MFW

Honest Minimalism. Tod’s SS25

| Design & Culture by Ed

At Tod’s, Matteo Tamburini offers honest, minimalist, yet lively clothes you want to buy into. The spring-summer 2025 collection was inspired with Cycladic sculptures, but the designer treated the reference lightly. Crafted mostly from leather, the line-up explored the play between structure and fluidity. The pleated bottle-green dress was sublime, just as the canary-yellow t-shirt, and the smoothness of their leather textures looks (and feels) truly striking. Tamburini doesn’t try to be the next The Row with his vision of Tod’s, and isn’t doing minimalism that has a generic, Toteme-like feel. His “less is more” is bold and captivating. And investment-worthy.

Collage by Edward Kanarecki.
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Fashion Cliques. Moschino SS25

| Design & Culture by Ed

Adrian Appioloza’s third collection for Moschino was a subcultural grand tour, a study of fashion cliques from a guy with an obsessive eye for detail (and vintage). From breezy milkmaids to Perry-Ellis-by-Marc-Jacobs grunge, from subtle punks to sciura glam, this was a line-up that showed the designer’s range – and ability to translate Franco Moschino’s tongue-in-cheek style to contemporary audience. Most ambitious were the deconstructed LBDs, little T-shirt tube dresses (tubinos in Italian, Appiolaza said) that from the back were cut in the more expressive shapes of the ’40s, ’50s, and ’60s. These felt like a brainchild of Moschino’s humour and slightly tougher, Margiela-ist sensitivity.  “Fun and optimism are important for me,” Appioloza summed up. 

Collage by Edward Kanarecki.
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Essential Beauty Routine. Marni SS25

| Design & Culture by Ed

It’s Francesco Risso‘s ninth year at Marni. His work at the brand took different turns, from being avant-garde-sketchy to raw and crude (like last season). Spring-summer 2025 was a pursuit after beauty. “Beauty is a white rabbit,” said Risso backstage. “You chase it, though you fall short in capturing it.” But he actually took grasp of it, especially in closing part of the collection, inspired with bygone era of fashion shows and 1950s haute couture, through a lens of “Funny Face“. Slender silhouettes in soft hues, small hourglass dresses shaped by vertical pleats, tight siren skirts with stiff ruched hems – this is Marni that will certainly attract the clients to the stores. But this wouldn’t be Risso’s Marni if it was all pretty and prim. The collection was made of humble cotton, being a “thread that mends relationships and wounds, guiding us back to the right path after we’ve strayed and leading us toward what I call the essential beauty routine“. The seemingly rough, canvas texture of broad-shouldered jackets, pleated trousers and cut-out skirts gave the collection a sense of “work in progress“. In Risso’s world, beauty isn’t a constant. It’s something you look out for with patience and perseverance.

Marni-fy your wardrobe…

ED’s SELECTION:

Marni Leather Mary Jane Pumps


Marni Frayed Denim Midi Skirt


Marni Printed Silk-satin Mini Dress


Marni Embossed Leather Ballet Flats



Marni Embroidered Cotton-blend Mini Dress

 

Collage by Edward Kanarecki.
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Toned-Down. Fendi SS25

| Design & Culture by Ed

This year, Fendi celebrates its 100 years. Maybe that was the reason for Kim Jones to finally deliver a good collection for the brand. What kept it cohesive was the combination of house craft, toned-down color palette, and an attitude that stemmed from the jazz-age modernism of the 1920s. The embroidered flapper-dresses worked nicely with all the streamlined minimalism. Still, looking at the taupe shirt-dress, one just wonders what differs Fendi from Max Mara? Except for Baguette, pretty much nothing. It would be great to see some fun back at the brand, a Karl Lagerfeld-ian wit.

Collage by Edward Kanarecki.
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Delightful Insouciance. Zegna SS25

| Design & Culture by Ed

Mads Mikkelsen closed Zegna‘s spring-summer 2025 show, and also men’s Milan Fashion Week. Alessandro Sartori‘s take on the brand is always a pleasure to see, and a reminder that maybe there’s no need in reinventing the wheel. In the end, the best clothes are the ones that strike with quality and look always great, whatever trend is terrorizing the streets at the moment. Wearing Zegna, a man (or woman – Sartori confidently tips his toes in this field too!) doesn’t have to overthink his appearance, because these garments do all the work for him. The latest collection had a nuance of sensuality that was “quintessentially Italian, a certain idea of Italian elegance in the ’60s,” a feel for lightness and insouciance that seemed to break away from Sartori’s renowned, disciplined minimalism. The designer has translated traditional suiting into a luxe version of sportswear, and has given workwear an elaborate, rich new identity. His work is about hybridization of the highest refined order, with a constant tension in reducing the categories of masculine dressing and finding new solutions to liberate classics from the weight of their codes. He does it brilliantly, and with one of the best color palettes in the industry!

Collage by Edward Kanarecki.
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