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Times
15-07-2025
- Entertainment
- Times
Ciao bella — how to dress for a Roman holiday
I know it's the French that we Brits are supposed to get excited about, style-wise, and indeed I did summon up some enthusiasm on these very pages last week. But for me it's all about the Italians. It's always about the Italians. The so-called tomato girl summer that took over social media a couple of years ago — a telling conflation of food and fashion — is still alive and kicking. Although, what with the temperatures and my limited skill set when it comes to dealing with them, mine is thus far proving more of a passata girl summer. Food. Fashion. It's encapsulated by one Miuccia Prada, who, unlike her austerely clad French counterparts, will present herself at the end of a catwalk show in head-to-toe red satin, and who — just in case that isn't enough for you — also owns a cake shop. I am in Rome as I write, for Dolce & Gabbana's Alta Moda show, which I review here. The city is as ridiculously ravishing as ever, but then so are the Romans. Sure, it can be tricky to see them, obscured as they tend to be in the summer months by several dozen burnt and be-bumbagged foreigners. But when you do … • Read more fashion advice and style inspiration from our experts What they channel in their wardrobes might be called joie de vivre if it weren't for the fact that this is the wrong language, so I will refer to it instead as sprezzatura. The Italians love colour and pattern, embracing it in such a way as to look classy rather than as if they are angling for an Instagram showing. JJ Martin, a Milan-based American who runs a kaleidoscopic label called La DoubleJ, goes as far as to call them 'geniuses. They just inherently understand tasteful arrangements of pattern and colour. It's as if they have a special DNA strand that embeds style in the bloodstream.' Here's what makes up the Italian summer uniform. This is a different species to the floral numbers that we tend to turn to. Forget Mapp and Lucia. Think Monica and Sophia. (Bellucci and Loren, on the off-chance that this needs further clarification.) It's not about the village fête. It's about drinks on a terrace somewhere on the Amalfi coast. Eschew ditzy prints. What you want is a ritzy print, one that's bold and very possibly geometric. You might also factor in the idea of an unwaisted style, the better to come over suitably operatic. And also, handily, to enjoy that second helping of pasta. La DoubleJ's signature swing maxi — in a hefty silk twill, with T-shirt sleeves — is the best around in terms of ever-after quality and print options (£770, At a less hair-raising price point there's Boden's Maya maxi (£120, and New Look's fruit-print wide-strap midi (£37.99, No, not to sleep in. The Italians don't wear PJs in bed. (See Bellucci, Monica, above.) They wear them to add a boudoir-adjacent frisson to the state of being fully conscious. Dolce & Gabbana has turned the day-pyjama genre into an art form, although suffice to say that if you have to ask the price you can't afford them. My more real-world favourites are a jazzy print linen pair from Karen Millen, with the option to go for shorts as well as trousers (£111.20 for the shirt, £119.20 for the trousers, £103.20 for the shorts, Bellissima. • The new must-have summer trousers (you probably already own a pair) It's got to the point in Rome this week where I am almost wondering whether there is some kind of municipal diktat prohibiting any sunglasses that couldn't also serve as welding goggles. & Other Stories' cool-girl tortoiseshell aviators would fit right in here (£32, AllSaints' giant squared-off cat's eyes, in black or a paler take on tortoiseshell that it calls (ahem) snow leopard, are more straightforwardly chic (£125, It might be a top, it might be a dress, but it's any self-respecting Italiana's favourite way to sizzle come summer. House of CB's Adabella, in a shade it calls Italian tomato, is a particular cracker (£179, The bandeau style from Nobody's Child — I like the giant polka dot — would also do the job (£99, To quote Loren in Houseboat, 'Bing! Bang! Bong!' The originals are so minimally be-strapped and soled as barely to class as footwear, and would ideally be purchased from the famous Canfora on Capri itself (from £159, However, there are some great iterations on the high street. Free People's are almost as pared-back, in a range of colours (£88, while Nobody's Child has a brown version with a more pavement-ready sole (£115, Italians got on to these for their youth-bestowing magic long before we did. Me+Em's white turn-ups would do nicely (£136.50, reduced from £195, as would Sézane's black and cream check (£125, and — if you are up for more volume — Albaray's leopard culottes (£79, Wait and See Milano — a veritable jewel box of a boutique — has some red and white floral beauts too (€283, reduced from €403, One of the ways in which Italian women signal the arrival of summer — not that here, in my experience, it normally needs much signalling — is by putting away their usual leather handbag, which will be an expensive investment piece, for a more fun wicker or raffia style. I always look for a lined interior, so that it works in the city as well as by the sea. For a neat tote, try Bloom & Bay's Kiara (£44.95, but for one that really thinks like a handbag, complete with leather flap and crossbody strap, try Wicker Wings (£250, I am going to finish on what is perhaps my favourite aspect of Italian style: how they dress up even the simplest ensemble with a knockout piece (or two) of costume jewellery. My favourite hunting grounds at home include the vintage offerings at Felt, Eclectica and Susan Caplan. Mango also knows how to make a dolce vita-appropriate statement, to wit its chunky resin bead necklace in shades of amber and brown (£45.99,
Telegraph
26-06-2025
- Entertainment
- Telegraph
How Italian men look effortlessly smart – even in sweltering heat
It's a scene so arrestingly beautiful that Michelangelo himself could have painted it (or the 21st-century equivalent – turned it into a cracking Instagram shot): a candlelight palazzo in the hills above Firenze, the city putting on a show in all her terracotta-roofed majesty below as the sky streaks lilac and coral and the well-heeled nobility pick their way through a jasmine-scented giardino to put on il ritz. Welcome to Pitti Uomo, the Florentine men's fashion fair that occurs twice a year in the spellbinding city, where its frescoed backdrops are matched only by the exceptional clothes on display at various showcases. What's also interesting to note – as yours truly arrived at said soiree puce-faced with a grimy, delightful film of sweat in the 36-degree heat – is just how immaculate the Italian man looks even in the searing temperatures. Take that sumptuous dinner, for instance; thrown by Italian luxury titan Brunello Cucinelli, it demonstrated oh-so-deftly that even on a balmy June evening, formality was the order of the day, yet doing so without looking painfully hot and bothered. It's a particularly timely conundrum as we weigh up summer weddings, particularly those in continental locations. Of course, we also have the Italian wedding to end them all (perhaps literally, if WW3 erupts as the corks pop) – the Bezos/Sanchez spectacle taking over Venice imminently. How do Italian men do it so elegantly as the mercury rises? Mr Cucinelli, the maestro who coordinates much of Pitti Uomo's more rarefied events, and who unveiled his new men's collection in the city, has some insight. 'There's a real comeback, particularly amongst young men, towards a youthful sense of refinement. It's traditional, but done in a very modern, relevant way for today.' What does that translate to in real terms? 'Men want to be elegant again. For our collection, that means that everything is softer, wider, easier, blazers are longer and elongated. There must be ease to how men dress.' He also points out that, when it comes to dressing for formal occasions, it's a matter of respect and national pride in Italy. 'If you attend my funeral and are not well dressed, you will be turned away,' he says (jokingly, although a state occasion it will no doubt be). Cucinelli also points to the double-pleated trousers which allow for a more airy stance, and the fact that the cut allows movement. It's something us Brits could take to heart; the culture of painfully tight suiting, some of it suspiciously shiny and squeezed over hefty thighs and gym-bro biceps, looks about as comfortable as a skin condition. There are other lessons to take away from our Italian fratelli; one thing for which Pitti Uomo is excellent is people watching, allowing one to sip a potent espresso and watch the parade of peacocks shake their tail feathers in passing. Little details make all the difference in terms of tailoring: a roped shoulder is softer and lighter than one that's stiffly peaked, and a jacket created in a 'half canvas' style means the body of the back is essentially removed to create a sense of lightness. Likewise a double vent. The old guard of Jermyn Street have a great deal to say on correct vents, but the fact remains that two vents in the jacket will feel looser. That longer seat trick at Cucinelli is a smart move that recalls the Neapolitan tailoring of the 1950s, designed to sit loosely in those sweltering southern climes. See also the movement towards overshirts in place of jackets, a trend across the Florentine cobbles and also at Italian brands such as Caruso and Nappa Dora, proposing heavyweight shirts or even safari shirt styles over a proper blazer. If you've got the Italianate brio, pair with a lighter shirt underneath and perhaps a little neck scarf for extra 'Pitti points'. There's also the question of what to wear under your tailoring. In the intensity of Italian heat, a tie feels out of the question, even amongst those who remain steadfast in their classicism. There's a particularly continental affectation for wearing a foulard with undone collar in its place, which is less restrictive but still looks as if you've made an effort. There's a more daring interpretation from the men that sip negronis at the city's bustling Gilli Bar: going shirtless. I know, something for the oiks, and it's certainly a flex that comes with caveats; it only works on the lithe of frame and in relatively good shape, and it's only a viable option with a silk scarf underneath, so that just a triangular slither of chest is revealed rather than some brutish posturing. The other sartorial flourish that Italians get so right in warmer weather is how to finesse accessories. Shoes, for instance, are always light and less painfully heavy than the traditional British Oxfords. Brunello Cucinelli proposes sleek white trainers with pinstriped suits, and elsewhere there's a focus on driving shoes that allow for better breathability. Wear with invisible socks – traditionalists might recoil at the idea of bare ankles, but I'd wager they haven't climbed up cobbled Florentine streets in heady 30-degree heat. For the braver still, espadrilles can look on point with a suit, particularly if they're in a buttery taupe suede or leather. There's also an emphasis on hats in how Italians dress to keep cool; adding a hat might seem entirely counterintuitive, and it's by no means for every occasion, but a light straw panama can provide shade without feeling too claggy and unpleasant. Will Bezos and his ilk follow suit – quite literally – for his operatically-scaled Italian nuptials? Whatever the approach, it's unlikely he'll hit the high notes of Florence's leading men.
Harpers Bazaar Arabia
20-06-2025
- Entertainment
- Harpers Bazaar Arabia
Gwyneth Paltrow, Karen Wazen, Hadise And Daniella Rahme Channel Italian Elegance At The Max Mara Resort 2026 Show in Naples
A love letter to Italian style unfolded at the grand La Reggia di Caserta It's not often that everyone gets a front row seat at a fashion show. But then, no other brand has ever unveiled their latest collection at the Baroque Reggia di Caserta palace. The majestic space – with a grand hallway so long that every A-lister, from Gwyneth Paltrow to Paris and Nicky Hilton, Alexa Chung and Lee Sung-Kyung plus regional names like actress Daniella Rahme, Turkish singer Hadise and Karen Wazen, got a prime perch alongside the world's press – saw models glide down marble staircases and stride confidently in a collection that was inspired by bella figura, channeling the elegance of vintage Italian film. The opulent setting, a former home of Queen Mara Carolina – Maria Antoinette's sister – is now a UNESCO World Heritage Site and proved to be the perfect backdrop for an iconic catwalk show. 'The first thought I had was that this was the collection that would mark the opening of our 75 th year. I wanted to look at the history of the brand, and the history of Italian fashion which I think is quite unique and distinct from the fashion of any other country in the world. It is really telling that you talk about Italian fashion today as a thing. Italian fashion, Italian style – we don't do that with any other country,' Max Mara Creative Director Ian Griffiths explained exclusively to Bazaar Arabia. Cinematic, relaxed elegance was the order of the day. Crystal-studded gowns, high-waisted short-suits with relaxed blazers, sensual slips, bustiers and bralettes, teamed with chic but eminently wearable loafers and editorial over-the-knee boots elicited non-stop applause from the appreciative audience. 'I know that sometimes you think my inspiration is from the past but I live in the present day and I want everything we do to be completely contemporary,' Ian continued. 'The reason why I use images form the past so much is because I think that when something has happened, we can really understand it. Contemporary culture is harder to get your head around because it is still happening. When I look at the films from the '50s, I get a very strong and clear message that I can interpret and I can translate into something contemporary for today.' The designer cited celluloid classics like Riso Amaro – a movie about female workers in a rice field – and Napoli Milionaria as a driving force behind this collection that encapsulated the spirit of effortless Italian style. The label's quintessential Whitney tote – named when the New York Witney Museum of Art opened its doors – is celebrating its tenth anniversary and was seen in a variety of sizes and fabrics, with four new iterations taking to the catwalk. If 2025 was heralded the year of raffia, that sets to continue into the next Resort season too, as a key piece turned out to be a made of the weave, paired with a leather trim. Coats are the hallmark of every Max Mara collection and there were gasps as a high-neck, white belted number came into view. A short, pale pink textured option – one of very few colours seen in the usual neutral, muted Max Mara palette – was another modern silhouette that epitomised easy-to-wear, modern luxury. 'We are always quite muted but there were shots of pink and blue from the Marinella inspiration from the menswear ties – just a tiny little bit of colour,' mused Ian. 'I don't think Max Mara is ever going to break out into riotous colour, but watch this space. Never say never!' He was referring to the fact that the proudly Italian brand partnered with famous Neapolitan tie-maker E. Marinella to provide printed fabrics that were fashioned into silk pyjama sets, shirts and skirts, ensuring that the collection had a strong sense of place. This collection was joyful, playful, fun. 'I think that the way you feel about designing a collection shows in the final product itself; I always feel like it should never be a labour,' Ian told us. 'Clothes should be easy to wear. And if they are easy to wear, they should be easy to design. I am not saying that anyone can do it but there has to be a naturalness, a spontaneity about it. This image of the designer sitting over his desk and racking his or her brain for the newest idea simply never worried me. I always felt the important thing was to provide what is going to make women feel good.' And in that respect, the Max Mara Resort 2026 show undeniably delivered.
Vogue Arabia
18-06-2025
- Entertainment
- Vogue Arabia
5 Lessons in Light Layering From Max Mara's Resort 2026 Show
Photo: Max Mara Resort 2026 We've seen countless renditions of three-piece suits with trousers, but now, Griffiths presents the shorts-suit: a contemporary take on the silhouette that blends androgyny with a romantic touch. Shorts, tailored, high-waisted and crafted from wool silk mohair, gave a flirty yet powerful punch to the show's opening look. Rather than worn with button-down blouses, shorts suits were presented with bralettes or corset-inspired bustiers with boning detail giving a fitted, feminine look to counter the loose nature of the blazer. Slip dress with a trench There's a concept central to Italian fashion – it's called bella figura. 'Italian brands are not so interested in experimenting with your body or with your appearance, or being avant garde. They've always been about clothes that you can wear easily, with nonchalance – to make you look and feel good, light and wearable, with a casual if not sporty feel to it,' elaborates Griffiths. Photo: Max Mara Resort 2026 Photo: Max Mara Resort 2026 Nowhere was this better epitomised on the runway than in the looks that paired silky slip dresses with light trenches, playing with proportion in a way that challenged conventionality. The combination of figure-hugging inner dresses with loose coats and jackets, finished off with sleek loafers and sometimes, oversized Whitney totes, gave an air of mystique to the Max Mara woman. Is she on her way to work? A date? Perhaps both – for the brand has skilfully mastered the craft of versatility for the modern, multitasking woman on-the-go. Reverse-shirt layering 'For this year. I've been thinking of a shirt as something you can wear without anything over it,' reflects Griffiths. 'In fact, why not think about things that you can wear under it, because you can put something – or a hint of something feminine underneath . Maybe a camisole, or something you just get a peep of.' Photo: Max Mara Resort 2026 Photo: Max Mara Resort 2026 On the runway, white shirts were worn half-buttoned in a myriad of ways. When unbuttoned from the top, they revealed bralette-inspired tops underneath, seemingly fashioned from neckties – or at least, prints and textiles inspired by men's ties, knotted at the front for a touch of playfulness. When unbuttoned from the bottom meanwhile, they were styled open, almost up to the very top buttons, showing just a hint of a minimalist bralette beneath. The belted blazer Belt loops are no prerequisite for wearing a belt, according to one of the show's biggest micro trends. While a couple of looks featured chunky belts styled over knits, the real stars were the uber-thin belts topping the high-waisted shorts, trousers and skirts on the runways. At times, belts, rather than buttons, were the method of choice for closing up a blazer, at others, they simply sat over the waistlines of skirts, elevating garments with additional dimension.
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Vogue
18-06-2025
- Business
- Vogue
Francesco Risso to Exit Marni
Become a Vogue Business Member to receive unlimited access to Member-only reporting and insights, our Beauty and TikTok Trend Trackers, Member-only newsletters and exclusive event invitations. This article first appeared on Vogue Business. Francesco Risso is to exit Marni after almost 10 years as creative director. The news was shared with Vogue Business this morning by OTB, Marni's parent company. Risso, who was born on a sailing boat, was appointed captain of the house at a high-stakes moment back in 2016. Despite his initial inexperience as a creative lead, he navigated a fierce initial squall of negative criticism to successfully steer one of Italian fashion's most quixotically creative labels into a new phase of cultural relevance and success. Renzo Rosso, chair of OTB Group, who promoted Risso to the top job at Marni, said: 'Francesco has embraced the spirit and the values of the house, and together with the team brought them to new grounds, building the foundations for a new and exciting chapter of Marni. Francesco is a unique designer and an artist at heart, and I wish him only the best for the future.' Risso said: 'I will always be grateful to Renzo for believing in me, for giving me the front seat on a journey that became more than I could have imagined. Marni has been a studio, a stage, a dream. It carried colour, instinct, care, and gave space for people to be themselves. It taught me how to build with feeling and how powerful true collaboration can be. Thank you to the whole Marni team, and to all the friends who joined along the way, and here's to more extraordinary journeys ahead!' Tracee Ellis Ross and Paloma Elsesser backstage at Marni's AW25 show. Photo: Acielle/Style Du Monde Francesco Risso backstage at the Marni AW25 show alongside Tracee Ellis Ross. Photo: Acielle/Style Du Monde Risso's successor was not revealed by OTB. Whenever that appointment is made, it will complete a triple-pronged creative refresh within the group following Simone Bellotti's introduction at Jil Sander, and Glenn Martens's new role leading Maison Margiela alongside his existing creative directorship of OTB's chief economic driver, Diesel. One consequence of this refresh is that following the recent departure of Lucie Meier as co-creative director with her husband Luke at Jil Sander, the house no longer has any female creative leadership, which might influence thinking at the group as it prepares to fill the Marni position in its design portfolio. OTB will look to continue its impressive record in hiring dynamic, maverick creatives to lead its houses. Risso should unquestionably be counted amongst these. His appointment was an especially bold play at a sensitive moment, both for Marni and OTB. Under Rosso, its founder, OTB purchased 60 per cent of Marni in 2012 and then acquired total ownership in 2015. In doing so, it bought out the founder, Consuelo Castiglioni, and her husband Gianni. Swiss-born Castiglioni had founded Marni as an offshoot of the family fur business in 1994. The line was christened in honour of Castiglioni's stepsister Marina's nickname, and after a fur-dominated first few seasons, expanded to become a much broader and more eclectic venture.
