This is how the Dolce&Gabbana man will dress for the upcoming autumn-winter season.

Drawing inspiration from the past to create the fashion of the future is the philosophy of Dolce&Gabbana. It’s an intriguing game, a creative allure that breathes life into unique outfits like those in the new men’s Roma Collection FW 23/24. A tribute to the beauty of the Roman Empire captured through the iconic lens of Steven Meisel, featuring Leon Dame, David Gandy and Jon Kortajarena.

The designers’ journey into Ancient Rome continues towards the definition of a softer, more relaxed sartoriality, where a series of sensual looks take center stage. Composed of robes, tank tops, oversized trousers, and a cascade of transparent fabrics, including shantung, silk twill, poplin, and cotton, the result is an authentic and sophisticated wardrobe that reinvents the standards of street style, shaping a new concept of male hedonism.

“For fall I was inspired by the artwork of Rupert Bunny, an Australian artist from the turn of the last century. I was drawn to his use of color and the romanticism of his work – the g entle and dreamy lifestyle scenes. There is a glow, warmth, and optimism in his work that is really appealing to me. I was given the opportunity to work with a selection of his paintings by the National Victorian Gallery and we have crafted these into some of our key collection prints. Bunny’s works have also influenced the mood of the collection more generally” – Creative Director, Nicky Zimmermann

Artist Rupert Bunny’s idyllic scenes play out across floating skirts and draped dresses; the essence carried through in the lingerie cues of slip dresses, lace bodysuits, and floating, sheer fabrications in sepia tones of dirty mustard, faded lilac, and macadamia.

Zimmermann’s signature for dramatic proportions and generous flounce finds itself dressed down and spliced up by layers of tweed, smooth chocolate leather, and cozy wool knits. Petite bralettes and wool bustiers are enveloped by wide-shouldered suiting and wrap-me-up doona jackets.

A particular focus on denim brings an intentionally easy attitude to dressing for the season. Breezy nightgown shirt dresses overlay Briny Blue stove pipes. Faded vintage washes are mixed and matched with intense ruffled knit-lace tops in peachy hues, and draped minis. A double-breasted blazer completes an all-denim look, featuring custom hardware, worn with embroidered cowboy boots.

Bouncy black evening dresses with embroidered poetry diverge into several simple and elegant LBDs. A rich velvet sheath gown with an off-the-shoulder cream lace bodice is equal parts indulgent and restrained. Shimmering tones contrast the black – shining in slinky lurex translucent prints, with gold and opal jewelry statements. Always buoyed in luminosity.

Shot by Gregory Harris in filmic black and white against a backdrop featuring aerial views of Manhattan, the new Emporio Armani advertising campaign paints a surprising scenario.

The appearance of models and unique poses overcome the force of gravity; moments are frozen in time. Somewhere between surrealism and reportage, Emporio Armani Fall/Winter 2023 campaign viewers on a journey beyond convention to embrace the extraordinary.

The story of Ferragamo is not simply, as the founder put it, “the story of the small, barefoot, unlettered boy who became a famous shoemaker”. It is also the story of constant rebirth and evolution. Certainly Salvatore Ferragamo, born in the village of Bonito, the 11th child of 14, who had been making beautiful footwear since the age of 12, was reborn in the States as a young Italian artisan who understood the desires of Hollywood. That was Ferragamo’s first Renaissance.

This transformation was achieved through embracing Italian heritage with daring talent. The interiors of his store at 6683 Hollywood Boulevard were pure Italian Renaissance: walls featuring batik resembling 14th-century tapestries, hand-carved sofas, and luxurious draperies complementing classical columns. Though from the Avellino region near Naples, as an Italian, Salvatore was under the spell of Florence, the “Jewel of the Renaissance”, and imbued with the spirit of that place and time; he understood its power and resonance. So, when a few years later he decided to return to Italy there was only one place that would do: Florence. A new Ferragamo Renaissance had begun.

The Italian Renaissance was a time of intense creativity and new ideas. It celebrated innovation and craftsmanship, and married art and artisan excellence. All this was in evidence at Palazzo Spini Feroni, the home Salvatore gave to Ferragamo in Florence in 1927. Dating back to the 13th-century, the Palazzo, which is still Ferragamo’s headquarters, seemed emblematic of the Florentine bottega, the workshop or studio of the master artists and craftsmen where dialogue and the exchange of ideas and knowledge allowed Renaissance thinkers, intellectuals and artists to develop local philosophy and skills into a global phenomenon.

Multiple rebirths were required along the way – after the Great Depression, after the Second World War – but always the power of creativity prevailed and the “shoemaker to the stars”, as Salvatore became known, like his Renaissance forebears, did enchant the world.

Throughout this time, a creative community fed the founder’s imagination and broadcast his Florence-infused collections. This included not only Salvatore’s fellow craftsmen, but also his extraordinary clientele: the likes of Audrey Hepburn, Greta Garbo, Sophia Loren, Lauren Bacall, Marilyn Monroe and Eva Perón (years later Madonna would wear Ferragamo when she played Perón in Evita).

Central to the Florentine experience that drove Ferragamo’s creativity, the symbol of the beating heart of the city’s continual celebration of the Renaissance, was the Uffizi. Started by Giorgio Vasari as offices – uffizi – for Cosimo I de’ Medici, Grand Duke of Tuscany, in 1569,it was one of the earliest modern museums, opening its gallery to the public in 1769 and becoming a museum just under a century later. Throughout the history of the house of Ferragamo in Florence, the Uffizi has been there, a guiding light, reminding the importance of fresh ideas, art, beauty and creativity.

Just as the Renaissance masters of craftmanship and art in Florence came to be esteemed all over world for their creative achievements, so today Ferragamo is constructing its future through the skilled hands of its artisans, the study and evolution of its heritage, the harnessing of new, creative talents, and the establishing of its community.

Artworks featured: Alesso Baldovinetti, Annunciation (1457), Giovanni Bellini, Holy Allegory (1490-1500), Paolo Veronese, Annunciation (1570-75), Francesco Granacci, Joseph Going to Prison (1515), Giorgio Vasari, Portrait of Alessandro de Medici (1534), Botticelli, Portrait of a Man with a Medal of Cosimo the Elder (1475), Botticelli, The Annunciation of San Martino alla Scala (1481), Piero della Francesca, Diptych of Federico da Montefeltro and Battista Sforza (1467-1472)

The Cast: Vittoria Ceretti – Model, Anok Yai – Model, Lina Zhang – Model, Jessica Stam – Model, Mona Tougaard – Model, Paul Hameline – Model, Iván de Pineda – Model, Malick Bodian – Model, Taemin Park – Model, Zainab Jama – Creative Consultant and Strategist, Kelela – Singer and Songwriter, Yasmina Dexter – Sound Artist, Tyler Mitchell – Photographer and Video Director

A word that is more than a statement is a concept! The intent of the whole collection is to reaffirm the Stile and the iconic DNA of the Brand. It goes back to the origin of the Brand! “Stile and stiloso” (style and stylish) are thus the two key words that together with the precious colors and fabrics, help to redefine a way of being that is not simply luxury but is to be “Stiloso” (Stylish).

The collection is a succession of color blocks, pure/ethereal white, milk white, sand beige, camel, dark brown, pearl, stone gray ending with absolute Sicily black. Embroidery and materials, wools of “Piacenza” that allow thanks to the inherent characteristics of the material itself, to build garments with structured volumes; suits and jackets thus take a new shape and life as true sculptural works and enhance the male body. Over coats in double cashmere, silk crepe, 3D effect embossed jersey and embroidered silk organza.

Then along with flowers another style accent, brooches applied on lapels. Suits in Chantilly lace in the various nuances proposed follow vests that lose the back changing volume and proportions, are enriched with laces and Velcro as closures. Purely stylistic and decorative elements made of tone-on-tone gathered jersey emphasize even more the concept of sculpture. Overlays and volume play continue in the proposals of torcion and ribbed jersey for Sicilia looks. ​

Underwear – tank top and pants made of jersey – complements underwear in silk smocked knitwear. Another novelty is the concept of padded and gathered made with special processing. Silk crepe is completely curled at the seams, padded, almost as if draped over the body while retaining the impalpability of the precious fabric. Sicilia and Taormina jackets stretch to 120 cm become small coats. Suits in double-breasted double duchesse paired with short shorts with an ironed crease. Dolce jacket is proposed in single and double-breasted combined with pants 28cm wide bottom to 45 cm, great novelty of the show, the cargo model proposed in the washed version is presented with the same bottom. Pants with special details “loops” in the belt that echo the details of the vest that allow a glimpse of the body. Prints are replaced by the concept of materiality. Designers work with surfaces, textures, overlays, shades of color, but also on the brightness of the material themselves. The desire for rigor to emphasize the original codes, cornerstones of the brand, in this layering “Style” tells us so.

Stefano and Domenico’s desire for rigor, to emphasize and reaffirm the original codes, of Dolce&Gabbana, codes that make us unique and affirm our “Style”.​