
MSGM Spring 2026 Menswear Collection
Milan isn't just the glossy Quadrilatero or a pit stop for luxury overtourism—at least not in Massimo Giorgetti's world. For him, the city is a living, shifting canvas where art, design, and underground music collide. 'Milan is expanding at the edges,' he says, 'where new creative communities are taking shape.' It's there that Giorgetti is finding new fuel, energized by welcoming these voices into his practice.
This season, he scrapped the traditional runway show entirely; instead, his men's collection took over his store, transformed by a bold intervention from Milan-based Fosbury Architecture, who cloaked the space in a Christo-esque wrap that practically erased the retail fixtures. A lo-fi video by Turbo Studio set the tone, but the real star of the presentation was the 24.7 Fastlife Collective, a crew of young acrobatic bikers whose daredevil spirit inspired MSGM's take on men's, and that was also captured in the lookbook's images.
'I like to create collisions and accidents between different artistic languages,' Giorgetti said at a preview. Yet despite the talk of creative crashes, his ethos is anything but reckless. Giorgetti isn't out to shock, his approach is more conciliatory than confrontational. From the 24.7 Fastlife Collective, he drew not rebellion, but raw energy—the speed, the adrenaline, the rush. That vibe replaced logos on mesh tees and sweats with wording like Dopamine, Antidoping, and Endorphins, alongside nods to classic cycling culture; the Tour de France's yellow and the Giro d'Italia's pink jerseys, were reworked into sweats, cotton knits, and oversized shirting.
The pieces were hybrid and functional, wired with a high-performance vibe. But Giorgetti, an avid mountain biker, dialed in a personal touch: natural landscapes snapped on his iPhone mid-ride were turned into prints on oversized shirting or knitted waistcoats. Pajama-like tailoring with contrasting piping was crafted from malleable triacetate jersey—the same fabric used for tracksuits—blending comfort with a sporty edge.
In an out-of-context dash, Giorgetti turned thick floral Gobelin tapestry into a zip-up bomber with matching shorts, basically, haute upholstery with a BMX pulse. 'It's like wearing your living room armchair,' he joked. After all that high-speed biking adrenaline, a soft-landing crash straight into the couch would definitely be more than welcome.
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The Verge
20 minutes ago
- The Verge
28 Years Later is a bleak fever dream with rage pumping through its veins
While it wasn't the first film to feature fast-moving ghouls, there is no denying how much of an impact 28 Days Later had on modern zombie movies. It was a gripping and nauseating wonder, whose action felt uniquely visceral thanks, in part, to director Danny Boyle's inspired use of a digital video camera. And there was a gut-wrenching sense of hopelessness baked into writer Alex Garland's script that made 28 Days Later feel far more grounded than most of the zombie films that inspired it. Boyle and Garland stepped back from the franchise as it continued with a graphic novel and director Juan Carlos Fresnadillo's 28 Weeks Later in 2007, but they are back together again for 28 Years Later. Though it's set in the same world and calls back to the original, the new film hits very differently because of how much more overrun pop culture is with zombie-themed horror. You can feel Boyle and Garland trying not to echo other big pieces of zombie IP as they weave a new tale about how the world has changed almost three decades after the outbreak of a deadly virus. And in a couple of the movie's pivotal moments, the filmmakers manage to avoid being too derivative. Many of this story's smaller beats feel overly familiar, though — so much so that it almost seems intentional. That wouldn't be a huge knock against 28 Years Later if it could conjure the same kind of pulse-quickening scares that made the first film such an instant classic. But the most terrifying thing about the franchise's latest chapter is how oddly conservative and, at times, nationalistic its story winds up becoming. Though 28 Years Later opens with an arresting reminder of how people had no idea how to defend themselves against those infected with the rage virus in the outbreak's early days, it revolves around a community that has learned what it takes to survive. Like everyone else holed up on a tiny island in northern England, Jamie (Aaron Taylor-Johnson) knows how dangerous the infected are and how easily their virus is spread. He also understands that, were it not for the island's unique geography — it connects to the mainland with a causeway that vanishes with the tides — his life of relative comfort wouldn't be possible. Jamie and his sickly wife Isla (Jodie Comer) work hard to impress upon their son Spike (Alfie Williams) how important it is to adhere to their community's rules. People can leave the island to collect wood or hunt for whatever food they can find. But they do so knowing that no one will come to save them if they can't make it back to the island on their own. Everyone also knows that, while Great Britain is still quarantined, the rage virus has been all but eradicated everywhere else in the world. And because other countries have essentially left the British to fend for themselves, there's a current of resentment (particularly toward the French) coursing through Jamie's community. One of the first things that jumps out about 28 Years Later is its overwhelmingly white cast. Some of that can be attributed to the idea that these are all people who just happened to already live on the island when the virus first got out. But Boyle also makes a point of emphasizing how capital B British all of the film's characters are, with closeups of photos of Queen Elizabeth II and moments where people remind each other that it's time for tea. The film frequently cuts to archival black-and-white footage of British soldiers marching during World War I and scenes from Laurence Olivier's Henry V in a way that makes British identity feel like it's meant to be understood as a crucial part of the story. This is also true of the way 28 Years Later prominently features a recording of 'Boots,' Rudyard Kipling's famous poem about a British soldier's participation in the Second Boer War. But all of that imagery becomes charged with a very pointed, Brexit-y energy when 28 Years Later juxtaposes it with shots of the writhing, naked infected who have become the mainland's dominant population. The racial homogeneity of Jamie's community is that last thing on anyone's mind as he prepares Spike to go on his first trip to the mainland — an experience that's supposed to help them bond and show the boy what it's like to kill an infected. Isla's terrified at the idea of her son leaving, but it excites Jamie, who almost seems to enjoy his forays into danger. Spike, too, is thrilled to finally get a chance to see parts of the world that he's never had access to. But it's not long before they encounter the infected and are forced to spend the night hiding rather than returning home. Especially once Jamie and Spike have ventured out, 28 Days Later starts to feel a lot like The Last of Us in the sense that its story is — at least initially — about a man working through his feelings about fatherhood in a world plagued by flesh-eating monsters. And the film's focus on manhood (as well as its parallels to other, more recent zombie fiction) becomes that much more pronounced when Jamie and Spike first encounter an alpha, one of the new types of infected. The way 28 Years Later evolves its monsters is one of the more interesting aspects of the film. There are still jerky, sprinting infected who present the most immediate risk, but after decades of mutation, the virus has also given rise to corpulent 'slow-lows' who crawl on the ground, and infected who seem able to form social connections. Boyle showcases the film's new types of monsters brilliantly in a number of action sequences that make heavy use of a unique iPhone camera array that creates shots that pivot around scenes in a very Matrix -y, bullet time fashion. Those shots — of arrows being shot into infecteds' necks and groins — are exhilarating and impactful, but deployed so frequently that it quickly grows tiresome. What's even more exhausting is how, despite the fact that we're told how these survivors have adapted to life with the infected, the film's characters repeatedly make decisions that feel wholly unmoored from reason. This becomes very apparent in the movie's second half as Comer — who delivers a tremendous, if restrained performance — takes on a much more prominent role. Columbia Pictures That said, 28 Years Later is absolutely gorgeous more often than not. Boyle's shots of the English countryside are majestic, but they become alarming as the infected shamble into view. There's one chase scene on the causeway that stands out for having some of the most beautiful visuals ever featured in a zombie film. But the story's rote-ness keeps 28 Years Later from feeling like the product of Boyle and Garland working at the height of their powers. As questionable as some of its messaging is, 28 Years Later is just the first installment of a new trilogy. It's possible that its off-putting qualities are being propped up for the subsequent two films to knock down -- which means that, like the infected, the series will have to evolve.


Vogue
an hour ago
- Vogue
Maria McManus Resort 2026 Collection
Earlier this year, Maria McManus began experimenting with lace after coming across an Irish linen tablecloth her Aunt Bibi had made. 'I'm not a super floral crochet person, but I was like 'OK, this is meaningful,'' she said at the time, and three seasons later, it's been a thrill to see how that discovery begat a round of experimentation and pushing of the creative boundaries for the designer. 'I think it allowed me to think about sustainability differently, not being like, 'Oh my God, it has to be recycled,' but that there can be more things to the story.' she explained during an appointment at her Tribeca home which often doubles as a showroom. Artisanal French Dentelle de Calais-Caudry lace, which is 'certified and protected by the French government' continued to play a starring role in her resort collection, trimming slinky slip dresses made from her favorite Naia Renew fabric, and in delicate floral-patterned skirts. But its influence could also be felt elsewhere, as in the light-as-air cardigan knitted with three different floral patterns inspired by the lace itself, or even in the pair of organic cotton jeans with a 'shredded' detail on the waistband and pockets. They were still beautifully finished, and lined in her trademark grosgrain ribbon, but the layers had been left unfinished, fraying—a kind of proof of the handwork that goes into actually making them. But that doesn't mean McManus has stopped her tireless search for new materials and new sustainable technologies. This season she introduced a recycled polyester curly 'shearling,' used on a very cool—and glamorous—long statement coat; and a biodegradable nylon with a scuba-like feel that became extra-long leggings turned-wardrobe-essential thanks to the addition of belt loops(!). 'Most nylon comes from the fossil fuel industry—specifically coal—and can take anywhere from a hundred to a thousand years if not longer to biodegrade,' she explained. 'This is made from a fruit polymer, so it reacts more like a paper or a cotton, and will biodegrade in five years in an industrial landfill. The mill was started by this woman named Regina and she is amazing, everything she does is sustainable in some way.'


Vogue
an hour ago
- Vogue
Umit Benan Spring 2026 Menswear Collection
Umit Benan returned to Via Bigli with more than just a new address: Spring 2026 marks a pivotal moment for the brand, with the opening of its flagship store and the full-scale debut of womenswear. 'It's destiny,' Benan said with a smile. 'I had my first home here in 2005. In 2010 I presented a project with Nino Cerruti in this very same building.' Now supported by D Capital and having welcomed his newborn son just days before the launch, the designer has come full circle, personally and professionally. Regarding the new womenswear, 'we want it to travel on its own,' Benan said. 'It's not about the wife of our man, but a woman with her own character.' Benan found inspiration in a surfer living in Biarritz—an athlete and muse behind the new women's pieces. 'I documented her life for months,' he said, Her easygoing lifestyle shaped the silhouettes: silk robes, fluid pants, terry cloth sets, bathing suits, and nylon raincoats. The result read like a cinematic take on island living: 'Think Point Break,' Benan added. Menswear evolved in parallel, with added focus on fits inspired by the women's line and Japanese denim. 'I wanted our jeans to feel more like Kevin Costner in Yellowstone than runway,' said Benan. Still, proportions retained a precise tension: cropped jackets, elastic-free piqué knits in treated silk, and anthracite gray as the grounding hue tying together both men's and women's offerings. Resortwear also expanded with 'Paradiso,' a new capsule of year-round pieces in faded tones: banana yellow, powder pink, baby blue. 'Paradiso is where I lived in Lugano. It's also my favorite word in Italian,' Benan said, revealing the tattoo etched on his arm. The newly opened store, just a few steps from the showroom, mirrors this intersection of memory and design. Conceived with architect Martin Brûlé, the space draws from Benan's childhood visits to his mother's multi-brand shop in Istanbul and his father's fabric-scouting trips. 'It had to feel lived-in,' the designer said. 'We even serve cocktails and caviar.' Mahogany wood, sand-toned carpets, and artworks curated by gallerist Thaddaeus Ropac (a friend and client) infuse the space with the same layered identity as the clothes. 'What you see here is everything I absorbed between the ages of eight and 13,' Benan said. 'It's my first real memory of fashion.'