From Armani to Versace, from Valentino to Rocco Barocco: the summers of the great masters of fashion were an extension of their creative vision. Today, amidst social media, yachts and carefully curated posts, what remains above all is ostentation

A conversation with the most reclusive duo on the international scene. For thirty years they have been organising fashion shows and performances that are sociological reflections, and which many copy without understanding

Collections increasingly crammed with citations and references are fuelling the hunt for plagiarism on social media. But the real risk is confusing a detail with an entire vision

It is not the designer who makes us ironic, but the person wearing the garment. Elegance arises from the interplay between the garment and the wearer’s personality, not from a message woven into the collections

It all began thirty years ago with sulky models, then came the multinationals with their obsession with EBITDA, prices rising at a dizzying rate which had to be countered by the product’s timelessness to justify its purchase, followed by ‘woke’ culture, cultural appropriation and the anxiety of saying or doing something wrong in a globalised world that is impossible to control. The result: never has there been a less cheerful environment than this one, which, as Sottsass said, should instead draw its strength from the ephemeral and the unstable. And yet you’re still surprised that results are suffering and recovery is stalling? 

As confirmed by LuxVide, the cast for the biopic on the great Italian fashion designer has not yet been finalised, but there are high hopes for the fashion house. Stefano Ciammitti’s name is already being mentioned for the costumes. The last pupil of Tosi, a versatile designer much loved by Garrone (Io Capitano), Nunziante (Zalone’s films) and Ozpetek himself (Diamanti)