“I think there is a huge place between the classic menwear and the most avant garde, which has been discovered barely.” Alesandro Sartori dropped this Pearl in an hour-long press conference in about 35 minutes, which later meets the TRAI-on session in a long chat-and all this was before the runway hit the runway in the first look. For a Zegna show held in Dubai (its first new-collection show outside Italy, since the New York Zegna Show), reporters and critics were implemented tonight with the embarrassment of angle-wise.
The main loud Villa Zegna was – the ongoing roadshow event that immerses customers in the backstory of founder Armengildo, its construction of OC Zegna (see the review of Spring 23 for the background), and House Darshan – With the runway debut of the Spring ’26 collection for this Dubai installment. As the founder’s grandson Guildo, who is the president and CEO of the group, saw earlier: “There are about 200 nationalities living in Dubai. Dubai Mall has about 100 million visitors … It is probably the fastest growing business worldwide.”
This Dubai itself has become an oan for those looking for many forms of shelter, which was later evident from the diversity of those who rubbed the linen-clad shoulders on the palm-fasting and sand floor. They were from Thailand to Mexico, from China to Germany – I spoke with many people, whose passion for the brand was tangible. Apart from this, there were many local people. Sartori said that in the next five days, 200 of these customers have booked appointments to measure the prior (and in some cases the variety of collections of collections that we had collected to see.
This collection was not only a mirror of the wealth of the audience, but also reflecting the great sophistication. Sandwich, from James Blake’s two moody lavorne performances, the runway fabric offered an image that was the border anocronistic (20th century old money), which was still created through processes and materials that were border futuristic. Washyable letters, a silk suit that weighs only 300 grams, and was always one of the physical miracles of the fabric that combines the yarn to recycled paper cellulose and linen, sometimes demanded a descripter: tabards, and actions shoulder, and mental-tader, and mosted leather, and detectives, which used to remember the old-skeleton.
Ultralite linen, poplin, and silk suiting and shirting in walled-out boating strips came with a wrinkled, crumped finish with a crumpled finish that was much more powerful bohemian than the finance brother: Broho, probably. The model was up to 70 age (this was a good night for wrinkles) and they often used to go barefoot on the sand, holding their winged raveros Mokasin in one hand or especially in a shaped pocht bag. The radical hybrids consisted of a checked leather blossom, which came with the notch collar, and the similar collar field jacket suits that came in many beautiful colors; Sand, tobacco, wine (final form), and two greens, one of which faded and the other fresh.
Sartori said that when he began to develop this collection (a process for which he now divides his design studios into groups and dedicates nine months instead of specific six), he was imagining the well -dressed Italian gents of the ’60 and 70s well -dressed, often from Turin: Giani Agnelli was essentially quoted. The result was a collection in the form of a collection and was indifferent as aesthetics in the form of a Sorantino film, yet in which a plot had additional compulsion. You can easily see that tonight can detect shopping attractions of the wearing, transnational audience in fabric, which displays such anterially masculine elements, yet those who were physically so innovatively, forward thinking and iakyk-defense. It was at this place, between classic and avant garde, that Cartori tonight left footprints of fresh design.
