Discreetly flawless. Simply complex.

A new fashion is born whose codes are exactness, authenticity and the richness of the experience it generates. Because man is constantly evolving.

The new canons of elegance are here and now. Not the one shouted out by the business suit, so highly revalued in recent years. A man in a good tailor-made suit always stands out, but times have changed. There is no longer any need for antidotes to casual clothing. Reality calls for inevitable reflection, ranging from ecology to the strengthening of interpersonal and family ties. Simplicity and substance. The cornerstones of modernism are returning and moving into the field of dress, through eternal, iconic codes, renewed through a language that includes the present, because man is constantly evolving. One example is Miuccia Prada, who has constantly been inspired by this movement and has become a benchmark. Virgil Abloh, who, with his constant references to Mies Van Der Rohe, has brought to the surface in his creations the study of lines and the ability of the modernist style to refract itself in local cultures. And then there is Lawrence Steel, Aspesi’s new creative director, who designed a collection steeped in authenticity and modernist codes.

The wardrobe is thus composed of garments with multiple uses, designed to be transversal and interchangeable. Jackets, trench coats and shirts are stripped of frills and set in a dialectic of forms in which air fills the voids around the human figure to create a simple, yet inevitably personal aesthetic. The same garment worn by different people of different generations changes, remaining deeply tied to itself and its message of pure simplicity. An apparent simplicity that includes values of durability and quality: the clothes are handed down from person to person, they are useful pieces for every occasion of use, can be worn by multiple individuals. Once born they can live for a long time. The entire wardrobe becomes unique through the choice that each person makes according to his or her own culture, strengthened by a pragmatism that hints at a very deep sense of intimacy. Giving life to a discreetly impeccable neo-minimalism. Which does not mean a fashion of negation or deprivation: the dress, the accessory, the look in its entirety are not defined by what is not there, but by the exactness of what is there and the richness of the sensation generated by it. All the rest is unnecessary

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