NEW CLASSICISM?

The new classicism, which is the clearest message from Milan’s fashion week, sounded like a hymn to the boy instead of a call to order. The collections of a nostalgic return to school are increasingly emerging in his collections. .The invitation, written in a round and uncertain handwriting, speaks of “fifth birthday raves”; the collection notes are entrusted to the folded protocol sheet, like the old topics in the classroom. On the catwalk, new accessories of desire, among Liberty’s little flower bags and Richard Hell’s T-shirts, there are tin bags like biscuit boxes, and ox-eye sandals put on with big socks, because after all it’s winter collection. And then there are the clothes: skimpy, tight, sexless and re-proportioned, with a vague taste of the seventies – flared trousers, perhaps in silver leather, blazer with saddle shoulders – and that air of adult classics, adapted to the wardrobe puerile to be worn again by fashionable adults. A very twisted carpatura, of those in which Alessandro Michele excels. The intent, not at all hidden, is to launch a frontal, almost punk, attack on the codes of normative masculinity. A certain “guccificazione”, of cast and look, is evident from Marco De Vincenzo in Magliano, who in fashion is signed with only the surname, he does not have thirty years but is nostalgic for that magma that were the seventies / eighties, everywhere in Europe. He parades in a shady gambling den in Porta Genova, between billiards and low lights, composing a mosaic of gangsters who is sartorially stimulating, but at times costumistic.