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Languid cut and bright pops of color

Languid cut and bright pops of color
Languid cut and bright pops of color


Milan Men's Fashion Week Spring-Summer 2025 has concluded for a new season and, like the Pitti Uomo show in Florence, which immediately preceded the event, tailoring in all its forms has emerged as a key element men's fashion next year.

Given a decidedly casual trend for spring/summer 2025, arguably an attempted antidote to worrying news around the world, tailoring now means well-cut but loose, rather than sharply fitted to the body, in a shift towards a more casual, relaxed fit. aesthetic.

This season, Milan was rocked by a show we didn't even expect on Monday, when Valentino released images of its new creative director Alessandro Michele's first collection, blowing up the internet.


Although she's not scheduled to deliver anything until her first show during Paris Fashion Week in September, Michele took everyone by surprise (in a good way) with her unexpected Resort 2025 collection, which had 171 looks.

In a case where history repeats itself, this is the second time Michele has transformed an entire collection and new direction in record time. When he took over as CEO of Gucci in 2015, he had just two weeks to present his ideas on the catwalk. This time around, his tenure at Valentino began just two months ago.

Filled with Michele's signature decadence and intricate layering with turbans, contrasting patterns, embroidered details and even fur cuffs, this new collection, titled Avant les Debuts, picked up where he left off at Gucci. While many codes will be instantly recognizable to many, here they seemed lighter, sleeker and more refined.

However, the arrival of his first collection for Valentino, released hours before the Gucci men's show, can only be considered highly orchestrated. It sent the industry into a tizzy, with many calling it the fashion equivalent of a dissent piece.


Meanwhile, at Gucci, Michele's successor, Sabato De Sarno, delivered his second men's collection, this time with a surfing theme.

Consisting of short shorts, boxy shirts in bright dolphin and hibiscus prints, and round-toed slippers that seem to be the men's version of the mesh ballet flats dominating women's fashion this summer, it was energetic and upbeat.

Mac coats arrived in shiny leather, accessorized with sunglasses on foam straps, and in bold, expertly mixed colors, like green or lilac with bitter chocolate brown.

Given that de Sarno is still finding his feet at Gucci, the use of color was a little too reminiscent of Pierpaolo Picciolis' days at Valentino, while the cuts were a little too close to the iconic aesthetic of Prada for comfort, yet wearable and optimistic.


At Prada, co-creators Raf Simons and Miuccia Prada focused on youth, declaring that youth is the future and hope.

Offering looks that seemed intentionally lived-in, as if borrowed from someone else, they came in the form of shrunken sweaters and cardigans with sleeves decidedly too short, shirts twisted around the body, and carefully tailored pants worn low on the hips and trailing across the body. to the ground or cut to the ankle.

There were hoodies, tiny bomber jackets and Prada's version of concert T-shirts, with prints by the artist Bernard Buffet. Pops of Barbie pink, bright orange, daffodil yellow, acid green, turquoise and even floral prints dotted the otherwise dark palette of gray, tan, white and black.


With Fendi about to turn 100 years old, menswear and accessories designer Silvia Venturini Fendi looked to the company's archives for inspiration. The result was the unveiling of a new crest made up of four of the house's motifs, including the famous double F and adorned on all manner of shirts, tops and jackets, as well as an emphasis on the impeccable craftsmanship of the Italian house.

This appeared as saddle stitch adorning bags, the edges of trench coats and as quilting on jackets. Clothes. instead, they were casual and carefree, like sleeveless rugby tops, boxy shirts and shorts, long tabards worn under jackets, and semi-sheer shirts.

Dolce & Gabbana

At Dolce & Gabbana, craftsmanship was the order of the day, with a collection called Italian Beauty, which opened with a woven wicker jacket typically seen on chairs.

This re-emerged in a more wearable form, as jackets woven from thin strips of white or black leather, a display of skill that certainly hit the mark. These boxy jackets marked a shift from the designer slim fit to something more relaxed, more summery, seen here in the form of sheer polo shirts, lightweight jackets, pleated-front pants that taper to the ankle and light shirts worn open almost to the waist. which carried a liberal dose of 1950s dolce vita.

Emporio Armani

Emporio Armani delved into a languid mood, with the designer's signature flowing suit tied at the waist with braided leather belts and tucked into heavy boots, evoking a silhouette one might expect to be copied in the whole world.

An ode to abandoning the harsh city life in favor of fresh, enchanting softness, this collection is centered on simplicity, with soft velvet tuxedo jackets worn over loose, open pants that sway with every step and short jackets with safari-style pockets. The colors, meanwhile, were also soft, in shades of lilac, Armanis' signature greige, washed peach, off-white and sandy undertones.

Set to celebrate his 90th birthday in July, Giorgio Armani bowed out alongside the head of the men's and women's divisions, Leo DellOrco and Silvana Armani respectively, signaling a possible nod to who will take over the house when the time comes.

Updated: June 18, 2024, 2:56 p.m.




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