The Business of Fashion
Agenda-setting intelligence, analysis and advice for the global fashion community.
Agenda-setting intelligence, analysis and advice for the global fashion community.
MILAN, Italy — This morning, just a handful of hours before the MSGM show, Massimo Giorgetti started posting headlines and images from Twin Peaks on his personal Instagram feed. One stuck as a memento of what happened later on the catwalk: 'It's happening again'.
In a sense, in fact, this collection was a homecoming for the label, which has diverted into many different territories since its inception — and not always convincingly. This, instead, was MSGM at its best, circa 2012: colorful urban separates with an air of pop and demure mischief to them. The logo, the stripes, the roses and the colors were all there, re-done in a bold, mature way.
It looked all very coherent and au curant — Giorgetti even paid homage to Molly Goddard's tent-like tulle shapes — with the unmistakable MSGM ease. Giorgetti is at his best when he avoids complications, which is exactly what he did this season.
And designer Sabato De Sarno doubles down with his Cruise ‘25 show for the brand, writes Tim Blanks.
From where aspirational customers are spending to Kering’s challenges and Richemont’s fashion revival, BoF’s editor-in-chief shares key takeaways from conversations with industry insiders in London, Milan and Paris.
BoF editor-at-large Tim Blanks and Imran Amed, BoF founder and editor-in-chief, look back at the key moments of fashion month, from Seán McGirr’s debut at Alexander McQueen to Chemena Kamali’s first collection for Chloé.
Anthony Vaccarello staged a surprise show to launch a collection of gorgeously languid men’s tailoring, writes Tim Blanks.