Following the devastation of recent days, the leading second-hand marketplace has been flooded with around a hundred brand-new items of clothing and handbags from top brands. The company immediately stated that it had “immediately identified and removed the suspicious listings” and that it was “committed to combating the resale of stolen goods”.

The official announcement has been made regarding Anthony Vaccarello’s departure (to be replaced by Chemena Kamali?), whilst Piccioli is preparing to leave Balenciaga after just over a year. Against this backdrop lies the public’s increasingly marked disaffection with a constant merry-go-round of changes that strips the brand of its identity and brings no real renewal. Except for the self-preservation of the system 

A conversation with Marc Jacobs and Frida Giannini between Venice and Palmarola, whilst awaiting Donatella Versace’s return. “I’m still working, but I want a life beyond the collections and the shops,” says the American designer, showing off his famous decorated nails, which form part of his new love story

Bob Mackie’s legacy in cinema, television and fashion (he was the first to realise that modern clothing would shape one’s identity) is analysed by the most famous Italian costume designer of recent years, who is currently working on the series directed by Gabriele Muccino, based on Allegra Gucci’s memoir.

“Print” brings together Ann Demeulemeester’s graphic and creative universe, celebrating the physical legacy of fashion in the age of QR codes

Given that the last four owners of the brand since the founding family first sold it in 2008 have all been foreign, it is notable that the Ministry for Made in Italy decided to entrust this latest jewel in the crown of high-end Italian lingerie to Mr and Mrs Kern, rather than to Sandro Veronesi. 

In recent years, the conversation has revolved almost entirely around female identity and the rights that go with it. Yet it seems that in the world of fashion designers and catwalks, nothing has changed. The cult of form that erases reality

Right up until the 1990s, a particular fabric was the key element of a collection. The choice of one fabric over another represented an aesthetic manifesto or, as we say now – unfortunately, sometimes to describe nothing at all – a ‘statement’. Today, however, it is fragmentation that dominates fashion, in both forms and materials

Agostino Apolito, managing director of Assomac, has something to say