“You can embrace someone in a plateonic sense, but you can also hug someone in a romantic sense. And I think this collection actually sees the lines between the two.” Saul Nash spoke at the Tetro Principal soon after his show, a place which is a boxing gym, a nightclub, and, in its long history, and in the 1950s, a regular fashion site. This was Nash’s second show in Milan, and the collection suggested that it was embracing some codes of Italian Mainewear. Their hood shirting was matched in a zingley Mediterranean Lemon Yellow, and silky cupro pants with a tie and pants and an over -nylon jacket was distributed in a porous tone of lavender – both classic sutorial peacocks.
The yellow look came with a stretch, which was moved towards each other with two hands. As he had his firm, choreographed under the catwalk, the models of Nash sometimes stop in a spotlight to hug. Nash said: “I really love the idea of questioning how far men will go. I am doing a lot of clubs. And I think in clubs, there is a lot of stress, where you know, people are expressing themselves.”
The diagonal opening on the cupro shirt and stretch T-shirt was abandoned to show pectoral and nipples. The trousers and pocket tag miracles were wrapped with the lines of beads that become dearly reflective when killing the club light. The designer’s signature compression tops were printed with the same baking hands in recycled lycra, and the fit design of the clothing was a close embrace under the body in itself.
Hooded three-fourth length check shirts, inaugurated hooded stitched stitched stitching with zipper opening on the shoulder, and some finely pleated shorts and pants were examples of the ongoing efforts of the tingling in a more silk-to-tight material which were running to generate a hug between sewing and technology. Fast, it is a combination with real chemistry.
