Concision — that is the word that comes to mind after spending eight unexpected days in Florence, the men’s wear capital. It seems as though some unseen force has edited out all the unnecessary narratives, uninspired ideas, and repetitive references that have dominated recent seasons. Suddenly, everything feels sharp and focused, like early Hemingway after he learned from Gertrude Stein.
Designers who have spent decades laboring over tired storylines, such as Dolce & Gabbana, have now found a sense of urgency and a fresh approach through a more selective process. It must be liberating to not have to rewrite the same paragraph every season, even if the demands of the luxury goods market require designers to repeat themselves.
So, what can you do? You can take a cue from Pier Paolo Piccioli at Valentino, who presented his first men’s wear collection in three years. The collection consisted of 56 finely proportioned looks, as expected from this meticulous designer. Boxy jackets were paired with shorts, floppy collared shirts were matched with skinny ties, and guayabera-style shirts were adorned with paillette blossoms. There were also ghostly boiler suits and flowing overcoats.
However, the most significant design element was Piccioli’s decision to incorporate text onto the apparel and accessories. The words were inspired by Hanya Yanagihara’s novel “A Little Life,” which explores dark themes like self-harm and trauma. This unexpected choice could have easily come across as a gimmick, but Piccioli genuinely seemed moved by the idea. In his Instagram post after the show, he expressed a desire to recapture the enchantment and passion he felt when he first started in the industry. The Valentino collection was a genuine expression of Piccioli’s journey as a designer, shifting the focus from red carpet stunts to true artistic vision.
The desire to inject fantasy and ideas into the industry was also echoed by Miuccia Prada. In her latest collection, Prada continues her blend of fantasy and pragmatism. The show featured robots dressed in tailored jackets with oversized shoulders, high-waisted shorts, and voluminous trousers. The silhouettes were reminiscent of Constructivist dolls, with references to 1940s men’s suiting and the exaggerated proportions seen in Claude Montana’s collections from the late 1980s. Prada added her signature intellectualized play to the mix, layering these shapes with brightly colored utility vests, roomy jeans, and fringed floral shirts.
While Prada embraced the fantastical, other designers, like Walter Chiapponi at Tod’s, focused on preserving the legitimacy of Italian design. Chiapponi presented a subdued collection that eliminated unnecessary ornamentation. Instead, he focused on classic men’s wear staples like windbreakers, chore coats, and trousers, using exquisite materials to elevate these everyday pieces. The collection showcased the balance between understatement and luxury, creating a sense of quiet sophistication.
Silvia Venturini Fendi took a different approach by celebrating the skilled craftspeople behind her collection. Fendi held her show at a brand-new factory in Tuscany, showcasing the meticulous process behind her designs. She invited guests to explore the fully staffed factory, emphasizing the importance of transparency and knowledge of the sources behind the products. Fendi’s designs showcased intersectionality in men’s wear, incorporating natural dyes, topstitched worker’s aprons, and collaborations with architects like Kengo Kuma.
Ralph Lauren’s Purple Label collection also made a statement with its vibrant take on formal wear. While the collection remained true to Lauren’s Gatsby-inspired style, one highlight was a roomful of formal clothes in bold, eye-catching colors. According to a spokesperson, non-traditional evening wear is a growing category for the Purple Label line, targeting affluent South Americans in South Florida. The collection catered to this demographic with emerald green dinner jackets, cerise trousers with vivid foliage prints, and tangerine dinner jackets with wide peaked lapels.
The final shows of Milan Fashion Week were Giorgio Armani and Zegna, both focusing on revision and simplification. Alessandro Sartori at Zegna showcased a pared-down style rooted in classical sartorial traditions. His clothing exuded simplicity, with intricate manufacturing processes hidden beneath plain exteriors. Meanwhile, Giorgio Armani embraced his signature style while continuously adapting and refining it. At the age of 88, he has achieved a level of mastery where he confidently strips away the unnecessary, leaving behind timeless pieces like unconstructed sports jackets, field coats, blouse-y trousers, and vests.
In conclusion, Milan Fashion Week revealed a newfound sense of concision and focus among designers. The collections showcased a mix of bold creativity, skilled craftsmanship, and a desire to preserve the essence of Italian design. From Valentino’s incorporation of meaningful text to Prada’s blend of fantasy and pragmatism, each designer embraced their unique artistic vision while challenging the traditional norms of men’s wear.
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