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.

On Saturday 20 June 2009, Massimo Giorgetti was putting the final touches to his first MSGM collection that was due to debut at Milan Fashion Week the following day, when he realised something didn’t sit quite right. Taking it all in, ‘it [looked] too traditional, too basic’, he recalls.

Compared to what everyone else was putting out at the time, ‘it definitely wasn’t [either of those things]’, he laughs. But even still, with only hours to go, he called a young artist famed for his Jackson Pollock-style splashes, who arrived and promptly started to throw paint at the collection, rendering Giorgetti’s beautifully perfect clothes, perfectly imperfect. The results scratched Giorgetti’s creative itch; however, he didn’t bank on the clothes still being dripping wet the following day. He presented them to the world’s fashion press anyway to rave reviews. ‘When people arrived they went crazy for it,’ he smiles.

Massimo Giorgetti on 15 years os MSGM

This snap decision would set the tone for Giorgetti’s unique brand of disrupted Milanese elegance that marked its 15th anniversary this weekend at Milan Fashion Week Men’s S/S 2025. Over the last decade and a half, MSGM – named after himself and his friends Massimo, Simone, Gaia and Maurizio – has carved out an aesthetic that, despite the increasing pressures of external trends, has maintained a consistent signature rooted in youthful spontaneity and undone elegance. It was also a valuable early lesson in trusting his instinct. ‘I start to think that I am on the right track when I have a lot of doubts or when I'm afraid that the people will think [I’m] too much or too loud,’ he says.

Since 2009, Giorgetti has established himself as a main player on the Milan schedule, positioning his brand at the intersection of the city’s art, architecture and music scene through multiple collaborations and creative references in his work. ‘I drink energy from the city and translate it into clothes,’ he says.

He is, however, a beach boy at heart. With the designer having grown up on the Emilia Romagna coast in Rimini and being a frequent visitor to the home his success has bought him in Zoagli on the Italian Riviera, his anniversary collection, ‘The Sea And I’, drew inspiration from his respective homes. ‘I was born on the sea and I lived in front of the beach for 33 years, so the colour, the sun, stripes, and positive energy is quite me and MSGM,’ he says.

Combining his menswear and womenswear (the latter makes up 80 per cent of his business), the collection comprised prismatic promenade stripes and knits with crab, dolphin and sailing boat intarsia; coated cotton shorts countered with louche tailoring; illustrated sun-bather motifs by Luke Edward Hall alongside prints of Giorgetti’s beloved Ligurian hideaway shot from off-shore, and all in perfectly sun-kissed shades of red, white and blue with a pop of sunshine yellow.

Much like the 100-plus collections he has presented to date, it was full of the cross-category outfitting that is commonplace now, but new for the Milan Fashion Week schedule in 2009. ‘I think that 15 years ago, in a weird way, I created a new recipe in fashion because I put together Made in Italy tailoring and Made in Italy fabrics with T-shirts, sweatshirts, and logos,’ he says. ‘And I still think, after the streetwear tsunami that has finished and after the quiet luxury moment, it will continue [to be popular] because every one of us wants quality and value for money when we are buying clothes.’

This collection, as with all MSGM product, will be made in the Marche region of Italy, where a 70-person strong team makes Giorgetti’s head count up to around 110, including his team of 35 in Milan. Before and after the Style Capital Group took a 32 per cent stake in MSGM in 2018, Giorgetti remained steadfast in keeping production on home turf, while keeping prices as low as possible to remain democratic to the demographic his clothes appealed to, something he describes as an ‘everyday commitment to find the right compromise’.

It's a steely determination that has dictated the trajectory of his brand and accounts for one of his three proudest moments over the last 15 years. The first was keeping the menswear category of his business going when his partners mooted folding it (‘I fought, I fought and I fought for that’). The second is when he discovered the legendary late Vogue Italia editor Franca Sozzani had been buying and wearing his clothes (‘She told me, “Massimo, I was convinced that MSGM was from New York!”’). And the third, keeping that start-out spirit alive within a business now worth north of €50 million with hundreds of stores around the world.

‘The thing that makes me [most] proud is that MSGM has changed a lot, but I think the feeling, the vibes, and the energy are still exactly the same,’ he says.

To bring home the point, at his anniversary show in Milan this weekend, Giorgetti had a group of artists throw paint at white walls as the models walked by in a quasi-re-enactment of that first collection 15 years ago. This time, the paint didn’t touch the models as they walked past, instead acting as a symbolic reminder of how untouchable MSGM has become.

shop-msgm.com

It is said that when ‘Object’, a fur-covered teacup, saucer and spoon by Swiss surrealist artist Meret Oppenheim, was displayed at New York’s Museum of Modern Art in 1936, such were the visceral reactions that one woman dropped to the floor and fainted. 

This season’s faux fur- or shearling-covered footwear might not have prompted such reactions when they appeared on the catwalks earlier this year, but in their underlying strangeness and seductive subversiveness, they nonetheless recall the surrealist spirit of Oppenheim’s work. 

Furry footwear to sink your feet into

There are the sprouting soles of Gucci’s elegant horse-bit pumps – which give the effect of permanently walking on a soft-pile rug – or Daniel Lee’s shaggy shearling mules, part of his debut collection for British house Burberry (revealed at London Fashion Week A/W 2023), where he once again showed his prowess when it comes to crafting unexpectedly covetable accessories.

Elsewhere, Massimo Giorgetti of MSGM showed soft toy-like furry heels within an illusory collection that he called ‘an infinite journey, a dream within a dream’ – set against a vast white space in Milan for impact – while elegant heeled pumps from Sportmax and Givenchy respectively come with a smooth exterior, the latter recalling the softness of velvet. Each is a pleasure to sink your feet into.

This article appears in the November 2023 Art Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

Carpets, featured throughout: the ‘Epoca Silky’ carpet in Sand, Rust, Dark Grey, Grey and Caramel, all price on request, by Ege Carpets. 

Join us as we take a flick through the fashion books currently taking pride of place on the Wallpaper* style desk – from visually enticing monographs and photographic tomes to limited-edition titles, they will act as elegant accompaniments to the coffee table or bookshelf of any style savant.

Here, selected by the Wallpaper* style team, a comprehensive guide to the best fashion books – including a lush new tome on the work of Irish designer Simone Rocha, an exploration of how directors dress from indie film producers A24 and a rare monograph from seminal designer Jil Sander.

The best fashion books for style savants

‘Jil Sander by Jil Sander’ (Prestel, 2024)

Seminal German designer Jil Sander’s new monograph, ‘Jil Sander by Jil Sander’, sees her consider an influential career with a kaleidoscopic visual journey through her collections. Hoping to evoke the energy of a runway show, the colourful images are curated alongside designer Irma Boom. ‘The mood of the book is true to the frenzy which overtook us every time we prepared a show,’ she told Wallpaper* in a rare conversation. ‘I knew that I didn’t want to achieve a classic coffee table book, so it was trial and error until we got there. The book packages all the shows into one.’ Read more.

‘Jil Sander by Jil Sander’, published by Prestel, is available from waterstones.com and barnesandnoble.com.

‘Loro Piana: Master of Fibres’ (Assouline, 2024)

Celebrating 100 years in business, Loro Piana’s luxurious new tome, ‘Loro Piana: Master of Fibres’, is a ‘story of excellence, savoir-faire, and passion for the extraordinary, passed down for six generations,’ according to author Nick Foulkes. Recounting the history of the Italian house, which is best known for its work in the so-called ‘noble fibres’ of cashmere, alpaca and vicuña, it takes readers on a journey through the family’s early years as wool traders, all the way to its status as the luxury mega-brand it is today. Part of Assouline’s ‘ultimate’ collection, it is housed in a case covered in Loro Piana Tela Sergio fabric and is entirely hand-bound.

‘Loro Piana: Master of Fibres’, published by Prestel, is available from assouline.com.

‘Simone Rocha’ (Rizzoli, 2024)

A new Rizzoli-published book explores the work of Irish designer Simone Rocha, who since graduating from Central Saint Martins in 2010 has become one of London fashion’s most celebrated designers for her romantic, folklore-infused collections which straddle the sweet and the subversive. The lush tome – which draws on Rocha’s publishing expertise, having released numerous zines over the last decade – features an expansive catalogue of imagery, alongside contributions from figures including artist Cindy Sherman, photographer Petra Collins and the critic Tim Blanks. It also pays ode to two eternal influences to Rocha: the artist Louise Bourgeois, and Japanese designer Rei Kawakubo.

‘Simone Rocha’, published by Rizzoli, is available from waterstones.com and barnesandnoble.com.

‘O lovely one, girl that fell from a star’ (Dover Street Market)

Róisín Pierce calls her art book ‘O lovely one, girl that fell from a star’ a ‘love note to femininity, creativity, craft, and motherhood in its myriad forms’ – much like the Irish designer’s collections, which weave ancient Irish craft with a romantic vision of womanhood. Comprising a series of images photographed for the project by Jody Rogac of figures like Serena Motola, Frances von Hofmannsthal, Sinead O’Brien and the designer’s mother, Angie Pierce, the all-white ‘pocket book’ (‘a keepsake, a token’) also features interviews and poetry. ‘Imparting their wisdom throughout, their thoughts and views are allowed to flourish, unfiltered,’ says Pierce of the subjects. ‘Among the pages, they invoke the romantic nostalgia of the Gardenia, the sweetness of living in harmony with an uninvited mouse, the joy of being a voice in a choir, and the hope in resistance and revolt. There is no formula to femininity, and this book welcomes its abundance.’

‘O lovely one, girl that fell from a star’ is available exclusively at Dover Street Market Paris (doverstreetmarketparis.com).

‘How Directors Dress’ (A24, 2024)

Indie film production agency A24 adds to its burgeoning imprint with ‘How Directors Dress’, an exploration of the working uniforms of film’s best-known auteurs, from Sofia Coppola to Spike Lee. Comprising a series of essays – contributors include Hagop Kourounian (aka @directorfits), Rachel Tashjian, Lynn Yaeger and more – alongside archival imagery, A24 promise to use clothing ‘to tell exciting new stories about directors, their lives, their movies, and the times in which they were made’. The 256-page book also features a foreword from director Joanna Hogg, and an afterword from legendary Japanese designer Yohji Yamamoto.

‘How Director’s Dress’, published by A24, is available from shop.a24films.com.

‘Norbert Schoerner Prada Archive: 1998-2002’ (IDEA Books, 2024)

A new book published by IDEA, ‘Prada Archive 1998-2002’, documents the campaigns photographed for the Italian fashion house by German image-maker Norbert Schoerner. ‘I hear all the time, from art director friends, that [these are] the campaigns they see most frequently on moodboards,’ Schoerner told Wallpaper*, speaking on the legacy of his work with Prada. ‘It's a great compliment, to have had that sort of impact on photography, but by no means could we have anticipated that 20 years later [the campaigns] would have such a ubiquitous presence in visual culture.’ Art directed by Jonny Lu, Schoerner’s clean, hyper-real imagery is collated in the book, featuring era-defining models Angela Lindvall, Freddy Drabble, Mateo Renoir and David Annand. Read more.

Norbert Schoerner: Prada 1998–2002’s first run of 750 copies have sold out, though the book will be distributed to global retailers in the coming weeks. You can sign up at the IDEA Books website to be notified when new copies are available.

ideanow.online

Born in Oasi Zegna: The Book (Rizzoli, 2024)

‘Born in Oasi Zegna’ celebrates the history of the Italian house, tracing its roots back to the Biella Alps in Piedmont, northern Italy where Ermenegildo Zegna opened his first wool mill in 1910. Now designated a natural territory, the locale marks not only the birthplace of Zegna, but also a symbol of its ongoing dedication to the natural world: since the mill’s opening, Ermenegildo would begin planting conifer trees to foster the area’s ecosystem, which now number over 500,000. Combining archival imagery and contemporary illustrations, the book combines dramatic images of the Oasi Zegna landscapes with archival imagery from the house, alongside illustrations by Paolo Bacilieri, Cecilia Carlstedt and Giuseppe Ragazzini. Accompanying texts, meanwhile, are contributed by Italian journalist Chidozie Obasi. Read more.

’Born in Oasi Zegna: The Book’, with texts by Chidozie Obasi, is available now from zegna.com.

Dior Scarves: Fashion Stories (Thames & Hudson, 2024)

’Dior Scarves: Fashion Stories’ grants a closer look at one of the French house’s defining accessories, the silk scarf. A fascination of Christian Dior which has been adopted by the various designers who have helmed the house in the decades since – most recently, current womenswear creative director Maria Grazia Chiuri – the Maria Luisa Frisa-edited tome provides an ’atlas’ of memorable Dior scarves, organised thematically. These include ‘Paris’, ’Optical Effects’ and ’Cosmogonies’, among others, with accompanying photographs by Brigitte Niedermair. The result, says Dior, is ’an enchanting portfolio... a pluralistic odyssey’.

’Dior Scarves: Fashion Stories’, edited by Maria Luisa Frisa, is available now from Waterstones and Barnes & Noble.

Grace Wales Bonner: Dream in the Rhythm (MoMA, 2024)

Last November (2023), British fashion designer Grace Wales Bonner was the latest participant in MoMA’s ‘Artist’s Choice’ series, which drafts an eclectic raft of creatives to curate an exhibition of their choice at the New York museum. Wales Bonner’s was titled ’Spirit Movers’, and comprised works which centre on sound, movement, performance and style ’in the African diaspora and beyond’. An accompanying book, published by MoMA, is titled ’Dream in the Rhythm’ and is deemed by Wales Bonner ’an archive of soulful expression’.

‘In this exhibition, ”Spirit Movers”, I was thinking a lot about what becomes embedded into artworks and materials,’ Wales Bonner told Wallpaper* when the exhibition opened. ‘I was thinking a lot about materials that have some kind of past life or the passing of time being evident in artworks. One of the things that has always been fascinating to me is how sound can be captured through different forms.’

‘Grace Wales Bonner: Dream in the Rhythm’, published by MoMA, is available from Waterstones and MoMA Design Store.

Fila: Timelapse (Rizzoli, 2024)

Fila: Timelapse, published by Rizzoli, provides an unorthodox, genre- and era-traversing history of the Italian sportswear brand and its enduring influence. Dreamt up by Italian journalist and fashion critic Angelo Flaccavento, the aim of the intriguing tome is to ’tunnel both past and present into a single, forward-looking vision’ including archival imagery of figures like Björn Borg – the tennis player would put Fila on the map – alongside essays, fiction and poetry from contributors including Charlie Fox, Silvia Calderoni, Jeph Burton, Rahim Attarzadeh and artists Karl Holmqvist and HB Hoyo. A foreword, meanwhile, comes courtesy of Fendi menswear and accessories creative director Silvia Venturini Fendi. Read more.

’Fila: Timelapse’, conceived by Angelo Flaccavento, is available to pre-order from Waterstones and Barnes & Noble (out 30 April, 2024).

Issey Miyake: 1960 to 2022 (Taschen, 2024)

Conceived by Midori Kitamura, one of Issey Miyake’s longtime associates, a new Taschen-published book provides a comprehensive guide to the Japanese designer’s innovative and imaginative collections. Visually rich, the book collates the most important moments from across the late designer’s expansive career. including the development of his signature polyester micro-pleats (which would later become Pleats Please Issey Miyake) alongside collaborations with photographers from Yuriko Takagi to Irving Penn. ‘Miyake liked to convey his ideas visually, so we used that framework as our starting point,’ Kitamura told Wallpaper*. ‘Miyake left us with a clear roadmap to follow, going forward. We have and will always carry this map in our pockets as we move forward, always carrying his dreams and his vision into the future.’ Read more.

‘Issey Miyake: 1960 to 2022’, initiated and conceived by Midori Kitamura, is available now Waterstones and Barnes & Noble.

Karl Lagerfeld: A Life in Houses (Thames & Hudson, 2024)

A new book, Karl Lagerfeld: A Life in Houses (Thames & Hudson), offers an unprecedented glimpse into the dramatic residences of the iconoclastic German fashion designer, best known for his tenures are Chloé, Fendi, and, of course, Chanel. The glossy coffee-table tome features a photographic portfolio of the various homes, from a gleaming Memphis-filled apartment in Monaco to 51 rue de l’Université in Paris, an opulent 18th-century hôtel particular he called home for several decades. Among it all, an extraordinary array of objets and art, a reflection of the eclectic inspirations behind his prolific career in fashion. Read more.

‘Karl Lagerfeld: A Life in Houses’, with text by Patrick Mauriès and Marie Kalt, is available now from Waterstones and Barnes & Noble.

Gabrielle Chanel (V&A Publishing, 2024)

Gabrielle ’Coco’ Chanel is the subject of an expansive new book published by the V&A to coincide with its blockbuster exhibition on the influential French couturier, Gabrielle Chanel. Fashion Manifesto, which opened last September (until 26 February 2024). Titled, simply, ’Gabrielle Chanel’, the book spans her six-decade long career and pays particular focus to the garments themselves, which would mark a liberated new era for women’s fashion.

‘It’s about chic, simple clothing, looking at movement and the body,’ Oriole Cullen, who co-edited the book alongside curating the exhibition, told Wallpaper*. ’These elements she creates – the jersey, the little black dress, the suit – these are the things she comes back to time and again and refines them.’

‘Gabrielle Chanel’, edited by Oriole Cullen and Connie Karol Burks, is available now from Waterstones and Barnes & Noble.

Givenchy Catwalk: The Complete Collections (Thames & Hudson, 2023)

Thames & Hudson’s ‘Catwalk’ series was made for the style enthusiast: each edition turns its lens on a fashion house or designer and documents their entire runway oeuvre, from Prada to Versace. The latest addition is Givenchy, which explores not only house founder Hubert de Givenchy’s tenure – defined by a demure Parisian elegance encapsulated by his seminal gowns for Audrey Hepburn – but those who followed at the house, including John Galliano, Alexander McQueen, Riccardo Tisci and Clare Waight Keller, alongside Matthew M Williams, who exited Givenchy in 2023. ‘In all its purity, I think Hubert created one of the most complex legacies in fashion, because it reaches far beyond dressmaking,’ explained Anders Christian Madsen, who co-authored the book, to Wallpaper*. ‘It’s synonymous with sophistication and good taste, and those ideas are hard to mess with.’ Read more.

Givenchy Catwalk: The Complete Collections, featuring texts by Alexandre Samson and Anders Christian Madsen, is available at Waterstonesand Barnes & Noble.

Yves Saint Laurent: Gold (Abrams, 2023)

The couturier Yves Saint Laurent was well-known for his bold, expressive use of colour, which included gold, a hue he called ’magical’. ’When reflecting a woman, it’s the colour of the sun,’ he once said. This magpie-like fascination is explored in Yves Saint Laurent: Gold, which provides the accompaniment to the exhibition ‘Gold, les ors d’Yves Saint Laurent’, which took place at Musée Yves Saint Laurent Paris in late 2022. It holds up as a standalone book, though, featuring suitably glamourous imagery starring a phalanx of Saint Laurent muses, from Catherine Deneuve to Zizi Jeanmaire.

Yves Saint Laurent: Gold, featuring texts by Yvane Jacob and Elsa Janssen, is available at Waterstones and Barnes & Noble.

Shoes A-Z, the Manolo Blahnik Edition (Taschen, 2023)

Shoes A-Z, which explores the enormous archive of footwear at The Museum at FIT in New York City, has long been one of been of fashion’s most comprehensive tomes on the history of the accessory. A new edition of the landmark book – which features designs from Ferragamo, Saint Laurent, Vivienne Westwood and many more – comes complete with three prints by perhaps fashion’s best-known shoemaker, Manolo Blahnik. The limited-edition version – no doubt a collector’s item in the years to come – is completed with a ribbon-fastened portfolio to store the Fabriano prints, providing the perfect gift for any shoe aficionado.

Shoes A-Z. The Collection of The Museum at FIT. Manolo Blahník Edition, an edition of 1000, is available from Taschen.

Christian Dior, Christian Bérard. Joyful Melancholy (Gallimard, 2023)

‘Christian Dior, Christian Bérard. Joyful Melancholy,’ is a Gallimard-published book – created in association with Dior – which charts the couturier and painter’s lives in a unique joint biography. First meeting in the 1920s, the ‘designer of dreams’ Christian Dior and ‘painter of despair’ Christian Bérard became close friends and collaborators despite their contrasting personalities and approaches, with Bérard going on to decorate Dior’s first boutique, Colifichets, on Avenue Montaigne (the design included toile de Jouy motifs, now a house emblem). Alongside images by Richard Avedon, Henri Cartier-Bresson, Robert Doisneau, Lee Miller, and Irving Penn, as well as pictures of archival documents and objects, the book is a richly crafted narrative about the pair’s unique relationship. ‘All of Dior is in Bérard, all of Bérard is in Dior,’ says author Laurence Benaïm. ‘This book is not a two-headed biography – it is a meandering in the heart of a history haunted by dreams, affinities, and secrets sewn in the lining of vanishing time.’

Christian Dior, Christian Bérard. Joyful Melancholy, by Laurence Bénaïm, is available now from Waterstone’sand Barnes and Noble.

Thom Browne (Phaidon, 2023)

Thom Browne’s first monograph is released to celebrate the 20th anniversary of the American designer’s eponymous label, featuring both original imagery of archival looks as well as explorations of Browne’s theatrical runway shows. Photographer Johnny Dufort has collaborated on the project, while Andrew Bolton – head curator of the Anna Wintour Costume Center at the Metropolitan Museum of Art – curates the various looks and provides the book’s introduction. The book is a design object in itself: enclosed in a clamshell box, the Irma Boom-designed tome features Browne’s grosgrain striped ribbon as a bookmark. ‘This is a must-have for any Thom Browne fan,’ says Phaidon. Read more.

Thom Browne: The 20th Anniversary Book, by Andrew Bolton and Thom Browne, is available from Waterstones and Barnes & Noble.

Chopova Lowena: Conversations with Angels (2023) 

Emma Chopova and Laura Lowena – the designers behind London-based fashion label Chopova Lowena – release their third book this July, titled ‘Conversations with Angels’ and starring actress Chloë Sevigny. In it, Sevigny stars as a version of the Snow Queen from the Danish fairytale (here reimagined by poet Precious Okoyomo), one of Lowena’s favourite stories as a child, while the pair’s A/W 2023 collection, inspired by 70s skiwear, appears throughout the Charlotte Wales-shot book. ‘We love creating books because it gives us a chance to completely express our vision in such a meaningful way,’ say Chopova and Lowena. ‘This one was such a special one, working with our long-time collaborator Charlotte Wales and the incredible Chloë Sevigny. It was so exciting to work with Chloë on Conversations with Angels, we are huge fans of her work and it was a dream to work with her.’

Limited edition.

Dior by Raf Simons (Assouline, 2023)

Published by Assouline, a new tome celebrates Raf Simons’ acclaimed tenure at Dior, where he was creative director from 2012 to 2015. Part of a six-part series exploring the Parisian house’s various artistic directors, the book documents Simons’ ‘infinitely contemporary purity’ which married the house’s heritage with a subversive modernity which has defined the Belgian designer’s work since the founding of his eponymous label in 1995. It also explores the passions that Simons shares with Christian Dior – architecture, art and gardens among them – and features ‘dress portraits’ by Laziz Hamani and texts from fashion journalist Tim Blanks.

Dior by Raf Simons, by Tim Blanks, is available from dior.com

Burberry (Assouline, 2023)

Burberry entered a new chapter last month when Yorkshire-born designer Daniel Lee began his tenure at the brand with a debut collection that drew inspiration from eclectic British dress codes (‘you walk down the street and you’re surrounded by people from so many walks of life, all living together,’ he said after the show at London Fashion Week). He also looked towards the British institution’s roots in functionality – Burberry was founded in 1856 to create clothing which would protect its wearer from the country’s unpredictable weather – a heritage which is celebrated with the publication of new book ‘Burberry’ (Assouline). Across five chapters, fashion critic Alexander Fury charts Burberry’s 165-year history for an exploration of ‘innovation, adventure and Britishness’ alongside 200 illustrations. Says Carly Eck, Burberry brand curator, archive: ‘This book, the only one to be endorsed by the brand in recent times, presents a panorama of the company’s extraordinary heritage, which deserves to be widely celebrated. It’s the stuff of legends.’

Burberry, by Alexander Fury, is available from burberry.com.

Macro (Jil Sander, 2023)

The latest in a series of books created by Lucie and Luke Meier in collaboration with international artists and photographers, ‘Macro’ sees the designers unite with Chris Rhodes who captures the brand’s A/W 2022 collection in a number of still-life images. A long-time collaborator, Rhodes reveals the unseen details of the Meiers’ collections – the aluminium heel of a black pump, lapis lazuli stones in a silver necklace, a heart-shaped ornament on a handbag – in the intimate images. ‘Macro is the testimony of a journey, of an idea that adds a different dimension to the purpose of Lucie and Luke Meier’s work,’ say the brand, ‘a suggestion on how design can be unconventionally perceived and displayed’.

Limited edition.

Chloé Catwalk (Thames and Hudson, 2022)

Coinciding with the house’s 70th anniversary, a new Thames & Hudson-published book provides a comprehensive history of Chloé and those who have shaped it – from founder Gaby Aghion to a young Karl Lagerfeld, and the slew of influential female designers who have helmed the house in the years since, among them Martine Sitbon, Phoebe Philo, Stella McCartney and current creative director Gabriela Hearst. Collating over 130 collections and 1,100 looks, ‘Chloé Catwalk’ provides a vivid portrait of the pioneering house that has sought ‘modernity, ease, vibrancy, optimism, freedom’ from its beginnings. ‘All I ever wanted was for Chloé to have a happy spirit and to make people happy,’ Aghion is quoted as saying in the book. It is the latest addition to Thames & Hudson‘s blockbuster ‘Catwalk’ series, this time authored by Lou Stoppard and featuring a preface by fashion critic Suzy Menkes.

Come Stai? (Bottega Veneta, 2022)

Earlier this year, Italian designer Gaetano Pesce created the set – including 400 entirely unique chairs – for Matthieu Blazy’s sophomore outing at Bottega Veneta. A new limited-edition book from the house, launched as part of Design Miami, documents the process. Alongside images of the set’s creation by Stephen Shore and Sander Muylaert, Hans Ulrich Obrist interviews Pesce about the project’s ‘ideation, approach and process’ as well as contributions from Blazy and Wallpaper* Milan editor Maria Cristina Didero. Like the chairs, each cover of the book is entirely one-of-a-kind.

Acne Paper Issue 17 (Acne Studios, 2022)

After a seven-year hiatus, Acne Paper – Stockholm-based fashion label Acne Studios’ cult print magazine – was relaunched last November as a ‘hybrid between a book and a magazine’ across 500 pages. This year, for its 17th issue, the brand says it is taking this idea of a hybrid ‘one step further’ – ‘[it is] part biography, part novel, part cultural art journal, part fashion magazine,’ describe the brand of the latest issue, which centres around a character named Atticus, ‘a fictional personality in the art world who [is celebrating] his 100-year birthday’. Across five chapters, his ‘memoir’ narrates a ‘cultured life’ which sees him journey from a dancer under choreographer Merce Cunningham to a luminary of the contemporary art scene. The biography also centres on Atticus’ relationship with partner Desmond, ‘[reminding] of a time when men who loved men, and women who loved women, were considered delinquents… [and recalling] the dramatic Aids epidemic and the many loved and talented people who perished with it.’ As such, a portfolio in the issue pays tribute to the work of real-life artists Darrel Ellis, Arch Connelly, Jimmy Wright, and Larry Stanton – the latter who will be celebrated in a special capsule collection by the brand – while contributions from contemporary photographers Luis Alberto Rodriguez, Paul Kooiker and an intimate self-portrait series by Ibrahim Kamara are intersected throughout.

Hand in Hand (Fendi, 2022)

Coinciding with the 25th anniversary of the Fendi Baguette, a new book from the Italian house sees the iconic handbag style reinterpreted by 30 artisans across Italy in a celebration of centuries-old craft – from brocade, embroidery and crochet to works in wood and marble. In the book – titled ‘Hand in Hand’ after the 2020 initiative of the same name which originally tasked the artisans with reinterpreting the accessory – these works are captured by Italian photographer Lorenzo Vitturi and accompanied by texts by art critic and curator Eugenio Viola, artist Aldo Bakker and ‘upcyclist’ Orsola de Castro. ‘It pleases me to work on certain techniques that, to me, seem unchanged – and then to observe how, when working by hand, an error can become a virtue. Indeed, an error can become the idea for innovation,’ says the bag’s original designer Silvia Venturini Fendi in an interview about the project in the book. ‘[It] is a couture initiative, because it presents Baguette bags that will not be replicated.’

Akris: A Century in Fashion Selbstverständlich (Rizzoli, 2022)

To coincide with Akris’ 100th-anniversary celebrations – the house was founded a century ago in St Gallen, Switzerland – a new book, ‘A Century in Fashion Selbstverständlich’, presents a history of the house through the lens of current creative director Albert Kriemler (grandson of Akris founder Alice Kriemler-Schoch). The large-format photobook features a portfolio of vintage Akris styles photographed by Iwan Baan at the 1960s brutalist extension of the university of St Gallen, alongside an essay by Swiss author Daniel Binswanger, comments by Kriemler himself, and archival imagery. ‘Selbstverständlich is the one single German expression [that] best encapsulates the Akris spirit for me,’ says Kriemler of the book’s title, which loosely translates to English as ‘natural’ or ‘self-evident’. ‘It perfectly conveys our aesthetic ideal of clothing, embodying an effortless modernity.’

Dior by Sarah Moon (Delpire & Co, 2022)

A new book from Dior celebrates the Parisian house’s relationship with French photographer Sarah Moon – ‘a delicate ode to multifaceted femininity, sublime in its complexity,’ as the accompanying blurb describes. Across three consecutive volumes, Moon captures pieces from the Dior archives – mostly at Fondation Le Corbusier or inside the archival spaces themselves – creating evocative images which ‘communicate the strength which emanates from the architectural silhouettes designed by Christian Dior and his successors’. Current creative director of the women’s collections Maria Grazia Chiuri, who has continually commissioned women artists during her tenure for collaborations or show-set design, is a particular focus of the tome, with a 38-image portfolio of Chiuri’s work making up the book’s final volume.

The Colors of Sies Marjan (Rizzoli, 2022)

‘The Colors of Sies Marjan’ explores the brief but colourful history of Sander Lak’s cult New York label Sies Marjan, which shuttered in June 2020 after four years in business. The ‘highly personal’ book, as Lak describes, features archival imagery of Sies Marjan with a particular focus placed on the designer’s vivid and unexpected use of colour which was the bedrock of his work (‘Cookie Monster blue’, ‘Baskin Robbins pink’, ‘Lakers purple’ and ‘Post-it yellow’ are all described in the book). ‘The intention of a lot of books about fashion houses is usually within a marketing or PR-filled context, like an anniversary or store opening, and there’s nothing wrong with that, but this was something very different,’ Lak says of the book, which features contributions from artist Elizabeth Peyton, author Donna Tartt, and architect Rem Koolhaas, among others. ‘It was a chance for myself to give this chapter some closure.’

Annie Leibovitz (Taschen, 2022)

Originally published as part of Taschen's Sumo series – in which seminal cultural figures, including Helmut Newton, David Hockney and the Rolling Stones, are celebrated with limited-edition supersized monographs – Annie Leibovitz is rereleased in a new unlimited version. The comprehensive tome draws on 40 years of the American photographer’s work, from photojournalism for publications like Rolling Stone to her best-known celebrity portraiture in Vanity Fair and Vogue, as well as a number of photographs never before seen. ‘This is not a retrospective. It is a kind of potpourri. A roller coaster,’ Leibovitz says. ‘As you go through it, you forget what you saw in the beginning. You’re in another place toward the end.’

The Fendi Set: From Bloomsbury to Borghese (Rizzoli, 2022)

British designer Kim Jones became head of Fendi couture and womenswear in September 2020; his first collection for the house, the following January, melded Fendi’s famed Italian craftsmanship with his own British roots, looking towards the Bloomsbury Set for inspiration (particularly – Virginia Woolf, and her novel Orlando). The link, he said, was the way they were drawn to Rome – to its ancient monuments and Renaissance treasures – a journey he explores in a new Rizzoli-published book The Fendi Set (first released in January in the UK, it will arrive in the US at the beginning of April). Exploring Jones’ relationship with the culture-shaping group of artists, intellectuals and writers, it sees collaborator Nikolai von Bismarck photograph their famed gathering spots – Charleston House, Knole House, and Sissinghurst Castle – before heading to the set of the haute couture show in Paris, and then to Rome’s Villa Medici and Villa Borghese, where the histories of Fendi and the Bloomsbury Set meet. The photographs capture Jones’ own contemporary ‘set’ – Christy Turlington, Kate Moss and Naomi Campbell among them – alongside original letters, diary entries and excerpts from Bloomsbury members.

GANNI: Gimme More (Rizzoli, 2021)

Ganni girls embody a celebratory, spontaneous, community and eco-aware spirit – one that has been captured within the pages of the Copenhagen-based brand's debut monograph GANNI: Gimme More. The vivid volume, published by Rizzoli, dives into the world of the sustainability-focused, pattern- and print-celebrating label. Look out for a photo essay documenting Ganni's home city, shot by longtime collaborator Ana Kraš; an insightful conversation with the label's creative director Ditte Reffstrup and a vivid visual collage piecing together the brand's raising-the-roof house parties. Laura Hawkins

Versace Catwalk: The Complete Collections (2021)

In recent years, Versace catwalk shows have well and truly broken the internet. For the label’s Milan Fashion Week S/S 2022 offering in September, its campaign star Dua Lipa opened and closed a scintillating runway show, which featured a profusion of its signature motifs: tropical foulard silks, oodles of neon, safety-pin embellishments and a steamy hit of bare skin.

With the release of Versace Catwalk: The Complete Collections, fashion fans can ogle their favourite catwalk collections from the brand – be it the animal-print and power-shouldered silhouettes of the S/S 1983 offering, or the cyber glamour of the S/S 2012 couture show. The volume, authored by esteemed fashion critic Tim Blanks, is paged chronologically and brings together more than 40 years of fashion shows, kicking off with Gianni Versace’s 1978 debut, in a carefully curated edit of some 1,200 images. LH

OBJECT-FORM.FORM!, by Samuel Ross (2021)

Samuel Ross' interdisciplinary mindset – that sees him bridge not only his fashion label A-Cold-Wall* but also his art and design practice SR_A – culminates in Object – Form. Form!, Ross' first major book celebrating the range and extent of his projects and collaborators. Leaf through this visual history of Ross' projects to date, which also features a gallery of short texts by friends, mentors and peers, including Virgil Abloh, Takashi Murakami, Daniel Arsham, Hans Ulrich Obrist and David Adjaye. LH

Vivienne Westwood Catwalk (2021)

Vivienne Westwood vanguards, unite! A veritable treasure trove of images and inspiration, Thames & Hudson-published Vivienne Westwood Catwalk celebrates 40 years of the legendary British designer’s runway collections. Take a coveted seat at the catwalk of over 70 collections and delight in 1,300 looks, that celebrate the historicism-rooted, renegade, punk and environmentalist aesthetic of Westwood. The volume, released in celebration of Westwood's 80th birthday, features an introduction and collection texts by fashion critic Alexander Fury, with contributions by Westwood herself and her partner in life and work Andreas Kronthaler. The book is bound with the brand's iconic tartan, first produced in 1993 and officially recognised by the Scottish register of Tartans. LH

Familiarity (Jil Sander, 2021)

Creative director and husband-and wife-duo Lucie and Luke Meier have collaborated with a cohort of legendary image makers, teaming up with Joel Meyerowitz on Sander's recent A/W 2021 campaign. Now the label has released Familiarity, a limited photographic volume, which sees five image makers, Anders Edström, Olivier Kervern, Chris Rhodes, Lina Scheynius and Mario Sorrenti, personally interpret the the Meiers’ designs. These images offer five distinct visual takes on the Sander aesthetic, which are united by Sander's clothing. The images have been captured inside photographers’ homes and gardens, bringing a sense of intimacy to the photographic series, and a notion of familiarity to elevated fashion. LH

Peter Lindbergh. Azzedine Alaïa (Taschen, 2021)

‘We met in 1979, I believe. Ever since, Azzedine and I are hand in glove. I photographed his collections and I have countless portraits of him,' said renowned German photographer Peter Lindbergh of his longtime friendship with Azzedine Alaïa, before he passed away in 2019. Alaïa and Lindbergh were united on many creative passions: a love for black and the celebration of the female form.

Now, a grayscale Taschen volume – launched in conjunction with the exhibition Azzedine Alaïa, Peter Lindbergh at the Fondation Azzedine Alaïa in Paris – celebrates the creative output of the two artist's, spanning atmospheric settings including the lamp lit streets of Paris and the windswept beach of Le Touquet, and featuring models and musicians including Naomi Campbell, Kristen McMenamy, Madonna and Tina Turner. The book – a must for Alaïa or Lindbergh-obsessed bibliophiles, also features contributions from Fabrice Hergott, director of the Musée d’Art Moderne de la, photographer Paolo Roversi and Olivier Saillard, fashion historian and director of the Fondation Azzedine Alaïa. LH

Silicon Valley. No_Code_Life (Rizzoli, 2021)

When Italian label Tod's launched its No_Code trainer project – a line of silhouettes that adheres to technological and fabric innovation, and invites design visionaries to apply cutting-edge ideas to its designs – it demonstrated a synergy with the forward-thinking mindset of Silicon Valley, and its ascendancy of unicorn companies. Now, in celebration of the famed San Francisco location, and the site of spectacular start-ups, the label has launched a Rizzoli-published book which lenses Silicon Valley, in an alternative light, breaks through the venerated veneer of its streets.

For Silicon Valley. No_Code_Life, Tod's enlisted Iranian-American photographer Ramek Fazel to document the daily goings on in Silicon Valley. For 10 days he roamed its roads, armed with a Rolleiflex, shooting diverse portraits and panoramic views, from aerial shots of lengthy highways to employees armed with colourful Google-branded tote bags. The result is a colourful and multifarious presentation of Silicon Valley existence, rooted in reality, instead of millennial-infused myth. LH

Craig Green x Jack Davison (Limited edition at Dover Street Market, 2021)

In March 2021, London menswear designer Craig Green teamed up with photographer Jack Davison, on a poetic S/S 2021 visual set of images that captured Green’s sculptural, utilitarian and headpiece-accented designs. Now, in celebration of the project, Green and Davison have launched a print media extension of the collaboration, encompassed as a limited set of four riso-printed and saddle-stitched self-cover books, accompanied by Tyvek sheet posters, printed in a spectrum of colour variations. From midday tomorrow, 13 May 2021, a mere 30 sets of the books will be available, for free, for the public to collect from Craig Green’s space at Dover Street London. LH

Pucci (Taschen, 2021)

One designer who had the ability to imbue escapism into every garment was Emilio Pucci. The Italian designer was a doyen of dramatic, pattern-splashed clothing, which also had a boundary-pushing comfortable appeal, and was sported on the ski slopes and in the chicest summer resorts. Now, a Taschen released tome celebrates the history of the print-swathed Pucci dynasty, in a volume brimming with archival images, sketches and eye-catching ephemera. Pucci, features accompanying text by fashion critic Vanessa Friedman and is wrapped in a tactile fabric cover, with a selection of archive prints abounding in abstract swirls and tropical blooms. LH

Her Dior: Maria Grazia’s New Voice (Rizzoli, 2021)

During her creative tenure at Dior, Maria Grazia Chiuri has made feminism an integral part of her aesthetic expression, collaborating with revolutionary female artists including Judy Chicago and Tomasina Binga and creating silhouettes that explore the multi dimensional facets of womanhood. Now, a new publication by Rizzoli New York, brings together a host of female photographers, including Wallpaper* contributor Brigitte Niedermair, Nan Goldin, Sarah Moon and Laura Coulson, in a visual exchange exploring female identity.

‘Seeking a dialogue from the outset with these women artists, writers and activists, they themselves at times distant from me and from fashion, was party and parcel of my focus on the reasons and the situations that I believed we urgent, and that I wanted to put at the heart of my creative process,’ Chiuri explains in the volume’s Introduction. LH

Stazione Termini, Lookbook 2009-2021 (Drago, 2021)

Niccolò Berretta has been drawn to the anthropological bravura of August Sander and Diane Arbus since he first started taking pictures. ‘I see their work as a sort of catalogue of human beings yet with the search for the mysterious,’ he says. In 2009 he began taking photographs of some of the one hundred and fifty million passengers that pass each year through Rome’s Stazione Termini. Now 490 of them have been brought together in a chunky book published by Drago.

The first edition includes a glossy wraparound featuring models striding the streets of Esquilino in the 15th rione wearing REDValentino’s Spring/Summer 21 collection. Between the covers, we see couples dressed in matching shiny puffa jackets, a cigar smoking man in a finely tailored navy suit, stickered suitcases, knitted leg warmers, and sunglasses pushed up onto people’s heads. ‘I do not go beyond the mirror they see themselves in every day,’ Berretta says in the introduction. This is more than just a record of quotidian style, it is an archive of a city and its people in flux. ‘An integral part of this visual process is the environment: the advertisements, the construction sites, the cars, the street signs, the scenography that speak to their time. The subtitle Lookbook 2009-2021 is an ironic reference to the world of fashion in which everything is fleeting, fast and almost does not exist.’ Dal Chodha

MSGM 10! The (in)complete Brand Anthology (Rizzoli, 2020)

The vibrancy, pattern and eclectic flavour of Massimo Giorgetti’s MSGM is synonymous with modern Milanese design, and in celebration of the label’s tenth birthday, the brand has released a Rizzoli-published monogram, majestic in colour and warmth. The volume, which is visually inspired by a fanzine and was art directed by Giorgetti himself, features a mix of fashion-focused and personal memories, from his dogs Pane and Coda to effusive editorial images. With contributing texts from friends and collaborators including Maurizio Cattelan, super stylist Katie Grand and journalist Charlie Porter, this is a must read for any MSGM enthusiast. LH

Images (Jacquemus, 2020)

Simone Porte Jacquemus understands the transportive power of Instagram. The designer has long used the medium to convey the sun-drenched seduction his brand reflects, associated with the sand-lined shored of Southern France. During lockdown the designer even shot S/S 2020 digital campaign images with Bella Hadid, Barbie Ferreira and Steve Lacy, showcasing the uplifting results on the social media channel. Now, in his second publication to date, Jacquemus has released ‘Images’, a book of his favourite 321 Instagram images, edited down from the 85,041 pictures he has stored on his phone. The publication is a soothing snapshot of summer, boasting beachside shots, architectural and food close-ups and Jacquemus-clad portraits. They capture the energetic, warm and downtime-focused essence of the brand, whether you’re browsing the book from a sun bed in its founder’s beloved hometown Marseille, or city-bound on the sofa. LH

Sicily (Jil Sander, 2020)

We’re all in need of a touch of escapism right now, and lucky for us, Jil Sander’s Lucie and Luke Meier have just released a sun-kissed pictorial road trip around Sicily, lensed by photographer Olivier Kervern. The analogue amalgamation was first presented back in February at Milan Fashion Week at the brand’s Via Sant’Andrea exhibition space, and the sleek volume also serves up a series of portraits depicting the brand’s A/W 2020 offering. While road-tripping may feel out of reach, Sicily will feel out of the way enough when this book is held in the palm of your hands. LH

Sportmax (Assouline, 2020)

This Assouline-published volume by Luke Leitch and Olivier Saillard offers a pleasingly pictorial stroll through the five-decade history of the sports and casual wear-focused label Sportmax, founded in 1969 by Achille Maramotti. Sketches and advertising campaign images abound, highlighting the boldy saturated shades that define Sportmax’s aesthetic and capture the style signatures of the creatives who anonymously worked on the brand’s collections, including Nanni Strada, Jean- Charles de Castelbajac, Odile Lançon and Guy Paulin. LH

Prada Catwalk (Thames & Hudson, 2019)

When it comes to a Prada catwalk show, fans of the Milanese label delight in decoding the various archive Prada-isms which appear in each collection, be it S/S 1996’s icky ‘Formica’ prints, S/S 2000’s tessellated lipstick pattern, a heavy brown shoe or a pleated knee length skirt. Now, a new tome houses all of the brand’s catwalk collections in one place, from Miuccia Prada’s debut A/W 1988 runway offering, with its schoolgirl simplicity and utilitarian tailoring, to her S/S 2019 collection, boasting bourgeois takes on its signature nylon fabric, chubby Alice bands and swathes of grunge green satin. The Thames & Hudson published volume, written by fashion critic Susannah Frankel offers commentary on each collection featured, and boasts over 1,300 illustrations, making it the perfect printed tool for Prada fans everywhere, vying to decode the designer’s famed aesthetic, her obsessions and eccentricities and the brand’s boundary-breaking sensibility. LH

Chanel: The Impossible Collection (Assouline, 2019)

It’s fitting that this clamshell-cased tome, measuring nearly fifty centimetres in length, is purchased with a complimentary pair of white gloves. For ‘Chanel: The Impossible Collection' is a bookshelf treasure equal to the house’s signature bouclé tweed suit or its 2.55 handbag. This enormous edition is a tribute to the famed Parisian maison; its glossy pages are packed with fashion show shots, magazine editorials, newspaper cuttings, illustrations and portraits. As part of the volume, author and fashion critic Alexander Fury has also selected 100 iconic looks that represent the house, from the Little Black Dress to the day suit. ‘Let them copy, my ideas belong to everyone, I refuse no one,’ Gabrielle Chanel told The New York Times in January 1971. It’s hard to refuse this book too. LH

Fashion Central Saint Martins (Thames & Hudson, 2019)

Alexander McQueen, Phoebe Philo, Wallpaper* October issue guest editor Hussein Chalayan: some of the most lauded, experimental and innovative designers in the world began their fashion lives in the hallowed halls of Central Saint Martins in London. Fashion Central Saint Martins – published by Thames & Hudson and edited by the school’s programme director of fashion, Hywel Davies, and Cally Blackman, lecturer in fashion history and theory – takes a bold, collaged and archival amble through the art school’s fashion history, which began in 1938, when six years after its fashion school was founded by Muriel Pemberton, it began teaching fashion design and drawing.

Its colourful, cut-and-paste pages are divided into decades, allowing the reader to party alongside the school’s Blitz Kids Eighties alumni, like journalist Hamish Bowles and John Galliano before touring into the 2010s, the era of Craig Green, Charles Jeffrey and Molly Goddard. Expect pages packed with unseen student work, essays from guest writers including Sarah Mower and Judith Watt, and intimate insight into the student lives of some of fashion’s most important figures today. LH

Legaspi: Larry Legaspi, the 70s, and the Future of Fashion (Rizzoli, 2019)

‘It’s me fetishizing him through a fanboy filter’ says Rick Owens of the subject of his latest Rizzoli New York release, dedicated to the work and aesthetic of 70s unsung design hero Larry Legaspi, who created pioneering looks for musical behemoths including KISS, LaBelle and George Clinton. Owens’ men’s and women’s Glam Rock-ready A/W 2019 collection was also dedicated to the designer and featured sinched streamlined tailoring, platform boots and plenty of stage-ready make-up.

For the first ever book documenting LeGaspi’s work, Owens had unprecedented access to his partner’s archives – Legaspi died of Aids in 2001 – and the book is an amalgam of archive backstage imagery, tour posters and sketches, interspersed with newly Owens-lensed images of LeGaspi’s designs, alongside commentary from Patti LaBelle, André Leon Talley and Pat Cleveland. ‘Larry introduced a camp ferocity to the mainstream and helped set a lot of kids like me free,’ Owens adds. We urge you to get introduced too. LH

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.

As the Covid-19 pandemic continues to wreak havoc on our physical lives, this month's A/W 2021 menswear shows are taking place largely online. But a lack of a physical audience doesn't make for a lack of creativity, and designers continue to evolve using alternative digital mediums. Here, we round-up the brands that are catching our attention, and determining the fashion trends of 2021, from Pitti to Paris.

Prada

The show’s AMO-designed set - a series of rooms swathed in shaggy faux fur, marble and resin - reflected the starting point of the collection: ‘The need to feel, the pleasure of tactility.’ Raf Simons and Miuccia Prada’s sophomore creative outing centred around a star piece - the intarsia knit long john - which as a second skin, was layered under pinstripe suits, paired atop of shirts and roll necks, or popped beneath brightly-hued oversized coats. The effect nodded to the odd style rituals we’ve picked up in the post pandemic world, like the Zoom meetings attended in smarts and slacks or evening wear paired with indoors shoes. Silhouettes were simultaneously concealing and revealing, swathed or stood away from the frame, like XL MA-1 bomber jackets (a Simons favourite) imagined in fuschia leather and all-in-ones swathed in retro patterns. ‘Juxtaposition of colour, juxtaposition of softness and hardness, to express the reality of the world,' Simons explained of the collection, as part of a Q+A after the show's live stream, featuring questions from students around the world.

Fendi

Creative director Silvia Venturini Fendi turned techno queen for A/W 2021, not only designing the brand’s menswear offering, but creating the vocals for its soundtrack too. ‘Hello, it’s Silvia. I just wanted to tell you about normality. What is normal today?’ she said at the opening to Fendi’s runway film-come-music-video, which featured models striding through a mirrored tunnel, illuminated with neon tubing, designed by Bureau Betak. The chromatic collection was a nod to the new silhouettes that suit our at-home, comfort-focused lives, from robe coats to quilted silk  boxing shorts, cable knit salopettes to suits with piped pyjama hemlines. An unexpected artistic collaboration came courtesy of Noel Fielding, who created scribbled dreamscapes, which were emblazoned across outerwear and knitwear.

Martine Rose

Peering from our windows across urban streets, where its inhabitants are largely confined indoors, we’ve gained new insights into our neighbours lives, like their home workout rituals, their morning routines or what time they walk their dog. This intimate sense of voyeruism was reflected in Martine Rose's A/W 2021 offering ‘What We Do All Day’, which was presented as part of an interactive digital presentation, allowing viewers to access a simulated housing block from their screens, before sneaking Through the Keyhole-style into its different apartments. Viewers were treated to a series of domesticated films, watching Martine Rose-clad home-goers across the globe, from Nairobi to Toronto, enact their every day routines. The virtual tour was created in collaboration with experience studio International Magic – who recently worked on an AR project with Judy Chicago. The most famous guest in the housing block? Drake, tuning in from a recording studio in Toronto, clad in Martine Rose football shirt.

MSGM

Struggling to adapt to the shifts in today’s new normal has been dizzying, a feeling that the Italian label’s founder Massimo Giorgetti has so identified with, he titled his autumn offering ‘Vertigine’. Giorgetti was searching for something steadying as inspiration, settling on the peace and reassurance he takes from snow-topped landscapes. His collection of Nineties-inspired alpine wear features jacquard fleece gilets, lug-soled boots, cornflower blue puffer jackets and check cargo shorts, styled alongside bowling shirts and jackets with retro ski resort-centric prints, inspired by 1930s postcards from Chamonix, St Moritz and Courmayeur. Giorgetti also mined his archive for inspiration, reinterpreting a motif into a ‘trees on acid' print, inspired by the feeling of lying on the ground and staring into a tree-filled sky.

Ermenegildo Zegna

‘We all are experiencing a new reality concerned with new needs, which lead us to previously unseen lifestyles and attitudes. It is precisely at a time like this, when everything is under discussion, that we, at Zegna, have decided to (Re)set,’ said the Italian label’s artistic director Alessandro Sartori. In a film directed by Mattia Benetti, models strode through different rooms of a luxurious, caramel-toned home – passing others playing chess, eating pasta, or reading the newspaper - clad in Sartori’s organically-hued take on indoors dressing. Cashmere suits were slouchy with robe-inspired jackets, shirts were swapped for shawl collared sweaters and slippers were crafted from hand-cut jersey. Zegna's ‘wfh' look is infinitely comfortable and luxurious, two essential tenets for the contemporary man's wardrobe. 

Tod's

For A/W 2021, creative director Walter Chiapponi took viewers to the Villa Ronchi in Vigevano, designed by Giuseppe De Finetti in 1936, for a film starring young actor Lorenzo Zurzolo, who we meet spending seven days alone learning lines for a script. Familiar themes for today, Zurzolo muses on the notion of time and the experience of isolation during his stay, musing on the ‘parallel reality' he finds himself in. As part of the film, viewers witness Zurzolo assessing different outfits in a three-part mirror, which reflect Chiapponi's take on today's relaxed yet sophisticated mood. Cue quilted jackets and overcoats, college sweatshirts and cardigans, all imagined in a subtly retro colour palette of greys and greens. The hero accessory of the collection? An XL ‘T’ logo shoulder bag for stowing all your shopping.

Woolrich

‘Functionality, comfort, versatility’ - three words that represent not only the brand DNA of the American outerwear label, but also the essentials of our clothing. Woolrich's A/W 2021 collection ticked all of our dressing boxes, with the brand presenting the three elements of its collection, ‘charming versatility’, ‘authentic comfort’ and ‘iconic performance’ in a cinematic film, which saw technicolour models juxtaposed against grayscale urban and rural landscapes. To encourage optimism, we'll be opting for pieces in purple, olive and burnt orange, which are rain-resistant, windproof and modular in their design. 

Sunnei

Brands from Balenciaga to Gucci have got their game faces on it recent weeks, celebrating collection launches through their own interactive gaming landscape or through platforms including Pokémon Go. For A/W 2021, Sunnei got in on the arcade-inspired action, inviting fans to feast their eyes on its latest offering through a gaming format. Here, players were able to select their chosen avatar and runway look before entering a combat situation, which required throwing rubber dipped hoop earrings at their opponent. The gaming platform taps into the interactive element behind Sunnei’s offering: ‘Sunnei Canvas' allows buyers worldwide to adjust their orders through a digital platform, such as altering the shape, material and colour of the brand's Dreamy Shoes.

Hed Mayner

The designer - who spends his time between Paris and Tel Aviv - celebrated the performance of getting dressed, something many of us have lost touch with over the last twelve months. So, silhouettes were exaggerated and oversized, like Judo seam trousers that ruch at the ankle, double breasted jackets with large lapels and rounded shoulders and suits with dropped shoulders. For spring, Mayner's ‘supple architecture’  imagined in butter, rust, ivory and copper and places focus on the tactility of fabrics, including tweed, cashmere and English cloth. Standout pieces include tabards deconstructed into open front ponchos and slouchy leather boots that beckon to be tucked into with a trouser.

JW Anderson

The London-based brand tapped Juergen Teller to shoot the images for its A/W 2021 menswear and Pre-Fall 2021 womenswear collection. Shooting in Teller’s studio last month, the photographer has transformed models, including actress and singer Sophie Okonedo into living sculptures, sporting exuberant and oversized silhouettes, including architectural trousers with XL side panels, long mohair tunics which tie at the waist and dresses with leg of mutton sleeves. Inspired by Dutch still life paintings, vegetables including carrots and butternut squashes are printed onto hoodies and shearling bodices are dyed bold hues by hair stylist Anthony Turner. Like the uplifting and immediately collectors' item printed matter Jonathan Anderson created last season to accompany his spring collections, the designer created a poster book of Teller’s images, produced in collaboration with OK-RM, annotated by Teller himself with confusing conceptual effect, and posted it to global guests in cardboard triangular mailing tubes .

Homme Plissé Issey Miyake

Issey Miyake attracts loyal fashion fans, who once they’ve felt the soft folds of its signature silhouettes, opt to wear nothing else. For Homme Plissé Issey Miyake's A/W 2021 collection, the Japanese label celebrated its signature fabrics and shapes, whilst positing on how to launch them into the future. In a film directed by Kyotaro Hayashim, models moved to the rhythm of the brand’s mythic pleating machines, sporting slouchy pieces in newly developed fabrics. This included trousers pleated using a fabric woven with yarn-dyed polyester which resembles the texture of tweed, printed cagoules inspired by the shapes of hand woven baskets, relaxed jewel tone pleated suits in raspberry and cerulean and shapes formed from the brand's signature pleated polyester, but in 100% recycled form.

Rick Owens

Owens chose a poignant reference to reflect the purgatorial state the world finds itself in - the Garden of Gethsemane, where Jesus prayed the night before the crucifixion. The designer always errs on the apocalyptic, peppering his collections with Biblical and pagan overtones, and his A/W 2021 silhouettes were shaped to protect its wearers from the end of days, featuring skinny ribbed knitwear with oddly shaped holes, cropped puffer jackets and religious robes reimagined as recycled cashmere sweaters and leather leggings. The collection was severe and seductive, revealing and rebellious. The most devilish of details? Models strode in tighty wighty briefs with 5 point pentagram-detail flys, paired with thigh high cow hide over-the-knee boots. He described the combination as reflecting ‘unhinged male energy.' Sound familiar?

Louis Vuitton

Pioneer of democratization and diversity, Virgil Abloh has worked to change the stereotypical image of the fashion designer - white, bourgeois and working from an ivory tower. For Vuitton’s A/W 2021 collection, Abloh was fascinated by archetypal characters, like the ‘drifter’ and the ‘architect’, and how we shape meaning and impression from the dress codes associated with them. In a runway film-come-music video, directed by Josh Johnson, models strode in an indistinguishable setting, resembling an airport lounge or art gallery, clad in thickly grained green marble, sporting styles that satirized definition, like hoodies and denim overlaid with tartan drapes formed from Ghanian Kente cloth, and trompe l’oeil jackets that resembled architectural models of Paris and New York.  

The collection asked viewers to free themselves from definition and restriction, and Abloh drew on James Baldwin’s 1953 essay Stranger in the Village, which focuses on the parallels between Baldwin’s experiences as an African-American man in a Swiss village and his life in America. Saul Williams and Yasiin Bey (Mos Def) both provided spoken word overtures as part of the performance. ‘Take down the walls. Deconstruct the narrative,' Williams commanded.

Dior

Kaws, Raymond Pettibon, Hajime Sorayama, Daniel Arsham, Amoako Boafo: a whole host of artists have worked with Kim Jones to bring his street-smart yet haute couture technique-celebrating vision to Dior. For A/W 2021, Jones teamed up with famed Scotland-born figurative painter Peter Doig, whose artworks were transposed onto the maison’s collection, and pieces balanced the pomp of ceremonial attire with a contemporary mood. Militaristic frock coats were reworked with star motif buttons and paired with side stripe detail trousers and wellingtons, painterly jacquard camo cagoules and cargo pants were teamed with snow boots and bowler hats, and thick ribbed jumpers were pinned with twinkling brooches resembling military medals of honour. The look was luxurious yet laid back, flamboyant but with Jones' signature sporty flair, with painterly pieces imagined in Doig-esque tones, like vibrant orange and lemon yellow and moodier purples and greens.

Paul Smith

Unable to visit museums or exhibitions, Smith thought back to the subcultures that have passed him by over the last half decade of his career. His A/W 2021 collection moves through mod, skin head and punk and nods to Northern Soul, featuring an array of relaxed and refined silhouettes, from sharp four button suits in tartan flannel to ankle skimming trousers, painterly floral print overcoats to striped knitwear. Smith thought back to Northern Soul obsessives, who after a night dancing came to his Nottingham store the next morning, testing out the movability of floral Hawaiian print shirts by doing backflips. ‘I used to import boxes of Hawaiian shirts from America,' he says. ‘Usually 20 were good and 30 went straight in the bin.' The other references he drew on? Sharp double-breasted blazers or a ‘posh person's jacket,' paisley print denim jeans and jackets inspired by 'uniform dressing for a night out'  and the louche lockdown wardrobe of someone popping from home to the shops - silk pyjamas with a merlot pea coat popped on top.

Lemaire

There’s always been a luxe practicality behind the Parisian label’s aesthetic, which focuses on expertly crafted designs for everyday living. These tenets resonate today more than ever, and its founders Sarah-Linh Tran and Christophe Lemaire, described the brand's A/W 2021 offering as ‘concise' and ‘essential'. In a film which saw models including composer Jaakko Eino Kalevi and electronic DJ and producer Elena Hauff stroll round a darkened space, models walked in pared-back city essentials in organic hues, that touched on oversized Eighties suiting and utilitarian silhouettes, which could be layered and paired together in versatile ways. There were degradé trench coats, soft puffer jackets and loose tailoring, soft cardigans and multi-pocket waistcoats. Pops of colour emerged in pillar box red suits, and accessories slouched and curved around the body, like oversized cross body shoulder bags and backpacks.

Hermès

One of the benefits of brand’s presenting their shows digitally, is that away from physical runways, luxury houses have approached presentation with a more relaxed ease. At Paul Smith, models smiled to the camera and at Martine Rose, we saw them carrying out everyday domestic activities. At Hermès, menswear designer Véronique Nichanian teamed up with fellow Parisian Cyril Teste of Collective MXM on a live digital performance featuring seven split screens, allowing its audience to focus on different perspectives, as models talked and mingled on the stairs of the Mobilier National. For autumn, the mood was luxurious and laid back, and silhouettes were imagined in a spectrum of rich hues from mustard to petrol blue, lime green to raspberry. Models strode in ribbed knitwear and tactile jogging bottoms, untucked shirts and workman's jackets, all imagined in the brand's signature sumptuous fabrications, from cashmere canvas to calfskin.

Jil Sander

Unsurprisingly the home has featured as a domestic setting for many of A/W 2021’s presentations and films. For Sander’s autumn offering Lucie and Luke Meier, transported its audience to the dilapidated interior of Château de Franconville in France, with peeling walls and crumbling ceilings, in a film shot by Stephen Kidd. The tactility of the setting reflected the textural layers in the collection,  alongside funnel neck pea coats, zip-detail suiting and tartan mohair jackets, featured chunky knit sweaters and silver jewellery. The latter formed a protective layer, with circular beaded necklaces stacked over roll necks and outerwear. Even more reinforcing were the laced wellington boots in sorbet shades, layered on top of trousers.

Ernest W. Baker

In a film inspired by dream sequences, and drawing on the surrealist tropes of Wim Wenders and David Lynch, Inês Amorim & Reid Baker presented their A/W 2021 offering through using distorted filmic landscapes. The label, which has a foundation in tailoring, looked to break free from its own signature silhouettes, responding to today’s need for more relaxed shapes. There was a retro riff on pieces including Western jackets and tartan flares, robe-inspired coats and crochet scarves. Amorim and Baker both live in Portugal, in close proximity to where their collections are produced, but studied in Milan together: velour cheetah print pyjamas and coats nodded to the sartorial choices of old Milanese women they spotted out on the street. For autumn, the brand has also launched a series of organic cotton t-shirts, printed with its signature rose motifs, and evolved its cowboy boot range, in shades of silver and with bourgeoise quilted detailing.

Phipps

‘We started looking at ice, and then the explorer Ernest Shackleton, whose boat got stuck the ice in the Antarctic for like two years,’ says designer Spencer Phipps of the starting point for his A/W 2021 collection. ‘I thought that was a pretty great metaphor for where we are at right now!’ For autumn, the eco-minded designer created an impressively well produced, shot on the Skaftafellsjökull glacier, which was presented as a trailer for a feature film titled ‘Endurance,' which documents the threat of earth's extinction. The clothing suited to his supporting actors? Items that mashed up different clothing archetypes, like overcoats beloved of metal heads, retro Nordic knits in recycled cashmere and Seventies skiwear like long johns and onesies. Up clothes, clothing had a twisted edge, like cute band tees with glitter pink typography, emblazoned with the phrase ‘Save the fucking wales'. ‘Very tongue-in-cheek but totally earnest too,' Phipps says. 

Dolce & Gabbana

Lockdown has allowed designers to focus on trends which are not only emerging on catwalks, but on social media, including Tik Tok - think e-boys, e-girls, cottage core, grandma core. There were elements of these subcultures present at Dolce & Gabbana's A/W 2021 runway show, which in a democratic move, was live streamed not only on the brand's own digital channels, but through online retailer Farfetch too. This was a show that reveled in ostentation and exuberance, featuring clothing that would look stupendous through a screen: glitchy Technicolour knits, oversized metallic puffer jackets, shaggy fake fur robe coats and glittering paint-splattered denim. The brand also placed focus on its tailoring heritage, showcased patchwork pinstripe suits, paired with fluffy slippers and moon boots. We expect these items to be replicated on a Tik Tok Challenge any time soon.

Kiko Kostadinov

For Kostadinov’s A/W 2021 collection, the designer didn’t only take 30 traditional catwalk images of his offering (a classic way to distribute collections to media outlets), but also offered a further 60 silhouettes through a ‘Projection’ window on his eponymous website. The decision is a reflection of the collection as a whole – one that defies parameters or linear evolution, and has silhouettes which are open to interpretation. For autumn, Kostadinov looked to two texts, Christopher Priest’s ‘A Dream of Wessex’ (1977), which delves into a future trapped within virtual reality, and Patience Grey’s Honey From A Weed (1986), which charts the author’s culinary adventures of foraging across the Mediterranean.  What evolved was an offering in hothouse and coastal shades, featuring spliced jackets in bourgeois French tweeds, gardening aprons, V-neck knits and utilitarian trousers. Hybrid floral silks swathed sarong skirts and suiting and uniform silhouettes were layered to striking effect.

Over the last month, we’ve transitioned to viewing the world from a smaller viewfinder. As the perspective of our new parameters has shifted, so we’ve found uplift in everyday domestic details or striking beauty in the natural world, now seen largely through our windows. As fashion designers have acclimatised to this new, four wall-defined way of life, from Beijing to Berlin, London to Longiano, we’ve invited those within our creative community to document by hand what they can see from their work desk or window. Here we present our rooms with a view.

Manolo Blahnik, Bath

‘The sky was blue almost Mediterranean,’ says the footwear behemoth of the lush garden view from his bedroom window.

Maria Grazia Chiuri, womenswear artistic director Dior, Rome

A unifying Italian flag hangs from the window of Chiuri's home in Italy's capital.

Michael Halpern, London

Jars of citrus fruits and bowls of fiery chillis sit on the colour-inclined womenswear designer's work desk.

Margaret Howell, Suffolk

‘One drawing is my sheep’s trough with planted tall, reed grass. The other is my hazelnut tree, which planted itself by seed many years ago. I drew this just as it’s new leaves are coming out. At least nature is carrying on as normal' – MH.

Bryan Conway, design director Tiger of Sweden, Stockholm

Titled ‘Spring in Sweden,' Conway's sketch offers a tree-lined street scene in the country's capital.

Marco de Vincenzo, Rome

From his window, the womenswear designer can see the splendid baroque architecture of Rome.

Massimo Giorgetti, founder MSGM, Milan

Plant-festooned balconies greet Giorgetti as he looks across Milan from his apartment.

Eudon Choi, London

From the view of his kitchen table, the womenswear designer sees a selection of sculptures and stacks of his husband's copies of Wallpaper*.

Karl Templer, artistic director Ports 1961, London

A green garden view greets the artistic director from his work desk in London.

Pierre Hardy, Paris

The window view through the accessories and jewellery aficionados wood panelled apartment reveals the splendour of the River Seine.

Thom Browne, New York

The designer presents an abstract view from his Central Park West location.

Petar Petrov, Vienna

Mannequins and a cutting table make up the designer's view across his mid-century apartment and live-in studio.

Isabel Marant, Paris

Natural beauty greets the progenitor of Parisian chic from her window.

Samuel Ross, founder A-Cold-Wall*, London

The boundary-pushing menswear designer shares a domestic scene from the London-based home he shares with his family.

Maria Skappel-Holzweiler, head of design Holzweiler, Oslo

For the head of design of the family run, Norwegian brand, respite comes in watching her children painting Easter eggs, outside in a pergola.

Sean Suen, Beijing

The menswear designer, who has been on lockdown since late January, shares a domestic scene in pencil and coloured wax crayon.

Lorraine Acornley, creative director Begg & Co, Hertfordshire

Quick daily observational sketches of a plant pot on Acornley's desk, ‘explore line and materials'.

Giuseppe Zanotti, Longiano

The Italian footwear behemoth is currently residing in his home in Longiano, Emilia-Romagna, a short distance from the brand's factory.

Daniel Rosenberry, artistic director Schiaparelli, New York 

‘My window, my desk, my things and me' – DR.

Tammy Kane, co-founder and creative director Christopher Kane, London

A view of nature across a conservatory has been imagined using oil on canvas and oil crayon.

Albert Kriemler, creative director Akris, St Gallen

Lines from First Suprematist Standing Poem (1965), by writer, visual artist and gardener Ian Hamilton Finlay, greet Kriemler.

Giuseppe Marretta, menswear design director, Pringle of Scotland, London

Exhibition posters and verdant plant life offer visual distraction for the menswear designer.

MM6 design collective, MM6, Paris

The eclectic collective serve up a symbolic sketch inspired by the inversion of social structures. ‘Even so, we are still singing,' they add.

Cecilie Bahnsen, Copenhagen

A huge Scots pine tree stands outside Bahnsen's window in the Danish capital.

Erdem Moralıoğlu, London

A sketch of rooftops from Moralıoğlu's window sits amongst ready-to-wear illustrations and swatches of fabric.

Alessandro Sartori, artistic director Ermenegildo Zegna, Milan

An abstract artwork, cosy chair and Cire Trudon candles all make up Sartori's domestic set up.

Roksanda Ilinčić, London

Linck Ceramics vases – from a curated Matchesfashion collection with Wallpaper's Picky Nicky – stand next to a window plastered with a community-focused NHS poster. 

Molly Molloy, co-founder Colville, Milan

‘I look out on to a courtyard of bright yellow apartments and have a balcony full of tropical plants. When the sun is out I have the windows open, you can hear the clattering of plates at lunch time and the smell of amazing Italian dishes cooking.' – MM

Ramesh Nair, artistic director Moynat, Paris

Stacks of artist monographs and a feline friend sit on Nair's busy work desk.

Feng Chen Wang, Shanghai

Shanghai's built up skyline forms the backdrop to the menswear designer's studio space.

Gherardo Felloni, creative director Roger Vivier, Isola del Giglio 

A burnt sun setting over the ocean greets the footwear designer from his island home.

Alexandre Mattiussi, founder AMI, Paris

A window view completely free of buildings offers the natural gift of a clear blue sky.

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

marie-noelle-perriau-deco.com
patriciaschwoerer.com

Scene setting: The venue for Massimo Giorgetti’s A/W 20 presentation had a beaming red light sculpture in the middle of the polished concrete floor. Machines churned ribbons of smoke around the pools of light. The mood was dark and perverse. The collection was made in collaboration with iconic film director Dario Argento and, on Instagram, the brand had shared snippets of Italo horror from the 1970s. Naturally the runway was bathed in blood red. ‘I am obsessed with Dario,’ Giorgetti said. ‘The collection is inspired by his masterpieces and also his whole way of being.’ The back of jackets and the front of T-shirts told the same story: ‘Fairytales are full of terrifying things.’

Mood board: The invitation – a thick red card with lime green core and an illustration of the smashed doll face from Argento’s 1975 film Deep Red – came to life via a VR app. Hovering the camera over the card, a panicked slideshow of campy horror glamour flashed up on the screen. Giorgetti paid homage to his hero using his archive of poster prints on shirts and t-shirts. Tailoring was cut sharply with added buckle detailing. Black denim was dyed with red as if bloodstained – kitsch iconography of monsters and cats leapt out. The  collection was entitled ‘Haunted’, but every look held optimistic energy.

Sound bite: ‘Dario once said “we are two. My dark side and I” and I totally believe this.  We worked together on the prints, the lighting and I’m really proud because it’s like coming back to school – he is an idol from when I was a teenager,’ Giorgetti said. The collection used a colour palette lifted from Argento’s classics: Deep Red, The Cat o' Nine Tails and Suspiria. ‘Dario loves colours, he loves beauty. He is quiet and calm. For this collection some looks are very chic, classic but I thought, it’s okay, it could be very MSGM. This is a new side of MSGM evolving after ten years. It is a new decade after all.’

Scene setting: Celebrating his brand’s tenth anniversary this year, Massimo Giorgetti has made his multicoloured and effusive mark on the Milan fashion scene. Just this week he opened a new flagship on the city’s Via Broletto, and for his decade-celebrating show, installed a neon runway for the first time in fashion history in the outdoor Girgio de Chirico space of the Triennale, surrounded by the surrealist sculptor’s Bagni Misteriosi works.

Mood board: Giorgetti described his collection as a ‘love letter to the first ten years of MSGM’. This was a bold, joyful offering packed with all the brand’s signatures, from lace to tweed, exaggerated details to bold graphic prints. Models sashayed down the catwalk in exaggerated check tweed coats, paired with pussy bow blouses and silly string-like raffia sliders, bold taffeta dresses and blouses with voluminous ruffles, leg of mutton sleeve blazers and crochet tank tops. ‘This is not a retrospective, we have looked inside to push forwards,’ Giorgetti said. Here’s to the next decade.

Team work: S/S 2020 also nodded to the figurative, acrylic on canvas paintings of New York based artist Todd Bienvenu. His bold beachside paintings of sunbathers reflected in the lenses of aviators, or women relaxing on beach towels, were splashed in panels across tailored blazers and coats, and featured in bold prints on tote bags.

Mood board: The spirit of Milan is essential to founder Massimo Giorgetti. When the designer opened his first store in London last year, Milanese design classics populated the space, and foulard silk silhouettes were emblazoned with prints of pillars of Milanese restaurant culture, including Bar Basso and Jamaica café. Backstage, after MSGM’s A/W 2019 show, moodboards were pasted with images of Flash Art a bimonthly magazine and publishing platform dedicated to contemporary art, which was founded in Rome in 1967, but has been Milan based since 1971. Its typography was just one element of a multi-reference collection, which featured punchy Flash Art graphics emblazoned on shirts, romantic heart prints, biker denim, grungy checkerboard knits and David Byrne proportion suiting.

Best in show: A leather bustier dress had an oversized silhouette, and was paired with sporty compression tights and spiky heels. A classic wool coat in beige had a swathing scarf detail.

Finishing touches: Prada, Bottega Veneta and Tod’s have all demonstrated that a chunky boot will bolster your A/W 2019 wardrobe. MSGM’s take featured a stacked platform and zips. 

For MSGM’s A/W 2018 women’s collection, founder Massimo Giorgetti celebrated his brand’s home city of Milan, with exuberant foulard silk shirts, fluffy knitwear and football scarves emblazoned with names of its eating and drinking landmarks, like Bar Basso and Jamaica café. The spirit of Italy is also integral to the interior design of the brand’s first London flagship, a two-floor 185 sq m space in South Kensington, housing MSGM’s bold and pattern-popping men’s and women’s collections.

Fortuitously, when Giorgetti began conceiving the space – with the support of ML Architecture – a site visit showed that many of its desired elements were already in place. The space boasts raw cement ceilings with exposed beams, weathered over time. ‘Everything was already perfect’ Giorgetti says. These surfaces have been offset against flooring and fixtures in bold Venetian terrazzo, in a patina of primary colour emblematic of the label. ‘This is the first time we’ve used this kind of stone,’ he adds of the design concept of the boutique, which brings MSGM's monobrand global store count to over 30.

There is a futuristic flair to the space, which features walls lined with semi-reflective insulating aluminium and mirrored steel. The women’s ground floor and men’s basement space are connected by a lift surrounded by dehydrated maintenance-free plants, conceived by plant artist Satoshi Kawamoto. In a nod to Italian design, colourful seating comes courtesy of Elettra chairs by studio BBPR for Artflex and D 70 sofas designed by Osvaldo Borsani for Tecno.

Giorgetti’s collections are made up of contrasts, like a flourish of romanticism amongst streetwear silhouettes, or elegance within raw urbanity. Downstairs, the sleek terrazzo flooring is juxaposted against unfinished Aquaroc walls, which are stamped with the date of the store’s opening. The imprint is a marker of the bricks-and-mortar meeting between the Italian label and the UK, which was one of the first markets to embrace MSGM when it launched in 2009. ‘It’s the beginning of a new story,’ Giorgetti says. We’re sure it will be a real page-turner.

INFORMATION

For more information, visit the MSGM website

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Scene setting: We’ve had a leafy green house setting in an old panettone factory at Jil Sander, and surfs-up inspired collections at Etro and Sportmax: Milan Fashion Week is definitely getting back to nature. But there was something more weird and wonderful going on at MSGM’s S/S 2019 show. The cavernous warehouse set was interspersed with verdant flowerbeds brimming with plants and shrubs. Illuminated by bright studio lighting, the greenery had eerie and interstellar overtones, as if housed on an allotment on an alien planet.

Mood board: This was a collection divided into commercially savvy sections – something for everyone who taps into Massimo Giorgetti’s colour and print-focused line of clothes. There was a section of clingy jersey dresses in bright shades of pink, purple, red and black, an injection of radioactive floral prints, tie dye tailoring, festival-ready acid wash denim and a host of bright ostrich feather mini dresses. Multi-coloured, multifaceted and oh so MSGM.

Finishing touches: Giorgetti upped his accessory game with footwear with real influencer appeal. Think coloured plastic cowboy boots, 1990s-style thick sole trainers and frothy feather detail stilettos.

Mood board: With his label, designer Massimo Giorgetti has created a look that perches on the forward slash between street/sportswear. Last season he cast a fresh line-up of undergraduates for a collegiate cool collection staged at the Università Statale – S/S 2019 takes on a more active mood. Entitled GAME, the show space was a sports court with piles of striped MSGM volleyballs in the middle of the catwalk. The invitation was a plastic sports water bottle with a printed silk scarf, knotted around the neck. The mood was again youthful and reflective as Giorgetti explored his formative experiences and memories of growing up in the sea-facing city of Rimini on the Adriatic coast. Known for its nightlife, the clothes had a beach bum meets club kid feel. The oomph of Italian New Wave, and coastal pursuits met with a more street-smart Milanese sensibility.

Best in show: ‘It’s all of the things I really love, just maybe with more courage,’ Giorgetti said backstage. Bringing the two cities of Rimini and Milan together, the clothes riffed on sportswear staples like Bermuda shorts, short sleeved boxy shirts, velvet beachwear and deck-chair stripe denim. Faded fluros, sun-bleached cottons and punchy prints of graphic palm trees and tie-dye knits gave the collection a bright laissez-faire. Silk shirts are printed with mock multivitamin graphics reminiscent of Damien Hirst’s ‘The Last Supper’ series from 1999; volley ball tops are emblazoned with the words ‘ENERGY’ and ‘CHARGE’. Neon nylon shirts are supercharged and resort ready.

Team work: Japan’s most loved volleyball players, Mila & Shiro from the 1984 Japanese manga series created by Jun Makimura and Shizuo Koizumi ‘Attacker You!’ are printed onto the front of t-shirts and hoodies. Giorgetti collaborated with American swimwear brand Sundek, showing pairs of swim shorts with primary punch. Archival images by the American photographer Roger Minick are here too; Minick is best known for his ongoing series ‘Sightseer’ which he started in 1979 by taking portraits of tourists in National Parks in the US. His picture of a couple wearing matching graphic floral shirts, taken at Crater Lake National Park in Oregon in 1980, is printed across a jersey sweatshirt and silk scarf, worn tied over the head.

Scene setting: The brand presented its A/W 2018 collection in a circular ballroom of the Piazza San Fedele. Guests were seated in concentric circles which evoked the patterning of the ceiling above, and as the show started the models weaved around the space in a curving formation.

Mood board: Last week saw the opening of ‘Italiana: Italy Through the Lens of Fashion 1971–2001’, an exhibition at the Palazzo Reale celebrating Milanese fashion. The city is in the mood to celebrate its history, and for A/W 2018, MSGM Massimo Giorgetti was too. Foulard silk scarves (which are becoming an accessories signature of the season) and shirts were emblazoned with ‘Milano’ slogans, while the back of fur coats also boasted the phrase ‘Milano! Milano! Milano!’

. Elsewhere football scarves and mohair jumpers featured the names of famous landmarks of the city, like Bar Basso, the birthplace of the Negroni, and a famed fashion week haunt.

Best in show: Amongst the retro sportswear, denim and patent tailoring, those foulard silk pieces were a real standout (they also popped up on the Ferragamo and Cavalli runways). Colourful and eye-catching, shirts and full skirts came with chain link motifs and feline forms, but most alluring were the typographic slogan styles that nodded to Italian futurism.

Mood board: Massimo Giorgetti isn’t a designer with a highfalutin, high-definition agenda for men’s clothing. As the label approaches its tenth year, the designer chose to recall the daring innocence and beauty of youth for his A/W 2018 show. The perky collection was modelled by a group of handsome undergraduates and staged at the Università Statale. The clothes continued a running leitmotif for the season centred around a teenage revolt; both Dondup and Tommy Hilfiger also riffed off a varsity theme. The boys descended the staircase in the window-lined hall wearing clothes that blended bookish sportswear with grown-up tailoring. 

Best in show: puffer jackets and tailored coats were spliced with college patches. Graffiti tags found in schools and colleges across Milan were splashed across tees and used as embroidered badges on workwear. There were new propositions for tracksuits: one in bubble-gum pink jumbo-cord and a silk shirt tucked into a stonewashed, elasticated denim jogger (part of the brand's jean collection) It was A-grade collegiate casual.

Team work: the brand first collaborated with the American accessories giant Eastpak in 2014. As part of the fourth edition of Eastpak Artist Studio, Giorgetti designed an embellished white sequin backpack, depicting a young girl applying make-up. He has a preoccupation with dewy joie de vivre and energetic elegance. For A/W 2018, classic Eastpak bumbags and hold-alls are embroidered, others are made in a graffiti floral print. 

INFORMATION

For more information, visit Roos Quakernaat's website

Left, coat, €1,365, by Dirk Bikkembergs. Jumper, £350; trousers, £295, both by Coach. Shoes, £2,092, by Raf Simons. Socks (worn throughout), £15, by Falke. Right, jacket, £760; roll-neck, £135, both by Paul Smith. Trousers, £295, by Coach. Belt, £230, by Marni. Shoes, £710, by Prada. Fashion: Jason Hughes. As originally featured in the September 2017 issue of Wallpaper* (W*222)

At just 23, Anders Hayward has already fit three careers under his beautifully buckled belt. Among his many talents, the dancer, model and experimental choreographer has the rare ability to turn a hectic fashion shoot into a carefully orchestrated waltz.

For our September 2017 Style Special, we tapped Hayward to direct the movement for a menswear fashion shoot photographed by Liam Warwick, in which we celebrate clashing checks and plucky plaids. Creating a sense of movement beneath all these juxtaposing Prada, Calvin Klein and Salvatore Ferragamo patterns was essential. ‘During the styling process, I chose thematic movements that I felt would suit the clothes,’ Hayward explains, ‘I’m interested in designers that create clothes for characters – I enjoy creating fashion narratives.’

Game to become the leading men were our models, Georges Labbat and Baptiste Faure – despite their differing levels of dance experience. Labbat was the perfect match for Hayward, having trained in Belgium under intensely musical choreographer Anne Teresa de Keersmaeker. But Anders enjoys the surprise and (sometimes inelegant) quirks that come from working with models with minimal formal dance training, like Faure. ‘It’s great to see a model who has never really been choreographed before come out with some really interesting, organic movement. On the other side I love pushing more experienced dancers, like Labbat, to move in ways that they’re not necessarily familiar with.’

Hayward also grappled with a sculptural set and an eclectic mix of refined furniture – including pieces from Aram, B&B Italia and Rodolfo Dordoni. ‘I had sketches and blueprints of what the space was going to look like before, so I had a few ideas in mind – especially for the image with the two boys in the circle,’ says Hayward. ‘We found that it worked best if they were constantly moving. When the two were in constant flow, I could just tweak a hand movement, a shoe placement, or the flourish of a lapel.’

Though we’re only treated to the static, freeze-framed result, the arching backs, awkward necks and stretching fingers of each model capture Hayward’s momentum-filled choreography – while proving one can do impressive backbends in a tailored Fendi suit.

Left, coat, £1,560; top, £780; trousers, £620, all by Calvin Klein 205W39NCY. Right, coat, £1,825; trousers (part of suit), price on request, both by Salvatore Ferragamo. Roll-neck, £155, by John Smedley. Belt, £310; shoes, £710, both by Prada. ‘Pollock’ armchair, £1,755, by Charles Pollock, for Knoll, from The Conran Shop. ‘Cesar’ side table, £808, by Rodolfo Dordoni, for Minotti

Mood board: From the Queen of England to the skate film Lords of Dogtown, MSGM’s Massimo Giorgetti uses an eclectic range of influences for inspiration, and for his A/W 2017 women’s collection, the designer delved into David Lynch’s Twin Peaks. Evoking the graphic carpet of the surrealist ‘Red Room’ scenes in the 1990 television series, models strode a black and white striped diagonal runway while colours and prints in the collection threw up a cacophony of references to the show. Shadowy pine forest prints on knits and dresses echoed the eerie woodland scene of its opening credits, a red tailored suit reflected the clothing worn by the hallucinatory ‘Man from Another Place’, while hovering bird of prey embellishments echoed Agent Cooper’s sightings of crows, while investigating a murder at the logging town.

Best in show: A series of rose-detail knitted dresses had a retro après-ski appeal, while an oversized pinstripe coat had enduring wardrobe status, Twin Peaks obsessive or not.

Finishing touches: For his A/W 2017 menswear show, Giorgetti wrapped the heads of models in scarves inspired by HRH The Queen, a detail he continued in his womenswear offering, pairing looks ranging from shearling jackets to checkerboard knits with colourful printed headscarves.

Mood board: Like all good inspiration boards, Massimo Giorgetti's was a stark study in great looking contrasts. On one hand you had radical snowboarders and their daredevil moves, and on the other you had elegant equestrians and Queen Elizabeth smiling under her printed silk scarf. The latter segment gave this sporty show the perfect dose of preppyness, including models wearing quilted riding jackets, with their heads wrapped just like her majesty, in a lovely printed silk scarf.

Best in show: This was a terrific outing from Giorgetti, packed with easy to wear basics, like a pair of white quilted track pants and luxurious ribbed camel long johns. We loved the navy corduroy track pant with checkerboard trim, as well as the sleek matte green puffer jackets boasting black and white oversized inserts.

Finishing touches: The preppy look came on fast, furiously and fabulously with flood jeans worn cropped to the ankle. and styled with white ankle socks and loafers. That oh so fifties moment blended unusually with headscarves, and sporty baseball cap and headbands. These athletic accessories were topped off with sweaters created in collaboration with Diadora.

Young British artist Henry Hussey has chain-embroidered, digitally printed and beaded his colourful and provocative textiles onto antique naval flags, duvets and tablecloths. Now, in a new collaboration with MSGM's Massimo Giorgetti, Hussey’s patched and slogan heavy creations also feature in a capsule collection of denim jackets, frayed sweaters and t-shirts.

‘My initial interest in textiles actually came from fashion,’ explains Hussey, whose textured and Swarovski crystal adorned tapestries take inspiration from evocative personal experiences, from fractured paternal relationships to the effects of political instability in Britain. ‘Fashion enables the wearer to project how they view themselves or want to be perceived. Before becoming a fine artist, it was my intention to design fabrics for fashion collections,’ he says.

MSGM's Massimo Giorgetti was drawn to Hussey's strong and irreverent aesthetic and his passion for texture

At Hussey’s 'Reliquaries' exhibition in July last year, shown at Gallery 8 in London, his textile designs took the form of diary-like embroidered texts, sewn onto dip-dyed damask and bleached cotton, and illustrated with snakes, skulls and ancient armour. A literary pastime associated with teenage hood, Hussey’s flame patched and romantically worded designs for MSGM also look to the highs and lows of adolescence. ‘I was reminiscing about my late teens and early twenties,’ he says. ‘They were filled with moments of ecstatic elation and heartbreak, euphoria and intense upheaval. I wanted my experiences of this transitional period to act as a basis for my compositions.’

‘I am deeply moved by the words Hussey uses in his embroidery, his passion for texture and his three dimensionality,’ Giorgetti says of his decision to collaborate with the fledgling artist. Known for its ebullient colour combinations and unusual prints and finishes, MSGM also collaborated with Toilet Paper magazine in 2014, produced by long-time collaborators Maurizio Cattelan and Pierpaolo Ferrari. Eccentric spliced apple and lipstick prints featured on sweatshirts and swimwear, alongside collages of frogs encased in burger buns. ‘The common denominator with our collaborators is their use of irreverence and irony’ Giorgetti explains. ‘Hussey’s strong and sometimes disturbing aesthetic sense is one that to me also echoes the essence of MSGM.’

INFORMATION

For more information, visit the MSGM website and the Henry Hussey website

Mood board: Sleek, sporty and speedy, Massimo Giorgetti's collection for MSGM whizzed by at the tune of technicolor light. Highly functional and yet pumped up with new volumes, this show perfectly gelled quirky proportions, pop color and fresh layering with a wear-it-now attitude.

Best in show: Though Giorgetti showed some accomplished wave-making with his smock dresses on steroids, the most delightful pieces in this show were also the most wearable. He transformed a boring argyle sweater into a covetable must-have vest in bright pink, blue and white and paired it beautifully with a slouchy set of lemon trousers and mannish white shirt.

Finishing touches: Every look came grounded in a pair of no-nonsense running shoes with bright neon colored tops and white soles that kept the models racing around the show and yet fully glued to their ground mission of street cool.

INFORMATION

Photography: Jason Loyd-Evans

If there was ever a high note for live musical fashion performances, the S/S 2016’s womenswear season was it.

The power of a concert, fused with a fashion show, saw Courtney Love take on ‘the machine’ at Philipp Plein’s robotic Milan presentation, while Givenchy’s outdoor New York spectacular was accompanied by a moving line-up of artists paired with instrumentalists from a variety of ethnicities.

Burberry Prorsum’s London show (pictured) featured British singer Alison Moyet and a 32-piece orchestra conducted by Joe Duddell. Then over in Paris, Rick Owens' ‘Cyclops’ presentation featured a live performance by Unkle and Eska Mtungwazi with an arrangement of Jimmy’s Scott’s ‘This Land Is Mine’.

Not that the mix tape has had its day. Quite the contrary, it was especially well represented at Hunter Original where we were transported to Glastonbury via the brand's London Fashion Week show tent. ‘There was definitely a sense of nostalgia to the playlist at our show,’ explained creative director Alasdhair Willis of his festival-ready staging, ‘but it was moulded with current headliner tracks, which I hope took the audience back to a euphoric festival experience of their own.’ His playlist represented the familiar genres of festival music from techno and house, right through to indie guitar: ‘To reflect the many differing festival personalities and celebrating the best of Brit pop and rock from the last 20,’ he added.

Even more personal was Rag & Bone’s original track, 'Villain', composed by friend of the brand, Thom York. The track itself was performed with the accompaniment of twelve members of the Brooklyn Youth Chorus; a collective of talented young singers representing 200 schools citywide. ‘As a New York brand, we were delighted to have members of the Brooklyn Youth Chorus collaborate on the track and it was fitting that it was performed at St. Ann’s Warehouse, an institution which has hosted some historic live performances,’ explained designer Marcus Wainwright.

So without further delay here are our S/S 2016 sound show highlights….

Givenchy
'Calling the Lama From Afar' by singer Lama Gyurme and Jean Philippe Rykiel on piano; 'Where have you been my kid?' by Svetlana Spajic; 'Asmar ellon (The One with the Olive Skin]' by Gaida and Zafer; 'Shalom Aleichem' by singer Rinat Shaham and violinist Jacob Malkin; 'Adharan' by Falguni Shah and harmonium player Gaurav; 'Ave Maria' by singer Faustine de Mones and pianist Jin Jung

Gareth Pugh
'Gimme Shelter (Merry Clayton Vocal)' by The Rolling Stones; 'Silver Screen (Thin White Duke Mix)' by Felix Da Housecat; 'Missy Queen's Gonna die' by Toktok Vs. Soffy O; 'Situation (12" Mix)' by Yazoo; 'Time to Burn' by Storm; 'Bad Girls' by Donna Summer; 'Emerge (The Hacker Remix)' by Fischerspooner; 'Meet Her at the Love Parade' by Da Hool; 'Smalltown Boy (12" Version)' by Bronski Beat; 'No More Tears (Enough is Enough)(extended version)' by Barbra Streisand and Donna Summer

Antonio Marras
'Camomille (duduk)' by Arto Tunçboyacıyan; 'Henry Torgue & Serge Houppin' by Les Racines du Reve; 'Kassidat El Hakka' by Sexwitch; 'Helelyos' by Sexwitch; 'Ha Howa Ha Howa' by Sexwitch; 'Dawn of the Iconoclast' by Dead Can Dance; 'Carnival of Light' by Dead Can Dance

Christopher Kane
'Kin To Coal?' by Vessel; 'Peaches?' by Blawan; 'Strange Dreams' by Untold; 'Sicko' by Rex The Dog; 'My Bro' by Tonetta; 'You Put A Smell On Me' by Matthew Dear; 'Cherchez Pas' by Madleen Kane

Hunter Original
'Electronic Battle Weapon 11' by The Chemical Brothers; 'The Hunter' by Slaves; 'Daydreamer' by Menswear; 'Impossible (Special Request Remix)' by Lion Babe; 'In Bloom' by Hooverphonic; 'Bang That' by Disclosure; '24 Hour Party People' by Happy Mondays

Lacoste
'No Type (Canblaster & Siroj Orchestral Refix)' by Rae Sremmurd; 'Moments In Love (Kid Antoine Remix) 'Art Of Noise; 'Black Rainbow' by Koreless; 'Crisis (Live Dub)' by Jam City; 'No Type (Canblaster & Siroj Orchestral Refix)' by Rae Sremmurd; 'Your Silent Face (New Order Instrumental Cover)' by User X

Louis Vuitton
'Minecraft (Video Game) Teaser'; 'Atari Corporate Tag' by Suzanne Ciani; 'A New Error' by Moderat; 'Flynn Lives (Tron Legacy Original Motion Picture Soundtrack)' by Daft Punk; 'The Grid (Tron Legacy Original Motion Picture Soundtrack)' by Daft Punk; 'Crescendo (Final) (Notre Jour Viendra Original Soundtrack)' by Sebastian

MSGM
'Deceptacon' by Le Tigre; 'Phanta' by Le Tigre; 'Hot Topic' by Le Tigre

Philipp Plein
'Trans Europe Express (Remastered)' by Kraftwerk; 'The Robots (Remastered)' by Kraftwerk; 'The Swell' by Sølyst; 'Sex' by Fukkk Offf; 'The Model (Remastered)' by Kraftwerk; 'Model' by Balanescu Quartet; 'Ingenium' by Baal; 'Krack' by SBCR & Owl Vision

Rag & Bone
Original track 'Villain' by Thom York

Rick Owens
'This Land' by Unkle, performed by Mtungwazi Eska with Connie Bidouzo and Audrey Gbaguidi

Vanessa Seward
Music by Bertrand Burgalat with Christophe Chassol who harmonised Seward's voice alongside German group Donna Regina

Burberry Prorsum
Live performance by British artist Alison Moyet singing ‘All Cried Out’; ‘When I Was Your Girl’; ‘Whispering Your Name’; ‘Only You’ accompanied by a 32-piece orchestra conducted by Joe Duddell

Saint Laurent
Original track 'The Mirror' by Damaged Bug, which was written and recorded in Los Angeles by John Dwyer for Saint Laurent

Public School
Custom soundtrack by Twin Shadow

INFORMATION

Photography: Courtesy of Burberry Prorsum

Pringle of Scotland: In a continuation of the Scottish house's 200th anniversary celebrations, Michael Clark Company dancers performed live to an intimate crowd at Corso Como wearing heritage Pringle of Scotland knitwear from as early as 1915, combined with the brand's new S/S16 knitwear pieces

Brioni: This season Brioni drew inspiration from architect Carlo Scarpa, whose work was sensitive to the changes of time, seasons and history. Models breezed in and out of a concrete structure in elegant steel grey suits worn with parkas made from high-tech parachute-thin Japanese nylon that billowed with movement

Piquadro: The Italian accessory brand focused on remodelling the backpack this season. The graphics of a 'motherboard', a symbol of modern technology and the Eighties' idea of the future, was reworked to camouflage effect in brilliant colours

Diesel Black Gold: The denim titan pushed outerwear into a realm that was quite simply out-of-this-world for S/S 2016.

Salvatore Ferragamo: One of our favourite design gallerists, Claudio Loria of Leclettico, designed the brand's jungle-inspired S/S 2016 set, packed with real plants and design pieces from Gabriella Crespi, for Ferragamo this season

Bally: The Bally man took to the mountains this season in a collection inspired by the great outdoors. Jackets came with multi pockets while hiking boots and a Swiss Army inspired backpack were given a luxe overhaul in python skin

MSGM: Swedish artist Anton Alvarez of graffiti 'Yarn Bombing' fame inspired in a new era of knitting at MSGM.

Sportmax: During men's week in Milan, several women's brands got in on the fashion action like Sportmax who unveiled its latest artist collaboration with LA-based illustrator Langley Fox Hemingway

Facetasm: Showing at the Armani Teatro, Hiromichi Ochiai of Facetasm presented a collection of oversized shapes with an architectural edge that merged a street style swagger with a sartorial elegance.

Z Zegna: For spring Z Zegna fused city tailoring with the energetic world of kite surfing in a collection of weightless silhouettes with flighty kite-inspired shapes paired with sharp formal attire

Ports 1961: Marble skateboards took us back to our youth at Ports 1961

Missoni: The house of the zig-zag checked into the season's plaid trend for S/S 2016.

Calvin Klein Collection: Italo Zucchelli took to America's west coast in a collection inspired by Ed Ruscha's photographs of Palm trees and the surf culture of the area

Santoni: In addition to the footwear brand's superb S/S 2016 collection of new elegant sandals and formal shoes, the brand collaborated with Patrick Kinmonth and Antonio Monfreda on its latest Milan presentation. The duo created hand-cut collages that were used on shoe pillows, a film and a giant book that was over two feet tall and all presented within Palazzo Bocconi that had been transformed into a summer garden to celebrate its 40th birthday. Here's a peak at the video

Santoni: The new Santoni colour card for spring 2016

Kiton: Naples in the 1940s and the distinct style of Neapolitan men inspired luxury tailoring brand Kiton's S/S collection. Once again fabric innovation was key with the development of a super light micro wool appeared as elegant double-breasted jackets in bright Mediterranean shades.

Caruso: The house paid tribute to International Yoga Day at its presentation of the finest men's tailoring

Fratelli Rossetti: A sea of plastic shoe models bobbed along the floor at Fratelli Rossetti's men's presentation

Tod's: Craftsmanship was key at Tod's with hand painted details on military inspired leather jackets and knitwear

Emporio Armani: Claw tooth lace-up shoes and wool beanie berets were the quirky extras to an otherwise sober and very cool Emporio Armani show.

Giorgio Armani: The award for best bathrooms during Milan fashion week goes to Giorgio Armani in his Tadao Ando designed theatre

Neil Barrett: This coral reef, puzzle-piece camouflage print climbed all over the floors and clothes at the Neil Barrett show

Neil Barrett: On the runway, three button jackets gave off a slightly Nineties vibe.

Andrea Pompilio: Part biker, part jogger, part boxer, part snowboarder, Andrea Pompilio's man for next spring is wholly eccentric and completely convincing. Showing outdoors in the back yard of Milan's Pinacoteca was the perfect foil for these male peacocks

No 21: Milan's Palazzo del Conservatorio was the site of Alessandro dell'Acqua’s spring collection for No 21

Brunello Cucinelli: There is nothing quite as soothing on the eyes as a Brunello Cucinelli presentation and this season it was all about the pleated and tapered pant

Corneliani: Milan fashion week started with a bang inside the richly frescoed interior of Palazzo Litta, site of the Corneliani show

For a magazine that prints only images, ToiletPaper has managed to cultivate one of the art media's most distinctive and influential voices. This week the glossy and former Wallpaper* collaborator unveils a series of sensational picture windows at the entrance of the Palais de Tokyo in Paris. Then, at Milan Men's fashion week next week, the magazine will launch its first partnership with fashion label MSGM: a line of unisex sweatshirts featuring ToiletPaper's audacious imagery and MSGM's simple lines.

The range of comfort wear bearing distinctly uncomfortable prints (one features a gold eyelash curler about to clamp down on a pair of falsies) arrives as ToiletPaper strives to expand its influence beyond the page. Three years into its print run, founders Pierpaolo Ferrari, the offbeat commercial photographer, and satirical sculptor Maurizio Cattelan have recognised the limits of arthouse bookshop shelves and Tumblr pages, no matter how clever.

'We are interested in trying out our images in different mediums,' says Ferrari. 'We discovered that a toad in a sandwich works just as well on a sweatshirt.'

For Massimo Giorgetti, the young creative director of MSGM, the collaboration follows the natural order of avant-garde Italian design, marrying like-minded innovators who use bold imagery as their draw. 'I have found thousands of similarities between the subjects of the prints used in my collections and the images printed in the magazine,' says the designer. 'The images in ToiletPaper have always captured my attention, inspiring and entertaining me.'

Giorgetti will make the capsule collection available online later this month through the Parisian concept store Colette, as well as designer fashion sites Lane Crawford, LuisaViaRoma, SSense and The Corner.