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 — Ermanno Scervino is taking strides when it comes to evolving the image of his eponymous brand. What was once a temple of ladylike styles is now increasingly becoming a wider, contemporary offer. At the core is Scervino's forte, which is an unmistakably Italian, or rather Florentine, savoir faire. His pieces are lovingly and painstakingly crafted in the company's ateliers, using the finest silks, wools and leathers.
A whiff of lingerie was a defining trait, together with a pervading softness. A propos, the slipdress was the pièce de résistance in today's show, draped this way and that and proposed in painterly flower prints. If you think the goings got predictably saccarine, you are wrong. The collection actually was all about contrasts; the classic ones: hard versus soft, and masculine versus feminine. The tailored tuxedos were particularly supple, but best were a series of leather jackets worn with mannish baby blue shirts and slinky skirts.
Scervino should probably have made do without the Balenciaga-ish mega duvets, but then again the duvet is core business for the house. All in all, it was a very good outing, proof that even super-classic Italian brands can evolve intelligently.
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.
BoF’s editors pick the best shows of the Autumn/Winter 2024 season.