The four notes of Allegro con brio, the first motif of Beethoven’s Fate Symphony open Dolce&Gabbana’s SS26 fashion show in their Metropol space in Milan, originally a cinema hall, which now showcases the contemporary Lost Boys of the “Pyjama Boys” collection.
As if flying from London to Neverland, pyjamas abandon their domestic dimension to be transplanted to the city streets, providing their protagonists with an effortless look and a lightness, which in reality conceals a sartorial virtuosity that has always characterised the brand.
Back in 1994, Dolce&Gabbana presented their SS collection, featuring silhouettes reminiscent of exotic boudoirs, from the black slip dresses, the colour of which has been a staple of the fashion house since the first SS86 “Geometrissimo” collection, to dresses resembling Mariano Fortuny’s pleated Delphos. During that show, along with womenswear, the male counterpart also walked down the runway, as in an antelitteram co-ed collection, with the only male model wearing a sarong skirt and a sheer tank top, paving the way for a more relaxed way of dressing.
Just as in the past, pyjamas once again rule the catwalk, but this time the fluttering striped cotton jacquard is juxtaposed with leather jackets and trench coats, in an interplay of layers that brings an undiscovered complexity to pyjamas.
Paired with knit cardigans, suddenly the pyjamas worn by the models seem to be ready to walk on the beaches of Cape Code. At the same time, ties tighten the collars, bringing a semblance of order to the laisser aller of the ensembles, which rediscover their playful spirit in polka dots and pastel colours.
Immersed in the blank canvas of the pristine location, pops of colour break the sleepwalking spell created by the cream and sky-blue looks, bringing us back to reality, to a chaotic metropolis, with the oversized Sicily bag or the Vittoria bag in grained leather, or to the scorching sun of a Mediterranean coast, with the terry cloth sandals and sunglasses that complete each look.
Monochrome designs, almost like Fontana’s spatial concepts, are combined with animal prints, a fundamental part of Dolce&Gabbana’s aesthetic grammar, while at night they are aglow with gems, sequins and crystal embroideries, almost like a rococo chandelier.Accessories, such as cameos pinned on jackets and collar pins, build a bridge to the past, like a time capsule, between the 80s and the opulent Napoleonic parures, making this collection a bacon of lightness and refinement, which is timeless.
Beethoven’s Fifth Symphony was meant to recreate destiny knocking at the door, and from this metaphysical threshold, Dolce&Gabbana’s creative duo brought out cosmopolitan Peter Pans, ready to conquer the metropolis by day and light up the sandy beaches by night, without ever having to break the enchantment of pyjamas.
The four notes of Allegro con brio, the first motif of Beethoven’s Fate Symphony open Dolce&Gabbana’s SS26 fashion show in their Metropol space in Milan, originally a cinema hall, which now showcases the contemporary Lost Boys of the “Pyjama Boys” collection.
As if flying from London to Neverland, pyjamas abandon their domestic dimension to be transplanted to the city streets, providing their protagonists with an effortless look and a lightness, which in reality conceals a sartorial virtuosity that has always characterised the brand.
Back in 1994, Dolce&Gabbana presented their SS collection, featuring silhouettes reminiscent of exotic boudoirs, from the black slip dresses, the colour of which has been a staple of the fashion house since the first SS86 “Geometrissimo” collection, to dresses resembling Mariano Fortuny’s pleated Delphos. During that show, along with womenswear, the male counterpart also walked down the runway, as in an antelitteram co-ed collection, with the only male model wearing a sarong skirt and a sheer tank top, paving the way for a more relaxed way of dressing.
Just as in the past, pyjamas once again rule the catwalk, but this time the fluttering striped cotton jacquard is juxtaposed with leather jackets and trench coats, in an interplay of layers that brings an undiscovered complexity to pyjamas.
Paired with knit cardigans, suddenly the pyjamas worn by the models seem to be ready to walk on the beaches of Cape Code. At the same time, ties tighten the collars, bringing a semblance of order to the laisser aller of the ensembles, which rediscover their playful spirit in polka dots and pastel colours.
Immersed in the blank canvas of the pristine location, pops of colour break the sleepwalking spell created by the cream and sky-blue looks, bringing us back to reality, to a chaotic metropolis, with the oversized Sicily bag or the Vittoria bag in grained leather, or to the scorching sun of a Mediterranean coast, with the terry cloth sandals and sunglasses that complete each look.
Monochrome designs, almost like Fontana’s spatial concepts, are combined with animal prints, a fundamental part of Dolce&Gabbana’s aesthetic grammar, while at night they are aglow with gems, sequins and crystal embroideries, almost like a rococo chandelier.Accessories, such as cameos pinned on jackets and collar pins, build a bridge to the past, like a time capsule, between the 80s and the opulent Napoleonic parures, making this collection a bacon of lightness and refinement, which is timeless.
Beethoven’s Fifth Symphony was meant to recreate destiny knocking at the door, and from this metaphysical threshold, Dolce&Gabbana’s creative duo brought out cosmopolitan Peter Pans, ready to conquer the metropolis by day and light up the sandy beaches by night, without ever having to break the enchantment of pyjamas.