In the heart of Milan Fashion Week's vibrant energy, K-Way captivated audiences with its latest FW24-25 collection. Set against the chic minimalist backdrop of BasicVillage Milan, the headquarters of BasicNet Group, the runway show was elevated by the artistic installations of Anna Franceschini. The collection was a masterclass in innovation, showcasing a spectrum of colors, shapes, and materials that epitomized K-Way’s commitment to high-quality design and functional elegance. Iconic Le Vrai 3.0 jackets, made from waterproof and breathable fabrics, were the stars of the show, appearing in various styles from sleek raincoats to urban-chic windbreakers, and even extending to stylish skirts and bags. The signature three-color zipper added a dynamic flair to each piece, complemented by geometric quilting adorning coats, tops, skirts, and trousers. Sustainability was at the forefront, with the collection featuring an exquisite blend of sustainable furs, scuba, sumptuous velvet, and luxurious wool. These carefully selected, ethically sourced materials underscored K-Way’s dedication to environmental and social responsibility. The collection embraced fearless experimentation, encouraging the art of layering and the playful mixing and matching of elements to create distinctive yet practical ensembles. Lorenzo Boglione, Executive Vice-President of BasicNet SpA and CEO of K-Way SpA and Sebago Srl, highlighted the focus on color, a core pillar of K-Way, which was celebrated against a pristine white box setting, accentuating the vibrant hues and tonalities of the technical garments. Marc Goehring's styling brought the fashion-forward approach to life, with jackets worn as skirts, monochrome looks in red, white, military green, navy blue, and light grey, and strong accessories like ski goggles, gaiters, and small handbags. The collection also ventured into office wear with buttoned-up shirts, ties, elegant quilted jackets, and formal trousers, blending day-to-day wardrobe staples with a pop of colour and technical touch. The collaboration with artist Anna Franceschini added a cultural dimension, merging art and fashion seamlessly. Franceschini’s innovative use of movement and form highlighted the brand’s ethos of protection and innovation, creating a dynamic synergy that resonated throughout the show. K-Way’s FW24-25 collection stood as a testament to the brand's journey between heritage and modernity, pushing the boundaries of design with bold, versatile materials and timeless style.

The Jordan Luca AW 24 is ”about hope and the joy of coming together,” Bowen said backstage about the show. With a balloon tied to each chair and balloons placed around the entrance, one would assume the duo are in a mood for a celebration. But as they share, the balloons were intended as a bittersweet metaphor as well, reminding us that hope is fragile. The spiky details scattered through the collection and on accessories playfully reminded us of this duality throughout the show. It gave a more grown-up attitude to the punk aesthetic the label went for, with heavy tailored coats and blazers. A tone of power dressing and sleek sartorial options dominated the show, and elevated the collection.

In a digital age where fashion often lives on screens, Federico Cina delivered viral-worthy moments at Milan Fashion Week. Models carried unconventional props like concrete pillars and ferried fellow models on their shoulders, creating buzz-worthy visuals. The grand finale saw the cast dramatically rip through a pristine white scrim, symbolizing a break from constraints as they walked the runway one final time. Yet, beneath these eye-catching gimmicks lay a deeply compelling collection that emphasized geometric precision, rich textures, and a soft color palette. The “Colors of Nothing” collection for Fall/Winter 24-25 explored profound themes of change, transformation, and existential reflection. Federico Cina's collection delved into the philosophical, contemplating life's brutal shifts, the process of undressing, and the transition to adulthood. The colors of the collection mirrored the winter fog, with gray, dark, and transparent hues capturing the essence of transformation. Cina drew inspiration from varied sources, including the paintings of Luigi Grossi, which aim to give color to human emotions, and the austere aesthetics of brutalist architecture as conceptualized by Adolf Loos. Additionally, the transformative visions of video artist Bill Viola and the classical sensibilities of Salvatore Settis enriched the collection's narrative. This dialogue between art and architecture resulted in designs that were clean, precise, and geometrically rigorous, focusing on the fundamental essence of form. One standout piece was the Tortellino bag, a soft yet sculptural accessory inspired by traditional symbols. The “Colors of Nothing” collection embraced the strength found in vulnerability and self-reconstruction, symbolizing the act of building oneself from within. With rigid constructions and exact lines, the collection marked a departure from Cina’s previous eclectic inspirations, reflecting a mature approach to design. The Fall 2024 line underscored the designer's ongoing exploration of personal growth and the shedding of what is no longer needed, reinforcing his unique and evolving aesthetic.

Stone Island made a striking debut on the Milan Fashion Week Men’s calendar this season. Founded in 1982, the Italian brand had never before showcased its collection in the country's fashion capital until this landmark event. On Friday evening, the future-minded label unveiled its Fall/Winter 2024 collection, titled “The Compass Inside,” to an audience of fashion's elite. The show took place at La Cattedrale, where a massive black curtain dropped to reveal the next-season wares within a colossal cage. Models stood motionless in their individual containers, illuminated by shifting lights, embodying the brand’s commitment to dedicated technical research. The presentation highlighted Stone Island's key pieces in multiples, showcasing the brand's enduring love for uniforms and the adaptability of its core designs. A standout piece, the Metal Mesh PVD Nanotechnology Down Jacket, featured an illusory facade that resembled liquid glass. This was achieved using two layers of organza and a robust nylon base, with nanotechnology infusing the polyester organza with aluminum to create the optical effect. As always, the brand’s signature compass motif adorned the arm. The Stone Island Ghost collection reimagined the brand’s classics using various wools. Military-inspired peacoats and single-breasted jackets, crafted from a heavy blend of 95% wool and 5% cashmere, were notable highlights. Each piece bore the monochromatic “Ghost” tag on the left sleeve. Additionally, the collection featured a hooded suede sheepskin jacket treated with a PFC-free, anti-drop agent, emphasizing the brand's innovative approach. Further experimentation was evident in two hooded coats and a parka, which utilized polyester mesh for a see-through finish. These items, part of the “Glass Cover-TC” series, achieved their liquid-like appearance through garment dyeing. Completing the lineup, Stone Island’s renowned Nylon Metal textile formed the basis for a light jacket and two bombers. The light jacket featured snap closures, while the bombers were insulated with PrimaLoft-TC for added warmth. Stone Island's "The Compass Inside" collection not only highlighted the brand’s technical prowess and innovative materials but also reinforced its status as a trailblazer in contemporary fashion.

"I love Pitti Uomo because it feels like an extension of Savile Row," British designer Steven Stokey-Daley confided backstage at his Fall/Winter 2024 runway show during the biannual menswear event. "Where Savile Row is maybe not so alive now, it feels like it’s more alive here. It’s a lovely cyclical thing." In both arenas, bespoke tailored suiting reigns supreme, and Daley's Florentine display masterfully blended the age-old practices of these iconic regions. Set amidst the Mannerist masterpieces inside the historic Salone dei Cinquecento of Palazzo Vecchio, Daley's models navigated columns stuffed with pillows, a nod to the cramped living quarters of Oxford University students from decades past. "I wanted to transform the set into this abstracted version of a dorm room," Daley explained. His imaginative execution allowed the fashion to remain the focal point, with the academic ensembles poised to fit seamlessly into his conceptual residence hall’s closets. Central to Daley's inspiration was E.M. Forster's 1911 novella The Story of a Panic . "It’s about a British boy who comes to Italy for the first time and has his cardinal awakening," Daley shared. Reflecting the novella’s setting in a remote fishing village, far from the constraints of British institutions, the collection featured lighter, more liberated garments. A standout motif was an enlarged fish, appearing in blue on a white button-down shirt, while a yellow fishing coat catered to utilitarian tastes. "Florence deeply informed the collection, which is why you see such incredible tapestries," Daley noted. His love for intarsia was evident, with Rowan yarn blankets transformed into oversized rugby shirts adorned with classic British imagery, including horse-riding hunters and wildflowers. This fusion of Italian and British design elements encapsulated the collection's identity. Daley also paid homage to Britain’s sartorial heritage with a playful cardigan featuring illustrations of leaping lambs on the chest, reminiscent of the youthful sweaters seen on Harry Styles, a notable collaborator. This connection foreshadowed the news that followed the show: "Harry Styles Invests in UK Fashion Label S.S. Daley." "Harry and I share a vision for the future of S.S. Daley and look forward to this new chapter together, focusing on brand longevity and scaling the business into a modern British heritage house," Daley announced. Though details of the deal remain undisclosed, Styles' minority stake marks a significant milestone for the rapidly ascending designer, who graduated from the University of Westminster just three years ago. As the show concluded, one could imagine Daley’s restful night, perhaps best described by the lettering on Look 32’s wide-collared sweater: "Snug as a Bug."

Continuing its innovative trajectory, POST ARCHIVE FACTION (PAF) has unveiled its much-anticipated "7.0" collection for Fall/Winter 2024. This season, the standout South Korean label delves into the theme of "POST-MORPHOSIS," exploring dramatic transformations in form, function, and material reminiscent of an organism’s developmental metamorphosis. The collection's elements interweave, bifurcate, and convert, embodying the progressive evolution of garments. A highlight of the "7.0" collection is the 7.0 JACKET CENTER, characterized by its asymmetrical design and three-dimensional pockets. This piece captures the essence of nature's unpredictable organic forms, a theme continued with the 7.0 JACKET LEFT, which features a utilitarian design enhanced by hidden interior pockets within the visible ones, accented by vibrant color contrasts. The 7.0 COAT CENTER reinterprets the classic Korean duffle coat, embodying a moment in the transformative journey between deconstruction and reconstruction. This piece stands as a testament to PAF's ability to blend tradition with contemporary innovation. Meanwhile, the 7.0 TECHNICAL PANTS LEFT showcases an organic spiral elevation design, with exaggerated three-dimensional pleats that converge into a cutout, highlighting the contrast between patterns. PAF's "7.0" collection is a masterful blend of avant-garde aesthetics and functional design, pushing the boundaries of fashion while staying rooted in a deep understanding of form and material. This release not only showcases the label's commitment to evolution but also cements its place at the forefront of contemporary fashion.