ELYSIUM
Sabato de Sarno
Shines for Gucci
Milan Fashion Week F/W 24/25
Maison Yoshiki
Launches
ELYSIUM
Concept by Jesse Scott in conjunction with Elysium Cocktail Club
Jesse Scott EDITOR-IN-CHIEF, DIRECTOR OF DESIGN
Leroy Velasquez
DIRECTOR OF PHOTOGRAPHY
Diana Huk CONTRIBUTOR
Daria Sorokina CONTRIBUTOR
Anastasia Vorontsova CONTRIBUTOR
“ When I am on my deathbed, I don’t think I will be thinking about a nice pair of shoes I had or my beautiful house. I am going to be thinking about an evening I spent with somebody when I was twenty and I felt that I was just absolutely connected to them.”
-Tom Ford
Tom Ford, the charismatic and enigmatic designer who shaped modern fashion with his timeless style, stepped down from his eponymous brand and left the industry over a year ago. Yet his legacy, and particularly his exit interview with GQ’s Will Welch, remain at the front of my mind. Ford has always played by his own rules, retiring with the same swaggering self-conviction and sartorial savoir faire that brought him from prep school in New Mexico to Studio 54 to savior of the house of Gucci. Ford understood the power of spectacle, but not for the sake of spectacle. “Back then people didn't have phones. You had 13 minutes to introduce something that should jar them,” he said of his first successful show (Fall 1996). “And then convince them of it, and then make it so beautiful that they would cry.” Ford matured, peaked, and concluded his career in the watershed era that brought us social media and selfies and saw the economy of instant gratification redefine how we consume and relate to fashion. Yet he consistently approached each collection with the mind of a pragmatist and the heart of a purist, embracing and conveying an appreciation for the exquisite beauty, raw sexuality, and relentless passion that are eternally at the heart of the human experience and that we subconsciously translate through our sartorial self-expression.
Letter from the Editor
It’s a concept that Ford understood, and, I’m excited to say, that defined the runways of Milan for Fall/Winter 2024/2025.
We begin this issue with comprehensive coverage of Maison Yoshiki’s inaugural collection. Japanese rockstar Yoshiki opened Milan Fashion Week and launched his eponymous brand with a soulful show that paired a minimalist colour palette with maximalist silhouettes and was set to a live piano performance by the designer himself. But that’s just the beginning. Within these pages, you’ll discover the effortless elegance of Luisa Spagnoli’s Deauville-inspired collection, the meticulous tailoring and feminine ferocity of Aniye Records’ daring Dark Date show, and the intellectual irreverence paraded down the runway by the relentlessly innovative GCDS. You’ll go in-depth with James Long’s inspired 50th anniversary collection for Iceberg and learn how Sabato de Sarno continued to re-define Gucci in his sophomore season at the house. And our photography director Leroy Velasquez takes you backstage at Anteprima for an exclusive glimpse at the exhilarating but chaotic moments before a collection is presented to the world.
Fashion at its heart is instinctual; whatever the asethetic and whatever the underlying philosophy, it should make us *feel*.
In his signature unapologetic style, Ford told GQ: “Why not have fun for the rest of my life and do something I find really creatively exciting?” As the sun sets on another summer and we are given new opportunities for re-invention and selfexpression, I encourage you to embrace these words. Stay true to yourself and your passions. And draw aesthetic inspiration from the designers who do the same.
Photo: Leroy Velasquez
from novels to cocktails, the places and creations that captured our imagination this season
Line, Athens, Greece: Athens’ cocktail scene remains one of the best in the world, and amidst such legendary names as The Clumsies and Baba au Rum, Line has carved out a unique niche of its own. The bar describes itself as believing in “the method of anarchy, approaching products and ingredients in a respectful and subversive way.” The bar is known for making its own grape-less wines, with the pomegranate and orange flower honey varieties being particularly spectacular. Many of these are incorporated into deceptively complex cocktails, for example a smoked drink with flavours of pomegranate, rose, walnut, and tomato. For those who prefer more typical cocktails, the list focuses on Greek spirits with special homemade additions such as “bacon marmalade” or “leftover vanilla plum.” The restaurant also boasts a great brunch menu, with the Sustainable Mary and Grapefruit Spritz (made with Athens’ own Otto vermouth) being the best daytime tipples.
The Order: Line’s Cobbler: Axia mastiha, symposium vermouth, house-made grenadine, pomegranate wine
Chinato, New York, USA: Walking into this sleek Lower East Side hangout, the first thing one notices is the unusual and minimalist central bar space. Surrounded by welldressed guests, the convivial bartenders operate efficiently from perhaps the most meticulously organized bar that we’ve ever seen. The menu is small but cohesive; fittingly given that each drink is named after a song, there is a “Greatest Hits” list and rotating “EP’s.” These are cocktails for true connoisseurs, with ingredients like fig leaf oil, white asparagus, and sticky rice pu’er tea being commonplace. Chinato is at its strongest when playing with oriental flavours or sweet ingredients that stop short of being saccharine. While this magazine typically shies away from sweeter cocktails, the bar’s namesake drink, which consists of Cocchi Barolo Chinato, Ming River Baijiu, Woodford Reserve bourbon, bayberry, goji berry, lychee black tea, and chocolate, was an unexpected delight. On the savory side, the “Tequila,” which is comprised of tomato, yellow bell pepper, lime, pineapple, habanero, corn, crispy pork jerky, and yes, tequila. is worth a try,
The Order: Grey Luh: Woodinville straight bourbon (clarified), Avuá Amburana cachaça, coconut, mango, shiitake, honey, lapsang souchong, pandan (all clarified with milk), Laphraoig 10 single malt, Aberlour 12 single malt
The Hot List
Amazonico, Monte-Carlo, Monaco: The most-anticipated new restaurant opening that Monaco has seen in years, Amazonico, with a terrace overlooking Casino Square, quickly became a go-to dinner spot in the principality this summer. But while the food is excellent, it’s the exquisitely presented, creative, and beautifully balanced cocktails that keep us coming back. The Amazonegroni is a perfect example of where the bar team excels: with pineapple gin, Cocchi Storico, campari, and sesame, it’s a classic that’s been masterfullly twisted with a clear vision in mind.
The Order: Monkey Business: Glenfiddich triple oak 12, lemon, banana, ginger, honey, fennel pollen
Les Lounges/Salon Botaniste, Paris, France: Both in the Shangri-La Paris, next to the Palais de Tokyo, these venues offer the perfect day-to-night transition during a frenetic fashion week schedule. The airy Bar Botaniste, specifically inspired by Napoleonic tents and by the botany of Roland Bonaparte, who used to own the palace, is a gorgeous space for an herbaceous cocktail as the sun goes down. That said, the cognac lemonade in Les Lounges, simultaneously rich and refreshing, was one of the three best cocktails I sampled this summer. Arguably life-changing, it’s a simple combination that I’ve surprisingly never seen before. It’s hypothetically easy to duplicate at home, yet nothing compares to the Shangri-La’s version.
The Order: Beshkan: rose pisco, pistachio orgeat, sumac
Chinato, New York
Amazonico, Monte-Carlo
HOTELS & RESORTS
Kempinski Soma Bay, Hurghada, Egypt: Kempinski’s palatial Soma Bay property, located in a quiet new luxury development about 40 km. south of Hurghada, is a dream example of five-star hotel that does all the little things right. From the pillow menu being sent three days in advance of check-in to the TV being turned to face the bed at night to the beach staff constantly circulating through the sun loungers to offer complimentary sunscreen and sunglasses cleanings, this property goes above and beyond to make your stay as truly care-free as possible. The hotel is also an example of masterful architectural design. Many hotel chains build “test rooms” before constructing a new property and pay experts to simulate a stay then rate the room’s convenience (e.g. position of wall sockets and mirrors). My Kempinski suite would have passed the test with flying colours, with the bathroom worthy of particular commendation. But aside from the room itself, the hotel is the ideal beach retreat for those with a well-balanced lifestyle. The floodlit tennis courts and well-maintained squash courts were a highlight of my stay, while using the airy contemporary gym (complete with a secluded pool area for cooling down in the Egyptian heat) became my morning ritual. The separate men’s and women’s hammam areas were exquisite; the expansive sauna was perhaps the best I’ve ever experienced. The beach was notable for its supremely attentive attendants and magnificent golden hours highlighted by a DJ. And while the hotel did not have extensive restaurant options, the buffet breakfast, featuring exceptional ful mesdames, blinis, a wide range of cold cut options, and fresh mango mint juice, was great even by Egypt’s lofty standards. Operated independently of the property but at the same location were an above-average watersports center and an equestrian center offering sunset beach gallops for experienced riders.
Grand Hyatt Emirates Pearl, Abu Dhabi, UAE: A highly underrated hotel, the Grand Hyatt was a great option for a luxurious layover in the Emirati capital. The hotel boasts unparalleled views of Etihad Towers, Emirates Palace, and the National Palace; watching the sunset from my expansive balcony or my room’s floor-to-ceiling windows was truly special. The bathroom was beautifully arranged, with an elegant free-standing tub with a view, and the closet was innovatively designed to maximize the living area and make one feel more at home. Staff offered typical Emirati hospitality, and even in a city where elite hotels seem to multiply by the day, I’m tempted to return.
10 Karaköy, Istanbul, Turkey: Nestled off Kemeralti Caddesi, directly between the alternately luxurious and hip neighborhoods of Beyoglu and Karaköy, 10 Karaköy is truly an urban design oasis. A small hotel with a discreet but sleek entrance, it rapidly opens up into an airy marble foyer with towering artistic installations suspended from the ceiling. The rooms are small but contemporary - and tastefully decorated in the way one comes to expect from boutique properties. And the staff is exceptional; in particular, the concierge enhanced my stay by rapidly handling a number of specific requests immediately after check-in. Staying in 10 Karaköy felt deeply calming; remarkably there was no street noise despite its bustling location. It’s also walking distance from most places I go in Istanbul, making it a perfect place to enjoy a longer stay and soak up the rhythm of life.
Sheraton, Bursa, Turkey: The Sheraton was the automatic choice for my mini-vacation to Bursa this April and it exceeded my expectations. To understand this hotel, one must first disregard the general connotations of the Sheraton brand; from staff to amenities, this property is far closer to 5-star Autograph Collection tier than 4-star business option. My room was comfortable bordering on luxurious (with sleek modern furniture), the gym was new and impeccably maintained, and the expansive sauna/pool area was a true treat. The breakfast buffet was also exceptional, with a full array of Turkish specialties. Finally, the concierge staff, despite occasional language barriers, did an excellent job of listening to my unique needs and tailoring a Bursa itinerary that was far off the tourist track. (For example, calling to find out which ski runs were open while I was choosing an optimal day for Uludag, and recommending me truly local restaurants that they or their families liked to dine at).
The Goring, London, England
Grand Hyatt, Abu Dhabi
from Keinemusik to Korolova, the songs that have electrified the Med this summer
April: Sweet Surrender, Korolova: From Elysium’s perspective, Korolova is the best progressive house artist in the world. This song captures everything we love about her; an intense drop, soulful lyrics, and a constant trance beat.
THE PLAYLIST
May: Espresso, Sabrina Carpenter: A meme circulated recently saying “I’ve seen photos of Sabrina in the Espresso music video more than I’ve seen my own mother.” That was the power of this song at the beginning of the season—and deservedly so, as it’s hot girl pop at its best. Listening to it sparks an intense need to be on a boat in Greece with rosé and gelato - which is the exact vibe the delightfully retro music video encapsulated.
June: Lose Your Head, London Grammar, CamelPhat: A song to listen to while watching sunset with your friends before a night out. CamelPhat amplifies the chaotic melancholy of London Grammar’s lyrics in an uncanny waywe need to see more of these remixes.
July: Move, Adam Port, Stryv, Keinemusik, Orso, Malchiii: The song of the summer, and maybe of the past few. If you were clubbing on the Mediterranean this season you heard it once a night minimum (make that five times a night if you were club-hopping through Saint Tropez). It’s the year of Keinemusik; we’re just living in it.
August: It’s Not Right, Gianni Romano, Emmanuele Esposito, Helen Tesfazghi: Another club anthem, and a perfect song to build the night’s tempo. The hook and opening beats are simply infectious; screaming the lyrics with my best friends at Sass Cafe is a core summer memory.
Best to Hear Live:: You & Me (Rivo remix), Disclosure, Eliza Dolittle, Rivo: To hear this from a great DJ mid-set, crowds swaying and waving lighters in the air, is magic. Even better than the original Flume version.
Pop Pick: Make You Mine, Madison Beer: This song harkens back to the glory era of mid-2000’s/early 2010’s pop - think Rihanna, Britney, and Kylie Minogue. The beautifully shot music video, which reproduces scenes from Jennifer’s Body with Madison as Megan Fox, is sultry, sassy, and everything pop needed right now.
Stargazing Pick: Heavenly, Cigarettes After Sex: A song to play after midnight while lying on a deserted beach looking at the moon with someone. So beautiful it’s melancholic.
Country Pick: Along these Lines, MacKenzie Porter: MacKenzie Porter finally released her epic new full-length album this April, shortly after the birth of her son. We could have chosen nine or ten songs to discuss here, but Along these Lines is our most played, and perfectly captures the emotions of a new summer situationship.
Tortured Poets Department Pick: So High School, Taylor Swift: The Tortured Poets Department made its much-anticipated debut in April - and in classic Taylor Swift fashion was almost immediately succeeded by a surprise second album. We’ve long considered Taylor the greatest songwriter of her era, but these count among her best albums lyrically. Unfortunately they felt heavily over-produced…not enjoyable to listen to start to finish. So High School is refreshing because it returns to Taylor’s voice-reliant Fearless/Speak Now sound…and thematically captures these albums’ sentiment in the more sophisticated tone of an experienced woman recalling her teens.
Russian Pick: босс, JONY, the Limba: More upbeat than most of JONY’s oeuvre, which has been rather sentimental as of late, this song’s swaggering beat is perfect for firing up energy during a run/lifting session.
Beach Pick: Safe, Monkey Safari: The perfect song for melting on a cozy sun-lounger in 35 degree heat, ice-cold drink beside you, powder-white sand in front of you, and the sound of the waves lapping against the shore tempting you to doze off. Safe is what zen sounds like.
THE READING LIST
The Riviera House, Natasha Lester: While I tend to avoid historical fiction, and had my doubts for the first 50 pages of this book, The Riviera House is a heartbreaking and complex slow burn that I highly recommend. The story is told in two time periods. One narrative comes from the perspective of 20-year old Parisian Eliane, who loses much of her family during the German invasion of 1939 and then joins an undercover resistance with her fiancé, brother, and sister. Passionate about art, she works tirelessly to covertly safeguard the treasures of the Louvre and undermine Nazi efforts to dispose of the priceless art collections they stole from Jewish families. The second narrative brings us to 2015, when an Australian women in her 30’s, having recently lost her husband and child in a car crash, arrives at a Saint-Jean-Cap-Ferrat house she mysteriously inherited and begins investigating her past. The story is predictably melodramatic, but makes up for it due to many welldisguised twists and the fact that readers have to work to piece together a complex yet not inconceivable web of connections. The Riviera House is not for the faint of heartdon’t expect a neat or happy ending. But it also is the most incredible love story I’ve read this year. And, meticulously researched, it accurately illuminates the little-known war to preserve France’s cultural and artistic heritage during Occupation.
Summer Darlings, Brooke Lea Foster: Set in the golden age of 1960's Martha’s Vineyard, Summer Darlings is a compelling tale of complex class politics and the disputes that arise when a social order is shaken. Explained simply, Heddy, a student on scholarship at an elite New England college, spends the summer working for one of the Vineyard’s wealthiest families. She is rapidly befriended by a Brigitte Bardot-type actress who is the envy of everyone on island - even as they pretend to look down upon for her promiscuity and free-spirited attitude. And, of course, a love triangle develops - between, Heddy, the Ivy League son of “New York” royalty, and an ambitious businessman in the midst of executing a massive vendetta-fueled fraud. It’s enjoyable watching Heddy grow as she learns how to navigate high society - making her own judgments instead of taking gossip as gospel and realizing that sometimes everything is the opposite of what it seems. Some storylines are predictable, but Lea Foster navigates class issues well and inspires a dreamy nostalgia with her references to 60's fashion, music, and film. Most importantly, the book has an unexepectedly dramatic and twisted climax that leads to an equally surprising heartwarming denouement.
The Happiest Girl in the World, Alena Dillon: A deeply moving story for any athlete who has competed at a high level, The Happiest Girl in the World puts readers in the shoes of young gymnast Sera Wheeler as she puts her heart and soul into training for the Olympics. Sera and her best friend Lucy are inseparable from their first meeting. Eschewing any sort of typical childhood and training together for hours a day, they have a bond that can only be formed by blood, sweat, tears, and the love of a game. But this bond is shattered when a thirteen-year-old Lucy comes forward about being sexually abused by the team doctor. Sera, fearing retribution from the all-powerful U.S. gym world, betrays her best friend and claims to have no knowledge about the incidents. Lucy promptly quits competing, and as Sera_ fights through severe injuries to compete for an Olympic spot, she is haunted by her own actions and the lost friendship. Interspersed narrations from Sera’s mother touch on another important topic in youth sports - that of overbearing parents living vicariously through their child athletes. The book is far from perfect. More historical fiction than pure fiction, the book’s central storyline hews closely to that of Larry Nassar, a doctor who was convicted of assaulting hundreds of U.S. female gymnasts in 2017. Dillon showed little creativity in fictionalizing the events, and her use of actual U.S. gymnasts as characters, even if minor ones, felt disconcerting and inappropriate. But as a human and sports story, the book is impossible to put down. It’s a beautiful novel about sacrifice, mental health, and friendship that asks “what price are we willing to pray to achieve our dreams?” And Dillon excelled at weaving a realistic narrative from the nuanced perspective of an athlete; although I played ice hockey and football instead of competing in gymnastics, I viscerally re-lived my own triumphs and heartbreaks while reading about Sera’s.
Happy and You Know It, Laura Hankin: Dark and disturbing because it’s accurate, Happy and You Know It is an enthralling fictional commentary on motherhood, aging, and the rat race in a social media age where everyone feels pressured to present a perfect face to the public eye. Set in an elite social enclave of New York, it tells the story of six young mothers - with varying backgrounds, challenges, and degrees of Instagram engagement but the same insatiable fixation with climbing the social ladder. The narrator is their weekly music therapist, who takes the job while overcoming career and romantic heartbreak and finds herself a de facto member of the group as it travels down a dark path. Hard to put down, and so poignant in 2024.
Grand Egyptian Museum, Giza, Egypt: Over twenty years after the project launched, and a decade after construction started, the Grand Egyptian Museum finally opened its doors for “sneak previews” this spring. Only 10% of the museum complex is open, with lucky visitors permitted to take in the Grand Hall and Staircase and occasional rotating exhibitions. Yet even from this 10%, and of course my walk around the building’s dramatic exterior, I can confidently say that this is the most impressive museum project of our generation. This is not stated lightly, as I.M. Pei’s Museum of Islamic Art and Jean Nouvel’s National Museum in Doha, Qatar and Frank Gehry’s Louvre Abu Dhabi deserve to be in the same conversation. But in terms of sheer scale (the $1 billion museum will have the largest exhibition space in the world at 90,000 square metres) and the way it is built into Giza’s urban landscape, Egypt’s project is unparalleled. After extensive debate, the powers that be eschewed a celebrity architect for the Irish firm Heneghen Peng; when the public gets to fully experience this museum it should launch the firm’s team into the stratosphere. The museum is one massive play on geometry, with pyramids being echoed by the grand entrance, the designs on the side of the building, and the shallow pool of water from which a gigantic statue of Ramsses II greets visitors in the atrium. Upon walking up the five-storey 108-stair grand staircase, visitors are rewarded with an iconic vista of the Great Pyramids themselves, particularly spectacular at sunset.
Regarding the educational value of the museum, the lay-out of the artifacts on the staircase offered a logical progression through Ancient Egyptian culture. The informative blurbs beside each item were exceptional, and a practical guide to hieroglyphs encouraged even those uninformed about Ancient Egypt to embark on their own journey of discovery. Elysium is excited to return to the museum when it fully opens (supposedly later this year).
Museum of Egyptian Civilization, Cairo, Egypt: The new GEM is not the only exciting recent project to revitalize Egypt’s cultural heritage. The Museum of Egyptian Civilization opened in 2022 to display perhaps the country’s greatest treasures - the mummies, sarcophagi, and grave goods of pharaohs such as Tutankhamun, Hatshepsut, and Ramsses II. The mummies are presented in a sleek underground labyrinth, the darkness and quiet of the space (which tourists respected) an appropriate tribute to these ancient leaders. Each pharaoh’s political accomplishments and personal lives were succinctly and compellingly highlighted beside their display cases; reading about them as people, visitors couldn’t help but be moved by seeing their remains. Upon emerging from the labyrinth, visitors continue their museum tour around an airy atrium that highlights the history of Egypt from Paleolithic times through the Ancient Egyptian empire, Coptic Christian times, and multiple Islamic eras, culminating with the 19th/20th century monarchy until today. The layout is a powerful act of nationbuilding and speaks to the construction of a modern Egyptian identity. Rather than isolating Ancient Egypt as a bygone era, as most people do, this museum frames it as part of an ongoing narrative that today’s Egyptians can be proud to be the torchbearers of. Elysium’s fashion community should not miss the massive textile gallery, which showcases exquisitely preserved fabrics centuries or millennia old, royal dresses and military uniforms from the 1800’s, and detailed descriptions of how both styles and production methods have evolved in this cradle of humanity.
Grand Egyptian Museum
GRAND EGYPTIAN MUSEUM
Eyes Closed: Everything You See is Yours @ Access Art Space, Cairo, Egypt: An intellectual yet moving reflection on modern city planning, the well-curated exhibition “Eyes Closed: Everything You See,” presented in partnership with the Goethe Institut, humanizes Cairo’s overwhelming and ever-growing urban sprawl. Through sculptural, video, and photo installations, and even architectural plans, it illustrates the diverse lives of Cairo’s residents. Often living on the margins of both the city and society, in crowded unofficial settlements that they have constructed along the lines of old farming plots, millions of Cairo’s residents have practically no chance of economic mobility. Yet they have still built enriching lives, homes, and communities without government support. The exhibition questions: “who defines what an architect is?” Does it have to be someone at a whitecollar firm working with urban planners to design communities? Why can’t it be a group of self-sufficient individuals on Cairo’s outskirts who construct both their own houses and, from roads to services, infrastructural community necessities? And how can educated architects think outside the box to assist such people, making a meaningful difference outside of more lucrative or traditional projects?
A personal favourite display from the exhibition was Mahmoud Khaled’s thought-provoking “Beautiful Captive," which showcased photos of diverse locales, for example a luxury bedroom or an abandoned zoo, as floor-to-ceiling wallpaper in homes (pictured below). It blurred the lines between the real, the fake, and the imaginary, causing us to ponder how, and to what effect, architecture and design construct identity through living spaces. But the ultimate highlight was the final room, which asks guests to consider “what makes life worth living” and write their answer on a massive canvas of “hope.”
ART & CULTURE
Turner: The Sublime Heritage @ Grimaldi Forum, Monte-Carlo, Monaco: The Grimaldi’ Forum’s annual exhibition did not disappoint, as an intellectual retrospective on J.M.W. Turner thoroughly detailed the British artist’s oeuvre while also encouraging visitors to converse with his philosophies and motivations. For example, the exhibition began with a darkened room; Turner would have guests to his home/gallery wait in a dark room for a brief time before continuing inside to view the works. His reason for this unusual practice: to intensify their impressions of light in his paintings. Like Monet, Turner was a great master of light, capturing ephemeral moments of seascapes and landscapes at different times throughout the day. He loved to capture “the sea meeting the sky” - making this a perfect exhibition for Monaco given how the sea and sky seem to blend together during each sunset overlooking the principality. I’ve seen this hundreds of times, yet it never fails to be simply sublime.
EDITOR'S DINING PICKS: FALL 2023 MENU
Amuse-Bouches, Tudor Hall, Athens, Greece: Beef tartare choux with cream cheese...potato foam on a chorizo waffle...foie gras with peanut butter...eel with caviar. In terms of both creativity and luxury ingredients, this is a three Michelin star worthy selection.
Santorini Pomodoro, Pelagos, Vouliagmeni, Greece:
Located in the Four Seasons Astir Palace, Pelagos presents a tasting menu inspired by different regions of Greece. But it’s the first dish, a tomato presented with tomato cream, oscietra caviar, and verbena, that was the most exquisite.
Onion Soup, Racines, Nice: A vegetarian restaurant that sources most ingredients from the chef’s garden in Eze, Racines creates healthy and refreshing twists on classic French dishes. This soup pairs onion blanc and onion rouge (including the whole onions) with gruyere on the side.
Sea Bream Tartare with Caviar Cannelloni, L’Ambassadeurs, Monte-Carlo, Monaco: Every bit as decadent as it sounds, this caviar and gold leaf coated indulgence was the highlight of a tasting menu that also included a creamy lobster lasagna and pigeon with parmesan cream. Chistophe Cussac took over the kitchen at the Metropole last year, and in my opinion the restaurant is even better than when under the Robuchon name.
Tuna Marinato, Shellona, Saint Tropez, France: The fish is delicious, but the plate is truly special because it is entirely covered with freshly shaved black truffles. Contrasting flavours that complement each other perfectly...and in a village where truffle excess is normally combined to pasta and pizza, a healthy alternative.
Amazonico Maki: Amazonico, Monte-Carlo, Monaco: This uniquely tropical sushi, with avocado, mango, coconut, and cocoa, was our go-to at the newly opened Amazonico this summer. Mango is everywhere here: we also recommend the Camarones Melosos (shrimp, garlic, caviar, mango, peanuts) and the mango frog legs. For a second sushi, try the Acuna Picante (chili tuna with green apple).
Truffled Pecorino Potatoes, Salto, Corfu, Greece: Extra creamy pecorino on baked potatoes topped with a poached egg? This is the slutty indulgence you’ve been dreaming ofit’s jsut shocking that more places aren’t re-creating it.
Mussels, Ftelea Fish Shop Taverna, Ksamil, Albania: Ksamil is famous for its mussels, and as I was there during mussel high season (May), I sampled them at many different places. These were the best I’ve ever had - no exaggeration.
Sea Urchin Pasta, Maona, Monte-Carlo, Monaco: My singular favourite dish in Monaco this summer, this delightfully creamy pasta was a masterpiece in both texture and flavour. A truly sensual taste experience
Boeuf fin gras de Mezanc with Asparagus, La Table de L’Ours, Val d’Isère, France: The only Michelin-star restaurant in Val, La Table de l’Ours offers a tasting menu meticulously tailored to offer the best of the Haute-Savoie with influences from elsewhere in France. Mezanc beef is particularly rare; only 1200-1700 cows fall under the Protected Designation of Origin each year. The cows graze on over 68 varieties of plants in the Central Massif highlands, making the meat incredibly rich and marbled. The pairing with asparagus and a decadent jus was perfect.
Koshary Abu Tarek, Cairo, Egypt: A mix of pasta, rice, vermicelli, lentils, and chickpeas, topped with fried onions, garlic tomato sauce, and spice to personal preference, is a beloved Egyptian lunch staple. The frenetic Abu Tarek, which only serves the dish, is both home to my favourite in Cairo and a must-have Egyptian cultural experience.
Spicy Bourdeto, Thalassa Seafood Taverna, Kalamaki, Greece: A Corfiot specialty, bourdeto, comprised of a whole scorpion fish in a spicy tomato broth, is best consumed at sunset with your feet in the sand. That’s the experience you have at Thalassa, with the fish caught fresh daily.
Duck Linguine, Satchi Park Street, Cairo, Egypt: Chef Ashour Desouki executes texture play at its finest here, paring crispy and smoked duck in a delightfully creamy linguine that provides a full sensory experience.
Pyramid Cake, Khufu’s, Giza, Egypt: Khufu’s has the best view of the Great Pyramids you’ll find, and the whimsical pyramid cake with vanilla ice cream is the perfect sweet finish to a contemporary Egyptian set menu.
Roasted Peach Tart with Verbena, Racines, Nice, France: It was prime peach season on the Riviera this year, and this dessert was both heavenly and wholesome.
L’Ambassadeurs
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MAISON YOSHIKI
WORDS: JESSE SCOTT
PHOTOS: LEROY VELASQUEZ
Yoshiki displayed a masterful touch with draping, as epic trains were nonchalantly tossed over the arm with the grace of a princess and sharply cut dresses were accentuated and balanced with layered fabric.
Skin was bared frequently yet discerningly, as plunging necklines, undulating dresses, seemingly bondage-inspired street style, and a fiercely cropped broad-shouldered shirt all seemed sophisticated, modern, and effortless. Nothing in the show, even the more revealing outfits, was about sex: this was art, composed with the meticulousness of a scientist but the vision and confidence of a Renaissance grand master. Several art forms seemed explicitly referenced. For example, one dramatic winged top, paired with sleek black pants and notable for its deep transparent V, immediately recalled Black Swan.
Yoshiki’s father owned a luxury kimono business; the designer grew up around beautiful textiles and his family has a rich history in the fashion industry. Yoshiki sees this brand as both a natural continuation of their work and a culmination of his own diverse activities.
“Maison Yoshiki Paris is a structure that will bring together all my creative activities in fashion, design, and lifestyle,” the designer said in a statement. “It's the logical extension of Yoshikimono, which I created in 2011 and which until now focused on the art of the kimono, which was revisited in an edgy and contemporary way at the various Tokyo Fashion Weeks.”
Yet just as Maison Yoshiki is a culmination, it is also just a beginning. From the materials to the values to the people who support the brand, Yoshiki has the key ingredients for long-term success. Yoshiki uses only eco-responsible materials - ranging from silk to faux fur to velvet - sourced from Italy and France. Kuki du Salvertes, who has experience with names such as Raf Simons and Vivienne Westwood, is the brand’s development director. Meanwhile, the iconic Carlyne Cerf de Dudzeele styled the inaugural show. Yoshiki has big dreams for the brand. With his structured avantgarde tailoring as a cornerstone, he is more than poised to achieve them.
LUISA SPAGNOLI
RUNWAY
WORDS JESSE SCOTT
PHOTOS: LEROY VELASQUEZ
Fittingly, elegant neutrals anchored the Spagnoli collection amidst vivid pops of colour as resplendent as the vibrant Deauville parasols. Most ensembles were monochromatic, although Spagnoli frequently used accessories (quietly luxurious toques and playful long fuzzy socks were omnipresent) to create striking complimentary contrasts. For example, chestnut brown was alternately paired with olive yellow and cranberry for “aristocrat off-duty” looks. And the dark fur collars on supple white and red short coats added new degrees of colour-blocked texture while recalling the royal Russian sables of old. For the red carpet (perhaps at the legendary Deauville American Film Festival), there was a dramatically cut velvet burgundy dress, deadly python skirts to be paired with a variety of jackets, and lace-detailed dresses in both black and white.
Ultimately it was texture not colour that will most be remembered from Spagnoli F/W 24/25. Each look felt like an indulgence. Whether shiny or matte, the super-soft knits, furs, and velvets, interspersed with sleek jackets in python-printed leather, seemed to envelop each model in a chalet dreamland only missing a mahogany bookcase and a roaring fire.
The designs were unvaryingly alluring, feminine, and sensual, yet striking symmetrical collars, broad-shouldered coats, and deep V-necks provided ferocity and structure befitting a woman secure in both her power and femininity. It would have been an absolute pleasure to walk the runway for Spagnoli this season, something reflected in the aloof contentment on the models’ faces.
Aniye Records’ Fall/Winter 24/25 show, entitled “My Dark Date,” exuded raw ferocity and sophisticated sexuality. As cult hit “We Are Your Friends” blasted through a cavernous minimalist space, models swaggered down a dramatic runway with a flirtatious yet forceful stride that seemed to wink “dare me.”
Sultry and sinful, My Dark Date was dominated by fierce silhouettes with deep v-lines, distressed details, and dramatic trains. The queen of pairing unlikely materials to create cohesive avant-garde ensembles, creative director Alessandra Marchi combined leather and lace to synthesize rebellious rockstar with coy femininity. This complicated contrast epitomized the nuance and drama of an ambitious collection that required exceptional technical precision to execute effectively. It was an undisputed triumph for Marchi, whose masterful tailoring and meticulous attention to structure and detail were the driving forces behind the sheer and sexuality that turned heads along the catwalk.
Picasso famously said that you should “learn the rules like a pro, so you can break them like an artist.” I couldn’t help but reminisce on this quote as I thought about Marchi’s trajectory in the fashion industry. Her skill set and background positions her as a standard-bearer for Italian luxury designers. Originally from Tuscany, she made her name through demonstrating complete mastery of fur, wool, silk, and the other fine materials synonymous with the most traditional of Italian styles.
Yet, whether through her eponymous brand Alessandra Marchi, rock-glam Aniye By, or now Aniye Records, she has always used these skills to create her own unique aesthetic. A rebel with a cause, she has been described as “romantic punk,” “feminine grunge,” and “urban glam.” For me, she represents “deconstructed dreamy darkness.” Starting from traditional high-fashion silhouettes, she distresses, alters, and distorts into her own exquisitely dark fantasy. She synthesizes urban rockstar, alternative streetwear, and red carpet into an aesthetic designed for those that have experienced all three lifestyles and now are rather bored of everything. The Aniye Records woman is dangerous, unintentionally seductive, and most importantly, unapologetic for who she is.
Marchi set the tone for the show with its dramatic setting, a massive convention space south of Navigli and Milano Romolo. The dichromatic space, with its shimmering white walls and ceiling and stark black floor, could easily be re-imagined as a high school gymnasium or a warehouse, two spaces where the youthful and edgy Fall/Winter 24/25 collection would look very much at home.
At the initial notes of “We Are Your Friends,” a song inseparable from the movie of the same name and the rave culture it centres on, the first model pushed her way through a sea of shimmering white fringes to emerge onto the runway. Wearing a short black turtleneck dress, her hands obscured by long distressed sleeves and her legs clad in armor-like thighhigh stockings with lingerie-style details, she exuded the ferocious sexuality of an 80’s rock star. The next model was her opposite in colour scheme but not in attitude. Dressed in a monochrome cream sheath dress that was largely sheer and extended past her heels, she sauntered down the runway with a mischievous smirk and irreverent white cross earrings.
The drama only heightened from there, as black thigh-high boots, sharply symmetrical collars, studded leather jackets, and deadly corsets starred amidst a sea of distressed fabric in all textures and forms. Black, red, and white dominated. The brand described the collection as “provocative, impassable, and soft,” always “in the vein of the dark princess, now found in a forest of ice.”
Lingerie details, for example lace bodysuits, garters paired with mini skirts, and the aforementioned stockings, provided femininity and sensuality. Corsets, cape-like trains, chokers, and metal details winked at a darker side. Meanwhile, a short leopard-printed dress exuded a raw ferocity that encapsulated several common themes from the collection in a slightly more ostentatious way. And transparent tulle, present on both structured and silky silhouettes, gave certain garments a delicate vulnerability, creating a surprising yet cohesive contrast with the rest of the collection and hinting at the complexity of the Aniye Records woman.
The show was pure cinema, though whether of the noir Victorian romance, vampire/werewolf, BDSM thriller, or rockstar biopic genre was up to the viewer. Aniye Records is a rare example of a brand that synthesizes impeccable tailoring with a rebellious aesthetic. It is structure with sensuality; imaginative grunge; sexuality as both power and vulnerability within a singular ensemble. Elysium can't wait to read the next chapter of this captivating dark fairy tale.
WORDS: DARIA SOROKINA PHOTOS: LEROY VELASQUEZ
The dramatic GCDS Fall/Winter 24/25 show, entitled “Toys for Adults,” was staged in a whitewashed room draped with heavy red curtains. As silence descended over the darkened space, signaling the start of the show, a surprising voice sounded over the loudspeakers. “Hi, I’m Chucky, and I’m your friend till the end. Heidi-Ho.” The quote was from the possessed and murdeorus doll Chucky in the 1988 cult horror film “Child’s Play.” It was foreboding and intriguing, but guests had little time to ponder its connection to the show as a stunning first look quickly appeared on the runway. A completely white nylon ensemble featured a cropped long-sleeve top and a form-fitting, almost sheer dress that was tight at the bust and wide at the hips, all completed with a veil. It was unexpected in the best way, painting an immediate contrast between sin and virtue. The runway, the scepter of Chucky looming above all, felt like a dark underworld from which the models emerged first as angels, then as devils.
This all aligned with GCDS’s signature approach to fashion - shock and awe! GCDS, which stands for "God Can't Destroy Streetwear," was founded in Italy in 2015 by brothers Giuliano and Giordano Calza. The brand quickly gained attention for its bold, eclectic designs and vibrant streetwear aesthetic, appealing to a youthful fashion-forward audience. Today, it continues to delight its followers at Milan Fashion Week… and they know to expect the unexpected.
The main inspiration for "Toys for Adults" was the brothers' reflections on their childhood.
Strict silhouettes in sombre colours were juxtaposed with whimsical elements like a Hello Kitty bowl on a highly revealing bra and sportswear containing printed dolls and the inscription “softporn.” The collection is rich with symbols, and while some made an explicit point, others allowed viewers to find their own hidden meanings. For me, the collection seemed an allegory for heaven and hell. Initially, the models appeared nearly naked - pure and innocent dressed in sheer nylon fabrics and white monochrome. Subsequent pieces incorporated beige, flesh tones, and white shades in more substantial textures, leading into a combination of red and black. By the end, the collection had evolved into a display of heavy leather and wool, shifting exclusively black as the music's tempo increased to add to the drama. The innocent angel-models descended to earth, gradually transforming into devils upon absorbing all the vices of our society.
Duality was a recurring theme throughout the collection, as it underscored the tension between fragility and strength, childhood and adulthood. For example, the use of sheer fabrics created a sense of vulnerability and exposure that contrasted beautifully with the more protective, armoured feel of the leather and wool pieces. Each outfit told its own story, but together they formed a philosophical epic.
In terms of shape and structure, GCDS harmoniously combined the seemingly incompatible: heavy outerwear jackets and delicate transparent bras, mini skirts of sequins and oversized denim suits.
The first look introduced ruffles of transparent white nylon, which appeared on golf tops, collars, hemlines of shorts, and even flowers that delicately bloomed on the models' bodies. The second look, a men's outfit, contrasted a sheer tank top with voluminous tailored trousers adorned with flowers—a veritable flower bed! Later outfits featured beautiful white cotton-satin in porcelain hues that showcased every subtle curve of the fabric.
As the collection progressed, we saw the first all-leather look—a distressed leather jacket and cargo pants with numerous large pockets. To maintain their unique coherence through incoherence, the brothers paired these silhouettes with nylon seethrough tops. I especially loved looks comprised of such contrasting fabrics: they were provocative, sexy, and memorable. Denim even danced alongside fur in a rare example of this combination succeeding outside of Daniel Roseberry’s Schiaparelli.
The styles varied widely, from insideout pants reminiscent of Margiela and Y-Project to voluminous tulle skirts and floor-length slip dresses. But everything was balanced and very delicately assembled - for example on a particularly striking look that combined red nylon with mail torsadee. The final piece was a black velvet floor-length dress starting at the bust line—along with a black hoodie of mail torsadee, this was my personal favourite!
Accessories played a significant role in the collection, enhancing the overall narrative.
Chunky boots and oversized belts added a touch of ruggedness to the more delicate looks, while statement jewelry pieces provided a touch of glamour and sophistication. The use of unconventional materials and unexpected combinations kept the audience on their toes, constantly surprising and delighting with each new look. And it’s notable that all models had painted nails—a rebellious touch!
GCDS’s inclusive and diverse approach to casting added depth and authenticity to the show, resonating with a broader audience and showcasing the brand’s commitment to celebrating beauty in all forms. For example, several revealing outfits were worn by plus-size models
The progression of the show was also beautifully choreographed, starting with ethereal, almost celestial pieces and transitioning to darker, more grounded designs. This shift not only reflected a journey from innocence to experience but also mirrored the seasonal transition from the airy lightness of early autumn to the heavier, layered warmth needed for winter.
The Fall/Winter 24/25 collection is a testament to the creativity and vision of Calza brothers, pushing the boundaries of streetwear and high fashion, weaving compelling narratives, and leaving a lasting impression on all who witness their shows. It’s impossible to predict exactly what we’ll see from GCDS next season, but I do expect to be surprised by a new bold and meaningful statement.
ANTEPRIMA
WORDS: DARIA SOROKINA
PHOTOS: LEROY VELASQUEZ
There was a palpable buzz of anticipation in the air before ANTEPRIMA’s FallWinter 24/25 show; the innovative Japanese brand is a consistent highlight on the calendar for Milanese fashion insiders. The show did not disappoint, as Izumi Ogino presented one of his most dazzling collections - both in terms of vibrant colours and sharp tailoring - in recent seasons. Amidst blinding spotlights, models in futuristic outfits strutted onto the runway one after the other with an infectious pulsating energy. Their looks blurred into cyberpunk projections set to the beats of electronic music, creating a stunning visual experience and a sophisticated celebration of the avant-garde.
Founded in 1993 by Ogino, ANTEPRIMA has established itself as an unfailingly innovative fashion brand known for its elegant and understated designs. The brand made its debut at Milan Fashion Week in 1998, marking its entry into the international fashion scene with a distinctive blend of Italian craftsmanship and Japanese sensibility. ANTEPRIMA, meaning "preview" in Italian, embodies a philosophy that encompasses both timeless elegance and modernity. Ogino's vision for the brand is to create collections that are simultaneously classic and contemporary, appealing to confident, modern women who appreciate subtle luxury.
The first silhouette set the tone for the show. It featured a metallic-silver cardigan with off-the-shoulder styling paired with over-the-knee boots.
Ogino playfully juxtaposed strict tailoring and wool, with absurdist drapery, sequins, and oversizing. Volume in the shoulders varied widely: we saw ruggedly rolled-up sleeves, cropped balloons, and very few looks with straightforward shoulders. There was also intriguing play with fit and styling. While cyberpunk looks are often associated with being dramatic or oversexualized, Ogino opted for more minimalist looks. Models in his warm, enveloping outfits often revealed just a sliver of skin: be it a shin, elbow, or shoulder.
Leather, a staple of so many winter collections, was a standout feature. All leather products were synthetic, as ANTEPRIMA highly values sustainability and works exclusively with artificial materials in alignment with fashion’s most cutting-edge ethical standards.
This commitment resulted in a diverse textile palette for leather looks, presented in shades of glossy black, matte granite and lacquered blue. Meanwhile, tailored suits with drapery were representative of the distinct Japanese aura surrounding Ogino's work, reminding us of the iconic designs of masters like Red Kawakubo and Yohji Yamamoto.
The progression of colour was amazing: the collection opened with classic white, segued to vibrant blue, and culminated in midnight black. This narrative beautifully complemented the show's cyberpunk theme.
Overall, the collection’s colour palette spanned neutral shades with carefully chosen pops of colour: a dazzling green long sleeve, red knits, and plenty of shimmering glitter. These additions of exuberance and sparkle added an unexpected twist to the otherwise serene and elegant hues. Meanwhile, the juxtaposition of heavy and light fabrics and tight and loose fits created a diverse yet cohesive range of silhouettes.
In conclusion, the ANTEPRIMA FallWinter 24/25 collection was a stunning display of iconic Japanese pattern-making, rebellious cyberpunk subculture, and futuristic innovation. Ogino effectively blurred the lines between the digital and physical, transforming classic elegance into a vision of the future and creating a poetic dance of light, shadow, and texture where cyberpunk meets natural beauty. In doing so, he spoke to the endless possibilities of fashion, capturing the true essence of sartorial transformation in the digital age.
ICEBERG RUNWAY
WORDS: ANASTASIA VORONTSOVA
PHOTOS: LEROY VELASQUEZ
Under the creative direction of James Long, ICEBERG is celebrating its 50th anniversary. The Fall/Winter 24/25 collection expertly synthesized the brand's rich legacy with an optimistic outlook. The collection, presented as usual on the second day of Milan Fashion Week, embodies a flawless fusion of the past and future and represents ICEBERG's enduring elegance and vibrant energy.
Renowned for his avant-garde approach to knitwear, James Long explored ICEBERG's archives to create a collection that combines nostalgia and modernity. While continuing to enact his inspired vision for ICEBERG's future, Long's designs also honour the company's legendary past: “ICEBERG is consistently upbeat and brimming with positivity. That has always been ICEBERG's approach, and I'm happy to commemorate the company's 50th anniversary by looking to the past while also looking to the future,” the designer said.
The reversible coats, which feature the striking contrast of sleek faux leather and classic herringbone, are key pieces in the collection. These adaptable items perfectly encapsulate the brand's philosophy of fusing style and functionality. The relationship between the past and present is further strengthened by the plaid zipup coats, which are a nod to both Long's own design signatures and ICEBERG's archives from the 1980s. A charming direct reference to the ICEBERG archives, the Scottie dog insignias on a plaid knit cardigan lend a lighthearted element to the collection.
Brushed knits with intentionally long ends showcased one of Long’s specialties and celebrated knitwear as ICEBERG’s central sartorial canvas. One particularly striking item was a white knit coat which had an oversized black, red, and yellow plaid pattern with some purposefully long ends brushed in. The knit coats all offered a modern twist on classic styles: for example a yellow knit coat worn with stirrup leggings and a plaid double-breasted coat. Yet knits were not the only key materials on display: the juxtaposition of fabrics was another major theme in the collection. ICEBERG’s rebellious spirit was enhanced by faux leather biker jackets with fringed details, zippers, and grommets. Meanwhile, raw-cut finishes gave it all a rock’n’ roll edge.
The collection's colour scheme, highlighted by leather outerwear drenched in shades of green, yellow, and black, was both sophisticated and vibrant. ICEBERG elevated its tailoring this season, broadening its target demographic to include men who have formal wardrobes but are partial to contemporary silhouettes. One particularly elegant and versatile piece was a double-breasted suit with textured sleeves, which is appropriate for both evening soirées and city excursions. It evoked an air of sophistication and maturity, common threads throughout the season.
Pointing out the significance of the 50th anniversary season, Long said: "there's a lot more texture and fabrication in the collection, and I feel like it's a bit more grown-up and more developed."
Yet he also managed to create a noticeable increase in sex appeal and edginess from last season, with pieces like faux leather biker jackets with fringed details and slouchy silhouettes with exaggerated buckles adding a daring, provocative element. Balancing it all out were a few chiffon dresses and pleated skirts, which softened the strong and structured elements and accentuated ICEBERG’s adaptability.
In celebrating its 50th anniversary, ICEBERG’s Fall/Winter 24/25 collection stands as a testament to the brand’s enduring legacy and its relentless pursuit of innovation. James Long successfully bridged the gap between tradition and modernity, creating a collection that honours ICEBERG’s past while looking confidently towards its future.
VIVETTA
WORDS: ANASTASIA VORONTSOVA
PHOTOS: LEROY VELASQUEZ
The collection's playful dichotomy is highlighted by velvet bows and phallic-shaped jewelry, which enables the Vivetta woman to be both seductive and monastic.
This narrative was further enhanced by the soundtrack, carefully chosen to irreverently embrace the free-spirited side of a woman who doesn't take
Important pieces included a small black "Belle de Jour" dress with a white collar, a raspberry bar jacket, and a chic checkered skirt suit reminiscent of Jackie Kennedy. Swaying skirts and sweaters in sherbet hues of yellow and pale pink reflected the '50s influence, while an embellished trapeze dress and a sparkly satin tunic-and-trouser suit evoked memories of the Swinging Sixties. A more sophisticated and mature audience was drawn in by the romantic, old-world charm of velvet jackets and capes with lace fringes. And Ponti made a daring yet wellreceived choice to showcase menswear on her runway, incorporating the same whimsical elements that characterize the brand’s womenswear collections.
Themes from Vivetta's previous collections, which frequently featured baroque details like hearts, drops of blood, and jeweled hands, were not as prevalent for the Fall/Winter 2024/2025 season.
Rather, this collection was charming, approachable, and full of playful sophistication. Discovering the collection felt like snooping around a neighbor's stylish apartment and learning its fun secrets—illicit and intimate in the best possible way.
Ponti's ability to combine literary inspiration, historical fashion references, and contemporary whimsy into a cogent and captivating narrative is demonstrated by this Fall/Winter 2024/2025 collection. A celebration of femininity and pleasure, it leaves us eagerly anticipating whether the brand will add further layers to this tale next season.
FRANCESCA LIBERATORE
WORDS: DIANA HUK
PHOTOS: LEROY VELASQUEZ
In an audacious move that seamlessly blended the realms of fashion and music, Francesca Liberatore chose the prestigious Conservatorio di Milano to debut her Fall/Winter 2024/2025 collection. The venue, renowned for its rich musical heritage, set the stage for an event that was not merely a fashion show but a multi-sensory performance that transcended traditional runway expectations.
The selection of this venue was a masterstroke by Francesca Liberatore. The Conservatorio di Milano, with its grand architecture and historical significance, provided a perfect backdrop to complement the innovative nature of the collection. The choice accurately suggested that the audience could expect a performance that was as much about auditory delight as it was about visual spectacle.
From the moment attendees stepped into the Conservatorio, it was clear that this was no ordinary fashion show. The atmosphere was charged with anticipation, and the diverse audience was comprised of as many “good civilians”—from casual fashion aficionados to musicians to students to curious onlookers—as it was with celebrities and industry insiders. It was a powerful moment for the democratization of fashion, one famously echoed by Rick Owens in his Off-White menswear show just three months later.
ACT ONE
The first act opened with a powerful drumming introduction, immediately captivating the audience.
Models began their procession through the theater - their facial expressions and body language thought-provokingly paradoxical when contextualized against their outfits. Their eyes conveyed a message of peace and love, a stark contrast to the aggressive punk aesthetic they wore.
This Fall/Winter collection drew heavily from punk influences, reflecting society's growing introspection and questioning of norms. A staple of punk fashion, plaids dominated the runway, their timeless yet evocative design speaking to a rejection of consumerism and a return to enduring styles. These plaids, with their historical association with rebellion, underscored the collection’s message that fashion should resist fleeting trends and embrace longevity. Liberatore’s collection paid homage to their sartorial heritage while also pushing it forward; the looks were executed in a non-traditional way that mixed modern silhouettes and unexpected colour combinations.
Bomber jackets featured prominently, their designs striking a balance between elegance and edge. Liberatore’s use of floral prints on these traditionally tough garments added layers of creativity, femininity, and irony. Her interpretation challenged the typical perception of punk as purely aggressive, showcasing a more nuanced, multifaceted rebellion.
In a world where symmetry and uniformity are highly valued, Liberatore's use of asymmetry spoke to the importance of diversity and personal expression. Meanwhile the colour palette - moody browns, blues, and purples - was punctuated by surprising combinations. Purple with gray, various shades of brown with blue, and red paired with unexpected hues emphasized the collection’s innovative spirit.
The models themselves were a key part of the narrative. Walking with confidence and grace, they embodied the dual nature of the collection— rebellious but at ease. Their styling, from bold makeup to edgy hairstyles, further reinforced the punk theme, while their serene expressions and elegant movements added a layer of sophistication.
ACT TWO
The second act brought a theatrical twist as models mingled with the audience, creating an intimate, immersive experience. The arrival of the Alpena Symphonie Orchestra on stage, wearing Francesca Liberatore’s designs, was a striking moment. Appreciative gasps gcame from the audience as the orchestra settled in, but the true performance was yet to come.
Asymmetrical patterns adorned skirts and dresses, celebrating imperfection and irregularity. These designs embodied artistic freedom, each piece a unique statement.
In a stunning display of interconnectivity between fashion and music, models turned on lights for each musician, one by one. Light, as a motif, represents knowledge, enlightenment, and revelation. In the context of this show, it also signified visibility and recognition. The act symbolized the illumination of artand the role of fashion in bringing other art forms to life.
The models, barefoot yet walking with the stately grace of those in heels, created an ethereal contrast. Their clothing, in black, silver, and brown, seemed to emerge from the shadows, bringing light to the stage.
The theme of transformation was emphasized. Black, often associated with the unknown and the mysterious, gave way to the reflective properties of silver and the warmth of brown, suggesting a journey from darkness to light, from obscurity to clarity.
The synchronization of models and musicians was magical. As each light was switched on, the musician began to play, creating a harmonious blend of visual and auditory art. The models stood behind the performers, their presence a silent testament to the symbiotic relationship between fashion and music.
This act was more than just a visual spectacle; it was a commentary on the connections between all forms of art and how they can collaborate to enhance and elevate each other. The audience was reminded that fashion is not an isolated discipline but one that inspires and intersects with music, theatre, and more.
FINALE
As the final notes of the orchestra echoed through the hall, the models and musicians began to depart, mirroring each other’s exits. The stage, once bustling with coordinated chaos, gradually emptied until only two violists remained, a poignant end to a remarkable show.
Summarizing the collection in a few words is a challenge, but if one had to, it would be “minimalistic yet imbued with theatrical emotion.”
Francesca Liberatore’s designs for Fall/Winter 2024/2025 are a testament to her ability to merge simplicity with profound artistic expression. The standout piece, the shirt-dress in a poncho style, promises to be a future staple, embodying the collection’s essence of timeless rebellion.
The final act was a fitting conclusion to a show that had been as much about the journey as the destination. The gradual departure of the models and musicians symbolized the shortlived nature of fashion and performance. It was also a reminder that while a moment may pass, the impact and memories endure.
Francesca Liberatore has once again proven that fashion is not merely about clothing—it is a form of art that speaks to the challenges and conventions of its temporal flashpoint and celebrates individuality. This collection is a bold statement that should resonate well beyond this season. The choice of venue, the innovative designs, and the integration of music all contributed to a show that was both memorable and meaningful.
By drawing on punk influences and reinterpreting them for a modern audience, Liberatore has created a collection that is both a homage to the past and a vision for the future. It encapsulated the dualism of being rebellious and comfortable while illuminating a pathway for further fashion innovations.
In an industry often driven by trends and commercial considerations, it stands out for its authenticity and artistic integrity.
As the lights dimmed and the audience began to disperse, there was a palpable sense that they had witnessed something special. The fusion of fashion and music, tribute to individuality, and bold reimagining of punk all combined to create a show that was truly unforgettable. Ultimately, it is a reminder that fashion at its best is not just about what we wear, but about what we express and who we are. Fashion should make a statement, tell a story, and leave a lasting impression.
SABATO DE SARNO’S SECOND COLLECTION EXPANDS VISION OF CONTEMPORARY ELEGANCE
WORDS: Jesse Scott
B&W Photos: Leroy Velasquez
Colour Photos: Jesse Scott
Sabato de Sarno’s stellar sophomore collection for Gucci further illuminated his vision for the brand by building on themes from his initial offering with increased confidence and consistency. Gucci’s shift towards understated elegance from the vivid colours and oversized shapes of Alessandro Michele has been completed; de Sarno has put his stamp on the house with simplified silhouettes, a striking yet discerning colour palette, and a distinctly modern yet timeless sensibility. He has stayed true to Gucci’s DNA while elevating the craftsmanship of the brand; this season was notable for its meticulously tailored coats.
Ancora red has been synonymous with Gucci through the still-young de Sarno era, and a short coat in this regal shade was one of the major highlights of the collection. Legs were on display in abundance throughout the show, with cropped proportions and sharp geometry accentuating the female form in an avant-garde way. Standing out alongside the logo-embossed red coat was a sharp yellow peacoat, also closely cropped, a starkly structured fur-embellished piece, and a classic black coat that recalled famous images of such illustriously elegant figures as Jackie Kennedy and Audrey Hepburn. Many of the coats were worn with towering thigh-high boots, creating an air of both ferocity and seduction.
Women who prefer longer coats had excellent options to choose from as well. A long leather olive green coat made a delightfully intimidating statement, while an elegant tan number, paired with bright orange platforms for a pop of personality, could be imagined sweeping through the streets of London to a highpowered business meeting. One of the more complex pieces of the collection was a tan duffel coat that was unassuming on top but made an instant impression due to the sequins cascading from the waist down. This coat was one of the finest exemplars of what de Sarno is doing for the brand. While restrained in comparison to Michele, he tactically intersperses high drama - provided by either tailoring or fine details - throughout his collections.
There was no shortage of sex appeal in de Sarno’s dresses this season. Midi slips with lace details sashayed down the runway with graceful femininity. Sequins shimmered on many pieces, imbuing simple forms with a touch of glamour. And sheer - used sparingly to maximum effect - highlighted a couple of the most dazzling pieces.
Amongst the mass market, Gucci is best known for its shoes and accessories. Harnessing the power of this market in a way that remains in alignment with de Sarno’s overall aesthetic vision will be critical to this new era for the house. This season was a resounding success as the shoes, bags, and belts remained true to Gucci’s DNA, complemented the colours that dominated the runway, and provided the distinctive, daring, and at times ostentatious aura that has helped make Gucci culturally iconic. Highlights included a red and black python-embossed bag and a “hatbox bag” in wild rose pink.
De Sarno clearly has a long-term vision for the Gucci brand, and, in a rare paradigm given the rapid rate of turnover in high fashion, is patiently developing it. His poise positions Gucci for an era of sartorial stability, but one that is distinctively of the moment and should progress over time as its designer’s rich narrative continues to
RAISA VANESSA
WORDS: JESSE SCOTT
PHOTOS: JESSE SCOTT & LEROY VELASQUEZ
RAISA VANESSA TRIUMPHANTLY RETURNS TO FASHION WEEK WITH DARING & DAZZLING COLLECTION
Having taken a brief hiatus following the death of their grandparents, the sister team behind Turkish brand Raisa Vanessa returned to Milan Fashion Week with a gigantic collection in which glamour merged with darkness, daring, and hope. The Istanbul-based pair remains uncompromising in their pursuit of a sartorial vision defined by glamour and modernity with an edge. Under their guidance, gothic and baroque inspirations become avantgarde, bondage becomes power, and the sumptuous golds, blacks, and burgundies of a royal palace are translated into wearable art. Fittingly, the Fall/Winter 2024/2025 collection was presented in a palatial setting; guests wove between mannequins under the ethereal lighting and towering ceilings of Palazzo Reale.
The most initially impressive thing about the collection was its sheer scale. Raisa and Vanessa presented 127 pieces among 87 styles, channeling their creative energies to weave an inspiring narrative that, even amidst the sea of clothes, felt carefully constructed and cohesive. All seemed essential, not extraneous, with versatile pieces for day and night and casual glamour coalescing with red carpet flare.
The collection, entitled Aviva and Gracious, is both a celebration and a reflection. Having lost their grandparents, Raisa and Vanessa “discovered they never appreciated what they have accomplished, “ the press was told.
“With that realization, they found themselves in front of a door…[which] represents the places they have been to and a new beginning.”
The collection was dedicated in appreciation to everyone who has supported the sisters and become a part of their ‘house,” and it was evident from first glance that it was created with true depth of feeling. It was philosophical but exuberant - the kind of exuberance that one can only experience once they have loved, lost, and gained new appreciation for all that they have enjoyed. Rich embroidery, with patterns all designed by Raisa and Vanessa themselves, couched the collection in a sartorial vocabulary of elegant maximalism fit for royalty.
The devil was in the details of this collection - more specifically, the accessories. Headwear was used to brilliant effect, as full face coverings of tulle and even leather danced next to form-hitting hats extending down the face like flower petals. The collection was unfailingly sexy and empowering. One leather facemask - accentuated by gold buckles - was paired with a short black dress which successfully incorporated sheer, fur, and leather alike to comprise a dream femme fatale aesthetic.
Jewels, buttons, and metal details were everywhere, adding to the baroque splendour of dramatically cut dresses. Belts added a specific masculine structure to many looks. Meanwhile, long black gloves seemingly paradoxically yet unquestionably effectively merged 18th century elegance with avent-garde daring.
Easily one of the most inspiring stories and dazzling aesthetics from this past Milan Fashion Week, Raisa Vanessa’s Fall/Winter 2024/2025 collection, “by women for women,” has heralded the brand’s explosion back onto the fashion scene. Refreshed and refocused, Raisa and Vanessa have taken their brand to new heights, using masterful tailoring and the finest Turkish materials as the foundation for maximalist dresses further brought to life by bold and meticulously chosen accessories. This is just the beginning of a new global journey for Raisa Vanessa, and we will closely follow to see what designs are created in the sisters’ Istanbul studio next season.
SIMONETTA RAVIZZA’S MANHATTAN MIDNIGHTS
WORDS: JESSE SCOTT
PHOTOS: LEROY VELASQUEZ
Titled Native New Yorker, Simonetta Ravizza’s Fall/Winter 2024/25 collection was a deadly all-black tribute to the city of New York and the fierce women who call it home. Soho street chic met Meatpacking glamour with the same effortless panache and versatility as contemporary New Yorkers who comfortably move between Wall Street boardrooms, midtown society events, and warehouse raves.
“My woman in black is supremely chic at her core, with a touch of rock’n’roll that’s almost undetectable because it’s in her attitude, in the way she interprets fashion, like the New York women who are as at home in Madison Avenue’s exclusive boutiques as they are on the subway, wearing a baseball cap paired with an evening outfit” Ravizza said of the collection. True to her inspiration, Ravizza paired a black baseball cap with dark sunglasses, a structured plush coat, short shorts, and heels for a deadly club-ready look that was a highlight of the collection. Fur and fringes added signature Ravizza touches to many of the ensembles, while sparkling dresses shimmered against a disco ball backdrop. A highlight of this ready-to-wear season, the Fall/Winter 2024/2025 collection was another in a series of consecutive triumphs for Ravizza, who impresses us more each year through her commitment to fierce yet elegant monochrome looks.
LUISA BECCARIA’S BLOSSOMING FAIRTYALE
WORDS: Daria Sorokina
PHOTOS: Leroy Velasquez
Luisa Beccaria’s fashion has always exuded a dreamy fairytale quality, merging glamour with modern sophistication and feminine delicacy. True to form, her Fall/Winter 2024/2025 collection was enchanting. Seven exquisite looks were presented in Lu Bar’s elegant Via Monviso space while animated flowers blossomed on the white walls. The atmosphere felt ethereal; the models weaved amongst the projected flora as if in their personal secret garden. Each was more beautifully dressed than the last; they appeared to me like elegant porcelain dolls whom Beccaria had crafted her dresses specifically to adorn.
The collection featured three primary colours: soft, creamy beige, classic black, and a nostalgic blue. The fabrics included velvets, sequins, and lace, all beautifully shimmering together. Two dresses were crafted from satin lace: a delicate beige look with long sleeves, modest and reserved, and a summery blue dress with straps. Beccaria elevated the glamour of her collection on another beige dress: this one, made from beige-gold threads, sparkled with sequins and was adorned with fringes. It was perfectly balanced with a more understated midnight black dress, a truly classic beauty made of satin with a subtle glittery sheen and a delicate neckline. The final two dresses in the collection were made of plush black velvet with floral prints. With conservative silhouettes, collars, and straight full-length skirts, these dresses exemplified restrained elegance.
Each dress in the collection was floor-length, with some styles more casual than others. Beccaria's wardrobe is versatile, suitable for both formal business events and relaxed summer outings. Most importantly, any woman wearing these dresses would become the star of any tableau she was involved in, drawing all eyes to her. Beccaria's ability to weave stories through fabric and silhouette is unparalleled, capturing the imagination and hearts of those who encounter her creations.
Beccaria has been weaving such stories since a young age. An icon of romantic elegance for four decades, she launched her first collection in Milan at just 20. Opening her boutique on Via Madonnina in 1984, she quickly became known for her ethereal and art-inspired shows, often set in unique venues like art galleries and historic courtyards.
Drawing from rococo and 19th-century art, her designs have always blended soft hues and luxurious fabrics, creating a fairy-tale aura. By the early 1990s, Beccaria was showcasing her collections alongside fashion giants like Valentino and Versace in Rome and Paris. Despite an offer from Chloé, she chose to forge her own path, establishing her brand as a staple at Milan Fashion Week. Celebrities such as Nicole Kidman and Madonna have donned her creations, which have now expanded globally and include menswear and childrenswear.
Despite her meteoric rise, Beccaria has remained true to herself and her Fall/Winter 2024 event captured the essence of her style. Beccaria's dedication to creating a holistic experience is what truly sets her apart in a competitive industry. She doesn’t just design clothes but she crafts dreams and memories, immersing guests and ultimately customers in her narratives. For Fall/Winter 2024, her choice of venue, music, and overall presentation were meticulously curated to transport the audience into a world of fantasy and elegance - a floral fairy tale.
As she continues to innovate and draw inspiration from Italy’s rich artistic and architectural heritage, Beccaria remains a beacon of beauty and creativity, inspiring future generations of designers and fashion enthusiasts alike. Her legacy is one of enduring grace, romance, and a celebration of the feminine spirit, and was further solidified with a stellar showing this season.
LA DOUBLEJ: RENAISSANCE OPULENCE
FOR MODERN WOMEN
WORDS: DIANA HUK
PHOTOS: LEROY VELASQUEZ & JESSE SCOTT
She is a Queen, but she is also a brave Dame. The Fall/Winter 2024/2025 collection of La DoubleJ embodied this duality, offering pieces that are both romantic and powerful, magical yet grounded in reality. This collection is not just about clothes; it’s about evoking a sense of regality and empowerment in every woman who wears it. It invites women to feel like Renaissance queens even while walking to their corporate jobs, balancing modern responsibilities with timeless elegance.
Clothing in today's world needs to be more than just beautiful; it must also be practical. La DoubleJ’s latest collection was crafted with cognizance of this necessity, as the garments were as functional as they were stunning. The creative mind behind the collection, JJ Martin, drew deep inspiration from 15th century Italy, in particular the Uffizi Gallery and Medici family. These periods, known for their wild creativity, opulence, and abundance, serve as the perfect backdrop for a well-rounded sartorial oeuvre that seeks to blend history with modernity. JJ refers to the Florentine Renaissance as a time of "rebirth," a concept that resonates throughout the collection. Her idea is to liberate women from the monotony of their everyday wardrobe, providing them with clothing that excites and inspires while meeting the demands of their daily lives.
La DoubleJ successfully translated this vision into reality through an excellent selection of fabrics and designs. The Fall/Winter 2024/2025 collection featured rich burgundy velvet, reminiscent of the sumptuous textiles of the past, and durable, lightweight jacquards showcasing the intricate fil coupé technique. These choices are not merely aesthetic but are carefully selected to ensure that the garments are both luxurious and long-lasting.
One of the standout features of the collection is its functionality. The pieces were designed to be mixed and matched, allowing for a seamless transition from the boardroom to social engagements and family time. The colour palette is both sophisticated and versatile, with nude printed sets offering a neutral base and shades of dusty rose, deep bordeaux, and dreamy cream adding depth and richness. The range of clothing styles—from maxi dresses to mini styles—ensures that every woman can find something that suits her taste and lifestyle. And even in contemporary silhouettes, the timeless dresses evoke a Renaissance style, effortlessly paying tribute to the past while embracing the present and future.
this season, presenting sporty looks possessed of an elegant savoir faire throughout the collection. The collection was also memorable for its thoughtful design details. Some garments were embellished with jewel-like decorations, eliminating the need for additional accessories and adding a touch of casual glamour. Hand embroidery further enhanced the luxurious feel, showcasing the brand's commitment to high-quality craftsmanship.
However, La DoubleJ’s collection is not just about indulgence. The brand recognizes the importance of sustainability and practicality in fashion, with its main goal being not to encourage overconsumption but instead to offer pieces that are designed to last both in terms of style and durability. This focus on longevity ensures that each garment can be a long-term investment in quality rather than a brief commitment to a fleeting trend.
At its core, La DoubleJ’s Fall/Winter 2024/205 collection is a true expression of “Magical Italian Couture.” It invites women to embrace both their inner Queen and Dame, offering clothing that is as empowering as it is beautiful. By merging historical inspiration with modern practicality, La DoubleJ created a collection that is not only a feast for the eyes but also a celebration of the complexities of being a woman today.
WEEKEND BY MAX MARA: LUCY HALE’S WALK ON THE WILD SIDE
WORDS: ANASTASIA VORONTSOVA
Renowned for her roles in "Pretty Little Liars," "The Hating Game," and "Puppy Love," Memphis-born actress Lucy Hale stepped into the fashion world this season with a distinctively Western-inspired collection for Weekend by Max Mara. Titled “JoyRoad," this capsule collection is a blend of authenticity, individuality, and a free-spirited ethos, reflecting both Hale's personal style and the actress’s ability to synthesize it with tthe brand's casual chic attitude.
The inception of JoyRoad is deeply personal for Hale, inspired by an imaginative journey to her roots. The odyssey merges her love for nature with a quest for self-discovery, creating a collection that embodies both personal growth and a celebration of one's heritage. As Hale describes, "Weekend Max Mara embodies the values of authenticity and free-spiritedness, two principles I strive to live by. These values served as a solid foundation for the creation of this collection."
The aesthetic of JoyRoad is a harmonious blend of Western soul, urban style, and outdoor comfort. The launch campaign’s captivating visuals showcased models wearing exquisitely draped ensembles against the backdrop of the rugged American west. A crucial component to the collection, fringes give soft leather jackets, suede pants, and the classic Pasticcino Bag—which Hale has reimagined with braided embellishment and tarnished metal clasps—a dynamic flair. Denim is also important; miniskirts with studs and oversized jeans pay homage to vintage Americana.
The collection's outerwear, which includes utility parkas, Montgomery coats, field jackets, and bombers in the gaucho style, is just as adaptable. The robust wool jacket with knitted sleeves is a noteworthy item that perfectly combines contemporary design with utility. Jogging sweaters with vibrant flower embroidery and jacquard designs lend a whimsical element to the ensemble.
JoyRoad's colour scheme is based on earthy, natural tones; light blues, khakis, and browns recall the untamed beauty of the American countryside. Denim in a variety of washes —from faded to chiaroscuro—enhances this color scheme by giving the clothes more depth and texture.
The JoyRoad collection's accessories go well with the Western motif. The new oversized denim Pasticcino bag, baseball caps, and vintage-style cowboy boots are standout pieces. A touch of rustic elegance was added by the collection's eye- catching bijoux, which included stiff bracelets, rings, and necklaces made of oxidized metal embellished with floral designs.
The JoyRoad collection was unveiled at Milan Fashion Week, an appropriate setting for this celebration of the American Western aesthetic. From Richmond to Le Silla, Versace to Zanotti, Milan has been enamored with Western wear in recent seasons - and industry insiders enthusiastically welcomed Hale’s contribution to the discourse. The Milanese crowd is discerning, and appreciated that this collection was not just about celebrity power or an on-trend aesthetic but also a testament to fine Italian craftsmanship. Hale herself was impressed by the craftsmanship of the Weekend Max Mara team, commenting that "The varsity jacket in particular has so many beautiful fabrics in one piece. It feels like it has already lived so many lives and has so much character."
Hale's passion for fashion and personal connection to the collection (she spoke about loving vintage shopping and clothes with a “history”) shine through in every piece. She has aimed to channel a free-spirited vibe that aligns with “being out in nature, being confident in the woman that I am today, and this desire to go home, whether literally or home within oneself.” JoyRoad encapsulates this spirit of adventure and self-expression, inviting fashion enthusiasts to embrace their individuality and take a walk on the wild side.
Hale said: "My hope is that people find this collection lively and empowering.” It is a testament to the fusion of Hale's creative vision and Weekend Max Mara's commitment to authenticity, offering a unique blend of Western charm and modern sophistication.
MANTÙ’S CAREFREE
CELEBRATION OF SELF-EXPRESSION
WORDS: DIANA HUK
PHOTOS: LEROY VELASQUEZ
Mantù, known for its mantra "be ù,” beautifully translated its philosophy in its new Fall/Winter 2024/2025 collection. The latest presentation from the brand was a fully immersive experience for guests; more than just a fashion statement, it was an embodiment of self-expression and celebration. Guests were encouraged to put on headphones and dance alongside the models in a “silent” disco setting. And the overarching theme "I am proud of myself" served as an important reminder to embrace selfcelebration and dance with uninhibited joy even in the midst of a presentation or during everyday moments.
Mantù's DNA is deeply rooted in a chic, modest, and fun aesthetic, an essence perfectly captured by the new Fall/Winter 2024/2025 collection. The designs were thoughtfully created to offer a harmonious balance between work and social life, ensuring that wearers can move effortlessly from a business meeting to an evening event while looking stylish and polished. This collection's ability to keep you on time and in style for every appointment is a testament to Mantù's commitment to practicality without sacrificing elegance.
The collection arrived just in time for the cooler seasons, providing a seamless transition from the heat of summer to the elegant warmth of autumn and winter. The colour palette primarily revolved around classic black and white tones, symbolizing timeless sophistication. However, Mantù added a touch of vibrancy with the inclusion of lilac and mustard yellow, injecting a playful yet refined energy into the collection. These colours not only added depth but also provided a refreshing contrast to the more subdued tones, ensuring that there were options for every mood and occasion.
Quality is a cornerstone of Mantù’s identity and this collection is no exception. The brand consistently ensures that its materials and craftsmanship are of the highest standard, making each garment luxurious and enduring to offer longevity in style and wear.
Mantù’s use of these details is not just about aesthetics; it is a reflection of the brand’s belief that life itself is a celebration and that our attire should reflect that joy and gratitude. The festive elements woven into the designs made each piece not only beautiful but also meaningful, enhancing the wearer’s sense of the occasion.
One of the standout features of the collection was the intricate detailing on the dresses. Adorned with flowers, embroidery, and fringes, these embellishments evoked a sense of lighthearted happiness and reminded us that every day is a moment to be cherished.
Ultimately Mantù’s Fall/Winter 2024/2025 collection is a tribute to self, life, and the joy of dressing well. It invites women to embrace their uniqueness with confidence and grace, all while staying warm and chic during the colder months. Whether you're heading to work or a social gathering, Mantù ensures you do so with effortless style and a touch of celebratory spirit.
Redemption has always been a brand “on the edge”—never too much, but seemingly paradoxically both rebellious and elegant enough to make a daring while feminine statement. For its Fall/Winter 2024/2025 collection, the Italian fashion house continued its mission of empowering women, offering a lineup that was both glamourous and sophisticated. Creative director Bebe Moratti embraced timeless and unapologetic fashion choices, encouraging women to step into the modern world with confidence and flair.
Moratti’s vision for Redemption extends beyond its aesthetic. While the brand is bold in its designs, it is compassionate in its values. Moratti is deeply committed to sustainability, ensuring that the brand’s production processes are environmentally conscious. This commitment is reflected in Redemption’s unique business model, through which 50% of its profits are donated to charity.
The Fall/Winter 2024/2025 collection was marked by its dark colour palette, metallic accents, and daring cutouts, all of which created a powerful, edgy aesthetic. Redemption continued to push boundaries, offering women the opportunity to express their strength and grace simultaneously. Tailored suits with sharp lines exuded authority, while dresses enriched with sequins, embroidery, and lace brought a touch of evening glamour. The materials used— silk, velvet, and satin—added a luxurious aura to the collection. Each piece was capable of turning heads, empowering the wearer to seize the moment and own the room.
Ultimately, the collection, and continued success of the brand, is a testament to the Moratti’s exceptional ability to merge bold fashion with an environmentally friendly and socially responsible approach. As Redemption forges ahead, it sets a powerful example for the industry, showing that fashion can be both daring and conscientious, stylish and sustainable. This direction is not just needed—it's the future of fashion.
ARTHUR ARBESSER’S NOSTALGIC VIENNESE DREAM
WORDS & PHOTOS: JESSE SCOTT
Arthur Arbesser is, above all, a dreamer. To introduce him simply as a designer seems reductive, for it does not necessarily account for the poetry, architecture, and personal history which he weaves through his pieces with a healthy dose of nostalgia. Arbesser’s clothes are not tailored for success on a commercial scale nor for the clickbait and notoriety endemic to “shock value shows.” Rather, they seem to represent an intimate look at his diary, weaving an intricate and individual narrative that one cannot fully understand without speaking to its creator and understanding his experiences.
Arbesser has invented “couch couture.” Passionate yet soft-spoken, he surprises us each season with a series of largely practical yet wholly distinctive pieces that each seem to bare a part of his soul. This season was no different. “I wanted to make a collection that didn’t feel like 2024,” he explained. Arbesser led us through an intimate sartorial tribute to an important figure from his childhood and introduced us to his latest designs in an enchanting atmosphere that felt as much like a “crossroads-of-the-world” literary salon as a fashion event.
“I’m very much into nostalgia; I’m from Vienna and Vienna is a city that is filled with that,” Arbesser told Elysium. “This collection started with an encounter with a now 86-year-old lady who used to have a beautiful shop in Vienna that sold glass, silverware, and some jewelry. It doesn’t exist anymore now, but I met her again and I told her that when I was a child I remembered looking at the shop windows. We have a beautiful friendship and she became really the muse of this collection.”
She also became the literal face of the collection, as Arbesser conducted a photo shoot in her apartment of her modeling the different designs.
Walking through the collection felt like a tour through a shop of curiosities or an older family member’s attic; it was a window into a private world, a life richly-lived, a bygone age. Each garment had a specific meaning, and lines between press, guests, and PR were delightfully blurred in a uniquely convivial atmosphere. “It’s a small collection,” Arbesser told me. “I used to do shows but now I prefer to do presentations because it’s much more relaxed - less stressful.”
Prints were predominant, as Arbesser combined art, design, and fashion sensibilities to weave his nostalgic dream world. “Prints are the way that we best communicate our message,” he said. Particularly notable, and representative of Arbesser’s carefully constructed layered references, were looks printed with an eclectic array of glasses. “Some of these glasses were even purchased by my parents at the shop of the lady,” Arbesser told me.
He also highlighted a vibrant dress inspired by abstract art, with colours that leapt off the fabric as joyfully as they do off a Chagall canvas. Whether intentionally or not, the collection engaged in close discourse with the artistic movements from the first half of the 20th century, from abstract expressionist forms to Matisse’s geometry to Chagall’s palette. My personal favourite dress, a sumptuous mohair knit, was distinctly reminiscent of Piet Mondrian’s colour blocking and the iconic 1965 Yves Saint Laurent dresses that took the fashion world by storm. “I love my graphics, and checkerboards never get old,’ Arbessser said of the piece. “We played with the colours of the collection. The mohair bleeds in the colour of the grid.”
The collection and its inspiration were complex, but, like the unrestrained joy of a child peering in a shop’s windows, its underlying spirit was simple and pure. “I love to be surrounded by beautiful things,” Arbesser told me. “And they don’t necessarily need to be expensive.” At the end of our interview, he commented that the ambience was “soothing,” an adjective that one rarely hears used in a fashion world that, in Arbesser’s own words: “can be really tough.” Arbesser offered guests a window on joyful nostalgia with his refreshingly original creations, pieces that captured his own personality as well as that of the lady who inspired him.
GIANLUCA CAPANNOLO’S RENAISSANCE OF RESTRAINT
It was a renaissance season from Gianluca Capannolo. Pivoting from the bright colour schemes and dramatically playful forms that have dominated recent collections, while staying true to his DNA, Capannolo presented a series of elegantly draped, well-tailored, and oft-layered looks that emphasized black and camel as much as they did pink and gold. It was a seldomseen exercise in restraint from the ebullient designer, and one that allowed him to showcase his subtle mastery of draping in a manner that could attract entirely new audiences to the brand
Capannolo approaches fashion as an artist, and fanciful details, such as a dramatic flapper fringe on a burgundy dress and oversized fur cuffs on a seemingly simple cream coat, provided some of the most memorable looks. Yet in both colour and in form, these pieces felt more versatile and practical than those from recent seasons.
The designs winked at guests rather than confronting them; Capannolo eschewed the chameleon colour schemes that have characterized so much of his ouevre for looks that, like chameleons themselves, can be adapted to a wide variety of situations and wardrobes A simple yet beautifully cut pink top encapsulated casual elegance while a flowing tan coat offered a “choose your own adventure” experience when draped over a richly patterned slinky dress. Bright colours were sparingly used, with pink and aquamarine standing out but khaki, black, burgundy, and silver being far more prevalent.
My personal favourite look was a silver fur coat exuding a classically aristocratic attitude unusual for Capannolo.
One always expects at least a few bold details at a Capannolo event, and this season was no different Entering the showroom, my mind was immediately drawn to a gargantuan gold chain necklace cascading down the front of a simple aquamarine dress Taking costume jewelry to comical proportions, the chain was unapologetic in a whimsical and distinctively Capannolo way: campy, playful, and completely at ease. The chain was just one of many oversized gold accessories on display; earrings and a choker also starred. The theme culminated in what can best be described as a chain mail vest, fittingly presented alongside a shaggy coat recalling the recently trending “mob wife aesthetic.”
This season saw Capannolo achieve a new level of sartorial maturity With the gold chains as the obvious outliers, he embraced the adage of “less is more,” demonstrating restraint in his colour and material choice to showcase his elite tailoring in a new and more concerted way He adeptly blurs the lines between “fun fashion” and “fine fashion” and this season, from both design and wearability perspectives, was one of his best.
HOGAN GOES RETRO-MODERN
WORDS: JESSE SCOTT
PHOTOS: LEROY VELASQUEZ
Hogan is on a mission to take over urban centres across the globe. Merging a retro aesthetic with distinctly contemporary and deceptively complex silhouettes, the Fall/Winter 24/25 collection provides a comprehensive set of “lifestyle” shoes and bags for busy citydwellers who seek practicality, versatility, and effortless chic. Selfdescribed as where “elegance meets irreverence,” Hogan has an hip aesthetic attractive to young white collar professionals and the artistic/fashion milieu alike (think Soho House). Modern and sporty, Hogan has developed a timeless aura and universal appeal that should make it increasingly a wardrobe staple from Milan to New York.
CASADEI’S LUMINOUS COLLECTION
Set on an elaborately reconstructed photo set, in the brand’s typical Four Seasons location, Casadei’s Fall/Winter 2024/2025 presentation displayed a “desire for lightness” in a season in which many brands were embracing all-black or dark-toned aesthetics. The highlight of the collection was the “rock’n roll” stardust boots, which dazzled with 150 luminous strings of rhinestone-encrusted fringes.
WORDS: JESSE SCOTT
PHOTO: LEROY VELASQUEZ
RODO RE-ENVISIONED FOR YOUNG GENERATION OF CONOISSEURS
WORDS & PHOTOS: JESSE SCOTT
While versatile and undeniably glamorous, Rodo has typically been associated with conservative silhouettes and a loyal, more mature market in recent seasons. That paradigm may be changing, as Fall/Winter 2024/2025 saw a wave of playful details, bright colours, and daring patterns that should appeal to a young generation of glitterati coming of age in the post-Covid age. This season’s Rodo, while of course continuing the classic models iconic to the brand’s DNA, was perfect for discerning twenty-somethings who demand the finest hand-craftsmanship while searching for contemporary silhouettes with youthful energy. Several models of shoes and bags would effortlessly fit into the Milanese nightlife scene, effectively tapping an entirely new demographic for Rodo. We eagerly anticipate seeing Rodo’s continued progression in Spring/Summer 2025.
GIANVITO ROSSI’S FUTURISTIC VISION
WORDS: DARIA SOROKINA
PHOTOS: LEROY VELASQUEZ & JESSE SCOTT
Gianvito Rossi, long a maestro in the realm of luxury footwear, carried forward his legacy of elegance and meticulous craftsmanship into his Fall/Winter 2024/2025 collection. Born into the prestigious family of Sergio Rossi, Gianvito launched his eponymous label in 2006, with a vision rooted in timeless sophistication and unparalleled quality that has continued to evolve each season
This collection, described as a “cabaret of the future,” saw Rossi sharply pivot from his Ancient Rome-inspired looks of this past spring/summer. He showcased a wide variety of models from rugged boots to delicate Mary Janes to his beloved high stiletto heels. Among the highlights were high-heeled sandals boldly adorned with white fur. Elegant straps gracefully wrapped around the foot in both plain and sequined models. Meanwhile, patent knee-high boots intertwined with gold threads and matte gold elements harmoniously echoed the natural essence of femininity. Finallly, platform boots and tweed ballet flats, complemented by matching gloves, added to the collection's versatility.
Pointed Chelsea boots crafted from black knit tantalized. So too did patent leather ballet flats, reminiscent of pointe shoes, available in hues of andy beige, eggplant purple, and coal black. The entire colour palette of Rossi’s latest collection exuded minimalist elegance, fitting given the impeccable choice of materials.
Gianvito Rossi's shoes are more than mere accessories; they are works of art that tell a story of passion, heritage, and a relentless pursuit of excellence. In Rossi’s own words: "A woman in my shoes is someone who appreciates the beauty of simplicity and the power of sophistication." This philosophy resonates in the F/W 24/25 collection, where elegance meets functionality. The delicacy of thin heels was juxtaposed with comfortable Mary Janes and a touch of extravagance from fur and sequins for a discerning but eye-catching wardrobe to go from day to evening.
DARK OPULENCE AT LE SILLA
WORDS: DIANA HUK
PHOTOS: JESSE SCOTT
Le Silla never disappoints and the Fall/Winter 2024/2025 presentation was no exception. The collection offered a stunning array of signature designs that masterfully balanced two contrasting themes: darkness and opulence. This season was a dream for fashion enthusiasts who crave exclusivity and sparkle without sacrificing comfort, especially in the realm of high heels. Le Silla’s iconic pump, traditionally available in a towering 12 cm height, is now offered in more practical 10 cm and 8 cm versions, making it easier for fashion-forward individuals to maintain their style throughout the day.
Colour played a significant role in this collection, with a vibrant palette that includes shades like acid yellow, grass green, vivid purple, fuchsia, and lapis lazuli blue. These bold shades added a striking and joyful contrast to the darker, more regal elements of the collection, ensuring that there is something for every mood and occasion.
Le Silla continued to tap into the Western aesthetic, a key element of the brand’s DNA recently, with a range of boots and ankle boots. Some featured ultra-feminine pointed toes and a dramatic 12 cm stiletto heel, available in both black satin with embroidery and crocodile print with harnessinspired details. Bedazzling adornments effectively contrasted rugged silhouettes. The classic cowboy heel was reimagined in black denim boots completely frosted with crystals; meanwhile, leather ankle boots featuring a maxi baggy jeans-effect cuff were elevated by sparkling crystal fringes. For those seeking something truly extravagant, the sculptural wedge boot with a curled cuff in silver mirrored leather was a standout.
Of course Le Silla continued to present its iconic full-crystal models this season; these opulent yet ethereal pieces see the gems so seamlessly integrated that they seem to be the framework of the shoe itself. Meanwhile, the collection’s use of crocodile patterns in brown and black added a sleek touch perfect for pairing with jeans or a maxi skirt. As for this season’s favourite material? Semi-polished vegan suede leather—a must-have for any Fall/Winter 2024-2025 wardrobe.
SANTONI’S MAGIC MOUNTAINS
WORDS & PHOTOS: JESSE SCOTT
Santoni paid tribute to its home Marche region with a spectacular Fall/Winter 2024/2025 collection that effectively danced between such seemingly paradoxical concepts as tradition and futurism; cozy and surrealist. Presented to guests in a resplendent space aglow with Santoni’s signature orange hue, the collection leaned into quiet luxury while still embracing sparkle for evening wear and focusing on a colour palette inspired by the remarkable hues of nature.
Sensuous shearling, presented both on the Andy knee-high boat and the Andrea loafer (the latter featuring puff tassels for whimsical flair) dominated the collection. Effortlessly chic, these styles were a refined re-interpretation of loungewear verastile enough to be worn in a variety of different social settings and executed with a uniquely Santoni savoir faire. Suede stilettos and bedazzled ballerinas further demonstrated how the brand effectively blends casual and glamourous, And gentle hues that the brand described as embodying emblems of the Marche environment (“delicate flowers that speckle the mountain slopes, the pink of the first light of dawn, and the white of edelweiss”) complemented and balanced the vivid Santoni orange.
The debut of the Fall/Winter 2024/2025 collection was not the only exciting recent development for Santoni, which also launched the lightweight DBS Oly sneaker. Presented in all-suede for men and a combination of leather, suede, and velvet for women, the Oly is a refined yet playful take on a sporty silhouette. It is the latest example of the ever-expanding relationship between sports and high fashion, and its success illustrates that for discerning clientele, exquisite craftsmanship is as an essential part of the athlesiure sphere as it is of the evening wardrobe.
FRATELLI ROSSETTI LAUNCHES “LITTLE BIG REVOLUTION”
WORDS & PHOTOS: JESSE SCOTT
Shortly after celebrating the 70th anniversary of the brand, Fratelli Rossetti launched a particularly inspired Fall/Winter 2024/2025 collection that paid tribute to the poetry of fashion, the subconscious associations between our emotions and our aesthetics, and the rich Italian cultural heritage. The collection was loosely centred on Bruno Munari’s “The Fine Art of Italian Gestures.” It captured eight trasncendant and near-ubiquitously relatable human moments in footwear form: the “kiss,” the “walk,” the “dance,” the “wait,” the “gentleman,” the. “goodbye,” “indecision,” and “thinking.” In doing so, it also eloquently and thought-provokingly traced the path of romantic relationships, whether lasting for decades or only one night. Highlights of the collection included the tartan Brera (inspired by the “kiss” and available in both men’s and women’s styles) and the double-strap Mary Jane.
AGL: AN EXPLORATION OF “FLAWED GEOMETRIES”
WORDS & PHOTOS: JESSE SCOTT
AGL continued to impress and evolve with a sleek yet powerful F/W 2024/2025 collection entitled “Flawed Geometries.” Building off design features introduced in past seasons, yet creating a chromatic and structural vocabulary distinctly of the moment, AGL presented a diverse and daring seleciton of looks ranging from sturdy rubbersoled platforms to delicate crystal-studded ballerinas. The collection was a master-class in texture play, with glamourous fur-plumed white and black boots dancing alongside reverse leather moccasins and plush platforms. The palette embraced the flashpoint, as it eschewed the coronoucopia of colour often favoured by AGL for a foundation of deadly black (with pops of red, bright green, and tan). As per usual, comfort, whimsy, and bold personality were themes throughout the collection; AGL remains at the pinnacle of brands designing practical yet expressive shoes for contemporary women.
RENÉ CAOVILLA: THE LEGEND GROWS
René Caovilla, known for exquisite designs and an sophisticated aesthetic, launched a new Cleopatra collection this season fresh off commemorating the 50th anniversary of its iconic Cleo model in the fall This latest evolution honours the legendary Egyptian queen and the house's emblematic snake motif while masterfully balancing innovation and tradition. And, as always, Caovilla showcased the passion and painstaking craftsmanship of the Maison's artisans while taking fashion enthusiasts into a modern crystal-frosted fairy tale.
Among my favourite recent Caovilla pieces is the Galaxia, which has 1,476 crystals set in a variety of designs all accentuated by the unique anklecircling serpent motif The Galaxia line's high-top satin ballerina debut - a new style for Caovilla but one presented with the brand’s signature flair - is surprisingly casual while still opulent and sophisticated Another standout is the glam rock Gilda pump, which has 1,220 crystals in a captivating gradient pattern on mesh fabric Yet even amidst the whirlwind of crystals, Caovilla does not forget about women who prefer quiet luxury. Distinctive yet understated, one unbejeweled shoe looked effortlessly elegant in pale nude hues with its semi-square toe, tapered coil heel, and signature stardust sole.
The Cleo has walked the red carpet with countless celebrities over the past 50 years, and these re-imagined models point it on a trajectory for even more success among the next generation With the precision of a serpent but the effortless grace of royalty, the Rene Caovilla house continues to create an intoxicating fairy tale of unapologetic glamour translated through the finest Italian craftsmanship The legend of the Cleo, and the house, is only growing as it enters its next five decades.
AMATO DANIELE STAYS GOLDEN
WORDS & PHOTOS: JESSE SCOTT
Appropriately entitled “Golden Shadow,” Daniele Amato’s Fall/Winter 2024/2025 collection for his eponymous brand filled Milan with the sparkling splendour of a glamorous night out. Daniele, the seventh generation of the iconic Locati family and its rich artisanal heritage, possesses an infectious joie de vivre and continues to grow in popularity among Italy’s young and beautiful. The golden tones that dominated this collection were complemented by midnight blue (with gems cascading down some bags like constellations), regal burgundy, and whimsical cheetah print.
BACKSTAGE
The final hours before a show are the most exciting and stressful time for a designer and their team. Creating a collection is a labour of love; now, after months of hard work and dedication, it’s finally time to share this season’s vision with the public.
Stylists, make-up artists, photographers, and models at attention. The energy is as frenetic as in a beehive, and, like in a beehive, impeccable teamwork is required to ensure everything runs smoothly. Final adjustments are made as the line-up is organized, the creative director keeping a watchful eye on all. Excited chatter permeates the space from the runway, where editors, celebrities, and clients, the ultimate judges of the collection’s success, are taking their seats. Then - a sudden hush. Lights, camera, action.
This exposé takes you backstage with Elysium photography director Leroy Velasquez as he captures the candid moments behind the glamorous runway shots. The show: Anteprima Fall/Winter 24/25. The theme: cypberpunk fantasy. The team: locked in.
“When it comes to taking a picture, you have to connect for that frame. You have to connect to the photographer, with the stylist, and the hair and makeup you’re doing, but also to the reader and whoever views the image. And you have to maintain that connection you have to be within that moment.”
Sean O’Pry, Model
