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FW25/26 Milano Fashion Week kicks off: Gucci’s new measure and Capasa’s optimism

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Between a vision for the future of fashion and the illusion of luxury?


The FW25/26 Milano Fashion Week opened with Gucci presenting its post-De Sarno collection, alongside a bold statement from Carlo Capasa, President of CNMI, on the state of luxury. What emerged was a striking contrast between the industry’s optimistic rhetoric and the stark realities of the market.

FW25/26 Milano Fashion Week: Gucci, a cautious reflection rooted in heritage


Set to an immersive soundtrack by Justin Hurwitz, performed live by an orchestra, and staged against a Castleton Green backdrop. So Gucci’s Fall Winter 25/26 collection marked a transitional moment for the brand. With no creative director at the helm, the collection avoided the excessive creative experimentation seen during Alessandro Michele’s tenure. In fact, he hijacked the brand steering it away from its core identity. Instead, this season offered a measured, archive-driven aesthetic, blending 60s to 90s influences into an elegant, modern image. The result was a clear luxury statement, showcasing the excellent work of a group of twenty young designers who took their bow at the end of the show. Bravo to the team!

Undoubtedly, this restrained approach feels like a deliberate response to the shifting luxury landscape. However, for luxury brands with such a rich history like Gucci, the path forward may well lie in balancing tradition with contemporary relevance—heritage, elegance, and archival inspiration with a modern twist.

Capasa’s statement: a questionable narrative


In contrast to Gucci’s cautious optimism, Carlo Capasa’s remarks struck a more contentious note. The CNMI president dismissed concerns about a luxury slowdown, framing it as a mere “readjustment.”

“Luxury is not suffering; it is readjusting.”

Capasa pointed to brands performing well globally as evidence of the industry’s resilience. Also, he expressed confidence in fashion’s ability to navigate complex moments. While his optimism is understandable—given his role as a promoter of the sector—it feels at odds with the broader market reality. Data suggests that luxury is indeed slowing down, with many brands facing significant uncertainty. The fact that a few brands are performing well—perhaps because they have the backing of substantial budgets—simply makes them exceptions. It does not negate the struggles faced by the majority.

The bigger picture: is luxury adapting or struggling?


As the FW25/26 Milano Fashion Week unfolds, the disconnect between the industry’s official narratives and market realities becomes increasingly apparent. Gucci’s calculated collection reflects a brand responding to economic shifts with caution. But is this “readjustment” a sign of resilience? Or a moment of reckoning for an industry in need of strategic reinvention?

FW25/26 Milano Fashion Week: opening highlights


Gucci’s FW25/26 show signals a potential return to its roots, prioritising heritage over experimentation. Perhaps this marks the end of the brand’s exploration of pointless pathways and a renewed focus on what it does best.

A final thought: Is the luxury industry truly in control of its destiny? Or is it merely reacting to the inevitable change? As the fashion world gathers in Milan, these questions linger, challenging the narratives of optimism and resilience that dominate the headlines.

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Identity and Ethics

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Peering behind the veil of the fashion industry


When it comes to identity, the spotlight often shifts away from ethics. That seems especially evident during the Milano Fashion Week.

The recent emphasis on rediscovering lost brand identities amid transitions between creative directors is appreciable. Instead of merely chasing trends and pushing boundaries to the point of absurdity, there’s a noticeable return to celebrating heritage and the unique DNA of fashion houses. However, amidst this shift, one can’t help but question the credibility of companies that have previously indulged in such superficial games.

The discrepancy between image and reality at MFW


The day before the conclusion of Milan Fashion Week, a revealing program titled “Indovina chi viene a cena” (Guess Who’s Coming to Dinner) aired on Rai3 (you can watch it here). The journalist Sabrina Giannini and her colleague shed light on the stark reality behind sustainability claims in the fashion industry. It became evident that the more brands flaunt their sustainable slogans, the less sustainable their practices proved to be. Sustainability is 90% greenwashing! This disillusionment extends beyond just material choices and production processes. In fact, it delves into the exploitation of cheap labour through outsourcing. A practice that starkly contrasts with the Italian craftsmanship ethos.

Fashion industry, identity and ethics


While these issues aren’t new to those who follow fashion’s undercurrents, the program highlighted some uncomfortable truths. Particularly striking was the response of the influencers when questioned about their awareness of designers’ materials and sustainable practices. Their dismissive reactions have underscored a glaring disconnection between the industry’s rhetoric and its actual impact. Specifically, these girls giggled or ran away, having no means to participate in a more than necessary discussion. By the way, does the fashion industry need these kinds of people? Really? Is this what the fashion industry is about?

Furthermore, Sabrina Giannini attempted to engage with designers and fashion houses on these pressing matters. What response did they get? Silence and indifference. Despite sustainability being touted as a pivotal theme in fashion, the lack of willingness from brands to engage in open dialogue is concerning. Indeed, it raises questions about the industry’s true commitment to ethical principles beyond mere lip service.

If the aim was to reveal the stark misalignment between the industry’s professed values and its actions, then the brands, with their silence, have succeeded!

Ethics, respect for work, workers’ rights, impact on the planet. All fall under the sustainability hat. But the fashion industry is not interested in that. Dear designers, refusing to open your doors, you have succeeded in unveiling your true faces.

Ultimately, Milano Fashion Week was all about identities. But clearly, no one cares about ethics!

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In The Name of Cleanliness

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Reflections on Milano Fashion Week: a blend of style, substance, and identity


Milano Fashion Week unfolds in the name of cleanliness. Style cleaning, image cleaning, and even people cleaning.

A distinct narrative emerged amidst the flurry of runway shows. One characterised by themes of neatness, precision, and authenticity. Cleanness of designs accompanied by a less showy audience. It’s a mood that permeated many collections, reflecting a need to restore brands’ identity.

Fall/Winter 24-25 Milano Fashion Week


Designers such as Fendi embraced this ethos, presenting a collection defined by immaculate tailoring and modern elegance, with precise references to its heritage.

But also Prada was in this flow: fluttering ribbons and bows contrasting with mannish blazers and maxi skirts. A lot of grey. Military silhouettes accented by marine hats, feathered or in velvet.

Antonio Marras‘ homage to Eleonora D’Arborea stood out. A historical figure who lived between 1300 and 1400, seen as a national heroine of Sardinia. Marras’ collection has exuded opulence. Elaborate silhouettes, intricate embroideries, and textured fabrics evoked a sense of bygone grandeur. The spectacle captivated audiences with its unique blend of history, theatrical performance and defile.

Our heart breaks for MM6. Unfortunately, it seemed to have lost its way. Once, it was synonymous with avant-garde innovation under the helm of Martin Margiela. This runway looked like Diesel. In fact, the collection felt disconnected from its original identity. One might say Martin Margiela is no longer there, which is true, but Margiela is still the brand name. Therefore, shouldn’t we expect a certain continuity?

image of a black short haired model wearing a black maxi knit dress with white wording 'peace' - the letter P is beautifully designed around the neck. it's from FW24-25 Moschino fashion show in Milan; collection designed by the new creative director Adrian Appiolaza. In the name of cleanliness was the main trend.
FW24.25 Moschino by Adrian Appiolaza

Moschino‘s new creative director, Adrian Appiolaza, made a promising debut, infusing a sense of contemporary flair. The designer honoured the brand’s iconic codes, mixing wearable silhouettes in a game of basics and boldness. Bravo Appiolaza! Even for bringing a message of peace on the runway. In fact, we applaude designers who use their platform to support important causes.

Yet, a sense of dystopia looms in the fashion industry. Brands celebrate new collections in the name of cleanliness and restoring their identities. Yet they all feature too many outfits. Furthermore, yesterday, a major TV news report was all about vintage fashion. Entirely!

One might wonder, what are the new clothes for?

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The Futuristic Fusion of DassùYAmoroso

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Exploring the metahuman fashion landscape


Today, we invite you to discover the futuristic fusion of DassùYAmoroso. A pioneering force at Fashion Hub, where innovation meets imagination in a spectacle that blurs the lines between reality and the digital realm. In an era where fashion and technology intertwine more than ever, Milan Fashion Week unveils a groundbreaking collaboration that epitomizes this union.

Fashion Hub showcasing a futuristic fusion


Fashion Hub is an initiative by Camera Nazionale della Moda Italiana dedicated to nurturing emerging talents. Today, it provided the stage for DassùYAmoroso to showcase their vision: “Wonder of a metahuman.” Amidst the buzz of Milano Fashion Week, their presentation captivated audiences with its bold exploration of the intersection between fashion and technology.

At the helm of DassùYAmoroso are Stefano Dassù and Pasquale Amoroso, visionaries who embrace a no-gender, contemporary Street-Punk aesthetic. Freedom defines their brand, transcending conventional boundaries and celebrating diversity without compromise. With collections like “I AM WHAT I AM” and “I AM AN ALIEN,” they challenged societal norms and championed individuality as the ultimate form of expression.

DassùYAmoroso: wonder of a meta human

DassùYAmoroso at Fashion Hub


The Italian duo isn’t new at experimentation and pushing the boundaries of innovation. Yet, it’s their latest endeavour that pushes the envelope. Through an array of innovative collaborations with tech partners, DassùYAmoroso introduces a collection inspired by the enigmatic allure of sirens. These mythical beings, reimagined as travellers in the metaverse, symbolise the bridge between worlds. A motif echoed in the brand’s seamless integration of fashion and technology.

In a conversation with Cri (founder of suite123) at Fashion Hub, Stefano and Pasquale elaborate on their groundbreaking approach:

“It’s the first time an emerging brand has forged such extensive partnerships with technology firms, effectively melding fashion and technology into a singular entity. The collection draws inspiration from the siren, a mythical figure navigating the metaverse. For us, the siren embodies a journey between realities, a fusion of two complementary worlds. Through our collaborative efforts, we’ve crafted an immersive experience, leveraging augmented reality to traverse this cross-universe landscape.”

As the fashion industry continues to evolve, the futuristic fusion of DassùYAmoroso stands at the forefront, redefining the boundaries of creativity. And paving the way for a new era of metahuman fashion.

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Milano Fashion Week 24

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Simplicity and practicality for Spring-Summer 24


Milano Fashion Week 24 is over, so we want to analyse the overall feelings. What’s in the air?

It looks like fashion designers had to focus on safety. So, they provided simplicity and practicality through those tailored techniques typical of the Italian style. In fact, collections were more down to earth. Easy to wear, which also means easy to sell. Market demands, not creative genius.

Spring-Summer 24 from Milano runways


We were happy to witness the end of the circus Alessandro Michele made for Gucci. Perhaps Sabato De Sarno needs time to develop his own path, but anything would have been better than the flea market jumble. However, it would be interesting to understand to what degree this collection is the result of his view or a commercial request.

Still related to the above topic, there’s a discussion about the expectations on genderless fashion or the end of it.
We are astonished! Specifically, we cannot understand why people identify genderless style with the circus. Can anyone explain? Take a garment without asking yourself if it comes from a specific gender category. Then wear it (with elegance, if you can). This is genderless. And it’s still here.

Indeed, isn’t the work of Mattieu Blazy for Bottega Veneta a blend of blurred gender identities? Though fabrics and outfits seemed too heavy for a Spring-Summer collection.

Thoughts on Milano Fashion Week 24


Overall, the impression is that clothing was the background as brands mainly plan to sell accessories. On the one hand, we are happy for the end of the circus. It was time to take a sense of elegance and Italian tailoring back. But on the other hand, brands mostly looked the same. Unless you have a trained eye, and so you can say, ‘this accessory is from this designer’ – it is almost impossible to tell the difference from one to another.

Milano Fashion Week 24 has probably satisfied people’s needs and the industry turnover. But, in this game of overlapping design codes, and by compromising to any current contingency, we wonder where brands are going. More precisely, do you think brands are reliable?

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