Elysium Fall 2023

ELYSIUM

MILAN FASHION

WEEK F/W 23/24

John Richmond: Back to the Roots

70 Years of Fratelli Rossetti

Le Silla: Paradise City

FALL 2023

ELYSIUM

Concept by Jesse Scott in conjunction with Elysium Cocktail Club

All words, photographs, and designs by Jesse Scott unless otherwise specified

with special thanks to Diana Huk GUEST CONTRIBUTOR

"Nothing in life is to be feared, it is only to be understood. Now is the time to understand more, so that we may fear less.”

-Marie Curie

Letter from the Editor

Tradition and innovation: navigating the tension between the two to find harmony and balance is one of fashion’s eternal struggles.

That’s never been more true than at our current flashpoint, when societal nostalgia for both the simplicity and glamor of days past is contrasted by radically evolving technology which is perpetually and exponentially changing every aspect of the industry. We are in an era of “re-branding,” with many historic fashion houses re-considering everything from their logo to their social engagement strategies to attract new generations of client. Simultaneously, we are seeing brands re-orient their production strategies around the principles of sustainability, social responsibility, and community empowerment. Finally, in perhaps the two most prominent if conflicting trends, brands are distinguishing themselves by both drawing inspiration from their archives and by experimenting with brand-new technologies.

Milano Fashion Week F/W 23/24 brought all of these paradigms together beautifully. As summer fades and you consider a cold-weather wardrobe, we are excited to bring you the full Elysium guide to this upcoming season--and behind-the-scenes stories of the brands that will define it.

Within these pages, you’ll discover John Richmond’s groundbreaking “denim on denim” collection, which interpreted a universally loved material - and one central to Richmond’s rock star ethosin exciting modern ways. You’ll learn how Krizia’s Antonio D’Anna is creating timeless elegance from revolutionary technology. You’ll be guided through the disco dreamscape of Le Silla’s “Paradise City,” a glamorous Guns n Roses collection. You’ll also explore the freezing Canadian Arctic and Boyy’s unique collaboration with workwear brand Jackknife. You’ll read how Pollini and Fratelli Rossetti celebrated their 70th anniversaries with collections that honor the past while winking at the future. And much more...

I hope these pages inspire you to consider the confluence of past and future, tradition and modernity...and how they can all be reconciled. Enjoy this issue, and the upcoming season!

from novels to cocktails, the places and creations that captured our imagination this season

The Hot List

D-Maris Terrace, Marmaris, Turkey: Walking into the terrace bar from the lobby of D-Maris Bay is a breathtaking experience. Perched on the highest level of one of Turkey's most exclusive properties, indeed more a self-sufficient enclave than a hotel, the bar irrefutably offers the most spectacular sunset view of D-Maris Bay. Classics are key here. Opt for an herbaceous spritz or an exquisitely-made French 75 then dip your toes in the pool as the sky turns from orange to purple & you prepare to dine at Manos, Zuma, or one of the other excellent restauratns on site.

The Order: Classic French 75: Moet & Chandon, Bombay Sapphire, lemon, simple syrup

Fleek, Istanbul, Turkey: Clarified cocktails are the star of eclectic Flekk, tucked away in Beyoglu among lively cafes, trendy boutiques, and design hotels. The daring bar team make an impressive range of liqueurs and bitters in house; these run the gamut from smoked rosemary to pistachio orgeat to pomegranate tea. Thus, while you may recognize some base flavor profiles, cocktails at Flekk offer "familiarity and serindipity in equal measure..." they taste exactly like nothing else. On my last visit I was particularly intrigued by the Elää (rum, almond mezcal with sumac cordial, and spicy ginger) and the Vik (mezcal, bergamot, tomato paste tincture, chili aperol, acid mix) The latter includes the best infused aperol (if not the only good infused aperol) that I've had in a summer during which it's been incredibly trendy.

The Order: Bære: black label, pistachio orgeat, milk-washed vermouth, coconut soda

Le 300, Roquebrune Cap-Martin, France: The rooftop bar in the newly-opened yet already iconic Maybourne Riviera, Le 300 offers expansive views over Monaco and a creative cocktail menu to please and surprise even the most seasoned principality veteran. The influence of Mauro Colagreco (the three Michelin-starred Mirazur chef who operates the hotel's restaurants) is evident. There's an emphasis on local ingredients and delightful combinations of sweet, salty, and savory. Cocktails are named after Riviera towns, and from Menton (lemon-leaf infused tequila meets Mastiha Skinos) to Antibes (bulleit bourbon meets pollen and chamomile), there's something for everyone.

The Order: Roquebrune Cap-Martin Gimlet: Verbena olive oil infused vodka, Gin,Vermouth Dry Dolin, Mastiha Skinos, cordial of verbena and bitter orange

Temple Bar at the Beekman, New York, USA: You come here for the gilded age interior; the Beekman, repurposed into a luxury hotel seven years ago, was built in 1883 as a ten-story building with a pyramidal skylight. The Temple Bar now rests under that skylight...and contains all of the leather, mahogany, and metal details that befit a location with its history. Service is excellent, a rare phenomenon in New York post-Covid, and the cocktail list welcomes the trends of the moment while perfecting the classics à la Bemelman's or the Regis. Pro tip: reserve a table among the lounge seating and enjoy a late-night wagyu burger with black truffle pecorino. This is Elyisum's new Manhattan goto...which is saying something given its rather inconveniencing downtown location.

The Order: Paul Bertolli: Olive Oil Washed Great Jones Bourbon, Rosemary, Fennel Orange, Lemon, Aquafaba

Killburn Bar, Milano, Italy: One of Milan's most eclectic bars both in decor and in cocktail list, the Killburn, as it proudly claims, "was born from...a dream, a madness, a vision for the future." A little bit Lewis Carroll and a little bit Hemingway, with just a touch of Fitzgerald glam, the Killburn, run by charismatic founder Ennio, takes you on a madcap cocktail journey in a gilded space where no two tables are the same. The bar partners with its sister restaurant to pioneer cocktail/sushi pairings--rolls are designed to compliment the flavor profile of specific drinks. It's a brilliant idea that should catch on globally-masterfully executed by a team willing to use unconventional flavors like rose and pomegranate in sushi.

The Order: Violeta Valery

Temple at the Beekman

Terrace at D-Maris Bay

The Burdock Hotel, Istanbul: The newest Turkish edition to the Autograph Collection, having opened just six months ago in Beyoglu, the quietly luxurious Burdock property offers a taste of the Anatolian heartland in Turkey's cosmopolitan economic center. From furniture to art to the spa space, almost all aspects of the hotel are inspired by traditional Anatolian design. Guests are informed of this when they check in...they are also given a beautiful handwoven bracelet made by Anatolian women. The Turkish breakfast is outstanding, beds are supremely comfortable, and the well-designed spa space is a treat. However, what makes the Burdock stand out is the warm atmosphere and exceptional service. From spa attendants to night receptionists to breakfast servers, many of the staff members I interacted with went above and beyond in anticipating my needs and providing me with the best and most uniquelytailored experience possible. The concierge was also excellent: responding to all requests quickly and recommending an elite local restaurant with a glamorous atmosphere and no tourists. Elysium's new go-to hotel for short stays in Istanbul.

The Dorian, Calgary, Canada: Calgary's first major hotel opening in many years, the Dorian's mix of youthful energy and discerning style has quickly established it as the city's best property. The second Autograph Collection hotel in Alberta, the Dorian was inspired by Oscar Wilde...and more specifically the joie de vivre and obsession with eternal beauty central to his novel The Picture of Dorian Grey. Rooms have roaring twenties style decor and the rooftop restaurant and bar, Wilde on 27, is rapidly becoming one of Calgary's best places to see and be seen. The first YYC restaurant to offer a Dubai-style champagne brunch, the Wilde sells out tables for its Sunday bacchanalia within a minute of opening reservations. It also has a refreshing cocktail list and a stellar a la carte menu (emphasizing Alberta ingredients such as bison and Brant Lake wagyu).

Hotel Epidamn, Durres, Albania: A brand-new hotel designed with plush old-world decor in a stately building, the Epidamn is the premier property in the seaside city of Durres. A unique combination of modern conveniences and retro luxury, the Epidamn also benefits from an ideal location near the beach and in the center of Durres's best commercial and cultural district. The hotel's garden restaurant serves an excellent breakfast and is a vibrant meeting point for locals & visitors throughout the day.

Hotel Elisa. Tirana, Albania: Stepping into the fatally chic lobby of the Hotel Elisa, a new project from Melia, one enters a space that feels both distinctly Albanian and internationally minimalist. With a mix of monochrome and all-white decor, the hotel highlights contemporary Albanian design on a street proximate to but removed from Tirana's more touristic center. The spa, inspired by Japanese plums or "Ume," is exceptional...offering a full range of saunas, salt rooms, steam rooms, and experience showers.

The Malcolm Hotel, Canmore, Alberta: The Malcolm is the first modern luxury hotel in Canmore, one of Canada's most beautiful and least touristic mountain cities and a favourite escape for Calgarians. An expansive property overlooking Policeman's Creek and the iconic Three Sisters mountains, it's a perfect venue for any occasion from a romantic stay-cation to an international wedding. The pool and hot tub area, perched on a picturesque terrace, is the perfect place to watch the sun set and relax your muscles after a scorching day on the hiking trails or a freezing day on the slopes.

The Goring, London, England

The Malcolm, Canmore, Alberta

The Wilde, Calgary, Alberta

to Turkey this year

from hot new releases to resurgent throwbacks, here are the songs that had us dancing from Turks

February: Love me Till August, Dasha; Dasha's debut album Dirty Blonde landed on Elysium's playlist several times last winter; the raw, sometimes chaotic emotion that she brings to every song is captivating and liberating. For both melody and vocals, this is the most powerful track.

March: Sleepless, AVAION, Paul Wetz, Nu Aspect, Yuma : The haunting lyrics and mesmerizing house beat of Sleepless make it the perfect song for either beginning or ending a night out. The song became popular during Milan Fashion Week, perhaps because it seems to wink at the beautiful...if sleepless...lifestyle that defines this period.

April: Substitution, Purple Disco Machine: We knew this was a hit from the first time we heard it. Purple Disco Machine's highest BPM-song yet, and a departure from their normal retro disco sound, Substitution was made to energize the dance floor...which it has from Sass Cafe to Birds Bodrum all summer.

May: One Night Left, Cheat Codes, McKenzie Porter: A fine example of the increasingly popular EDM/country collab, One Night Left is a great song to blast on the balcony or the highway as the first long summer days arrive.

June: Seven Seconds, Joezi, Coco, Pape Diouf: Brought to you by the same unescapable forces that drove Jerusalema, All I Need is Your Love and Osama to global dominance the past three summers, Seven Seconds, a riff off a 1994 French song from Youssou N'Dour and Neneh Cherry, will forever be the song of the Côte d'Azur 2023.

THE PLAYLIST

July: Cigarette, Josh Stanley: It's been a big year for Monagesque pop star Josh Stanley, who's released a number of hits while launching an Instagram/YouTube career. Cigarette is the ultimate Monaco summer fling song...who wouldn't want to scream out "It's 2 a.m. I love youuuu" from the beach en route home from a night at Jimmyz?

Deep House Pick: Ode Iretei, &friends, Nitefreak, El-Jay, Oluwadamvic: Meaning "Hunters of Hope" in the West African language Yoruba, Ode Ireti continues the recent African domination of global dance floors. With vocals from Nigerian artist El Jay and a remix from Zimbabwean DJ Nitefreak, Ode Iretei is at once both soulful and electric...and from Saint Tropez to Ibiza, trend-setting clubs took notice this summer.

Throwback Pick: паша Face Control, DJ Smash, Diskoteka Avariya: Now well over fifteen years old, паша Face Control, a wry tribute to the legendary late Moscow bouncer Pavel Pichugin, will never go out of style. It was particularly appropriate during a summer where retro Euro house vibes are influencing many modern stars.

Russian Pick: Popstar, Instasamka: A native of Tobolsk, Instasamka brings a brash and unapologetic female voice to Russia's rap scene. Having risen to fame through provocative TikToks and YouTube videos, she has now launched a successful music career, with her most recent album POPSTAR, and this single, garnering the most attention.

New Artist Discovery: Ibiza, 2ManyModels: Based in Paris, 2ManyModels has built off her successful modeling and PR careers to bring the entrancing energy of the French fashion and nightlife industries to her debut album. A talented DJ and vocalist, she incorporates influences as diverse as 80's Russian disco and traditional Uzbek music to hypnotic tracks such as Ibiza...all with a tongue-in-cheek playfulness. Her eponymous debut album will be released September 20.

Sunset Pick: Sonu Var Mi, Sena Sahin: A Turkish Indie crooner with a sultry voice perfect to soundtrack long evenings on the turquoise coast, Istanbul-born Sena Sahin should be on our summer playlists for many years to come. bu gece and suç bende are other recent songs worth a listen.

Champagne Baby, Laure Dugas: Part coming-of-age tale, part comparison of French and American lifestyles, and part education in wine, Laure Dugas's Champagne Baby is a beautifully-woven and hard-to-put-down story that will inspire, teach, and amuse. Dugas, born in Paris to a champagne-making family, spontaneously moved to New York as a young adult to both learn English and market her uncle's wines to American distributors. This autobiography takes readers along as she falls in love with wine and, as a Frenchwoman in America, grapples with her attachment to conflicting cultures. Approachable and whimsical, the book is loosely structured according to different classes of wine, and, from listing little-known vintage champagnes to advising readers on how best to store their favorite bottles, imparts invaluable wine knowledge in an unpretentious manner. Spoiler alert: Dugas ultimately moved back to Paris, where she now owns L'Ebeniste du Vin in the 17th.

The Guest List, Lucy Foley: A scathing Agatha Christiestyle whodunnit, written against the backdrop of 21st century social issues, The Guest List brings murder and scandal to a moody private island off the coast of Ireland. Staged over a glamorous wedding weekend, this page-turner unwinds ever-more-complicated backstories surrounding the the bride, the groom, and their company--and at some point you'll be convinced each main character committed murder. Of course, it's the least likely suspect that did the deed, and the climax has all the drama and intrigue you could want.

Apples Never Fall, Liane Moriarty: Set in a wealthy Australian suburb, Apples Never Fall is a poignant and beautifully written tale of sports, romance, jealousy, greed and family rivalry. Moriarty, as she often does, displays humanity in all of its raw, ugly, and passionate glory. Central to the story are three siblings, on drastically different life paths and each with their own demons, and their parents, a seemingly perfect couple who have been harboring anger, insecurity, and resentment behind their glossy facade for many years. When the wife goes missing and the husband is suspected of murder, the cracks at the heart of this family's core begin to show...and investigators uncover secret after secret as they seek a final truth that turns out to tbe most unlikely resolution of all. This book should resonate with anyone who grew up in an intense sports family. The Delaneys (as the protagonists are called) are defined by their love of tennis; the parents met on the court, with one ultimately sacrificing their career for the other, and then lived vicariously through their children as they placed tremendous pressure on them to succeed.

Stalin's Daughter: The Extraordinary and Tumultuous Life of Svetlana Alliluyeva, Rosemary Sullivan: The best history book we've read all year, Stalin's Daughter weaves the fascinating true story of Svetlana Alliluyeva, one that seems tailor-made for a multiple-season HBO show. Svetlana (who took her mother's name after Stalin's death and Krushchev's ensuing secret speech) grew up in a stern household in which she was both somewhat estranged from her formidable father and desperate for his approval. An intelligent and fiercely independent woman, who sought to build a future separate from Stalin's shadow, she ultimately married Indian communist Brajesh Singh, and, when in New Delhi to distribute his ashes, walked into the. American embassy as a defector. From 1967 until her death in 2011, she spent most of her life in the US, where she would marry Frank Lloyd Wright's son-in-law William Wesley Peters and publish her famous book Twenty Letters to a Friend. Meticulously researched and relatively objective, Sullivan's thorough book is one to be savored and considered long after you finish reading.

Where the Crawdads Sing, Delia Owens: A masterpiece as both a book and movie, Where the Crawdads Sing took the world by storm this past year. Set in the 1950's in the small town of Barkley Cove, North Carolina, it follows the story of the lovable "Marsh Girl" - Kya. Left to her own devices by her abusive father and her mother and siblings -who escaped the violent home -- she raised herself in the southern swamps with the help of a few sympathetic locals. A coming-of-age story of love, resilience, and duty, it also eloquently tackles tough themes such as racial discrimination, economic segregation, and society's fear of the "other." It's an intrinsically American story that, when viewed from 40,000 feet, has a universal human message...and a very satisfying ending.

Paris: The Memoir, Paris Hilton: Elysium's book of the year...and it's not even close. This candid and eloquently written autobiography sees one of the world's most brilliant businesswomen -- not to mention DJ, singer, and the inventor of the modern influencer -- open up about her turbulent childhood, the trauma she suffered at the now-infamous Provo Canyon School, and how she overcame it all to launch her iconic persona and prolific career. Along the way, she shares stories of her busy lifestyle (she often travels over 200 days a year), business strategy, and the philosophies central to how she conducts both her personal life and her time in the international spotlight.

Stars: Terry O'Neill at Fotografiska, New York, USA: One of the best recent exhibitions at New York hot spot Fotografiska, which opened in 2018 in Grammercy Park's 1892 Churchill Missions House, Stars offered a diverse and well-curated take on one of America's greatest and longesttenured photographers. O'Neill photographed everyone from Brigitte Bardot to Kate Moss to Elton John. His shots offer a "window into the soul" and possess a true intimacy and vulnerability that can only come when the subject is truly comfortable with the man behind the lens. They offer a seemingly paradoxical juxtaposition between "candid" and "staged:" for example, an iconic 1977 photo of Faye Dunaway lounging by her Beverly Hills pool the morning after winning an Oscar. O'Neill, born in East London, has a fascinating personal story. He moved to America at a young age as a photographer in the British Overseas Airways Corporation, then took a job at the Daily Sketch after its star photographer Brian Fogarty died in a tragic plane accident. His first major job was shooting the Beatles on Abbey Road as they were recording their first hit Please Please Me, The newspaper containing these photos sold out immediately, and when it approached him for follow-up work, he casually suggested that he shoot The Rolling Stones Thus O'Neill entered the golden age of Hollywood and music...and the rest is history. Stars offers an excellent survey of his work from the 1960's to his 2008 portraits of Nelson Mandelathorough, but sparse enough so that each carefully-chosen photo left an impact on its viewers. Among Elysium's favorites: Audrey Hepburn with a dove while filming Two for the Road, a series of Bardot photos shot in her bedroom, and David Bowie with a massive dog who appears to be rearing at the camera.

Villa Kerylos, Beaulieu-sur-Mer, France: Built by Emmanuel Pontremoli in the early 1900's at the behest of French architect Theodore Reinach and his wife Fanny Kann (an Ephrussi heir), Villa Kerylos is one of Elysium's favorite villas on the entire Côte d'Azur. A modern-day reconstruction of an aristocratic home from 2nd century B.C. Delos, Villa Kerylos blends an authentic Ancient Greek floor plan and true-to-period furnishings with ingeniously hidden modern conveniences. An in-depth audio guide explains the inspiration for each room, the story behind its decorative art, and the extensive nature of Pontremoli and Reinach's collaboration. Allow some extra time to walk through the property's gardens and soak in the outstanding 270 degree view of the Côte d'Azur. If you have a chance, view the spectacular exterior of the villa from the water.

Monet in Full Light at Grimaldi Forum, Monaco: There have been a number of well-curated and successful Monet exhibitions over the past few years…but this summer’s Grimaldi Forum exhibition sets the bar. Featuring 100 pieces from museums and private collections around the world, it provides a representative overview of Monet’s oeuvre. Yet it also dives deeper; instead of following the welltrodden if well-made path of Monet cliches (explaining how he used light, “immersing” viewers in Giverny, etc.), it finds uncharted curatorial territory within the Impressionist space. The exhibition is a love letter to the Cote d’Azur; it centers on Monet’s relationship with a number of towns in the region and features over 25 works that he painted there. Riviera regulars will be delighted to see pastel 140-year-old depictions of beloved vistas: from Chateau Grimaldi in Antibes to the Menton seascape to Monaco’s Tete de Chien. And even the most fervent Monet fan will find something new; a couple of pieces are being displayed in the public for the first time.

The Politics of Scale at Hauser & Wirth, Monaco: A post-modern sculptor and poet whose literary and physical art alike was informed by a year at Black Mountain College, John Chamberlin (1927-2011) created beauty and wisdom from the unconventional. He is most well-known for his “Tonks” and “Gondolas,” two series of metal sculptures forged from twisted and crushed automobile parts while Chamberlin was living in Sarasota in the 1980’s. These sculptures are the physical centerpiece of Hauser & Wirth’s summer exhibition—the gondolas, inspired by the Venetian canals, gracefully slide across the floor of the gallery’s minimalist space. Surrounding them, in small unassuming frames, is an extensive selection of Chamberlin’s original hand-written poems. Dating back to his time at Black Mountain in the 1950’s, under the tutelage of the great poet Charles Olson, they represent a formative, massively influential, and, until this point, completely unknown aspect of Chamberlin’s career. Quietly bequeathed by Chamberlin to curator Julie Sylvester in the 1980’s, this is the first time they have ever been seen by the public. On the stage of this airy Monaco gallery, they dramatically converse with his sculptures: a thought-provoking juxtaposition between the power of word and tangible image. “The greatest influence on my work and on my thinking actually came from the poets at Black Mountain College,” Chamberlin told Sylvester. This exhibition, which could change the way Chamberlin is viewed in the art community, is a rare opportunity to consider how that influence took shape and then was manifested.

Audrey Hepburn by Terry O'Neill

Daniel Craig by Terry O'Neill

David Bowie by Terry O'Neill

Brigitte Bardot by Terry O'Neill

EDITOR'S DINING PICKS: SUMMER 2023 MENU

From amuses-bouches to desserts, the top plates and tastes that have impressed Elysium this season...

Black Truffle Tarama, Dior Des Lices, Saint Tropez, France: PSA-Dior des Lices is more than just a pretty place for Insta. If you can secure a table at this hopelessly popular restaurant, it's de rigeur to begin with this combination of de facto Riviera food groups. Best tarama we've had all year...and we've tried a lot. ' ,

Watermelon Kimchi, Sakhalin, Bodrum, Turkey: This latest coup de grace from Sakhalin's ever-creative Japanese/Russian/Mediterranean kitchen, the well-portioned watermelon kimchi is tangy, tropical, and refreshing. The perfect summer evening appetizer, it has us wondering what other fruits (mango?) we could pickle a la Korea,

Ikura Dumplings: Maya Bay, Monaco: Exactly what the name describes, and perfectly cooked, these were the unanimous favorite at every Maya Bay dinner this summer.

Caviar Service, Birds, Bodrum, Turkey: From exquisite blinis to caviar-topped butter to a spectacular presentation, Birds' Kamchatka caviar service is a Bodrum essential..

Bagna Cauda, Al Camin, Courmayeur, Italy: The interactive presentation concept is what stands out here. The hot anchovies/onions dish is served suspended over a candle flame and accompanied by a range of raw vegetables for dipping and a quail egg intended for guests to crack and scramble themselves.

Griled Onions with Pomegranate Molasses and Sumac: Tershane Karakoy, Istanbul, Turkey: Such simple ingredients but so deeply flavourful. A deceptively complex combination of Turksih specialities that brings sweets, sour, nnd smoky in one bite.

Squid Risotto, Colette, Saint Tropez, France: At locallyfocused Colette, almsot every ingredient is sourced from a Côte d'Azur producer---most personally known to chef Phli Folinet. The result is one of the most consistent tasting menus I’ve had all summer - made intimate by warm service staff that take their time explaining the philosophy behind the restaurant and each dish.. The squid risotto, with capers and lemon juice exemplifies a cuisine in which rich flavours and imaginaive presentations coalesce with simple ingredient-forward recipes.

Fenix Meatballs, Fenix, Bodrum, Turkey: Melt-in-yourmouth tender turkish kofte served like Peking duck? I expected this to be fusion run amok but at Fenix it's culinary genius . The kofte are served wtih spring onions, cucumber, mango hoisin sauce, and pancakes worthy of a Chinese New Year's table.

Green Tea Mussels, Brazen, Banff, Alberta: Brazen has injected a shot of youthful culinary energy into Banff's cooking scene and it's best evidenced by green tea matcha mussels with tobiko and sourdough.

Octopus Carpaccio. Paolo e Barbara, Sanremo, Italy: The best octopus that I've ever had! Thinly sliced and generously portioned, and marinated in herbs grown in Barbara's garden, this dish is reason to return to Sanremo again and again.

Truffle Kumpir, Edition, Bodrum, Turkey: The Edition has turned the most iconic Turkish street food (best enjoyed at a stand near Ortakoy Mosque in Stambul). Generous truffles but manageable portions are appreciated.

Piedmont Veal Amuse-Bouche, Blue Bay, Monaco: Newly 2-Michelin-starred Blue Bay,where Marcel Ravin brings flavors from his Caribbean heritage to classical French cuisine, welcomes guests with, among other delicacies, a bite of Piedmontese veal with paprika, tamarind, sweet potato, and quail egg, Could easily be a main.

Akcabaat Koftesi, Cemilusta, Trabzon, Turkey: Unique to Trabzon and the Black Sea region, Akcabaat koftesi are greater than the sum of their parts. The recipe of veal, bread crumbs, garlic, salt, pepper, and onions could seemingly. be recreated elsewhere...but the taste can not. Perhaps because according to local tradition, you can only use the meat of the calves you grow and slaughter yourself.

Revani with Rose, Neolokal, Istanbul, Turkey: Perhaps best called "Rose Infinement," this dessert feels like stepping into a luxurious Dubai spa to bathe in milk and honey. Best paired with a Turkish, Moldovan, or Romanian dessert wine.

:Lemon Many Ways, Colette, Saint Tropez, France: Texture, temperature, and element play are all essential to Colette's lemon dessert, which presents different types of lemons in forms ranging from sorbet to baba.

Destination of the Season: Tirana, Albania

Want your favorite destination, song, or book on the Elysium Hot List? Know anywhere we should hear about?

Connect with us on Instagram at @worldofelysium

Or get in touch at elysiumcocktailclub@gmail.com

You could be featured in the next edition of Elysium magazine!

'Life becomes absolutely slow, and we cherish it.’

'When on a retreat, these are my to-go apps. Less instagram - more yoga.'

D R EA M I N G

WITH DIANA

The World of Elysium asked digital creator Diana Huk about her essentials for a fashion retreat.

‘A melting watch from Cartier reminds us that time is surreal.’

'We also take ‘out of office’ very seriously, thanks to this bag from the Samaritaine store.'

‘Skin care is the priority: Laneige Cica Mask for an overnight miracle.’

'A Missoni hooded robe for a cozy stay-in.'

"Planning days outs to museums is my favorite activity."

MILAN FASHION WEEK

F/W 23/24

BACK TO THE ROOTS

Denim on denim on denim. That was the theme for John Richmond in FW 23/24 as the British rockstar took one of the most utilitarian and universally loved materials and made it effortlessly punk glam in a way that only he could. Richmond found complexity through simplicity. For him denim was a blank canvas upon which he grounded wearers in a common reference point then used his remarkable creativity to construct a Richmond-verse of designs we’ve never seen before. Richmond’s collections always feel deeply personal; they’re a way for him to express his vision for the world, in all its dark optimism, rather than just promote a certain aesthetic. His iconic phrase “In Good we Trust” encapsulates much of this worldview; it’s become something of a cult classic and was again emblazoned on many pieces this season. His FW 22/23 collection, as in stores now, conversed with the turbulent geopolitical flashpoint it was designed in (of course capped by the beginning of the Ukraine crisis). This season’s collection was also created in a time of global strife. A shadow crossed Richmond’s face as he talked to me about the future; in concurrence with a seeming international consensus, he is dubious about what lies ahead.

Inspired by this sentiment, Richmond wanted to give the world something comforting, something “salt of the earth,” something easy to relate to that maybe, just maybe, felt like home. Thus the collection was titled “Back to the Roots,” inspired by the energetic 1977 Lamont Dozier hit. “Zipping up my boots, going back to my roots,” the Motown star belted to the enthusiastic melody of a keyboard. “To the place of my birth, back down to earth….

I’ve been standing in the rain, drenched and soaked in pain, tired of short term benefits, and being exposed to the elements. I’m homeward bound, got my head turned around.”

Dozier was not a country singer but there is a Western connotation to his lyrics that was reflected in some of Richmond’s designs (and, interestingly enough, was omnipresent in Milan’s shoe and accessory collections this season). White and blue boots embellished with silver studs and a large silver rhombus detail were decidedly “cowgirl chic.” So too were distressed denim boots that are likely to become a staple in many wardrobes. However, Richmond never strayed to the point of becoming “country” or “workmanlike.” Most silhouettes, layers, and details were distinctively high fashion, with denim being used in puffers, blazers, and dresses that felt more suitable for the red carpet or a luxury ski holidays than the metaphorical “roots” that Dozier references. One flamboyant jacket covered in ruffling patches of blue-fringed black denim quoted both fur and this season’s “tour de force” ostrich feathers—it was only when I was next to the garment that I believed it was made of denim. Meanwhile, formal met street in a bejeweled blazer that featured distressed denim lapels and brought back the same crystal motif that was so popular last year. A dramatically cut dress made of a severely distressed light wash and embellished with a “JR” lock jewel on the breast was our award show pick from the collection. Playful yet sexy, masterfully designed yet with a touch of satire, it was signature Richmond and perfect for a carefree woman with a rebellious personality. Then there were the oversized puffers, denim printed and at once suggesting clouds and camo.

Details were critical. “In Good we Trust” was written in bold crystal letters across the diagonal denim fringe of a black dress…the tromp l’ceil fringe appeared to be a “Miss Universe” pageant banner.

Knitted cuffs and sleeves imbued some pieces with a “cozy” feeling while belts (including on what is doubtless one of the first denim trenches ever created) added both structure and flare. And of course Richmond did not turn away from the staples: stylized leather jackets, simple white t-shirts and of course jeans themselves anchored the collection.

Towards the end of Dozier’s song, he says “Ain’t talking about the roots in the land, I’m talkin’ about the roots in the man. I feel my spirit getting old; it’s time to recharge my soul.” This strongly resonates with the Richmond brand, which is both retro and contemporary and adeptly re-interprets a wide variety of inspirations in adherence to the founder’s soul. Richmond is rooted in a spirit rather than a specific temporal or geographic location, a spirit that has evolved superficially but has been unshakable fundamentally as years have passed. And, while it may have needed a recharge this season in light of current events, it seems insane to think that it, or the ever-vivacious man perpetuating it, will ever get old.

RICOSTRU

What happens when ancient world influences are combined with Renaissance silhouettes and a futuristic vision? You get the latest collection from Ricostru, our favorite brand that Elysium discovered this season.

The setting for the Ricostru presentation was a metaphor for the brand as a whole. Located in a private event space on the top floor of Cracco, the legendary Michelin-starred restaurant nestled in the Galleria Vittorio Emmanuele II, it offered commanding views of the gilded galleria from a picturesque old-world terrace. However, step off the terrace and you entered a contemporary and fatally sleek presentation space covered in black and chrome with electronic music to match. To make your way through the sparse yet well-curated collections was to embark on a tripartite historical journey. The collection, “Reconstruction of an Ancient Past,” had roots in the ancient world, classic fashion, and an imagined future, using modern materials to bring to timeless silhouettes to life. Geometry and simplicity of form were key, boxy shoulders radiated power, and a certain rigid nobility permeated most pieces. The colour scheme was particularly unique; earthy browns, mossy greens, and stone-like tans were presented in sleek almost-shiny leathers.

Ricostru is Chinese-born and Italain-trained; its Chinese designers are based in Guangzhou but studied at Istituto Marangoni. The brand’s name stems from the Italian word “Ricostruzione,” or reconstruction..it also takes inspiration from the words “return,” “caring,” and “love.” Ricostru proudly presents itself as “returning to the essential of the clothing,” creating “garments that are comfortable to touch yet rich in detail, ordinary yet sophisticated.” Timeless yet forwardthinking, every garment is polished yet maintains a sense of simplicity approaching deconstruction. Every piece is beautifully tailored, easily emphasizing the masculinity or femininity of the respective wearer, yet, when viewed by itself, occupying a fluid space between the genders.

Welcome to Paradise City! Inspired by the 1990’s and Guns n Roses rock and roll, Le Silla’s creative director Monica Ciabattini took guests to the disco in presenting an exuberant FW 23/24 collection. Punk glam, the lustrous shoes were dominated by glitter, crystal, and vibrant color; they were made for dancing until morning to the retro Purple Disco Machine-esque synths that have returned to prominence in Italian music in recent years.

The collection was a study in contrasts—to quote the press release: of “antithetical yet complementary tensions.” In many ways, these contrasts were a metaphor for the nightlife industry, where glamor, optimism, and uninhibited joy are balanced by darker undercurrents of greed, desire, and chaos. Thus we saw animal prints, vivd purples, lapis lazuli blues, acid yellows, and gold lycra balanced by “volcano black” boots and a collection of fatally chic mirrored leather. “Nostalgia for an innocent childhood was contrasted with the corruption of the metropolitan city.” This dichotomy was portrayed from a measured viewpoint; the innocent childhood was not idealized nor was the metropolitan corruption judged.

This was an unmistakably urban collection, made for the rhythm of the night in Milan, New York, or Paris. It was also strongly rooted in Western influences, a universal trend this season but one that Le Silla interpreted in a more sexy way than other brands. Black satin boots with a deadly 12 cm. stiletto heel were emblazoned with crystal cowgirl-style motifs. Meanwhile, the cowboy heel starred on a black denim boot also studded in crystals. The designs were clearly tethered to Guns n Roses; this was rockstar Western, the LA glamorization of Arizona nostalgia. And all was oh so clubby, hearkening back to West Hollywood and London nightlife in the days of Kate Moss and heroin chic.

My favorite piece was the Uma: a fierce 14 cm. Stiletto guaranteed to steal the show in its mirrored shades of gold, green, and purple or in a femme fatale black crocodile print. Other highlights were satin boots and slingbacks covered in glimmering crystal nets.

I’ve written before in this magazine about how neon color palettes and a bubble gum attitude were overdone after Covid. In their rush to celebrate the end of lockdowns and give people an excuse to party again, many brands seemed to stray away from their DNA and created collections based on generic themes rather than compelling stories. Here, in the third fall/winter season following Covid, Le Silla accomplished where many have failed, executing an exuberant vision that was realistic instead of blindly optimistic, sexy yet mysterious, and embraced darkness as part of a beautiful life. As we were told while walking through the collection, this season “aimed upwards, with a return to opulence and idyll, while still denoting a fatal attraction to darkness.”

GIUSEPPE ZANOTTI

The Giuseppe Zanotti collection was, as per usual, a highlight of Milano’s FW 23/24 shoe offerings. Zanotti displayed his mastery of the red carpet and signature bejeweled flare in debuting a series of daring shoes for men and women who are indisputably the main character of their own stories. This season, we were told, the brand is shifting away from designing broad collections that follow market trends; it is instead concentrating resources on developing unique statement pieces and creating looks for the world’s biggest stars. That said, the current fashion flashpoint was practically made for Zanotti’s designs…a fact emphasized by several pieces that not only conversed with the style of the moment but indeed surpassed and redefined it.

Yes, there were cowboy booties, presented in a simple black and white. But the heels of these boots were covered in glittering rhinestones for a distinctive Zanotti flavor. Metallics were also present. Instead of sticking to just gold and silver, Zanotti also embraced royal purple and cobalt blue for glamorous looks that transcended styles from pumps to sandals to heels. Two of Elysium’s favorite bags from the season were metallic clutches in brilliant red and blue with oversized bejeweled clasps. Meanwhile, Zanotti’s nod to punk came in the form of shiny black under-the knee boots covered with nine gold buckles. A particularly bold choice was his gold-toed sandals; a classic Zanotti design was given an urban yet glamorous edge through fifteen gold-buckled straps hugging the foot like a glove.

FW 23/24 also saw Zanotti make a rare foray into the world of apparel. A sleek leather jacket made it possible to assemble an entirely Zanotti look. The jacket marked a new step for Giuseppe but also stayed true to his brand’s heritage; gold metal buckles and details mirrored those seen every season on his shoes.

Zanotti’s men’s offerings felt more rugged and universally appealing than in recent seasons. The collection was anchored by a series of combat boots. These were presented in versions of supple matte leather, glossy leather with three structural gold zips (each with a Western-style fringe), and glossy leather with a gold-plated heel. This heel, Elysium’s favorite detail from the collection, referenced the brand’s “clubby” hightop from recent seasons. The standout sneakers this year were masculine yet glamorous black low tops coated with glittering studs. Most bold were the loafers; one was banded by a nebula of cosmic-style silver jewels while another saw volcanic black gem surrounded by orange, gold, and pink stones.

For those less inclined to make a statement in gems and gold, there was a multitude of other materials on offer as well. Elysium loved the luxurious fur stiletto boots that kept the deadly Zanotti heel but toned down the glamorous aesthetic. The boots represent the sort of versatility that gives Zanotti such staying power; regardless of the material, color, or form, every piece is distinctively Giuseppe and distinctly femme fatale.

FRATELLI ROSSETTI

CELEBRATORY COLLECTION MARKS 70TH ANNIVERSARY

Fratelli Rossetti celebrated 70 years this season with a vibrant collection that paid homage to the brand’s rich history while featuring the technology of the future. Rossetti presented this collection in a starkly different space than it has in the past; rather than on last season’s old-world Milanese rooftop guests admired the collection in a minimalist all-white gallery. While the classic Magenta boots and Brera loafers, the brand’s two most iconic capsules, returned, they did so with refreshing redesigns. A new pump with a graphicdesign heel entered the Magenta-verse while the Brera went “back to the future” by introducing an embroidered tassel on the upper. As we were told by the Rossetti press office, “it’s a decorative element that was so innovative for its time that it still represents the symbol of a true revolution.”

Colours and crystals starred in this season’s Hobo line. I was struck by a pair of velvet red loafers embellished with silver rhinestones in both floral and art-deco style patterns. Most impressive was their gold lacquer heel, which referenced current streetwear trends while remaining rooted in Rossetti craftsmanship and Milanese glamour. This iteration of the Hobo was also inspired by skates and ice hockey; the rhinestone pattern, and indeed the overall cut of the shoe, was reminiscent of a blade slicing through the ice. A sports-chic twist on a classic design with a glamorous profile, it brought together elements of the Rossetti legacy that should remain at the foundation of the brand for the next 70-year period.

POLLINI

REFLECTING ON 70 WITH NOSTALGIA & PRACTICALITY

Pollini’s FW 23/24 season was a celebration of tradition: the brand marked its 70th anniversary with a classic collection that brought back beloved silhouettes and materials from an illustrious past. The ensemble was highlighted by a ten-piece capsule collection dug out from the Pollini archives. This included a new burgundy edition of the iconic Cavaliere boot, adapted from the equestrian world that has always been central to Pollini’s inspiration. Nostalgic etails were emphasized; a striped sole paid tribute to the 1960’s while a vintage 70’s buckle adorned a couple of pairs of boots. I was impressed with the overall practicality of the collection; it had a utilitarian feel that other Pollini F/W collections haven’t while remaining elegant and invoking retro romance. Standouts included platform boots in burgundy and camel suede, mottled fur bags, and “work boots” in feminine purple and white.

Pollini’s logo may have gotten a slight facelift this season, with a “70 years” slogan added beneath the iconic laurel wreath. But overall Pollini went “back to its roots,” anchoring itself around several timeless pieces and colors. After a number of conversations with brand representatives and presentation guests, I can confidently conclude that creators and consumers alike are unanimously happy with this development.

SANTONI HYPER-FEMININE GLAM ABOUNDS IN COLORFUL COLLECTIION

Santoni’s F/W 2023 collection was all about light and matter: in the brand’s own words it created a “new hyper-feminine dimension whose reflections exceed the material world.” The collection was markedly more feminine than Santoni’s offerings in recent seasons. Glittering and glamorous, it embodied light in many of its forms while introducing a rich color palette resplendent with unique Santoni interpretations of the colors that dominated the catwalk in exuberant post-Covid times. The teal and burgundy Sibille pumps were particularly spectacular…and were beautifully complimented by lustrous versions of the double buckle plate that has been a part of Santoni’s DNA throughout its history.

In adherence to the “light” theme, the double buckle was also re-imagined in crustal pavé form this season. This bejeweled buckle appeared on several of the Sibille pumps and flats, creating a striking contrast on suede pieces colored in butter yellow and dusty lilac. Meanwhile, a crystal coated version of the Andrea loafer represented one of Santoni’s most flashy looks in recent seasons. Crystals even appeared on the “Sneak-Air” sneakers, adding femininity but also modernity to one of the brand’s more masculine silhouettes.

Santoni’s new design this season was the sleek Pluto bag, its asymmetrical flap cleverly designed in the shape of a massive Santoni buckle. The Pluto is my favorite bag for the upcoming seasons; classic and versatile while remaining distinctive I hope it becomes a recurring part of the Santoni oeuvre.

KARIM DAOUDI

STAR HEEL STEALS THE SHOW AS DAOUDI CONTINUES TO EXCEL ON MILAN STAGE

Moroccan designer Karim Daoudi has become a mainstay on the Milan calendar the past few seasons and February 2023 saw him present some of his most memorable designs yet. New this season is the “star” heel, a masterfully engineered detail which gives added flare to a vibrant ensemble of pumps and boots. Daoudi also expanded his color palette this season. While blacks, burgundies, and golds have dominated in the past, this year saw fuchsia, yellow, and brilliant blue star on a series of suede designs.

CASADEI

TASTING MENU RANGES FROM WILD WEST TO MONGOLIAN STEPPE

Casadei’s Fall/Winter 23/24 presentation was a veritable feast for the eyes; a colorful array of classic designs and modern trends was laid on a banquet table before impeccably dressed guests at the Four Seasons Hotel. New twists emerged on the Divina and Cleo; the Divina was presented in a brilliant patent red and the Cleo added a statement silver button to a deceptively complex black boot. The “tasting menu,” as it was whimsically called on a hand-out given to guests, continued with the chunky Generation C loafer (which redefined a masculine silhouette for bustling city streets) and the towering above-the-knee Superblade (an iconic femme fatale boot unmissable in lipstick red). Most impressive, and innovative for the Casadei brand, were the Anastasia, Annabel, and Yeti, Cesare’s interpretations of the Mongolian and Western trends that are dominating Italian fashion this season. The furry knee-high Yeti boot, presented in a rich caramel, was contrasted by the lightweight Annabel heel, resplendent in a cheerful yellow and accentuated by peacock-style fur plumes. Meanwhile, the Anastasia juxtaposed a variety of earthy colors and patterns with chunky heels and fringe details. These Anastasia models were a more understated and European take on a “cowboy” trend” that has seen black and white boots at the center of a retro-glam Western narrative.

The past two seasons have seen Casadei accelerate into the future with imaginative presentation settings, sleek new styles, and discourse with avant-garde technology. It’s also expanding its appeal among younger generations; this season’s designs dominated the red carpets of San Remo before Fashion Week even began. With the Elodie and Blade remaining as popular as ever, and the Yeti and Anastasia offering a luxurious take on the fashion of the moment, look for Casadei to be one of Italy’s most ubiquitous shoe brands next winter.

MARIO VALENTINO

ANCIENT JAPAN MEETS MODERN TECHNOLOGY

Mario Valentino invoked an oriental mood for FW 23/24, taking guests on a journey to Japan and the far east for a collection with a calming color palette, intricate details, and the best in modern technology. The fuchsia and herbal green boots and loafers referenced cherry blossom season; meanwhile the sensual digitally printed flower motif called to mind Japanese calligraphy. The collection was generally delicate; feminine. However, there were some more forceful pieces; most memorable were black and burgundy stilettos with straps that appeared to wrap the foot like a hand. Meanwhile, the V for Valentino brand impressed with fur details on a pair of classic black sneakers and an elegant fishbone weave (referencing the brand’s logo) on the cloth upper of some masculinely structured black boots.

GOTHIC LIGHT

GERMAN EXPRESSIONISM & GREEK ARCHITECTURE IN VERSATILE COLLECTION

AGL’s Fall Winter 23/24 collection was one of the most intellectually engaging of the season. Rooted in the subversive art of German Expressionist Ernst Ludwig Kirchner but also influenced by ancient architecture, it translated complex inspirations into simple form while creating a balanced discourse between elegance and practicality.

The epitome of comfortable femininity, AGL, designed and owned by three sisters, is a “by women for women” brand. I am consistently impressed with the lightweight nature of their products in addition to how their heels balance fun design with manageable height. This season, even chunky boots and knee-highs felt as light as many brands’ ordinary pairs of pumps. However, AGL attained these designs without sacrificing either durability or creativity. Their shoes are for busy women navigating a fast-paced and challenging urban lifestyle in Milano…but never forgetting to have a little fun and doing it all with a certain savoir faire.

The official theme for this year’s collection was “Gothic light.” This phrase, while an AGL creation, would be the ideal descriptor for German expressionism, which used vivid colors and light brushstrokes in portraying scenes that often had dark or ambivalent connotations. The aforementioned Kirchner, originally leader of the Die Brucke movement, remains the most famous artist of this genre, his explosive landscapes and intimate primitivist-inspired portraits speaking to turbulent undercurrents of power running through post-war society. Dark yellows, oranges, and pinks frequently appear in his paintings, particularly in his Gauginreminiscent portraits of women. It’s these colors that AGL was quoting. Vivid orange tied the collection together, in monochromatic shoes and on heels and details alike. Meanwhile, Kirchner’s interplay between light and shadow was referenced by the silver studs appearing on statement black and white boots. The studs, a sort of armor, also winked at Kirchner’s darkness and at the inherent complexities found in both his worldview and the image of the dynamic “AGL woman.”

The most unique feature of the collection was the cylindrical ridged heel (pictured at left), an exact replica of the Doric columns that rose to architectural prominence over 2500 years ago in Ancient Greece. A reference to power and stability if viewed philosophically, it contrasted Kirchner’s chaos. Most importantly, though, the heels were fun and symmetrically satisfying; I hope to see them brought back for seasons to come. Another standout piece was a pair of padded knee-high boots that resembled a Burberry jacket in pattern and material and hugged the leg like a glove. Comfortable, stylish, and timeless, with a surprisingly British sensibility, these are wardrobe staples for next season and beyond. Joining them in the boot capsule were a pair of metallic gold Wellingtons; these versatile boots, which unzip for maximum comfort, were both on-trend and a bold new direction for AGL. (The brand did not shy away from metallics this season; the pair of lustrous gold sandals pictured here were another Elysium favorite). Meanwhile the most striking piece was the “lava boot,” its masculine form, bold color scheme and utterly massive sole belying the fact that, like almost everything else in the collection, it was light as a feather to hold.

MARTINA CASSATELLA

KRIZIA

USING REVOLUTIONARY NEW MATERIALS, ANTONIO D’ANNA CREATES A FUTURISTIC REALITY FROM KRIZIA’S RICH PAST

Antonio d’Anna continued his exploration of revolutionary new materials and the Krizia archives in FW 23/24 — the result was his best collection yet. There’s been a beautiful symmetry and progress in D’Anna’s work since he took over as chief designer for the brand. While his aesthetic has been consistent it’s manifest that he grows significantly more comfortable with his role in re-interpreting the Krizia universe with each season. He has a masterful eye but is still discovering the extent of his own capabilities; thus we have seen a trajectory of increasingly bold choices and a heightened yet symbiotic dichotomy between respect for tradition and a futuristic vision. D’Anna has also fully utilized the technological and sartorial resources at his fingertips. Krizia, with access to the best Italian materials and research teams, has pushed the boundaries each of the last four seasons in subverting expectations of how a garment should be constructed.

Building off previous seasons’ interplay between masculinity and femininity, “warm and cold faces” was the key dichotomy in this collection. Metallic details and sharply cut leather were contrasted by eco-friendly wool and fur; similarly, unexpected shiny and matte color combinations pulled together several outfits. D’Anna described themes this season as the seemingly oxymoronic “industrial, rustic, natural.”

Mohair crop tops? Tweed-style jackets with oversized gold chains? When it came to sexy vs. cozy or classic vs. rebellious, no combination was off-limits for Krizia this season. Yet all of it worked - effortlessly. Perhaps that’s because while many of the silhouettes and concepts were familiar to the fashion industry, the materials they were executed with and the ways in which they were combined had no entrenched precedent. For example, one black jacket was made of 90% steel sourced from Northern Italy. This metal foundation was bound together with a singular elastic band and the result was shockingly lightweight and wearable. As is typical, d’Anna’s attention to detail was the difference between a merely creative garment and as spectacular one; the steel appeared in tiny threads almost as feathers or delicate scales.

Mewanwhile, trompe l’oeil rubber was the basis for an expedition-ready black puffer. This again-surprisingly lightweight piece epitomized Krizia’s emphasis on sustainability; the padding was made not from goose down but from the waste material of silk production.

Even when the materials were not industrial, processes often were. For example, fine cow leather was laser cut using a modern method. Simultaneously, the collection used silky mohair and hand-spun Japanese yarn to comprise some of its more hyper feminine yet rustic pieces. Some of the mohair garments were paired with pants of a seductive viscose, a classic and uniquely Krizia combination.

I was told by the Krizia press team that this season saw the “true spirit of the Maison projected into an almost futuristic reality.” The result was an exuberant and cohesive collection that celebrated Krizia’s illustrious past and recent growth. Most importantly, it hinted at a brilliant future for which, as long as D’Anna stays on as creative director, this season’s innovations represent only the tip of the iceberg.

GIANLUCA CAPANNOLO

FW 23/24 was a triumphant season for Gianluca Capannolo, who continued to use the leitmotifs popularized over the last few years but did so in a more practical and elegant way than I’ve seen before. Each piece, as per usual, was a work of art; this season saw Joan Mitchell’s colorful and chaotic abstract expressionism serve as a major inspiration for Gianluca. Examine Mitchell’s pieces closely and you’ll see exuberant brushstrokes fanning out like ostrich plumes; these works converse with the roaring twenties trend of the season and clearly informed some of Gianluca’s more dramatic garments. From black to pink, mini-dresses to oversized silhouettes, feathers were a constant theme this season. Yet they were not presented in an overly ostentatious way, instead layered with a classic elegance that can appeal to a broad swath of Capannolo’s market.

Geometry, texture, and statement accessories were huge themes. Capannolo used fewer ruffles and decorations than in previous seasons, instead focusing on simple silhouettes and regal colors then accentuating them with oversized pieces like a silver metallic belt. The collection illustrated that less can be more; bold patterns and overbearing frills were eschewed while the deceptively complex textures and fine materials distinctive to Capannolo were emphasized. Fine wool mohair, heavy velvet, and delicate silk were emphasized, with an extremely supple striped mohair sweater being one of Elysium’s favorite pieces. Outerwear also took a more pronounced role in the collection; a black cloak, a structured cream top coat and a quasideconstructed red “pebbled” jacket were welcome additions to the Capannolo oeuvre. And gorgeous yet simple silk dresses, some with a rainbow of rich color and others in simple grey or black provide an ample canvas for Gianluca to add some artistic flare moving forward.

SURREALIST OR UTILITARIAN? BOYY EXPERIMENTS AT EXPERIENTIAL

Boyy went in a new and experimental direction for FW 23/24. Husband and wife team Jesse Dorsey and Wannasiri Kongman used an immersive and experiential presentation to debut a collection of playful accessories drawing from both surrealist and utilitarian influences and walking the fine line between wearability and fashion as art.

Jesse went back to his cold-weather Canadian roots for a capsule collection inspired by the hardy ice fishers of the northern tundra. A pair of lime green boots with a technical outer juxtaposed a variation of the Boyy logo with that of Jackfield, a 113-year-old workwear brand geared for “Canadian workers and outdoor enthusiasts.” Technical specs were printed on the boots, emphasizing their rugged nature, but were contrasted by a luxurious blue fur lining. Wearable yet decadent, a subversively playful twist on both luxury fashion and workwear, the boot collaboration has diverse appeal and opens doors for future capsules that can cross over into different sectors of the industry. Slightly less practical but equally wearable were Jackfield gloves made with the same material and fur lining; these were accentuated by a thick golden chain that referenced nightclub glamor. Both the gloves and boots were appearing for the second consecutive season; it will be interesting to see if Jesse opts to keep them as permanent fixtures and/or expand his range of Jackfield products.

Boyy also made forays into clothes this season; highlights included a knit shawl with built-in gloves and leather biker pants with details modeled after vintage ice hockey goalie pads. The Wanton bag starred as usual, presented in an elegant cream that perfectly paired with the brand’s stylized logo sunglasses. However, the collection highlight was the motorcycle helmet bag, a brilliant innovation riffing off a scene so common it made me wonder why no one had thought of it before. The bag was inspired when a chic girl popped by last season’s Boyy presentation holding her bike helmet during a chaotic day of fashion week events. She carried the helmet with such aplomb that it struck Jesse as an accessory…and an instant classic was born. The hardshell bag, in glossy black with a sleek silver logo, was surprisingly lightweight and incorporated small technical details to appear as authentic as possible. The handle was fashioned like a chinstrap; a thick silver chain was also included so that wearers can use the bag as an over-the-shoulder piece. The versatility, whimsy, and precision in the piece was signature Boyy; look for “helmet bag” to be a leitmotif of the brand and an ambassador for the Boyy vision, and the modern Boyy girl, moving forward.

HIGH ALTITUDE EXPERIENCE

SIMONETTA RAVIZZA F/W 23/24

Simonetta Ravizza revitalized her brand with a spectacular Mongolian-inspired fall/winter collection last year. While her Spring/Summer 23 looks marked a step back to the more neon looks of seasons past, Ravizza returned to the Central Asian steppes for a triumphant Fall/Winter 23/24 collection titled “My Mountain Chic.”

The collection, the most impressive I’ve seen from Ravizza since I began following her eponymous brand in 2017, was a winter fairytale. Ravizza is at her best when working with her iconic fur and a classic color palette; monochromatic looks, whether black, white, or grey, both converse with the windswept Mongolian landscapes from which she has been drawing inspiration and allow her to bring attention to the texture contrasts with which she excels. This season the theme was “Total White.” From shaggy fur boots (which were a trend all over the runways this season but which Ravizza did first and best) to a surprisingly structured bomber-style coat to a luxurious chapka, everything was the color of freshly fallen snow. It was both minimalist and decadent, indulgent and effortless…a sort of timeless glamor that can transcend decades but also contained contemporary details. For example, while cashmere and shearling abounded, one stunning windbreaker was comprised of scuba fabric, a material which is only just beginning to appear in luxury fashion.

A fantasy come to life, Ravizza’s “high altitude experience” was a photographer or videographer’s dream; the looks seemed transplanted from a glossy coffee table book at Cheval Blanc Courchevel or Badrutt’s Palace St. Moritz. That said, it’s an attainable fantasy, constructed for the lifestyle that much of Ravizza’s fatally chic Milanese market lives every season. And one that I hope Ravizza continues to elaborate on moving forward.

DEPOSH REVIVE

Beatrice.B, always a staple on the Elysium fashion week calendar, has released increasingly impressive collections the past three seasons and FW 23/24 marked the brand’s coup de grace. While the Beatrice presentation typically takes place in the brand’s Corso Venezia store, this year the event was expanded to a different site and inspired entirely new emotions.

Oversized silhouettes were prevalent, a theme that, when combined with the rich color scheme, provided a contemporary twist on a 1970’s vibe. Yves Saint Laurent seemed an influence, most notably in a stunning kiwi green fur coat that referenced his iconic Scandal collection. Kiwi was omnipresent, appearing on all garments from a leather trench to furry pants. The metallic trend was honored through a spectacular gold trench coat, a couple of oversized gold bags, and monochromatic boots, loafers, shirts, and baggy pants in the same color. Two of the most innovative pieces were a trompe d’oeil vinyl jacket and skirt set with the color and details of dark denim.

Despite this wave of innovation, winter comfort and classic style were not ignored. A “Dale of Norway” type sweater was worn effortlessly over a simple white shirt. Quilted down jackets came in somber brown and lilac, while a plaid wool coat with forest green details was the epitome of the “functional yet feminine” crossover that this collection embodied. A Japonisme capsule with a reserved color palette yet intricate motifs winked at both modern masculinity and 18th century aristocracy.

How does all of this fit into D-Posh. According to Beatrice.B, the collection disrupted the “canonical traits of posh

style,” signals of privilege and elitism among the British bourgeoisie, and reoriented them as the focal point of a “free and inclusive aesthetic” emblematic of contemporary luxury. Also emblematic of contemporary luxury are sustainability and socially-conscious design, two themes that are critical to Beatrice.B’s vision of the future. Thus vegan silk was a centerpiece of this collection and the leather, fur, and sheepskin pieces were “cruelty-free.”

FW 23/24 represents a major evolution for Beatrice.B, as the iconic mother-daughter team of Morena Bragagnolo and Beatrice Mason fully embraced both classic styles and progressive concepts to an extent we haven’t seen before. Color blocking superseded prints, practicality was central, and the collection laid out an inspired and cohesive vision for the brand moving forward.

DUVETICA

Puffers have been *the* vibe this season, and, if Duvetica’s FW 23/24 collection is any indication, the trend will continue through next winter. A signature piece of the brand since it was founded in 2004, the goose-down pieces were the lynchpin of a new collection that felt achingly of the moment but also unique within the market. The metallics that dominated the ski slopes this season were referenced by a silver chrome jacket. Other puffers came in lilac purple, ice blue, and dusty pink, a refreshing pastel color palette that would be wholly unique on those same slopes. The stars of the show, however, were the accessories: Elysium was in love with the off-white shearling and black vinyl baseball caps that can pull together a wide variety of winter of looks while reflecting both sophistication and urban cool. Look for shearling/furry caps to be a massive trend next winter.

MAX & CO

Color was the keyword and flamboyance was the theme for Anna Dello Russo’s intoxicatingly playful capsule collection for Max & Co. Whimsically titled “DeCoated” with the deconstructed coat as its source material, the bubble gum collection was dominated by pinks, yellows, lime greens, and pale oranges in a selection that reminded me of Marchesi confetti. Dello Russo told Women’s Wear Daily that the collection is for the “Instagram generation,” a sentiment embraced by both the setting for the presentation (oversized heads, made entirely out of balloons, greeted attendees) and the young and enthusiastic guests. The silhouettes were unmistakably youthful, with even the double breasted peacoat, a style typically construed both masculine and traditional, taking on a boxy shape and made contemporary by color and detail. And, in a testament to Dello Russo’s tremendous but sometimes underappreciated talent as a designer, the “De-Coated” label was taken quite literally. From pencil skirts (back) to corsets (sleeves), every garment originated from a part of an overcoat. My personal favorite piece: a cropped bomber in bright pink vinyl.

The blazers were classic and the decor was mid-century modern but Blaze’s F/W 23/24 presentation was all about a sleek 21st century rebrand. To celebrate its ten-year anniversary, Blaze, in collaboration with Parisian agency MaisonNue, introduced a new seahorse logo that playfully pays tribute to its past while launching what is expected to be a several-collection evolution. The double seahorse, which seems to have drawn stylistic inspiration from stately centuries-old military, equestrian, and nautical apparel, is a tongue-in-cheek reference to the fact that the co-founders both loved eq as children and that one of their fathers was a marine captain.

The seahorse adorned a variety of items in the collection, from the breast of sweaters for a varsity jacket style look to the golden buttons on the brand’s classic wool blazers. It at once seemed aristocratic and lighthearted, a seemingly oxymoronic combination but one that blended perfectly into the collection’s overall theme.

BLAZE GOES BACK TO THE FUTURE

The roaring twenties of flappers and fringes are back with a vengeance and Blaze fully embraced this paradigm with sequined black dresses, feather details, and vivid oranges and pinks. Yet many pieces kept their classic and almost-masculine structure; of course the smiley pocket jackets but also an oversized doublebreasted red coat and dazzlingly sequined baggy pants. All was loyal to Blaze’s DNA; while the 1920’s may be having a global moment post-Covid, Blaze was inspired by them all the way back in 2012. Founders Rodriguez D’Acri, Delfina Pinardi, and Maria Sole Torlonia even quoted the 20’s in their conception of their signature Smiley pocket. Pinardi told Women’s Wear Daily “We took inspiration by a recurring element in 1920s fashion, that arched shape. Those curved lines, that had a feminine and seductive touch, seemed like an interesting addition for our blazer jackets that winked to the world of men’s tailoring.”

Blaze has found a comfortable market niche but seems intent on expanding; likewise the Italian fashion market grows ever more enthusiastic about the retro glam aesthetic, crossover feminine/masculine silhouettes, and “powerful yet sexy” attitude that it embodies. Blaze is for dynamic, active, and unapologetic women: business titans by day, party girls by night, and equestrians and sailors in their free time. It’s for those who lead the beautiful life, made by those who appreciate tradition and embrace nostalgia but remain firmly grounded in modern realities. And with its streamlined logo and soon-to-be-iconic seahorse motif, Blaze is just at the beginning of an exciting new journey.

Guest at Blaze presentation

SARA ROKA

Sara Roka has positioned her brand on the convergence of retro and modernity. Sadly, this theme was awkwardly expressed by a disjointed FW 23/24 collection…the sense of balance that Roka’s designs have previously engendered was replaced by alternating feelings of discomfort and boredom.

Roka has effectively intermingled contemporary details with vintage patterns and cuts on individual looks in the past. However, this season most ensembles were either vintage OR contemporary and the conversation between the two styles was superficial as best. Walking through the collection felt like pinballing back and forth between two different eras. The only attempt to merge them was through a series of garish oversized belts, which, in vivid oranges and yellows, seemed a slapdash attempt to conform to the recent “bright colors” trend while injecting a pop of youth into resolutely dated looks. The majority of pieces were woefully 1980’s— and they felt not like modern re-interpretations but instead like tired transplants that had been pulled out of our parents’ closets after thankfully being retired forty years ago. Particularly ill-conceived was the color scheme; brown dominated on many pieces in splotchy patterns.

There were a few standout pieces in the collection, outliers that reference Roka’s past designs and that she could build an excellent collection around moving forward. A partially transparent ostrich father-clad dress was very of the moment…although its air of youthfulness was suffocated by an oversized black bow around the waist. Meanwhile, a completely transparent dress with dramatic black ruffles at the base echoed the style and silhouettes that Antonio D’Anna has so magnificently created for Krizia. And, while I found the garments it was used on to be passé, I loved one burgundy print inspired by First Nations art in Northwestern Canada and reminiscent of Vancouver Island’s famous totem poles. Born in Canada, Roka often uses her original country’s landscapes and people as inspiration….I hope to see many more iterations of this “totem” pattern in the future.

MANTU

Mantu’s slogan for the Fall-Winter 23/24 collection, entitled “The Meaning of Flair,” was “unconventional, versatile, made to last.” Defined by practical elegance, with surprising details and a plucky personality, this Mantu collection is meant to be worn season after season by ambitious women who appreciate classic design but aren’t afraid to be playful. The collection is chameleonic, not just because its variety of colors but also because of detachable features that can transform, for example, an overcoat with a dramatic knit collar to a lightweight coat with a fun V-neck. The silhouettes were diverse but classic; masculine outerwear was contrasted by sinuous evening wear and structured daytime pieces. And the true protagonists of the collection were details; fringes, ruffles, and round silver fastenings gave many pieces a strikingly contemporary feel while ironically quoting popular styles of the past. Particularly appreciated were the ruffled white collars on simple “dress shirts,” which added a certain savoir faire to business-like looks and are at the vanguard of a developing trend. Another highlight was a dramatically fringed overcoat, which conversed with Peruvian and Western styles while also winking at the Missoni ponchos which have become so popular in the Italian market.

“Made in Italy” and inspired by the city of Mantua, which is nestled near Verona in the Valley Po, Mantu was founded in 2008 as a way to bring together some of its regions best artisans. I’ve observed increasingly bold choices by the brand over the past few seasons, which has been growing into its desired identity of “complex classic” looks for the modern woman. The bold yellows and Yves Klein blue this season were surprising, particularly given that this was a fall/winter collection; I’ll be curious to see if this youthful trend is expanded upon in spring/summer.

ASPESI

MASTER OF MONOCHROME, LAURENCE STEELE CREATES HIS MOST INSPIRED COLLECTION YET

Do the clothes make the man or does the man make the clothes? That’s the question asked by designer Laurence Steele through his latest collection, which finds diversity through uniformity in presenting an an elegant sartorial canvas on which wearers can project the most comfortable version of themselves. Steele has emphasized the basics since taking the helm of Aspesi for the second time, centering the brand on monochromatic trousers, dresses, and shirts, made of luxurious materials, that wearers can use as versatile statement pieces within their own aesthetics. He’s inspired by “regular people” and “regular life,” as much as I hesitate to use those terms, firmly believing in the power of the individual and creating clothes for people that are the “leading ladies,” and “leading gentlemen,” of their own cinema-worthy stories. Some clothes seem uniform, simple. But Steele shows us the potential for multiplicity within simplicity: how the same garment can take on many different characters based on the wearer and what they pair it with.

Steele grew up in a military family, with the uniform being foundational to his understanding of fashion and central to his exploration of the industry today. He spoke to me about the “clothes making the man or man making the clothes” paradigm; while the uniform was designed to create an impression of uniformity it can also serve as a conduit for enhanced selfexpression. By providing a ubiquitous blank canvas as the base first impression for each member of a group it makes any differentiations particularly meaningful. Small touches of personality, whether through accessorization or styling, carry heavy weight in any environment where a uniform is present. In the NHL, Wayne Gretzky will forever be associated with wearing his jersey tucked into one side of his hockey pants. Leighton Meester’s Blair Waldorf became a generational icon for her use of headbands in the prep school of Gossip Girl. The first person to invert the baseball cap created a cultural icon of rebellion, and ultimately urban chic, from a simple accessory with practical roots. And from ripped jeans to peacoats, all manners of uniforms have gained new personality, purpose, and cultural import when re-imagined by creative individuals seeking to subvert or modify their original use.

MARTINA CASSATELLA

Aspesi’s promotional campaigns are always outstanding; Steele’s models bring a unique charisma to the camera and showcase the imprint personality has on a garment. This season was no exception, as the models brought a certain assertiveness and power to each piece. Each pose felt forceful, but unintentionally so, the clothes making a bold statement defined by their wearers. Part of this was due to the monochromatic color scheme: from fire engine red to emerald green to pure white the garments embodied “less is more” in their striking simplicity. Also key were the sharp angles and geometric patterns, which dominated everything from an iconic double-breasted trench coat to the boxy puffers.

A timeless and sustainable collection, true to Aspesi’s values and Steele’s identity as a designer, Fall.Winter 23 may be the brand’s strongest offering from the past few seasons. It also sets a clear direction for the future, one that I look forward to seeing interpreted with lighter fabrics and perhaps more delicate colors next spring.

Edoardo Gallorini

PRETTY WOMAN, VENETIAN

FANTASIES & EROTICA NOIR

As I descended into a basement off Via Vesta del Perdono, the seductive scent of perfume wafted up the stairs and beckoned me into Edoardo Gallorini’s world of erotica noir. The first event on my Milano fashion week calendar, Gallorini’s presentation felt like an indulgence, and from the warm lighting to the exposed brick walls to the modern fireplace, its experiential setting transported guests into the designer’s fantasy.

The official theme for Gallorini’s collection (he creates a unique and romanticized theme each season) was “A Night at the Opera.” Within this framework he created a sartorial discourse that transcended generations and cultures, drawing inspiration from gilded Venetian living rooms, winking to Julia Roberts in “Pretty Woman,” and emphasizing kimono-style forms. All evoked nocturnal glamor—with dark undertones but an outwardly playful personality.

It’s a playful personality that, when expressed with the bold prints and silk that dominated the collection, inevitably reminded me of Dolce & Gabanna. This is more than mere coincidence. After studying in picturesque Venice, a city that has always strongly informed his style, Gallorini spent six years working at D & G. Bright colors and elaborate patterns are a part of his DNA; he worked on many of the iconic D & G pieces that flooded the market in the mid2010’s. Indeed, the famous Italian house was still sourcing designs from his ideas and aesthetic for years after he departed to start his own brand. Meanwhile, Gallorini is now entering his fourth year running his eponymous brand, one in which he uses his wealth of talent in illustrations and graphics to design not only his clothes but his own Galloriniverse.

Many prints this season veered between mythical and surrealist. A Venetian lion, which also seemed to have some Chinese influence, starred on a couple of pieces. One dress was Gallorini’s amalgamation of two fantastical Venetian homes, existing only in his imagination but based off his rich understanding of the city’s architecture. “The focus is inward,” Gallorini told us. Meanwhile, of the non-printed works, it was the ostrich feathers that starred. Black Swan was embodied in an elegant black number that was both a deadlier and sexier manifestation of the current Roaring Twenties trend than what I’ve seen from other brands. Meanwhile, a more lighthearted version of the same dress was resplendent in red, orange, and pink.

Gallorini’s seductive style, emphasizing the female form and the luxuries of a bygone age, feels unique in the Milan fashion scene right now. The designer is a true free spirit, with a beautiful image for the world and an uncompromising attitude in bringing it to life. And his hands-on approach to all aspects of the brand will ensure him a strong voice as hefurther develops his niche moving forward.

RODO

Rodo is a classic brand that continues to emphasize craftsmanship, materials, and its family heritage season after season. However, these values are not mutually exclusive with expansion, and FW 23/24 saw the brand take a huge step into the future with its biggest collection yet. The growth was calculated, scaled, and sustainable; this was not a one-off collection for the brand nor does it feel like a culture shift. That said, it signals a refreshing moment for long-time Rodo supporters, and it’s a move accompanied by an infectious youthful energy that has infused the specific collection as well the house.

Rodo was not going for fairytale or rustic picnic (two aesthetics that were central to its last Fall/Winter season) for 23/24. Rather, the moodboard seemed “glamorous night out” as the brand delivered a collection defined by perhaps the most unique and spectacular colors I saw all fashion week. A rich emerald green with a slight metallic luster, presented on shoes and bags, conversed with trends from this season and last while possessing a distinctly Rodo flair. A brilliant purple stood out as completely unique in the Milan collections, while a cheerful fuchsia felt much-needed during a post-Covid cycle in which the fashion world went from being dismally oversaturated to disappointingly undersaturated with pink.

Nature remained a common Rodo theme; honey yellow pieces were presented on flower arrangements while tall “Wellie-style” boots, complete with an oversized golden buckle, were presented in the earthy tan that has given Rodo some of its boho chic appeal over the years. Finally, crystal details added a touch of bold retro glam to several shoes and bags.

Rodo has always prided itself in presenting a full wardrobe; vastly differing daywear and evening wear collections give a woman everything a versatile closet needs. However, this season there was more choice, more depth, more memorable colors to choose from. The paradigm was particularly strong with evening wear; one could fill a full season’s calendar with social events and wear a different pair of showstoppoing Rodo heels to each. The only question: Colette bag in deadly black or Anthea in radiant fuschia?

HAT & BAG SPOTLIGHT

Borsalino took a journey through the galaxy for FW 23/24, as the brand rooted in Italian tradition and classic design sourced inspiration from the unknown and extraterrestrial in its first season under new Head of Style Jacopo Politi. Politi is no stranger to Borsalino or the Milanese fashion scene; he was born in Milano in 1978, studied at Marangoni, and collaborated with the brand over several collections from 2009 to 2012. Politi’s resume is a who’s who of historic fashion labels: he’s designed hats for Chanel, Louis Vuitton, Fendi, YSL, and Lanvin to name a few. With a career rooted in Italian millinery tradition but with broad international experience and a finger on the pulse of the younger market, he was the perfect face to lead Borsalino into a new era. Giacomo Santucci, brand curator, stated that Borsalino has spent the past three years increasing engagement with millenial and postmillenial clients; Politi’s appointment is central to this movement.

Each of the galaxy-inspired hats in Politi’s inaugural collection was handmade and unique; no two patterns were quite the same. The collection seemed generally optimistic. The Borsalino press release stated that the designs “looked towards the future for inspiration…it is within this mystery and suspended horizon of space that one can open possibilities for a better world.” Most notable was the unique color palette…Borsalino did not follow trends or go with a typical range of pastels, neons, and neutrals. Instead, it opted for seductive, faded, and slightly surrealist colors appropriately named “Sunny Moon,” “Opulent Grey, Fermented Mastic, and Moon Struck.”

FW 23/24 also saw Borsalino emphasize new styles and materials as it diversifies its market niche. Bucket hats and baseball caps had a more prominent place than we’ve seen before.

A vinyl cap with fur ear muffs and an unexpectedly ostentatious Borsalino logo detail (the “Alix”) demonstrated Politi’s understanding of younger generations and was one of the more innovative pieces I’ve seen from the brand in years. Other “millenial pieces” included a camo beret and even a metallic leopard print bucket hat. For those that lean towards more hipster headwear, there were new wool beanies titled the “Sandy” and “Enrique.” For a “classic cool,” and perhaps a nod towards the Succession aesthetic that many young men have been emulating, there was a luxurious cashmere baseball cap called the “Roger.”

Borsalino made a successful foray into technical materials this season and I hope it expands upon this capsule moving forward. The Cirillo beanie, inspired by rock-climbing, incorporated honeycomb fabric and a Velcro 2.0 closure in a sophisticated athleisure piece. Meanwhile, the Dario fedora married a classic Borsalino shape with cold-proof ear flaps suitable for the most hostile of alpine winters. Both represented ways in which Borsalino can maintain the traditions of its 168-year-old brand (“older than Italy,” I was told with a chuckle) while revitalizing its designs to incorporate the latest technologies and attract a new audience.

Time was the centerpiece of the F/W 23/24 Valextra collection entitled Valextra 24/7. The collection celebrates “women round the clock,” presenting a series of seven practical and elegant bags responding to the “multiplicity of modern-day demands that come to define how we live and interact with our most trusted belongings.” Inspired as always by the streets of Milan, the bags are made of the highest quality Italian leather and came in a wide-ranging color palate from vivid yellow to stone grey to delicate peach. And, while the designs directly corresponded to the demands of day, cocktail hour, and night, many were versatile enough to serve a “woman on the go” during all three.