaning after 18 months of isolation and restriction. For spring, the brand's streetwear-inflective protective silhouettes, were rendered in bold and elemental hues, with pieces like technical capes, cagoules and padded vests, cocooning the body. In the label's collection film, models strode through an urban metropolis, pacing metal staircases and tarmas, in aquamarine, orange and lime sportswear, with shielding pocket and straps, their silhouettes layered up, with totes, shoulder bags buckled to the torso and pouches strung around the neck.

Diesel

In Diesel's S/S 2022 collection film, a model surveys the red sky of a rocky planet, a symbol of the Italian brand's vision for the future, spearheaded by Belgian designer and Y/Project founder Glenn Martens. In a preview to the collection, Martens discussed his desire to reintroduce a ‘core' collection to the label, explaining that in just three months he'd streamlined the brand's supply chain into more sustainable channels, relocating manufacturers and operating through certified suppliers. Martens has bought an easy sense of the avant-garde to the brand's DNA, which spans everyday denim and sportswear. Think 5-pocket denim jeans with inbuilt Cowboy boots, jackets with a recycled paper print inspired by delivery boxes and trompe l’oeil effect tights and tops, plus hybrid designs which reflect the designer's splice and dice approach at Y/Project, like aysmmetric skirts shaped from coats. 'I wanted the belt to be the backbone of a garment,' Martens added, nodding to bandeau tops, t-shirts and jackets in-built with chunky buckles.

Arnar Mar Jonsson

The London-based utility expert nodded to Japanese and Italian designers of the Eighties, who merged 'sport and modern luxury.' This translated into technical silhouettes riffing on early mountaineering wear, including zip-detail nylon jackets and balooning trousers, jersey hoodies with circular inserts, silver cagoules and panelled jackets. Jonsson used a variety of high performing fabrications, from Loomstate Ventile and PU coated cotton, with materials naturally dyed using native Icelandic plants, Common Lady's Mantle and Thistle. Adding to this organic air, the brand's technical creations were paired with softly crocheted shoulder bags.

Qasimi

There was a soft sense of wrapping, draping and cocooning to Qasimi's S/S 2022 offering, which was presented in the grounds of St Ann's Court in Surrey, a modernist country house built in 1936, designed by renowned architect Sir Raymond McGrath in collaboration with celebrated garden designer Sir Christopher Tunnard. Architecture was essential to the structure of the collection which nodded both to stark Brutalist lines and 'muqarnas' –a geometric style of vaulting found in Islamic design. Shirting in exotic fuchsias and oranges draped in asymmetric cuts around the torso, 'tarbousha' – a woven tassel which is intrinsic to the wardrobe of a male Emirati, was used to accent khaki jackets and sweeping A-line skirts, while renchcoats were laser cut like militaristic net canopies. Lines and curves existed equilibrium, tones were head-turning and design references roving. 

Erdem

An imaginative sense of narrative inspires Erdem Moralioglu's collections, which nod to imagined adventures of both royalty and bohemians. For the brand's debut menswear collection, this sense of story was paramount, and nodded to the little sea-bound brother of Moralioglu's women, featuring ensembles inspired by figurative and textural Patrick Prockter paintings or the wardrobe of artist Derek Jarman, pottering in the gardens around his famed Dungeness seaside retreat Prospect Cottage. The youth-focused and ease-fuelled offering nodded to Jarman's knitted tank tops, worn cords and boiler suits, reinterpreted in cotton jacquard and floral printed cotton. Roll neck cable knit jumpers and striped vests had a nautical appeal, and toile de Jouy bucket hats a boyish sensibility. Moralioglu imagined city-meets-city silhouettes, with his imagined protaganists leaving a black tie affair in London, bound for the coast, sporting Cummerbunds with bright knitwear and sandals and billowing blousons and shorts.

We’ve always erred towards classic dress codes, but, for A/W 2020, our failsafe silhouettes have had an experimental uplift. The catwalks saw something of a tux redux, with brands offering new takes on the eveningwear essential.

At Prada, an oversized blazer came festooned with flapper girl fringing, acting as an androgynous upgrade on Jazz Age embellishment, while at Dolce & Gabbana, a cropped tuxedo took on a softer silhouette, with a bow detail that fluidly draped across the body. Versace spliced and diced the style, piercing cut-outs with punky metal hoops, while Alexander McQueen dabbled in deconstruction, with a tuxedo resembling a doubled-up jacket.

For those that prefer androgony over ostentation and fine form over frou, the tuxedo offers a precise take on party wear - whether your attending an event in IRL or toasting the end of 2020 via Zoom. For your male counterparts, we also suggest you direct them to our guide on shopping for a sensational smart jacket. You'll be sure to take A/W 2020's timeless dressing with a twist into 2021.

INFORMATION
This article originally appeared in the December 2020 issue of Wallpaper* (W*260) – available for free download here

From exquisite villas on Lake Como to New York’s Public Library, Dolce & Gabbana has hosted its Alta Moda, Alta Sartoria and Alta Gioielleria collections in a set of breathtaking destinations, where the label’s top tier clients can gush at, then order, its exceptionally crafted custom creations. Now, in line with the Italian label’s new digital strategy, which sees shows broadcast online instead of in physical locations, this week Dolce & Gabbana are releasing three films showcasing its newest Haute Couture designs.

Shot in the opulently gilded splendour of the Palazzo Dolce & Gabbana in Milan, the label’s latest creations draw on the concept of family, a long standing motif in the brand’s design cannon and in Italian mythology. The brand has imagined a cross generational meet-up (something now so treasured today), with its grandmothers and daughters, sons and fathers sporting pinstripe tailoring and feather festooned dresses, billowing dressing gowns and exquisitely embellished cropped matador jackets. From sports silhouettes to evening attire, genres mix and overlap in the label’s cross generational mash up.

In previous years, Dolce & Gabbana took over the entire floor of the St Regis hotel in Manhattan or touched down at the  Valley of the Temples near the Sicilian town of Agrigento. This year, through film showcased through the brand’s social media and specific Alta Moda platform launched in July, its finest creations can be taken in directly from home. Domenico Dolce told Wallpaper* last month, ‘In this moment, when are all obliged to stay home, we hope that our fashion shows will bring some liveliness and joy to those watching them.’

INFORMATION

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The last A/W 2020 fashion show which journalists attended before Milan shut down in February was that of Dolce & Gabbana. Pre Covid-19, the Italian label presented its collections inside its own glamorous Metropol Theatre, where guests lined tiered seats and milled on red velvet carpet, and took in the splendour of the brand’s Sicily-inspired, baroque-drenched collections. 

Now, as the pandemic surges on, and with it, social distancing and travel restrictions, the label has announced an innovative alternative to its physical fashion show format. Each month, Dolce & Gabbana will stage a see-now-buy-now catwalk show on its website and social media channels. The first – titled ‘Walking in the Street’ – features an idiosyncratically embellished take on daywear, featuring bedazzled tailoring in tweed and pinstripe, distressed denim and swathes of gold jewellery. ‘We wanted to create something special for our audience,’ say Stefano Gabbana and Domenico Dolce of the impressive online approach. ‘At a fashion show, a garment has emotion, it lives and walks.’ In celebration of the launch, here the duo dive further into their contemporary creative vision.

Wallpaper*: What inspired your monthly micro fashion show concept?

Stefano Gabbana: We always want to be very close to the market and to our clients all over the world. This is a completely new path for Dolce & Gabbana. Now you can watch the show, see the looks and the accessories and then buy them directly online through our website, or in our boutiques. In this way you don’t have to wait 6 months to have them. Soon, we will do a men’s  fashion show. Stay tuned!

W*: Staging a fashion show once a month is an enormous commitment. How has this decision affected your design process?

Domenico Dolce: A fashion show is always exciting, and we wanted to create something that was more than a catalogue with static images. Model casting and staging brings a uniqueness to a show. In this way it becomes a journey, a much more animated and lively project.

W*: What inspired your first ‘Walking in the Street’ collection?

DD: We’ve always loved seeing people in the streets, what they wear and how they are accessorised. Locked in our houses for the second time, we thought back to the Nineties, when we used to go to New York and people watch. So, we imagined the life of a girl nowadays in the streets of New York, London, Los Angeles, Hong Kong, Beijing and also Rome and Milan. 

SG: We imagined a woman, who although obliged to wear a mask, can walk around the city in a carefree way. This collection is relaxed, with a lot of sneakers, bags, blazers and denim. We wanted to have something that could mirror current times, but with a strong Dolce & Gabbana touch.

W*:  Where will your monthly fashion shows be held? 

SG: They are still staged at the Metropol Theatre in Milan, the location of our usual ready-to-wear shows. But this time without an audience, just us and the models.

W*: What are the biggest challenges you have faced in the wake of Covid-19?

DD: Like everyone, we have had to adapt to this new reality. Closing boutiques around the world is of course something very tough for a fashion brand. However, we are evolving online. In this moment, when are all obliged to stay home, we hope that our fashion shows will bring some liveliness and joy to those watching them.

INFORMATION

dolcegabbana.com

Given the past four months that Italians have lived through, any ability to return to a semblance of normalcy is just cause for applause. Earlier this month, with the support of the Italian Ministry of Foreign Affairs and the Italian Trade Agency, Camera Nazionale della Moda Italiana did more than that by facilitating its first-ever Milan Digital Fashion Week to present the latest Spring/Summer 2021 menswear and men’s and women’s pre-collections from 42 brands on a dedicated digital platform.

For all intents and purposes, it certainly came close to feeling like a traditional fashion week, with shows scheduled on a structured calendar, even if there was a significant multimedia twist.

Two labels, Dolce & Gabbana and Etro, went as far as sticking their necks out to stage the first two in-person shows since February, with social distancing rules elegantly imposed. Etro, the first label to do so, chose the outdoor garden of Milan’s treasured Four Seasons Hotel (itself closed to visitors for just as long) as the backdrop for its vibrant, pattern-centric men’s and women’s pre-Fall collection. Dolce & Gabbana also stepped away from its regular indoor venue, and instead set its runway amongst the gardens of the Humanitas University to showcase its Gio Ponti-inspired collection. With guests generously spaced out in both cases, the shows were a tantalising precursor to how a return to in-person fashion week may look like come September.

For the most part though, video continued to prove its worth as the next best option in lieu of convening in person, with many fashion houses creating alternate realities for both fashion insiders and fans to dive into.

One of the week’s most resonant forays came from Prada, whose Multiple Views SS21 collection saw the house hand over the creative reins to five image-makers and artists; Terence Nance, Joanna Piotrowska, Martine Syms, Jurgen Teller and Willy Vanderperre, who each captured a different facet of the latest collection against an aspect of the Fondazione Prada. Subtitled ‘The Show That Never Happened’, the intentionally individualized five-part series opens with Vanderperre emphasising the label’s utilitarian, pared back aesthetic, which returns with prominence this season. Followed by Teller’s and Piotrowska’s contributions, which both show off the collection’s everlasting modernity, construction and abundance of quiet details, the series culiminates in Syms’ and Nance’s more stylized interpretations that highlight Prada’s quirky, intellectualized nature while still revealing an inherent whimsy.

Although seemingly discordant, the varied panoply captured Prada’s quintessence to a tee – minimalist and complex, classical and futuristic, all at once. Radical in its treatment of purity, yet also light-heartened at times, the collection and its presentation felt all the more significant given its standing as Mrs. Prada’s solo swansong before her collaboration with Raf Simmons as co-creative director commences next season.

Just as captivating was Gucci’s multi-dimensional film titled ‘Epilogue: Final Act of a Fairy Tale in Three Parts’, which sees behind-the-scenes footage from the shooting of the collection’s advertising campaign at the spectacular Palazzo Sacchetti in Rome (which was also live-streamed for 12 hours) layered with audio clips of Michele and an AI voice describing the inspiration and explaining the context for the collection, and images of the newest collection, novelly modeled by members of the Gucci design team. Spliced together with a surveillance-style treatment, the film’s engaging point of view not only offers viewers behind-the-scenes access to the creative process, but also comments on the industry’s cyclical nature – an aspect that Michele continually seeks to disrupt.

In the collection’s statement, he writes, ‘My fairytale in three parts wants to generate a questioning about the rules, the roles and the functions that keeps fashion going,’ adding. ‘The epilogue that I deliver to you really feels like an overture. A watershed that closes and opens at the same time, a threshold of a new beginning from which we try to imagine our tomorrow.’

This idea of rebirth and re-emergence was particularly palpable at Ermenegildo Zegna, Ferrgamo and Santoni, who all looked back to their origins to take stock of how far they have come. Zegna marked its 110th anniversary with a video reaffirming its past, present and future. Filmed at it historic wool mill and its surrounding nature reserve, the video combines sweeping landscape views of the Oasi Zegna, where the company has planted half a million trees since it was founded in 1910, with peeks of the inner workings at Zegna HQ as models pace through both natural and man-made environments in easy, generously tailored silhouettes.

Ferragamo asserted that it too had weathered the storm with a triumphant video combining snippets of its Hollywood-steeped legacy with proud demonstrations of its Tuscan heritage. Filled with highlights from over the years, its montage reiterates the house’s resilience and finishes with models donning its latest collection while basking outdoors amongst the trees and in the sea – a true luxury after living through weeks in lockdown.  

Santoni shared in these feelings of liberation by tapping the natural beauty of its Le Marche home region as backdrop for its newest collection. Its signature footwear and accessories are set against stunning swaths of the glittering Adriatic sea and bucolic countryside, with the tour also including glimpses of natural stone quarries and breathtaking mountaintops – unequivocally Italian and hard to beat.

The video medium was a particularly appropriate choice for Sunnei to unveil an experimental new offering, Sunnei Canvas. Comprised of 20 signature styles realized all in white, just like blank canvases, these pieces can be subsequently customized, according to buyers’ and boutiques’ wants and needs. Debuted on digitally engineered 3D avatar models in an anonymous virtual space, produced together with the digital studio Pezzo di Studio, the inaugural video presents the shapes, fits and fabrics that are up for modification and is part of an ongoing series that will be continued in September.

A final honorable mention goes to the British label Qasimi, whose evocative video portrait of its new collection eloquently blends tenents of its Middle Eastern heritage with a contemporary modernity, Spring/Summer 2021 sees the introduction of womenswear alongside to its menswear line. The collection also features details inspired by the geometric Al Sadu weaving tradition of the Bedouin people that has been adapted for contemporary use. Luxurious, yet relaxed silhouettes that offer comfort with their softly sculptural forms, are teamed with woven stripes, trim and embroidered panels to poetically distill the best of both worlds - providing just that dose of fresh perspective, which the industry needs.

British photographer and Wallpaper* contributor Jason Lloyd Evans has been shooting behind-the-scenes backstage snapshots from the runway shows of the world’s most creative brands, since the early 2000s. Here we reveal his favourite sublime snapshots, spanning the last eight years.

Armani Privé S/S 2012

‘Giorgio Armani hosted a “One Night Only” event in Beijing and seemed to be one of the first to really tap into the market and bring his show direct to his there. It was a great experience to go and cover the trip for them.'

Proenza Schouler S/S 2012

‘Proenza Schouler has always been one of my favourite brands to cover in New York. The brand's shows always have such a special casting, concept and collection.'

Burberry A/W 2013

‘Karlie Kloss and Jourdan Dunn showing their love for Christopher Bailey's Burberry. His shows always had a super positive energy.'

Givenchy S/S 2014

‘Being backstage at Riccardo Tisci's shows for Burberry was always an en experience, you never knew what you'd be allowed to shoot. The make up which Pat McGrath created for his shows was very special too.'

Chanel A/W 2015

‘Chanel doesn’t generally allowed backstage access and therefore it is always a bonus to be covering it for a special feature. This A/W 2015 shot from Karl's reign ran as part of a 12 page feature in 10 Magazine. Big, bold and beautiful.'

Gucci S/S 2017

‘Gucci really hit its stride under creative director Alessandro Michele – his eclectic collections are such a departure from what came before and add a real buzz to the Milan schedule.'

Tommy Hilfger S/S 2017

‘This LA show tapped into many emerging patterns in fashion. It was a collaborative collection with Gigi Hadid, it used the See Now Buy Now retail model and had real focus on consumer activation.'

Dolce & Gabbana Alta Moda S/S 2018

‘I have been really lucky to cover Dolce & Gabbana's Alta Moda events. The summer show is always hosted in a stunning Italian location such as Sicily or Capri. The clothing is always exceptional.'

Alexander Wang S/S 2018

‘All the cool girls want to be in Wang's gang and that's the energy his brand's shows really tapped into. Case in point, here you find Bella Hadid, Kaia Gerber and Kendal Jenner.'

Valentino Haute Couture S/S 2019

‘This was one occasion where I was happy to be shooting the catwalk rather than backstage. The show, the venue, the music and the collection was incredibly moving, and many editors were weeping! At the end of the show, I whizzed to the front of the runway and caught these really intimate shots.’

Versace S/S 2020

‘This is part of a backstage series of portraits of Jennifer Lopez and Donatella Versace, after Lopez had walked the catwalk in a revisited version of the brand’s iconic Jungle Dress.’

Fendi A/W 2020

‘For Fendi, I captured days of clothing fittings, hair and makeup tests, the show’s set build and DJ meetings. How fashion shows are presented may change, but for me the creative and collaborative process that comes from them will always be at the heart of fashion.’

Quotes: Jason Lloyd-Evans. Additional writing: Laura Hawkins

INFORMATION

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Italy’s vibrant and community-focused food culture has long inspired Dolce & Gabbana. Think jewellery formed from spirals of pasta, clothing festooned with prints of juicy vegetables, and bags resembling trays of Italian pastries. In recent years, the label has also launched limited edition tins of pasta in collaboration with Pastificio di Martino, and citrus fruit-stuffed Fiasconaro Panettone. Juicers, toasters and kettles are also all part of its kitchen-approved collaboration with Smeg.

Now, with the launch of Rosa, a new rosé wine, produced by Donnafugata, the label is inviting us to sip on something Sicilian, wherever our summer location. The pleasingly hued, thirst quenching tipple, is defined by an elegant bouquet of jasmine, enriched with delicate hints of wild strawberry, peach and bergamot. Its fruity and floral elements are born from a a blend of Nerello Mascalese and Nocera grapes, which are grown on the northern slopes of Mount Etna and on the hills of Contessa Entellina, near Palermo.

Rosa’s packaging also brings a Sicilian punch. The bottle's geometrically patterned and colourful label is inspired by the ornate detailing of traditional carts native to the Italian island. It’ll prove equally transportive when you take your first sun-drenched sip. 

INFORMATION

dolcegabbana.com

Scene setting: Italianate heritage has long been a hallmark of the label, which draws on its home country’s history — from Catholic motifs to Sicilian culture, La Famiglia to the baroque — in its designs. Dolce & Gabbana has an esteemed artisanal heritage of its own (with its own high jewellery and haute couture workshops) and for A/W 2020, Domenico Dolce and Stefano Gabbana drew on sartorial craft, positioning la magliaia (knitters) and il calzolaio (shoemakers) at the entrance to its showspace. Inside, video screens played films of artisans, from weavers to tiemakers, at work. Amidst the panic of Coronavirus outside the catwalk’s doors (which saw Giorgio Armani’s show cancelled that morning), the set up provided uplifting antidote for attendees, and a reminder of the importance of craft, hand work and slow paced artisanal heritage in today’s increasingly alarmist world.

Mood board: The collection was composed also entirely of blacks, greys and whites, plus a smattering of red rose prints, and was predominantly pared-back and knitwear focused. High waisted knitted underwear was paired seductively with long sweeping cardigans and knee high socks, chunky knit sweaters were layered over laddered pencil skirts, thick rib dresses outlined the body (a silhouette which was a strong point on Milan catwalks from Agnona to Bottega Veneta). Lingerie shapes, corset details, transparent tulle still gave the Dolce & Gabbana tools for seduction, but this was a softer form of sensuality for autumn.

Best in show: Wool is often overlooked for its warming, odour resistant, flame retardant qualities in favour of synthetic fabric. Now more than ever, it’s important we invest in sustainable, natural fibers, and Gabbana’s offering, which included swaddling scarves, chunky Aran jumpers and Fifties underwear, ensures there is plenty to purchase come autumn.

A hazy tie-dye pattern resembling a sun-scorched desert, schoolgirl-centric checks in grayscale tones, lush assemblages of tropical fronds…prints define the sartorial sway of the fashion season. So much so, that for our March 2020 Style Special issue (W*252), we took a magnifying lens to the most magnificent womenswear motifs of S/S 2020, enlisting Paris-based set stylist Marie-Noëlle Perriau to fold our favoured fabrics into origami-centric shapes, photographed by Patricia Schwoerer.

It’s not the first time we’ve enlisted Schwoerer, who has shot advertising campaigns for Issey Miyake, Prada and Dior. She also lensed the overhauled interiors of Celine’s rue de Grenelle boutique in Paris, for our June 2019 issue (W*243).

Perriau has collaborated with brands including Delvaux, Bulgari, Prada and Comme des Garçons and defines her set styling approach as an ‘effortless intervention,’ composed of ‘natural gestures’. It’s a sublime approach for letting prints including MSGM’s romantic rose motifs, Chanel’s panoramic sketch of Paris’ rooftops and Celine’s vintage upholstery prints shine. For our pattern-focused special, Perriau worked to ‘find the right balance’ between Schwoerer’s striking close up photography and Marianne Kakko – Wallpaper’s Assistant Market Editor’s – styling motifs. ‘You had to navigate between these two elements,’ she adds.

For 2020, Perriau is working on a wide range of brand-focused and personal projects. Of particular importance is an experimental art installation titled ‘cellule d’expérimentation esthétique’, installed in healthcare facilities, which will engage one visitor at a time inside a small room, and explore their interaction with plastic forms. Just like the magnifying lens we took to S/S 2020’s standout prints, we’ll be sure to zoom in Perriau’s next project too.

INFORMATION

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patriciaschwoerer.com

Mood board: Domenico Dolce and Stefano Gabbana are proud Italians – their clothes have always embodied a sense of national pomp and pride. For the last couple of seasons, their menswear shows have started to the evocative, operatic tune of Cavalleria Rusticana by Italian composer Pietro Mascagni. The mood for A/W 2020 was craftsmanship in a digital age – the invite included detailed commemorative collages full of classic motifs relating to the artisan. Around the space, videos played of bakers, seamstresses, tailors, cobblers, farmers and sculptors at work. They prefaced a tactile collection.

Best in show: ‘Artistic Craftsmanship is the best defence against ugliness,’ the show notes read. ‘Fatti a mano’, ‘Craftsmanship’ and ‘artigianalità’ were writ large over three of the looks. Some of the models walked down the runway wearing workman aprons, carrying tools or wearing worn overalls. The look was cosy, cocooning and comforting. There was less baroque print and sparkle than seasons past. Standout were the hulky knits worn with cord trousers and boots. There were knitted all-in-ones, leviathan shearling coats, cargo pants and distressed sweaters. Impeccably cut suits had extra bite; shearling lapels were added to blazers that tied at the waist or longline dressing gown coats.

Scene setting:  Guests were greeted by a set of artisanal tableaux vivants. Four women sat on stools knitting thick wools into cardigans and jumpers – generations of knowledge passing into the weaving. Four men stood making lasts and sculpting leather shoes surrounded by the scent of freshly shaved wood and polish. A crop of tailors worked silently in a tiny set, cutting, basting and stitching pinstripe suiting together. This was sartoria on show. Dolce & Gabanna’s A/W 2020 collection embodied an intimate attitude – it was about doing things by hand. The barber, the weaver, the bread maker, all celebrated. All paid homage.  

Scene setting: It’s a jungle out there on the Milan catwalks. At Versace we’ve had reference to the lime green and blue tropical prints of the label’s S/S 2020 collection and at Marni, Francesco Risso erected a jungle of palm trees inside an industrial warehouse, designed in collaboration with Judith Hopf. Backstage, he discussed visiting Brazil before the breakout of its Amazon fires and crying on his return. At Dolce & Gabbana, where wildcat patterns have long been a motif, the brand lined its Metropol Theatre catwalk with leopard print carpet and palm trees, in its take on the ‘Sicilian Jungle.’

Mood board: This was a collection brimming with animal and plant prints, chic safari silhouettes, and tropical tones. The show’s opening look, a safari jacket with matching cargo trousers was elegant in its simplicity. The ostentatious factor rose throughout the show, which in the brand’s playful and humorous way, featured dresses in raffia painted with parrots and giraffes, or in colourful crochet emblazoned with toucans and Heliconia blooms. Gauzy gowns floated in zebra and giraffe prints, suiting shone in metallic greens and pinks and bowling shirts were printed with pineapples. Roar!

Finishing touches: The accessories range was as dense as a rainforest floor, from necklaces encrusted with pave leopards to floral silk headscarves, floral corsages to embellished orchid earrings. Fashion’s fantaticism for the tiny (and utterly impractical) bag is still on the up, and Dolce & Gabbana presented tiny versions of its Sicily and Devotion bags, which hung from long chains across the body, or attached to belts and wrists.

Mood board: The Dolce & Gabbana brand is synonymous with brute sexiness. S/S 2020 took the codes of Sicily and ‘put them in the jungle,’ as the design-ers said ahead of the show. A lace cardigan had Animalia patches; cockatoos and Bird of Paradise were printed onto silk jackets and trousers. Sporting references ranged from running and tennis to box-ing. The sharpness of the 1950s was evoked in the wide glittery lapels, high waisted trousers and collared knits. Classic Italian floor tiles were used as repeat patterns on silk and cotton separates.

Best in show: The prints were standout – previous seasons have seen a plethora of designs created in homage to the duo’s Italian roots, such as A/W 2019’s coffee bean/espresso cup motif. This season they persevered with playfulness, using bananas, coconuts, pineapple and parrot prints as well as a repeat vintage Bentley drawing. Saucy 1950s pinups and glamour girls appeared on patches attached to safari jackets and on the front of Hawaiian cut shirts. Their smiles beckoned beneath the words: ‘Choose Love’ and ‘Good Vibes Only’. The wide lapel bowling shirts were pure Elvis.

Scene setting: At the head of the runway was a colossal jungle, which trilled as Dinah Washington played loud before the show. The invitation, a printed postcard in leopard print, matched the iconic animal markings wrap-ping the catwalk. A life-sized fibre-glass jaguar and leopard by the Swedish artist Anne Andersson, taken from the designers’ personal collection, stalked the sultry, safari mood.

Scene setting: Red velvet tiered seating lined Dolce & Gabbana’s Metropol, a fitting setup for the former 1940s cinema. At the head of the catwalk, matching curtains concealed the stage, parting to reveal a huge cinema screen. A film titled Eleganza was showcased at the start of the show, focusing on the design process inside the brand’s atelier, highlighting its sketching, toiling and conception process. The film was a symbol of the brand’s refocus on core fashion values, and its movement away from Instagram starlet-focused fashion shows and Influencer-heavy front rows. When the show began, music was usurped in favour of an on stage MC, who described how each of the 130 looks on the runway related to Dolce & Gabbana’s 34-year heritage.

Mood board: The extensive collection offered an A-Z of Dolce and Gabbana’s aesthetic. A ‘masterclass in suiting’ was followed by an expression of ‘true divas’ featuring sugary nightwear-inspired gowns, the tones of Sicilian pastries, including ‘the ochre of marzipan’. Guests were also educated in ‘Leopard print and innate elegance’, ‘flowers, flowers and more flowers’, and ‘Sicilian black’, the most alluring signature of all of the brand’s tropes, described by the show’s maestro as ‘sensual and romantic’, ‘erotic and tragic,’ because ‘black is the beginning and end of everything’.

Best in show: The androgynous tailoring which opened the show was particularly on point for today, and featured tuxedos, dinner jackets, double-breasted blazers and elegant black and white overcoats thrown over the shoulder.

Mood board: Just when you thought the cast of 1990s supermodels on the Milan catwalks couldn’t get any bigger or bolder (Shalom Harlow at Versace, Carolyn Murphy at Ferragamo, Amber Valetta at Agnona to name a mere few), Dolce & Gabbana closed the season with a supermodel-strutting bang. Monica Bellucci opened the show in a clingy polka dot dress, Eva Herzigová followed in a gothic ruffled ball gown… Carla Bruni and Helena Christensen followed suit. But it wasn’t just about the supers. Dolce & Gabbana has favoured millennial models with astonishing social media presence in recent seasons, but for spring the designer’s opted for a more inclusive take, less focused on follower figures. Their advertising campaigns evoke the warmth and hospitality of Italian culture – all images of family meals and Sicilian sojourns, and with kids, couples and an array of shapes and sizes on the S/S 2019 catwalk their show had the same energy.

Best in show: The S/S 2019 show was a retrospective of sorts – guests were treated to a book detailing the DNA of the brand, including ‘Baroque’, ‘Religion’ and ‘Pasta’ – and was a stellar summation of its codes. Glittering jacquard tailoring, clingy black dresses, imaginative prints (playing cards, Catholic icons, farmyard animals and florals to name a few)… the signatures were all here and looked a whole lot lovelier on the brand’s diverse range of models.

Finishing touches: Raffia bonnets, rose bush minaudières, sliders lined with plastic grass, floral headpieces and Dolce & Gabbana’s newly launched Devotion bag. The brand’s accessory offering is always eclectic and imaginative, and this season they couldn’t have been worn better.

Mood board: The digital invitation to the Dolce & Gabbana show was a PSA of national pride; guests were sent an e-book tablet that played mood boards for S/S 2019, entitled ‘DNA Evolution’. The invite evoked the duality and passion at the heart of the season. The duo were swept up in a host of Italian iconography and pomp, offering everything from repeat cannoli and penne prints on silk pyjama suits to baroque, quasi-religious embroideries across outerwear and suiting. The collection served as an engaging aide-mémoire of the brand’s long-held philosophy. The look was pastiche pop.

Scene setting: The casting of influencers and celebrity offspring at previous shows has unwittingly become a provocative, punk statement – the value and reach of a catwalk show now goes far beyond the seated audience. Here, the focus was on a more diverse clan who each embodied the Dolce & Gabbana spirit in their unique way – ‘we are lucky that we can express ourselves in different ways, letting professional models, older women, and non-models walk on the runway,’ they said.

Older women appeared alongside teenage influencers; a grandfather walked side by side with his grandson and a mother was arm in arm with her son. The actress Monica Bellucci, the Dutch former model Marpessa Hennink (who appeared in their first ever campaign in 1987) and the inimitable Naomi Campbell all walked in the show too, as well as a coterie of male models from the archives of the house. 

Sound bite: The show was about contrasts: ‘the sacred and profane, north and south, religion and superstition, velvet and brocade… we wanted to think of all the generations. Not only to our generation or to the millennial generation. ‘Fashion speaks to everyone!’ the duo said. Crystal-encrusted suits worn with millennial swag, varsity jackets emblazoned with ‘just be royals’, ornate dinner jackets, patchwork cargo pants, lace shirts – it’s hard to resist such revelry.

There’s a long legacy of collaboration between Ferruccio Laviani and Dolce & Gabbana. The Italian furniture and lighting designer conceived the interior of the label’s Metropol Theatre in Milan in 2005, created furnishings for the brand’s Carlo Goldoni headquarters a year later, and in 2016, worked with the brand on the setting of its Haute Couture women’s show at the Teatro alla Scala. Now, for Salone del Mobile 2018 Dolce & Gabbana’s Metropol Theatre features a hit of high drama – raising a curtain on a new exhibition celebrating Laviani’s most standout furniture designs for Cantù-based wood specialists Emmemobili.

The Metropol Theatre hosted an exhibition of Laviani’s lamp designs for Kartell (including his popular best-selling Bourgie table lamp) back in 2008. For this latest retrospective, ‘Peep O-Rama. The Furniture Show. An Overview of Ferruccio Laviani’s Furniture Collection for Emmemobili’, viewers are offered a glimpse of his colourful, graphic and distinct furniture designs. Take a modular lilac cabinet from his ‘Portico’ collection, inspired by U-shaped structures and an Eighties aesthetics, a solid oak ‘Twaya’ table, carved to appear as if it is topped with a tablecloth, or the ‘Evolution’ sideboard, formed from graphic and classical wooden sideboards spliced together.

In keeping with the prevailing theatrical mood of this year’s fair – Lasvit staged the Monster Cabaret, Gufram created a disco and David Rockwell conceived The Diner – this exhibition has been curated with a vibrant, dramatic and humorous flair. Pop art-centric posters form the backdrop to the space, presenting  Laviani’s designs as protagonists in plays, like ‘That Fiery Cabinet’ and ‘Unashamed Furniture.’ Items are displayed behind long red velvet curtains, positioned on the raised seating where Dolce & Gabbana’s show attendees view the brand’s seasonal fashion shows. Viewed as a body of work, although diverse his Memphis roots (Laviani began his career in the studio of architect Michele De Lucchi) shine through in the graphic sensibility and boldess of forms.

With the exhibition only on display until Sunday, be sure to take a peep before the show ends.

INFORMATION

’Peep O-Rama’ runs until 22 April. For more information, visit the Laviani and Emmemobili websites

ADDRESS

Dolce&Gabbanna Metropol
viale Piave 24
20129 Milan

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Scene setting: Catholic motifs are intrinsic to the Italian house, and for A/W 2018 the brand were keen to give their guests a deeper religious experience, with a show that presented fashion as a form of religion. Dolce & Gabbana created a runway set that resembled a resplendent church or the golden gates of heaven, lined with baroque cherubs and ancient scenes. Over the past few seasons, the brand has recruited millennials with overwhelming social media followings to star in its shows, and as guests anticipated another runway outpouring of Instagram ingénues, they were greeted instead with a series of drones which opened the show. Each one floated down the runway carrying a Dolce & Gabbana bag, like a bobbing celestial orb, guided by two models wearing lab coats, met by whoops and cheers from the audience.

Mood board: The ostentatious collection was brimming with religious motifs — bags resembling the Papal Tiara, cherubic tapestries, encrusted crosses, Latin typography, garments emblazoned with the slogans ‘Fashion Sinner’ and ‘Fashion Devotion’. It was a collection of wit and whimsy, a playful comment on Stefano Gabbana and Domenico Dolce as creators, and the flocks of devotees that not just attend their shows but gather in hoards outside it. While the brand’s catwalk collections are always playful and eclectic, this was one brimming with even more imagination and exuberance, with models sporting pink Maria Antoinette wigs (a famed footwear obsessive), ruffled flamenco dresses and fringed two pieces that would make Elvis Presley proud.

Finishing touches: A model strode the catwalk with a bag saying ‘Do not disturb we are creating’ and the brand’s accessories were indeed a symbol of Stefano Gabbana and Domenico Dolce's wide imagination. Fake fur handbags, huge embellished crucifix earrings, encrusted crowns and of course those heart motif handbags transported by drones were just some of the accessories that ramped up the collection. Bow down.

Team work: For a number of seasons now, the label has ushered in millennials with open arms. Its Instagrammer casting throws a curveball amid the circuit of shows – gleeful, giddy guys are invited to Milan, dressed and thrown into the limelight for 120 seconds as most of the seated guests are left wondering who each of them might be. The 100 or so looks that made up the A/W 2018 show were modelled, once more, by an influx of influencers: musicians, sportsmen, models and the sons of famous actors. 

Mood board: the clothes are rarely there to make a clear case for a directional, seasonal look. Christian Combs, Austin Mahone and Cameron Dallas opened the show entitled 'King’s Angels', wearing lavish gold-brocade tailcoats with slim navy trousers, velvet slippers and embellished socks. Together they embody a new vision of royalty – power wielded via iPhone. Dolce & Gabbana is consistently, wickedly lavish, bold and jubilant: the rib of bomber jackets read ‘DG Royals’ and helpful hashtags were emblazoned across outerwear.  For the next few weeks at least, its 15.5 million Instagram followers will be longing for the cherub tapestry tailoring, jewel encrusted lapels and psychedelic patchwork coats that were on show.
 
Best in show: standout were the myriad velvet slippers, worn with matching crown-motif embellished white socks. The look was part Versailles and part pop King Michael Jackson. Closing the show was the Colombian performer Maluma who sang two lively songs, gambolling in a gold sequin dinner suit; it was a fitting end to the jamboree.

When it comes to staircase construction, Dolce & Gabbana is seriously ahead of the curve. So much so, that we’ve awarded the brand the Best Ascent award in the 2018 Wallpaper* Design Awards (see W*227). Two superior spiral designs connect the six floors of the Italian label’s recently renovated 2,350 sq m Old Bond Street boutique in London.

The first enclosing design is crafted using an artisan inlay technique, which sees Spanish Nero Marquina and Chinese Bianco Laser marble slotted together with millimetre precision, like a monochrome jigsaw puzzle. ‘We were really trying to go one step further with the material,’ says the French Tokyo-based interior designer Gwenaël Nicolas.

‘What’s interesting about this staircase’s design is that it makes you feel like you’re travelling in an elevator,’ adds Nicolas. ‘It wraps around you and the store becomes invisible.’ Movement is integral to the overall design of the space, which boasts all manner of marble and granite, including Brazilian Copacabana, Indian Black Lightning, Chinese Panda White and Vietnamese Bianco Cristallino, with veins resembling the rushing flow of water in a river or a stream of molten lava. ‘The stones really propel you forward.’

The second staircase connects the top three floors of the brand’s private salon space. It is constructed from a monochrome patchwork of the marble and granite found throughout the boutique. Each slab was cut to create a mirroring effect, so that the staircase looks identical when viewed from above or below. ‘This project allowed us to try out some amazing technology, and to bring craftsmanship to life,’ says Nicolas. ‘Six months ago I didn’t know these techniques existed.’

To do full photographic justice to this elevating marble, we needed an architectural photographer from the top drawer. And if they had a particular interest in the most luxurious limestone, then all the better. With perfect synchronicity, Hélène Binet, just about the most in-demand photographer of beautiful buildings in the world, has been shooting in Italian quarries, fascinated by the accidental architecture created by carefully cut stone blocks. ‘They are just so vast in scale,’ Binet says. ‘And when you get there, you enter these cathedrals with floors and walls and ceilings.’

Binet shoots on a large-format film camera, mostly in black and white. She often goes in close, creating remarkable compositions of spaces and shadows and textures. Her shots for us at the Dolce & Gabbana boutique create dramatic swirls and slabs unfeasibly stacked. Patterns miraculously repeat on one staircase, while on the other, each marble block is a universe unto itself, with strange clouds and constellations. ‘It was fascinating to see this collection of different marbles,’ Binet says. ‘It’s really rare and beautifully done.’

As originally featured in the February 2018 issue of Wallpaper* (W*227)

INFORMATION

For more information, visit the Dolce & Gabanna website and the Curiosity website

ADDRESS

Dolce & Gabbana
6-8 Old Bond Street
London W1S 4PH

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INFORMATION

For more information, visit Roos Quakernaat's website

Mood board: The night before the show, Domenico Dolce and Stefano Gabbana hosted an impromptu, intimate display of their more sartorial collection at The Bar Martini. In sharp contrast, their approach to the mainline was to stage-manage an inferno of influence, with 106 looks each modelled by a roll-call of Insta-somebodies. The conflab around showing fashion on ‘real’ bodies (and by association, ‘real’ people) reached new, headier heights as walking for Dolce were the Insta-famous, the Insta-hot and the Insta-oh. Pierce Brosnan’s son Dylan, Bill Clinton’s nephew Tyler and Marlon Brando’s grandson, Tuki, all made an appearance.
 
Best in show: The collection was as eclectic as the casting. Entitled ‘King Of Hearts’, it was dedicated to the raft of millennials who walked the show to a playlist of chart roaring, auto-tuned pop songs lamenting unrequited love. Fittingly, hashtags about love and life were emblazoned on almost everything from cropped bomber jackets to t-shirts and shawl-collar blazers. Trainers and jackets were graffitied with impish irreverence too. Standout was the Dolce & Gabbana playing-card king motif in many dizzying iterations, printed on silk and cut into nifty pyjama suits.
 
Scene setting: It isn’t clear if this millennial frivolity has a fiscal return, but outside of the show venue – on the fringes of the virtual world – scores of flustered teenage fans screamed and crushed into one another to snatch a view of their favourite It Boy. The combined following of those who walked in the show reaches well over a jaw-dropping 35 million. Elsewhere, leopards, tigers and snakes appeared across shirts and heavily embroidered on jackets. Needless to say, both online and off, it’s a jungle out there.

Last autumn, Dolce & Gabbana announced its abandonment of a homogenous approach to retail, and embarked on evolving its global stores worldwide, with each one featuring unique design. We’ve had eyes on the brand’s Via Montenapoleone flagship in Milan, designed by Gwenaël Nicolas, which opened last September, and its Steven Harris designed St Barts boutique which debuted three months later. Now we’ve had a look-see at the newest store on Dolce & Gabbana’s roster: a majestic two-storey boutique in the 19th-century Palazzo Torres in Venice.

‘In the past, we’ve done different things with elements of stores, like facades or layouts, but to say everything is different in every [Dolce & Gabbana] store, is very radical,’ explains the Carbondale founder Eric Carlson, who designed the Venice boutique. Reflecting the house’s own multifaceted aesthetic – one that blends Sicilian baroque with flourishes of humour, and cartoonish prints with sensual silhouettes – its design reflects a play on details from history and modernity.

‘One of the things we learned about Dolce & Gabbana, was its approach to striking contrast: the clashes of ideas and colour, and the modern with the baroque,’ says the US-born, Paris-based architect. The entrance to the boutique is a celebration of Venetian mercantile craftsmanship. Its floors are paved in multi-coloured inlays of ancient marble, while the walls are adorned with wooden bas-reliefs depicting scenes of the city’s artisanal and commercial life during the late 19th century.

The store makes use of Venetian materials, including marble, Murano glass and damask

Like a tunnel through history, the modern part of the store (designed entirely by Carbondale) is entered through a 20m long hallway, lined with splendid 24ct gold glass mosaic and marbled Venetian stucco. It houses the label’s accessories – which are placed on floating brass shelves – and leads to the men’s, women’s and fine jewellery rooms. Upstairs, more rooms house formal and evening wear.

Each section of the modern part of the boutique is signified by its flooring; red Lepanto marble mosaic for the women’s area and mint green marble for the men’s. The fine jewellery room features a floor mosaic in black Marquina marble, with the walls decorated in mosaics of dark blue glass with gold leaf stars. Nodding to Venetian heritage, they evoke the details on St Mark’s Clocktower, a short walk from the boutique.

‘We've taken this idea of the Italian villa, of different rooms, each with its own personality,’ Carlson explains. ‘We've created these personalities using Venetian materials - so mosaic glass walls, marbles, Murano glass, damask'. Upstairs, floors are crafted in terrazzo, while fabrics by studio Bevilacqua cover the walls. Custom pieces crafted from Murano glass, including chandeliers, sit alongside furnishings designed by Carbondale. ‘It is inherently Venetian, inherently contemporary and historical, and it is inherently Dolce & Gabbana.’

INFORMATION

For more information, visit the Dolce & Gabbana website

ADDRESS

Dolce & Gabbana
San Marco, 2188
Calle Larga XXII Marzo
30124 Venice

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When New York-based architect Steven Harris was designing Dolce & Gabbana’s first outpost on the tropical island of St Barts, he was thrilled to discover a shared passion for Riva Aquarama speedboats with the brand’s Italian founders. ‘Growing up in Florida in the fifties, I spent a great deal of time on boats’ Harris explains. 'The world of marinas and docks, dinghies and tenders was part of the everyday landscape.’ His sailing-inspired store concept fuses the island architecture of the Caribbean with that of the Mediterranean.

Upon entering the two floor 314 sq m boutique, guests are greeted with a space that evokes mid-century Italian interior design. White marble floors take inspiration from Casa Malaparte on the island of Capri, and Gio Ponti’s Villa Planchart in Venezuela (Ponti's chairs also feature at its Via Montenapoleone flagship store in Milan, which opened in autumn 2016).

Marble table tops also house footwear and women’s accessories on the ground floor, alongside antique brass shelves. Transparent glass sculptures in azure blue show off Dolce & Gabbana jewellery, evoking stones on a beach or pieces of treasured coral.

Dolce & Gabbana has opened its first St. Barts based boutique, designed by architect Steven Harris

These are juxtaposed against more Caribbean focused finishes, like deep chairs hand wrapped in rope and upholstered in natural hemp, and palm trees that cast shadows on the opulent pink and green onyx and white calypso surfaces. 

To access the exclusive men’s and women’s beachwear collections on the second floor, shoppers ascend a staircase with an oceanic blue vellum handrail, resembling the sterns of Harris' and Domenico Dolce and Stefano Gabbana’s beloved speedboats. Wicker bags, silk scarves and t-shirts feature in the tropical collection, printed with parrots and idyllic beaches lined with hibiscus flowers and huts.

With a barber shop in Dolce & Gabbana's New Bond Street location in London, it is clear that the duo gravitate towards a lifestyle encompassing retail experience. For the St Bart's outpost, they feature a Martini Bar housed in a ground floor courtyard and swathed in an oasis of palm fronds. Featuring the same flourishes of dusty stone and coloured vellum, its pink onyx bar is over six metres long. Time to drop anchor.

INFORMATION

For more information, visit the Dolce & Gabbana website

ADDRESS

9 Rue de la Republique,
Gustavia
St. Barthélemy
97133

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