All the goods from Men’s Fashion Week AW24

What?
A powerful, political stance from the German brand.

What went down?
Fashion is undoubtedly at its most powerful when political. And in today’s fraught climate, GmbH’s founders, Serhat Isik and Benjamin Alexander Huseby, used their moment to take a stance the on-going rise of Islamophobia and antisemitism, the threat of the far-right and the shocking humanitarian crisis across the Middle East and the Horn of Africa. As they wrote in their show notes, ​“We have called for a ceasefire now, release of all hostages, a free Palestine, and an end to the occupation. All demands we think should be uncontroversial.”

As children of Muslim immigrants in Europe, Isik and Huseby spoke of their experiences rooted in racism, pre and post‑9/​11 – when race relations in the West became even more divided. Now, in Germany, where the design duo live and work, they are witnessing countless cancellations of artists, writers and musicians supposedly not aligning with German state policy; those cancelled artists being Palestinian, Jewish, Black or brown. ​“We should all be terrified,” they said in the accompanying press notes, ​“when Germany starts again silencing Jews and other dissenting voices.”

GmbH’s collection was notably tough. There was a no-nonsense approach to large, armour-like shoulders on cocooned overcoats, an oversized bomber jacket featuring utility pockets and heavy embossed leather. And throughout, Palestinian keffiyeh scarves, a symbol of solidarity, liberation and freedom, wrapped around heads and gently draped over shoulders.

What?
The January blues courtesy of Pierpaolo Piccioli.

Eh?
Before the show even started, Valentino’s new direction was teased with an all-blue invitation and matching seats lining the runway. Out with Pierpaolo Piccioli pink…

And the clothes?
There was plenty of sky blue there, too; more turquoise hues popping out from under a shirt, splashed on a roomy bag, and exploding all over a full-length duffle coat. Piccioli is no stranger to using colour as an integral part of his message. If Valentino’s pink was to question gender stereotypes in the womenswear collections, so too is the house’s blue. So, who is the Valentino man? He’s soft, vulnerable and delicate, less concerned with machismo. There were traditionally masculine tropes throughout, with collared polo tops, tapered trousers, strong shoulders and smart shirts making up a timeless, malleable wardrobe. But tailoring was softened for ease of movement, embroideries – such as a detailed cut-out on the back of a coat – were romantic and, of course, the blue, in all its calming glory, cut through the blacks and greys. For Piccioli, being grounded in reality was the most plausible way of designing in these times when, rightfully, gender roles are questioned and stereotypes are smashed. These are clothes for the man reassessing his role in society. It’s far more nuanced than we’ve been led to believe all these years.

In a song?
Electric Light Orchestra – 21^st Century Man

What?
A sublime mediation of modern masculinity and pop culture by Jonathan Anderson.

What were the ideas this season?
As is customary at a Loewe show, there were references pulled from all forms of culture. On the walls were the collages of artist Richard Hawkings, whose kinky works pulse through sex tourism, gay iconography, pop culture and art history. The collection, then, grounded itself in celebrity culture and the oversaturation of social media. ​“I’m looking at this idea of iconography and how we use the phone to take a picture and put it on the screen to kind of validate [ourselves],” Anderson said backstage.

In other words?
Social media is dull.

Tell us about the collection…
The cut-and-paste techniques used in Hawkins’ collages were referenced in Anderson’s designs; just as the artist layers up a multitude of desirable characters, so too did Loewe’s creative director. With a lack of ​“one single look” formality came a patchwork of personalities and contrasts: a saucy red leather trench worn with bare legs; a masc fairisle cardigan reached the ankles like an undone dress; a smart suit and dyed red hair (an homage to Kurt Cobain); a crisp white shirt tucked into lazy-day tracksuit bottoms. And throughout, a hurriedness: belts were left undone like the models had been up to no good backstage, socks were strangely attached to shoes, shirts were half-tucked and, sometimes, no time to even throw a T‑shirt on – just like the breakneck speed at which social media operates. Like today’s pop culture canon, the collection had brilliantly unexpected turns. And through the idiosyncratic beat of Anderson’s genius, bold, contemporary ideas of masculinity that progress with each Loewe collection.

In a word?
#Selfie

What?
British-Bulgarian designer Kiko Kostadinov’s latest outing, now that he’s a mainstay on the Paris schedule.

Who was there?
Fans! And lots of them, dressed in Kiko Kostadinov’s unmistakable uniform of skirts over trousers, tech-first jackets, Trivia bags and adorable knitted hats.

And the collection?
By now, Kiko Kostadinov’s idiosyncratic ethos is a sure-fire indicator of well-dressed youth. Those who buy the brand, whether darted satin trousers or an extreme-scoop neck jumper, are in the market for something a little off-kilter – and Kiko toes the line between expert tailoring, sportswear and subtle, layered references in art, design, film and music. To wear a piece by Kiko Kostadinov is not to make an overt, brash statement. It’s personal. The most recent show’s first few looks, all smooth, muted grey, black or burgundy jackets cut to conceal, felt like a clean slate. But further along and the acid green and yellow punctured the earlier pieces, with the brand’s familiar slim-cut trousers, ribbed knits and tips on layering a reminder of Kiko’s consistency that has undoubtedly won the label a legion of fans.

Fashion has long had a fascination with David Lynch’s Twin Peaks. Beyond the camp horror lies some distinctive style tropes that have permeated through men’s and womenswear in the past decade or so: geek glasses, long plaid skirts, granny cardigans and androgynous suiting, for example. Now, Japanese brand Undercover is reprising the fandom with Weird & Strange, a collection that combines the familiar outdoor scenes of Twin Peaks and the casual aesthetics of the show’s male characters. With a focus on function – a longtime attribute of Undercover’s design – there’s anoraks, parkas and cosy tracksuits. Plus, steely, dark grey suiting (with a picture of Kyle MacLachlan’s character Dale Cooper printed on a blazer pocket) and a mystery-solving trench coat for the ages.

What?
The calm before the storm of Chales Jeffrey’s upcoming 10-year anniversary.

Blimey. Already?
Right? Feels like only yesterday we were sweating it out at Charles’ Loverboy nights in Vogue Fabrics Dalston, where it all began. Those were the days…

What was the collection like?
Like those days in VFD, the latest collection from Charles Jeffrey Loverboy was a riotous mash-up of paint-splattered prints, the brightest hues and a generous dose of hedonism. Jeffrey has long been influenced by British subcultures – after all, he started his very own one 10 years ago. And this season, he looked to the wardrobes of punks and mods – but made things a little dystopian: oversized argyle, blood red overcoats, warped tartans, dishevelled knits, elongated scarves, furry leopard print and a wipe-clean vinyl leather jacket. Plus, Jeffrey’s brilliant sense of humour in a pair of banana peel booties.

What?
A gripping page-turner of a collection from Kenzo.

Where was it?
In the very grand setting of the National Library of France. The invitation arrived in the shape of a hardback book with hundreds of pages printed with the word ​“Kenzo” over and over again – which explains the page-turner bit.

Who was there?
Pharrell, Zayn, Rita Ora and ASAP Ferg. Rumour has it they were discussing next month’s book club material. ​“No cliffhangers this time!” laughed Ora.

Tell us about the clothes, then.
Since Nigo took on the creative director role in 2021, he has proudly introduced new ideas to the Parisian runway by way of the brand’s familiar Japanese codes – a continuation of founder Kenzo Takada’s early mission in the ​’70s. In Kenzo Magic Galaxy, a coat follows the traditional shape of a kimono, a weave is inspired by the wood print of a Japanese hakeshibaten fireman’s jacket, and a dot pattern is informed by the Edo Komon of 15^th-century kimonos, though here, they are reimagined as printed and embroidered star constellations. Then, Nigo takes it Western with utility and military-influenced jackets, cargo suits and shearling jackets – workwear he has long revisited, remixed and modernised.

In two words?
To infinity…

What?
A trip to the ballet for Kim Jones’ latest men’s collection.

How would you rate the pirouettes?
We didn’t actually go to the ballet. But it was the core influence this season and, namely legendary English dancer Margot Fonteyn. As it turns out, Jones had somewhat of a connection to her: his uncle, the photographer Colin Jones who was also a ballet dancer, had a friendship with Fonteyn’s most famous dance partner, Rudolf Nureyv.

Got you. So, the clothes…
This was a collection of contrasts: hard and soft, masculine and feminine, onstage and backstage. And Jones embraced a coquettish romance; jackets half zipped, loose-cut shorts that, at first glance, look like mini skirts, brilliant white tights and a matching embellished neck ruff straight out of a storybook. And ballet pumps – the height of cool-girl style for a generation of Millenials that, in Jones’s hands, retain its feminine codes by virtue of an open upper that’s not often seen in men’s footwear. When finished off in a hard, black (and sometimes cream) leather, with an uncharacteristically supportive sole, they’re no longer dainty, but smart and full of attitude. Whether or not these shoes will also be worn by the legions of men who proudly wear Dior’s high-top sneakers, for example, is another story. When the pumps are worn with hot pink, calf-high socks, Jones is having the most fun. It’s playtime. Or showtime, actually.

In a song?
Dance of the Sugar Plum.

What?
Killer tailoring and dusk-to-dawn romance courtesy of AMI.

Where was it?
At the legendary Tennis Club de Paris, with a set that resembled a Parisian street, and models partaking in the morning commute.

Tell us about the clothes.
AMI has long had a reputation for its friendly approach to style. Its shoulders might be razor sharp, but Alexandre Mattiussi’s brand, founded in 2011, has a mellowness that cuts through any preconceived fashion snootiness. These are clothes for anyone who wants to dress up for the sole purpose of feeling good, and making an impression in those moments that matter. In this collection, cuts were generous, with trousers moving freely, the colour palette – mainly grey, brown, beige and frosty blue – is easily adaptable for day-to-night. Then, embellishments such as fluffy sleeves on a coat, the shimmer on a slinky evening dress and see-through details was a gesture to the good times.

In a word?
Smooth.

This season Marant opted for a moment of calm with the lookbook for its latest collection, and a showroom in which people could come and see the clothes up close. But that sense of peace was all too quickly disrupted with chaotic, clashing prints and a mash-up of smart, preppy tropes and disobedient grunge styles. Marant’s menswear (and her womenswear, actually) comes with the kind of freedom we take for granted in our youth, when outfits are picked on impulse and desire, untethered by adulthood and the 9 – 5 grind. There’s wide-leg jeans for movement, loose, printed shirting to hit the club in, and practical pockets via utility two-pieces to stuff the day’s artefacts in – a bag will only weigh you down, after all. Elsewhere, Marant’s knits are thick with cosy cable-knits, while T‑shirts, plaid shirts and casual blazers are irreverently layered for whatever the weekend has in store.

What?
An ecstatic take on individuality and radical characters by London’s finest. The show was actually a film screening of a small, intimate runway presentation that Rose put together in early January, that only friends and family members of the models, plus Rose’s circle, were invited to.

Where?
When it comes to location, Rose always sacks off convention in favour of the unexpected. Past shows have taken place in her kid’s primary school, an indoor rock climbing centre and, this time, a dark, unassuming bar called Cuba Cafe in Paris’ 9^th arrondissement.

The show! Tell us about the show.
It was a bloomin’ hoot; a showcase of Rose’s ingenuity that makes her one of the most innovative designers to have emerged from London in the past decade. Though we didn’t need reminding of that, did we? From the off, Rose has championed individuality – her designs are a no-holds-barred approach to the endless possibilities of menswear, where traditional sartorial codes are bent, twisted and reimagined, and only the coolest characters emerge.

This show was all about feeling seen, an ode to local heroes, super-slick legends and wise uncles. It’s an attitude that can’t be taught, and Rose’s models – her dedicated tight-knit community who, show after show, look like they’re having the best time – strutted down the runway with power, throwing hip twists, slowing down to rile up the cheering crowd and, in a nod to the charismatic runway shows of the early-’90s (you know, when they smiled) a double-team of models walking in unison. Then, a section of the show seen on screen came to life in Paris IRL, which really got the night going prompting audible whoops from those in attendance.

In this collection, Rose’s familiar subcultural references, from punks to football fans, city bankers to clubbers and pubbers, were broken down into deal-making suits, hardcore camo trousers and sporty tops featuring optimistic footie motifs. Then, Rose’s signature obscurities: the electric blue wood print on a suit could probably be found on the floor of a now-closed club in South London; the twists and knots on a superb leather trench coat felt like the upper-hand of a dominatrix, and the cuts. Oh, the cuts: a parka can be worn backwards, as can a camel coat that seemed to turn into a dress. And a maxed-out shearling coat? Wrapped around the body like a great, big blanket. Altogether, an ecstatically odd testament to Rose’s wicked ways.

Any stand-outs?
The padded Oxford shoe from Rose’s second collab with Clarks, where she’s a guest creative director.

In a song?
Pet Shop Boys – West End Girls

What?
The latest collection from the Lord of Darkness.

Where was it?
While Owens usually takes over the Palais de Tokyo for fashion week, this time he went for a more intimate affair, inviting guests into his home/​work space – where the brand started its life 25 years ago. The show took place on the ground floor, with plush furniture scattered around the palatial entrance hall.

So what went down?
Rick Owens has long championed the outsider. His stance as an anti-fashion hero has built a cult following of die-hard fans; rebels unafraid to rock the status quo. In Owens’ collections and, of course, his theatrical shows often involving some form of pyrotechnic display, there’s a common theme of dissatisfaction with the world. And so, in this most recent show, out walked Steven Raj – one half of Internet-famous multidisciplinary artist duo Fecal Matter. Perhaps the most astonishing part of the pair’s work, besides their extreme, dystopian, at times nightmarish attire, is the busy environments they position themselves in: a packed street in New York, outside the Louvre, Disneyland. And beyond the ingenuity of Fecal Matter is the gawping, sometimes horrified stares from passers-by. Most people could not do what they do – out of fear of judgement, exclusion, or othering themselves. But that bravery is commendable, and lends itself superbly to Rick Owens’ transgressive tribe. In this season’s inflated rubber stretch boots, fetishistic coats (made by Matisse di Maggio, a member of the Parisian BDSM community) and the grotesquely large proportions, they are untouchable.

In a song?
Slipknot – People = Shit

Images courtesy of OWENSCORP

What?
Grace Wales Bonner’s Dream Study.

What was the inspiration?
Wales Bonner’s collections are never short of a story, and this season, the designer took her cues from Howard University – the historically Black research institution in Washington DC. There, Wales Bonner flicked through yearbooks from the 1990s and found snapshots of hip-hop performances, poetry readings and groups of students reclining on the campus’ greenery.

Where was the show held?
In a frankly beautiful dilapidated hall in the Conservatoire National des Arts et Métiers.

So, tell us about the show…
As Yasiin Bey performed for the duration of the show, even getting up on one of the front row benches at one point, the collection flicked through a typical year at an American university. There were obvious references to campus style through athletic silhouettes such as a baseball jacket, a casual ​“Howard Crew” jumper and an adidas Originals x Wales Bonner shell tracksuit. But, like life on campus, there were different turns via smart, light blue shirts and modern tailoring for the evening, handily featuring utility pockets. Throughout, Wales Bonner slipped in soulful style tropes, such as parkas, patchwork blousons and tilted leather caps, in keeping with the creative spirit of Howard University.

In three words?
School is cool.

What?
Givenchy’s first show since former creative director Matthew M. Williams announced his exit in December.

So who’s replaced him?
Currently, no one. This collection was designed by Givenchy’s in-house team.

Where was it?
In Givenchy’s couture house, an ornate building on Paris’ Avenue George.

What went down?
This was a smart, reserved collection, and a swift departure from Williams’ modern take on grunge that undeniably had great youth appeal. The previous creative director had his proverbial finger on the pulse – his references mostly came from skateboarding, dancefloors and ​’90s counterculture. In this interim period, then, Givenchy’s design team indulged in smooth formality, with close-cut shirt-trouser combos as the dominant silhouette, and sharp suits and knitted shawls pointing to a modern flâneur.

At times, the body was engulfed in textured coats but, unlike Williams’s knack for concealing the body, this collection somewhat celebrated it; a loose silky shirt was left half-unbuttoned, a second-skin roll-neck clung to the torso and a vest, humorously printed with a close-up of a Burmese cat, was almost shrunken. Givenchy’s gentleman has a good sense of humour; there were fun flourishes throughout, with the cat making a reprisal on a bomber jacket coated in white fur, grey fur poking out of a deconstructed top and rather amusing, bulbous hats. As a whole, a polite collection. But there’s still room for a laugh – especially in the most official of settings.

In a song?
Wham! – Young Guns (Go for It!)

Yves Tumor starring in Acne Studios’ AW24 lookbook makes sense. There’s no shortage of celebrity endorsements these days; from footballers to Hollywood veterans, they’re fronting campaigns and FROW-ing at shows more than ever before. But does it always feel genuine? Not always. However, Tumor – one of music’s transgressive outsiders known for their rebellious, gender-bending stage theatrics and colourful wigs as much as their elusive sound – does justice to the direction that Jonny Johansson, Acne’s creative director, has been taking the Swedish brand in.

Through subversive concepts, artful styling hacks and puzzling cuts, Acne’s past few collections have been shedding the once clean-cut skin of Acne, once all minimal coats and drainpipe blue jeans, into a sort of bastion for youthful rebellion during the Paris Fashion Week schedule. This season, it’s more of Johansson’s fighting spirit: denim is overworked, printed and maxxed-out, as are the distressed biker jackets that come with all the rage of punk. Proportions flip from micro to maxi and textures – ranging from leather to sheepskin to faux fur – are mixed, matched and overlaid. In Acne’s world, and indeed, Yves Tumor’s electric universe, breaking the rules is all part of the fun.

What?
Pharrell Williams’ third show as Louis Vuitton’s creative director, after he shut down Paris’ Pont Neuf in September and called in his pal Jay‑Z to perform with him, sending guests into a frenzy.

We’ve heard some chitter-chatter about the invite…
We’re not surprised. LV went all out, popping a harmonica and cowboy hat in the post. Yee-haw.

So, was it Western themed?
Bang on the money. Pharrell continued some sartorial tropes from his debut collection, such as pixelated camo prints, heavy use of denim and flared trousers. But where the silhouettes in that show felt youthful and super-soaked in subculture references from skate style to Parisian counterculture, Pharrell created a whole new character this time around. Here is the modern cowboy, and he wears heavily embellished leather jackets, rhinestone cowboy hats, fringed overcoats and sparkly embroidered suits. Most importantly, though, these cowboys are Black or Native American. On a number of Speedy, messenger and tote bags, Pharrell collaborated with artists from the Dakota and Lakota nations, who decorated the leather with the Dakota flower. Pharrell’s cowboys are a depiction we so rarely see in films or TV, despite history. But in this show, they have all the glitz of a main character, and rightfully so.

Who was there?
Pusha T took to the runway as raps finest, Playboy Carti, Gunna, Quavo, Lil Yachty and actors Lakeith Stansfield (in a cowboy hat), Will Poulter and Bradley Cooper looked on.

Was there any after-party?
There sure was, which included performances by artists from the Lakota and Dakota nations and – unexpectedly – Mumford and Sons. To line the stomach, guests snacked on mini burgers wrapped in LV packaging, LV-stamped pulled pork buns, chips and a decent popcorn and polenta dish.

In a song?
George Michael – Cowboys & Angels

What?
Jonathan Anderson’s most sensual collection to date, we reckon.

And why is that?
There are countless ways a designer can raise the pulses of its runway onlookers: a flash of skin here, bare bottoms there. But Anderson’s take on erotica was never going to be as obvious. Eschewing the formula of less is more – literally – that seems to be du jour for many designers over the past year or so (microscopic hemlines, a single feather as a top, big knickers as outerwear), Anderson borrowed erotic elements as a way of reflecting our fantasies back at us. Topless men in kinky tights, romance in blush pink satin, splatters of soaring red on leather gloves, a slinky draped dress and a sublime velvet blazer-coat leaving undergarments, or lack thereof, to the imagination. Where Anderson experiments with proportions – as he did in his last Loewe collection, to extreme effect – is where things take a playful turn: a shirt with inexplicably long sleeves, a padded cardigan that barely touches the body, and similarly odd padding underneath knitwear underscore a collection riffing off sex, desire and fantasy (Anderson was heavily inspired by the art that appears in the background of Stanley Kubrick’s cult film Eyes Wide Shut, portraits and compositions painted by his wife Christiane Kubrick) with great, oddball British humour. A bit like shagging someone for the first time and letting out a giggle.

In a sentence?
Your place, or mine?

In a song?
Malcolm McLaren – I Like You in Velvet

What?
Back to work with Prada and a collection titled Human Nature. Though this wasn’t your average office…

Eh?
Before we stepped into the actual showspace (more on that later), guests weaved through desks, office chairs and computer screens with a Prada screensavers across each monitor – a dystopian fever dream of the Sunday scaries. If that was hum-drum reality, the runway spectacle was a welcome break: a living woodland floor was built within the ground, with a steady stream of water running through it beneath raised glass. Much more zen.

Sounds wild. Tell us about the clothes…
The collection was typically Prada in that it was steeped in reality, serving up a commentary on the shifting landscapes we so regularly navigate – but this was by no means your average commuter attire. For the past year, the men’s collections have been fixated on modernising the suit. Already this season, we’ve seen them blown-up, in leather and in teddy boy textures. But where Prada’s genius lies is in its subtleties. The suit was still the suit, but its blazers were slightly oversized allowing for room, and faintly pastel-shaded shirts tucked into trousers breezily moved with the body.

Pop-coloured swimming caps added a youthful element to an otherwise everyday garment we see lining Tube platforms in the morning. With that said, the collection wasn’t without its whip-smart surprises. Amongst neon-orange cardigans, sailor-style caps and leather slippers, Miuccia Prada and Raf Simons took on nature’s unpredictable turns in protective, goggle-like glasses, handy bumbags and backpacks. While Prada – and indeed in Mrs. Prada’s Miu Miu show last March – honours the mundanities of real life, the house’s latest menswear collection goes to show that, with a decadent splash of colour, modern cuts and a killer strut, the mundane can be pretty magnificent.

Any stand-outs?
Perhaps the best case for the Canadian tuxedo: a tailored denim suit.

In a song?
David Bowie – The Man Who Stole the World

Over at the fancy Casa Cipriani, a Milanese private members club, Paul & Shark transformed the space for its AW24 collection, which has now been released via a lookbook, too. In the rooms usually reserved for suited and booted men sipping dirty martinis, Club Riviera, as the presentation was titled, dressed Cipriani’s (very good looking) members in its latest collection. With linen shirts, refined cotton T‑shirts and silk jackets in muted greys and navy, these are clothes for the modern gent who’s not necessarily the loudest in the room, but happily observing somewhere in the corner. Shaken, not stirred, etc.

What?
Milan Fashion Week’s resident party boys Jordan Bowen and Luca Marchetto’s latest JordanLuca shindig.

Where was it?
The show took place in a warehouse on the outskirts of Milan, staged in a series of archways illuminated by red light. All around were silver metallic helium balloons printed with teeth, bloody feet and fingers. Spooky.

What were the clothes like?
JordanLuca has been steadily building its brand over the past five years and, since showing in Milan for the first time two years ago, the design duo have hit their stride, cultivating alt-uniforms for brilliant weirdos. For them, menswear is about nonconformity: longer sleeves, tighter layers, wider pants, bigger shoulders, a nod to fetish, a little bit kinky. This season was no less dramatic, with bomber jackets blown up as if to evoke mega muscles, as tailoring clung to the body and jeans hung low. Their brand of subversive hypermasculinity reigned supreme – for JordanLuca, the party has only just begun.

Who walked?
Catwalk legend Debra Shaw, plus Andreas Kronthaler, creative director of Vivienne Westwood. The crowd went wild.

We heard there was an after-party…
There was indeed. The show venue was transformed into a full-on rave in collaboration with Berlin record label and party providers Herrensauna. Techno, trance and a few too many drinks went on ​’til the wee hours.

What?
A slick affair from Rome’s finest.

What did you sit on?
On a bench in the shape of the letter F. Very comfy.

And was there a Fendi boombox? We saw it on your…
TikTok? Ah, yes, glad you noticed. Models carried boomboxes covered in Fendi’s interlocking‑F monogram, which one of the front row guests hit ​“play” on before the show kicked off.

Cool. So what about the clothes?
Beyond the smart, steely greys, sharp shoulders and tucked-in shirts, this felt like a playful collection, with fuzzy textures, knee-length skirts and the occasional pop of bright yellow, pink and green slicing through the monochrome. It was a fun collection, with utilitarian influences pretty obvious in fishermen jackets, wide-brimmed bucket hats, pocketed workerman shirts and thick woolly hats. Meanwhile, the layering of three vests on top of one another, or a vest over a polo shirt, pointed to a man who wants to experiment. Or a man who can’t make his mind up.

Any stand-outs?
The plisse fold leather bomber. Careful with the steamer.

What?
A case for going out-out and getting dressed up-up from Dolce & Gabbana.

Oof. Tell us more…
As fashion’s purveyors of sex appeal, Domenico Dolce and Stefano Gabbana’s latest collection was, as ever, steeped in great Italian confidence. The duo have never been one to stand in the corner, designing for the spotlight-stealing extrovert. So when a shin-skimming black fur coat came down the runway as the second look, it set a pretty stern precedent that this collection wasn’t for the faint-hearted. Here is D&G as its most traditional: pouty, adonis-like figures, plenty of skin on show and powerful tailoring that works with the body – muscles and all. Later on, there were dramatic black overcoats, diamanté-embellished blazers, camp leopard print shirts sliced down the centre and – camper still – neck ruffles. These are power clothes to close a deal in, to make an ex wince and, above all, to feel pretty damn sexy in.

Who was there?
Jeff Bezos. You know, one of the top five richest men in the world. And his partner Lauren Sánchez, whose son Nikko made his runway debut.

In two words?
You’re sacked.

In a song?
Right Said Fred’s I’m Too Sexy, naturally.

What?
A brief trip on the Metro to watch MSGM’s show. Strictly speaking, we didn’t actually go anywhere. The station was closed for the occasion and wallpapered with transport-adjacent photos taken on a Google Pixel 8 (MSGM’s latest collaborator), while a Metro train remained stationary as we lined the platform.

What about the clothes?
Like a train carriage speeding through the city, MSGM’s collection was packed full of movement and colourful characters. There were commuter-friendly pieces in all-encompassing evening coats, loose, tailored trousers and hoodies (one had ​“every smile you fake” written across it), and shirt-short combos featuring a print taken from an image shot with the Google Pixel. But, being MSGM, there were idiosyncrasies aplenty. The brand found its glam in tinsel textures, sequin T‑shirts and sparkly Y‑fronts, plus a leather two-piece suit and Marabou feather trimmed tops that were less appropriate for the morning rush, but A‑ok once the 9 – 5 is done for the day. It’s all about the work-life balance, after all.

In three words?
Mind the gap.

In a song?
Jamiroquai – Deeper Underground

What?
Dean and Dan Caten’s latest show for DSquared2 – that was quite literally squared.

What do you mean?
Well, the Caten twins cast sets of twins to model the looks, paying homage to their duality. Ever wondered what ​“DSquared2” meant? Well, now you know.

Got it. So the twins wore matching looks?
Not quite. The collection was based on the duality of day-to-night personas, with one twin dressing down for daytime in looks including fair isle knits, oversized parkas, paint-splattered jeans, sporty leotards and western-influenced chaps and fringe shirts. The other twin, then, got all suited and booted for a night on the tiles in leather blazers, sequin trousers, fur coats, silky gowns and a whole lotta skin. Dean and Dan Caten have never been afraid to blend daywear and eveningwear, with a floor-length evening gown as suitable for the morning commute as a sensible suit in DSquared2’s fun-loving world of mischief and mayhem. While the looks were separated, the collection felt whole (squared).

Any stand-out moments?
The show ended with the daytime twin emerging from a white door and meeting their nighttime counterpart on the runway – every bit as ​“And tonight, Matthew…” as it sounds. And Dean and Dan got in on the twinning, too, with the former storming the runway in a slick sheer shirt and trouser combo, and Dean donning a flame-red wig, corset dress and towering heels.

In a song?
The Chemical Brothers – Hey Boys, Hey Girls

What?
​“A Compass Inside”, Stone Island’s mega presentation showing pieces from its latest collection.

Didn’t they recently put out…
One of the best campaigns that we’ve seen in a long time, featuring Jason Statham, Dave and Tricky? Yes, they did. The presentation in Milan was a continuation of this campaign, which was released the day before the show, to make some noise for its new manifesto: a reassertion of the brand’s mission to put material research and innovation at the top of its list (Stone Island has been doing this since it was founded in 1982, to be fair).

So, how was the show?
It was a family affair, so much so that the presentation ended with the words, ​“We are la familia, we are Stone Island.” It felt like a big celebration of not only the brand’s designs, but also of the die-hard cult fanbase it has amassed over the decades, culminating in a dinner with friends at trendy Milanese hangout Sant Ambroeus that evening. In the cavernous showspace, models stood on scaffolding wearing pieces such as the hooded Metal Mesh PVD down jacket, the suede sheepskin Ghost Piece and Glass Cover-TC jacket, illuminated by dramatic red lighting. Then, a switch to strobe to reveal glimpses of the garments. Stone Island’s steely-faced men looked every bit part of the brand’s long-established community: slick, modern and confident.

In an Italian phrase?
Un classico!

In a song?
Sister Sledge – We Are Family

What?
Kicking off Men’s Fashion Week in Milan was Gucci, marking creative director Sabato De Sarno’s second collection since his big debut as creative director last September. If that show was miles apart from the Gucci he took over, with loose vests, vibrant leathers and micro-mini skirts replacing theatrical boas, flares and clashing prints, this was its seamless continuation – and not just because the show’s soundtrack started with Romy’s LoveHer again.

So, what about the garb?
Ah, yes, the clothes. Naturally, our eyes gravitated south at the platform creepers, shoes that nod to the heady heyday of Brit-indie teens scrolling Tumblr and dancing in filthy pubs. Well, they’re back, baby – and with the addition of slime green leather gloves, De Sarno could be backing a return to sleaze (just don’t say indie sleaze, for crying out loud).

Speaking of returns, de Sarno’s heavy use of leathers from the womenswear collection were back. This time, we had a python-effect jacket and some puffed up, quilted versions, too. De Sarno’s seduction – already becoming a house signature – was found in the subtle unbuttoning of shirts showing just a slither of torso and embellished vests cut low at the sleeves, while trousers were intentionally creased behind the knees as a result of – oh, you don’t wanna know.

Tying it all together, then, was the last look: an exquisitely tailored black suit with a black razor-sharp shouldered dress coat, broken up only by a gleaming white vest. So simple, so effective, so very, very Italian.

Any stand out accessories?
A crystal encrusted Jackie bag blown up to enormous proportions.