Conceived as a collaborative knowledge-sharing project, it invites participants to reconsider how clothing is used, cared for, and reimagined over time. Through workshops and talks, it brings together experts and communities, creating a space where ideas are explored, tested, and brought to life.

_{C.P. COMPANY Laboratorio}

For the 2025 edition, the Milan showroom hosted two sessions. The first, titled “Sharing Knowledge,” focused on how functionality in design contributes to garment longevity. It revisited the revolutionary Massimo Osti Method, which involved photocopying details such as buttons, zips, and collars, then reassembling them into new garments.

The second focused on the traditional Japanese Sashiko technique, exploring stitching methods that reinforce, personalise, and extend the life of garments. Continuing its journey throughout October 2025, LABORATORIO arrived at the C.P. Company Paris Store for a session led by natural dye designer Matthieu Ruiz.

_{C.P. COMPANY Laboratorio}

_{C.P. COMPANY Laboratorio}

Dedicated to the theme “Colour and Time,” the event explored the durability of botanical dyes at the intersection of craftsmanship and industrial innovation. Through a panel talk and hands-on workshop, it created a shared space for dialogue and experimentation around product longevity.

by Chidozie Obasi

The post C.P. COMPANY Reimagines Garments’ Usage With New Crafty Initiative ‘Laboratorio’  first appeared on The Glass Magazine.

Increasing the brand’s original footprint, the expansive space is an expression of the house’s timeless DNA: one of both modernity and tradition, whereby the past informs the future and craftsmanship is celebrated. The boutique, divided between three rooms, comprises a comprehensive curation of women’s ready-to-wear and accessories, including handbags.

_{Fendi Boutique in Harrods}

Its architectural essence is drawn from the house’s native Rome, with references to the city’s topography emerging in Palladiana flooring in Travertino Ascoli and Giallo Valencia marble, Calce Romana walls and columnar details; the latter reimagining the city’s ancient architecture in contemporary style.

From its exterior, which features a distinctive ribbed facade, an additional two windows display capture the renovated boutique’s sense of scale. Entering the main room, visitors are greeted with the design’s centrepiece: a monumental artwork by French sculptor and ceramicist Olivia Cognet, comprising a totemic column in her signature bas-relief ceramics.

_{Fendi Boutique in Harrods}

_{Fendi Boutique in Harrods}

The tenets of mid-century modernism in contemporary style, the work encapsulates the brand’s interplay of eras and veneration of handcraft, made in a base ivory ceramic with touches of yellow. The entrance is enriched with a marble table designed by Milan-based designer Roberto Sironi.

A second room has a mood of intimacy, envisioned in a lush, carpeted floor and natural-toned walls, while the displays of ready-to-wear evoke the anastylosis concept, where decorative elements comprise columnar displays in handmade glass, ribbed Travertine, and Rosso Lepanto marble. A final VIP Salon can also be accessed via a disguised passageway from the boutique’s exterior, ensuring the guests’ privacy, and features undulating walls designed to simulate the movement of leather.

by Chidozie Obasi

​

The post Fendi Points to Expansion with Renovated Harrods Boutique first appeared on The Glass Magazine.

_{Tommy Hilfiger 2025 Holiday Campaign}

“Holidays in the Hilfiger household were filled with the bustling excitement of nine kids, lots of guests and endless games,” said Tommy Hilfiger. “This campaign captures that same feeling. It’s about celebrating with heart and bringing your own style and personality to every moment. And it wouldn’t be the holidays without a much-loved member of the Tommy family dropping in — JISOO brings iconic pop culture energy to the moment, with a festive sparkle.”

The Collection reimagines classics from heritage Americana, layering unexpected newness into traditional end-of-year preppy wear. Plush textures elevate rugby shirts, varsity jackets, and pleated chinos, while rich wool coats, blown-up houndstooth knits, and tweed ensembles bring campus chic.

_{Tommy Hilfiger 2025 Holiday Campaign}

_{Tommy Hilfiger 2025 Holiday Campaign}

The Tommy Crest becomes a seasonal signifier across sweaters, beanies, and scarves, while “Tommy’s Cable Knit Shop” serves up wish-list wonder in the form of giftbox-ready knits in plum, mustard, emerald, and iconic red, white and blue. Occasion pieces balance timeless elegance with all-new glitz, from velvet tuxedo jackets and pleated midi-skirts to gold-button lady jackets and sequin-beaded accessories.

by Chidozie Obasi

The post Preppy Aesthetics Meet ‘90s Americana in Tommy Hilfiger’s Holiday 2025 Campaign   first appeared on The Glass Magazine.

It’s exactly one of the reasons why dance, with its wealth of sensibilities, is a practice broad enough to enrich the senses and stretch not only technique – but emotions – to far-fetched horizons. To some, the burning desire to begin making steps in a dance room comes from quite early on; however, it’s never too late to manifest a passion.

_{Photograph: Antonio Crotti}

At least not for Filippo Pagani, who age 16, had his very first approach to a rehearsal room. Born in a small town near Bergamo and now hailed in Berlin, he had a box full of fabrics while growing up, which he used to put on. “I played all kinds of music back then,” he recalled, his face filled with excitement. “I was just looking at myself dancing in front of a mirror, having fun as a kid; my mother saw me doing that a few times, and she once asked if I wanted to study dance but I said no because I was scared, coming from a narrow-minded provincial town.” ​

Pagani’s primary school teacher was a ballet dancer and worked at the school as a PE tutor, encouraging him to take classes, which he refused to attend. “I said no, because in that provincial reality one always thought that being a dancer meant being gay,” he reflects, pausing momentarily. A friend of his spoke to him about a project in a school play, where all he had to execute was a brief dance sequence.

_{Photograph: Antonio Crotti}

“It was so fun!” Pagani exclaimed, “so after that time, I remember I kept doing this project inside school. And then from 14 years old, I decided to do this dance training very seriously.” Pagani started his path in a private school, soon moving to a bigger institution, connected with the smaller one. “I did that at 16, but my classmates were already on a higher level and I wasn’t,” he recalls. “I had no clue of the technique, of the positions or anything at all.”

Fast forward to 2019, he moved to the Berlin State Ballet school and graduated in 2022. “In these three years, the pandemic happened and many things were locked down. So the process of integration and preparation of performances was really, really hard,” he says. “It was also not helpful for me because I joined the ballet world quite late. But it was one of the best periods of my life because I danced every show, every performance, and I met amazing choreographers and dancers in the company.”

_{Photograph: Antonio Crotti}

To find out more about his odyssey to date, the thrills and takes of his practice, and what is next on the horizon, Filippo stopped by GLASS for a chat. Read all the insights below.

On Dance as a Form of Expression

“Throughout my career, I felt closely related to ballet and contemporary dance in equal measure: I feel right in the middle because my personality makes for both of them. Ballet helped me structure and express myself in a specific way, through rules and a precise code. But on the other hand, I feel connected with contemporary dance because it gives me a sense of freedom and it feels cathartic, almost free-flowing. As you can see in most of the photos, my eyes are closed; but as soon as I open them, especially in this kind of composition, it feels like I’ve lost connection with myself. When my eyes are closed, I feel like there’s waves of energy skimming through my body.” 

On The Joys And Thrills Of Dance 

“I think I have different sensations in each piece I dance. If I have to perform a group one, I think the emotions do come in less for me, as I need to focus on the steps. Knowing the intention of the choreographer is crucial, and so is the delivery: if I have freedom, of course, I’ll take it and just go with it. And when that comes through, my heart thumps and rushes.” 

_{Photograph: Antonio Crotti}

_{Photograph: Antonio Crotti}

On Dance’s Hardships And Systemic Complexities 

“It’s a practice that is not so easy to approach and to be part of, as it requires a lot of strength and mental stability. Plus, you have to be confident because if you begin having moments of self-doubt, it gets extremely tough. One must also come to terms that it’s a short career, so you have to use the time you have and maximise it, particularly because injuries can always happen. I would say that the best thing for a dancer is learning how to take care of yourself, because we usually don’t and we tend to stretch to the maximum, training until our breath is basically gone.” 

On Mental Health

“There’s so many bad triggers that spark when you’re dancing; my injury triggered my brain a lot. But then, to be honest, I think I made one of the best decisions of my life because I began seeing a psychologist and we talked about this long term. We worked on it and it was so helpful, which helped me realise that I didn’t have a good approach or the right approach to some things I pursued (not in dance, but in my life, ndr). The environment could be so intense that you don’t realise how you approach your life. This injury started very badly, but then it also helped me grow up, improve myself, and it made me approach difficulties from a different perspective.”

_{Photograph: Antonio Crotti}

On Future Hopes And Expectations 

“In all honesty? Do like a full season without causing further injuries, that’s the goal. Not feeling pain and being satisfied by my work is another one, too. Yet the biggest hope I have and that I’m working towards is to accept everything that comes to my life in a positive way, feeling grateful for what I have, and refrain from complaining about something that is beyond my control. I have a job that’s one of the best gifts I’ve ever had: if I look at my past, I can recall where I started and where I am now. And for that, I have to be proud of myself.” 

by Chidozie Obasi

Photographer: Antonio Crotti @mira_geler 

Stylist: Chidozie Obasi @chido.obasi

H&MUA: Marta Cupaioli @mm_martamua via @mksmilano

Fashion Coordinator: Alberto Michisanti @albe.michi 

Producer: Jessica Lovato @jessicalovato_

Contributing Editor: Luca Rosei @luca_rosey

Copy Editor: Edward Pusca @edwardpusca  

Talents: Filippo Pagani @ooppilif + Michele Forghieri @micheleforghieri_  

Fashion assistants: Loris Vottero @loris_vottero + Cloe Rubinato @cloe_rubinato + Anna Regazzoni @anna.regazzoni + Martina Manenti @girlbyspring + Alessandra Di Mugno @liladmxxy + Angelica Guaman @leidyguaman_ + Allegra Auro @_.alle.graa_ + Giulia Tolotti @giuliaatolotti

_{Clothing Credits:}

_{Look 1: IM MEN}

_{Look 2: Coat CELINE | Trousers DUŠAN}

_{Look 3: RANDOM IDENTITIES by Stefano Pilati}

_{Look 4: Shirt PAUL SMITH | Jumper HOMME PLISSÉ ISSEY MIYAKE | Trousers HERMES}

_{Look 5: Blazer BRUNELLO CUCINELLI | Shirt LOUIS VUITTON | Shorts SILKOLOGIE | Trousers JIL SANDER by Lucie and Luke Meier}

_{Feature Image: LORO PIANA}

The post “When I Close My Eyes, Everything Else Becomes Secondary”: Filippo Pagani On Dance’s Cathartic Power  first appeared on The Glass Magazine.

The designer often spoke of his love for Brera, the neighbourhood where he lived and worked, and whose dual soul – both cultured and vibrantly alive – he admired, with its blend of elegance and artistic freedom. This profound bond was acknowledged by the Academy of Fine Arts, which in 1993 awarded him an honorary title for the coherence of his stylistic research and the rigour with which he united function and inventive imagination.

_{Giorgio Armani: Milano, per Amore Exhibition. Photograph: @agnese_bedini @melaniadallegrave @dsl__studio_}

Conveying knowledge through direct experience and allowing visitors to appreciate the mastery of great artists firsthand was, and remains, at the heart of the Pinacoteca’s vocation. Founded in 1776, the Academy of Fine Arts inaugurated the Pinacoteca in 1809 to support its educational mission. The exhibition of Giorgio Armani’s creations here, alongside outstanding works of art, marks the first time that fashion — central to understanding societies across time — has been included in this mission.

_{Giorgio Armani: Milano, per Amore Exhibition. Photograph: @agnese_bedini @melaniadallegrave @dsl__studio_}

_{Giorgio Armani: Milano, per Amore Exhibition. Photograph: @agnese_bedini @melaniadallegrave @dsl__studio_}

The garments reflect the themes and codes that make Giorgio Armani’s work unmistakable: a reinterpretation of tailoring, a unique sense of decoration, a preference for neutral tones, and a love for the unexpected richness of techniques, finishes, and embroidery. All are signs of a measured creativity that unfolds gradually, redefining the very notion of sobriety. The invisible mannequins allow the bodies to be suggested through the clothes alone, in continuity with earlier exhibition projects.

Giorgio Armani: Milano, per Amore brings together garments previously displayed at Armani/Silos and at major museums worldwide for the first time, enriched by new discoveries from ARMANI/Archivio.

by Chidozie Obasi

For more information and ticket information, click here.

The post Giorgio Armani’s Legacy Is Celebrated in Milan Museum Exhibition first appeared on The Glass Magazine.

_{Giorgio Armani SS26}. _{Photograph: Ryan McGingley}

For the Spring/ Summer 2026 show, the runway was accompanied by the music of famed pianist Ludovico Einaudi, staged at Palazzo Brera in an event that closed Milan Fashion Week. It acted both as a celebration of the company’s 50th anniversary—already marked earlier this year with the launch of a new men’s collection—and as a farewell to the designer.

The show, the last Mr. Armani worked on, also introduced ARMANI/Archivio and inaugurated the exhibition Giorgio Armani: Milano, Per Amore at the Pinacoteca di Brera on September 24. There, 133 archival creations were displayed alongside Italian artworks, offering a glimpse into the evolution of Armani’s vision. In the front row sat Cate Blanchett, Glenn Close, Lauren Hutton, Richard Gere, and others.

_{Jil Sander SS26}

_{Jil Sander SS26}

_{Jil Sander SS26}

At Jil Sander, the collection turned to the roots, exploring purity as a method rather than a limitation—a tightly edited expression of contrasts. Tension and calm, straight lines and torsions played in counterpoint through somber neutrals, dusty pastels, and vibrant hues. Textures added a tactile element to the discourse. The mirroring of menswear and womenswear was constant, animated by meticulous craftsmanship and obsessive attention to detail. Silhouettes remained rationally concise, with high buttoning occasionally disrupted by folds and raw hems.

_{Versace SS26}

_{Versace SS26}

_{Versace SS26}

At Versace, newly appointed creative director Dario Vitale shook the foundations of the House. The collection began with the archive but reached beyond clothing, connecting with a feeling, an attitude, a way of being. Letters, photographs, ephemera, and art unlocked gesture and sensibility.

Staged in the intimate chambers of the Pinacoteca Ambrosiana—a former private residence housing an eclectic collection of masterpieces—the show materialised the brand’s deepest foundations. The archive’s essence, never knowable through mere study, was embodied on the runway. Unrestrained by inhibition and indulging in tactile pleasures, Vitale bridged Italian elegance with bold irreverence.

Emerging designers also made a strong impression. Pierre-Louis Mascia, Onitsuka Tiger, Institution, and Francesco Murano each expanded tailoring into new territories.

_{Institution SS26}

_{Institution SS26}

_{Institution SS26}

Pierre-Louis Mascia’s SS26 collection drew from the theatre—its illusions, truths, and rhythms of life as spectacle: fragile, intense, implacable. Inspired by the 1945 French film Les Enfants du paradis, draped fabrics seemed to emerge from an attic, dusty yet precious, like fragments of memory telling forgotten stories. Light weaves, trompe-l’œil effects, overlays, and pleats suspended the collection between illusion and reality. Silk reigned supreme, expressed through 18 original prints that once again showcased Mascia’s mastery of mixing motifs, colours, and juxtapositions.

_{Onitsuka Tiger SS26}

_{Onitsuka Tiger SS26}

_{Onitsuka Tiger SS26}

Onitsuka Tiger embraced the theme Urban Fantasy. Fashion here was not just clothing but a medium of self-expression, likened to stepping out of an Asian metropolis’s shade and feeling the sun on the skin. Inspired by the fleeting energy between cityscape and sunlight, the brand imagined a fashion fantasy: crinkled shirts and dresses with a vintage spirit, bodysuit-dresses layered over voluminous culottes, and crisp fabrics reshaped into parkas, cropped trucker jackets, and razor-sharp tailoring. Leather appeared in oversized biker jackets and mini skirts with bold zippers.

Pierre-Louis Mascia also introduced tailored jackets inspired by the Chepken, a traditional women’s vest. Cut from wool and bouclé, the pieces referenced both heritage and artisanal tailoring. Women’s communities in Azerbaijan’s Masallı and Lankaran districts contributed to the final development, grounding the collection in living tradition.

_{Francesco Murano SS26}

_{Francesco Murano SS26}

_{Francesco Murano SS26}

Finally, Francesco Murano explored movement as resistance to stasis. His collection, Kinesis, studied the relationship between body, clothing, and space—garments amplifying gestures and entering into dialogue with their environment. Inspired by futurist artists Giacomo Balla and Umberto Boccioni, as well as Étienne-Jules Marey’s chronophotographs, the pieces recorded movement and transformed it into form. Volumes, lines, and cuts became dynamic tools, dressing not just the body but the body in motion.

The post At Milan Fashion Week, Lightness and Escapism Were the Antidote for SS26 first appeared on The Glass Magazine.

And woven through the whole offerings were some of the signatures that James has extracted from the decade-long history of the brand: the handcrafted crochet bags, oversized woven details, and intricate beading. Actually, it wasn’t so much that the designer blended together his breadth of fascinations; it was more like he drew and twined them to create volume and movement.

“The collection is called Chaos, and it came from everyday life,” James told GLASS backstage post-show. “I wanted it to be artistic but at the same time very much wearable, and I wanted it to feature a series of statement pieces, something that you’ll be able to go out with,” he added.

“Strike up a conversation and people look at you but still, again, wearable. The mixture of art and craft is something that we’re really, really excited about because there was a lot of experimental craftsmanship this season and it’s something we’re excited to do.” James’ references always bet on Nigeria, London, and Milan’s heritages, three cities he deems “the greatest in the world.”

On the collection, “I think the best one for me and my standout one was the tiger print, the leopard print pants with the beaded legs,” he says. James showed a women’s collection in February, but not in Milan. “We did it in Lagos because it was a celebration of our 10 years of existence as a brand,” he noted.

This season, James partnered with Nahous, a cultural foundation dedicated to supporting art and creativity across Africa. In celebration of this collaboration, five exclusive looks were created for Nahous and revealed on the runway to exemplify James’ mastery of form and Nahous’ mission to champion African creativity on the global stage.

by Chidozie Obasi

The post MFW SS26: Tokyo James first appeared on The Glass Magazine.

After a three-year hiatus during which she withdrew from Milan’s official schedule (to note: back in 2020, Jean was a vocal advocate during the Black Lives Matter movement, rallying and marching against the lack of support for designers of colour in Italy), she returned with two political slogans woven into her latest collection. But more on that shortly. Judging from this season, her ambition to clear the slate and write a fresh new identity for the brand has come to fruition.

Perhaps unsurprisingly, there are echoes of her earlier work, with a tendency toward complex, wrap-and-tie silhouettes. Finely sculpted headpieces, body-hugging gowns, bold maxi prints, and intricate embroidery all played a role in the mix.

“I said I would be back when I had something to say,” Jean told reporters backstage. “And this season, we returned with two law proposals: the first to highlight pieces that are works of art, because the paintings and embroidery featured in the collection were created by artists,” she explained. “In June, an excellent law was passed: all works of art purchased are deductible at five percent,” she noted.

“I began my work on the other side of the world with low-income communities, to safeguard their cultural heritage,” she continued. “Now, I find myself facing the same problem in Italy, where we no longer have artisans—especially among younger generations—willing to carry on the craft. There are no easy solutions, and we can’t pay them less, since artisans are already paid so little.”

“There are six products conceived in Bhutan, the result of a co-creation with local communities,” Jean added, when asked about this season’s offerings. “So there are also artisans and artists who worked with me at 3,000 meters above sea level,” she concluded.

by Chidozie Obasi

The post MFW SS26: Stella Jean first appeared on The Glass Magazine.

The location will host a 910 square metres boutique spanning over four floors, including an in-house Atelier. In addition, the top three floors will feature three distinct dining concepts by Langosteria.

_{Palazzo Fendi © Delfino Sisto Legnani e Melania Dalle Grave}

The majestic façade features an alternation of arched and squared windows, both at street level and on upper floors, with a covered walkway with arches on Corso Matteotti. A central tower dominates the architecture at the intersection of the two roads and develops the spaces vertically.

Subtle and streamlined details enhance the original façade, which remains untouched, except for the addition of the Fendi logo and organic-shaped door handles inspired by the soft movement of leather.

_{Palazzo Fendi © Delfino Sisto Legnani e Melania Dalle Grave}

_{Palazzo Fendi © Delfino Sisto Legnani e Melania Dalle Grave}

The new boutique concept, designed by the brand’s architecture department, fuses details echoing 1930s Milanese interiors with heritage elements. Starting from the softness of curves inspired by fur craftsmanship to arched shapes, these are placed in continuity with the clean silhouettes of Milan’s staircases and their signature contraposition of textures.

So begins a sophisticated balance of the building’s pre-existing marble patterns with the Maison’s special marbles, inspired by Ancient Roman floors.

_{Palazzo Fendi © Delfino Sisto Legnani e Melania Dalle Grave}

_{Palazzo Fendi © Delfino Sisto Legnani e Melania Dalle Grave}

The interior design is further enriched through a partnership with selected local foundations and galleries: Fondazione Officine Saffi, Fondazione Arnaldo Pomodoro, Mazzoleni, and Secci galleries.

by Chidozie Obasi

The post Milan’s Montenapoleone District Welcomes Palazzo Fendi  first appeared on The Glass Magazine.

But there was more glam and less intimate pleasures to be had as well, chief among them actors Meryl Streep and Stanley Tucci taking a front-row seat at the Milan Metropol Theatre to shoot a scene for The Devil Wears Prada’s sequel. Streep wore Priestly’s traditional sunglasses and a soft peach-toned vinyl raincoat as she made her way into the theater, guided by security and accompanied by Stanley Tucci, who wore a smoke-grey double-breasted suit and played the art director in the movie.

With showtracks by Italian singer Patty Pravo, Streep’s character consulted with Tucci, their heads tilting as models strutted. Confirmation from Dolce & Gabbana’s press team specified that the scene was filmed appropriately for the sequel, which will be shot in Milan in October.

Standouts from the SS26 collection featured a wealth of PJs, riffing on menswear and cleverly constructed with rhinestones and sheer lacey fabrics. A boudoir vein meets the playfulness of volumes both across coats and trousers: the classic codes of the house’s tailoring are subverted and reinterpreted in a looser key to add range, while details in dresses, such as beading and embroideries, came suspended from shirts and roomy separates more peculiarly but not less charmingly—here, silhouettes were kept simple and unstructured.

The real feat was how the atmosphere felt. As the show came to a close, Streep and Tucci were escorted backstage as scrums tempted to snap photos of this seminal moment in fashion history. That’s all.

by Chidozie Obasi

The post MFW SS26: Dolce & Gabbana first appeared on The Glass Magazine.

For Spring/ Summer 2026, however, the codes were respected both in fit and construction—but with a slight twist. Leaning on the house’s archives, an image of screen star Lola Todd first sparked an exploration of the ‘Africana’ movement during the jazz age of the early 1920s. “I was interested in how certain materials, prints and textiles were imported from across Africa and the Caribbean into America and Europe to become a sign of status,” noted Davis. Fair enough.

To move forward, you have to dial forward: and this season — which distilled offerings from silk satin devoré animal prints, plongé leather jewellery to fringed embellishments — embraced a new take on the Roaring Twenties. Davis chose elegant cuts, a clean ambience, and breezy elegance as a starting point.

Semi-spiral seating, a black carpet, and dark chairs were all laid out upon guests’ arrivals, emphasising a liberating glamour through textures that had a fuss-free, gauzy quality to them. Also, winsome: peak-easy suiting, straight-cut slips inset with lace cut-outs, dresses with dropped waists and low-slung backs.

This approach extended his research board. “This was a moment where women were creating a new femininity – it was a celebration of freedom, a reclaiming of self,” explains Davis. “It was a period when people were creating spaces for themselves and rebelling against societal norms – and that spirit translated into people’s wardrobes.”

Some ideas adapted better to clothing than his actual ideologies. The graphic cuts and colour-blocking separates of the era were mirrored through vibrant patent leathers, alternating moments of utmost sheerness. That’s a lot of conceptualism for one collection alone. On the menswear front, the most attractive and certainly easier-to-wear options were the sportier sides of the lineup’s offerings: simply city separates with enough slouch to breathe through summer.

by Chidozie Obasi

The post MFW SS26: Ferragamo first appeared on The Glass Magazine.

However, as the notes explained when handed out to editors and industry insiders alike, this lineup was galvanised by a deep sense of reckoning: fashion’s global agenda prompted them to consider the peculiar nature of creativity’s power dynamics.

By subverting the conventional format of the runway and partnering with the auction house (where nothing was for sale), the Italian brand brought a mise-en-scène to the audience with a performance (joined by Cristiano De Lorenzo, Managing Director of Christie’s Italy) and a slew of characters who wore this season’s clothing with a distinct identity.

How was this whole vibe embodied? How does it show itself? Messina and Rizzo’s answer to that question boiled down to this: “fashion is finance, and creativity is for sale,” the notes say, adding that, “Sunnei’s auction is at once artistic disruption and conceptual statement, where suspended contradictions of the system are staged and the symbolic challenges the concrete.”

In a complex world, who doesn’t want some beautiful things that come with utmost reassurance? But on the other hand, how nice, how nice if that beauty comes in a fabrication that can be bought at any price, being mindful of the weight of the market’s saturation in an age shaped by downturns? It’s a no-brainer that we live in an unprecedented time, wanting no-brainer solutions that reflect on consumer choices to desire no-brainer offerings.

Not that there were (at least, from what we could see) some fussy options here. A neutral two-piece, for instance, winked at traditional workwear. But that had to do with the casual inflection of this presentation rather than with any codes of the clothes themselves. They were most-of-the-fact items present, but the impression of these clothes could be that they were meant to be worn in a wishful way: easily, without fuss, and ready to fight the world’s socioeconomic fight.

The final bow? None. In fact, Nìnot long after the show had taken place, in a press note dispatched to insiders, the duo announced their departure from the brand. A clear sign of the critical climate of our times.  

by Chidozie Obasi

The post MFW SS26: Sunnei first appeared on The Glass Magazine.