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Alessandro Sartori definitely doesn't momxxx bend to tendencies. While artistic administrators and style designers the world around have confronted pandemic and political turmoil with the mottled glory of technicolor experimentation, asymmetric deconstructed designs, and interactive installations, Sartori presents another imaginative and prescient, clad in uniform certainty, in search of to dissolve the firewall between private and public in his latest seasonal offering: Ermenegildo Zegna XXX Fall/Winter 2021.
The Italian vogue house’s latest assortment arrives digitally in video format-many manufacturers are opting to point out this way within the socially-distant age-by which modernist architectural perfection cascades graphically unto itself with Christopher Nolan-like cinematic edge. Emerging from the glassy skyscrapers and angular avenue walkways (the movie was shot principally on the brand’s sprawling campus), models saunter via urban mazes unperturbed by overhead surveillance cameras and even the confines of our current condition.
Branded as the (Re)set, the newest assortment blends Zegna’s heritage of tailoring and wonderful materials with a steadfast attitude in a precarious world. For Sartori, clothing is not about compartmentalizing identity-“In the gathering shapes are fluid, comfy, and adaptable. The coziness of jersey and cashmere garments reshape the very thought of formality as x-x-x.tube the collection pieces get new and unreleased capabilities,” Sartori says. The new sartorial path balances luxurious with loungewear (“Chore coats in cashmere” are “wrapped as a robe” reads the brand’s accompanying present assertion).
“We all are experiencing a brand new actuality that is anxious with new needs. This led us to a previously unseen form of life-style and attitudes.” Sartori commented., “At Zegna, we translated the change with the phrase (Re)set to (Re)tailor the fashionable man.”
The video is impressive in its ambition and manufacturing. “I determined to present the gathering in the form of a trend film, with a real script that we wrote beginning from the gathering: a visual narrative filled with wonders from one state of affairs to the opposite,” Sartori continues. “Shot in Milan, in inside and exterior set, the film follows a seamless pace, where indoor and outdoor collide, like our life at this time.”
In one scene, a lithe mannequin breaks the fourth wall, solely to brandish and don a pair of sporty sunglasses simply as he prepares to meet the viewer’s gaze. Thus, an additional entanglement of the public and the non-public is woven into Zegna’s new philosophical fabric: the trend is built for both comfort and protection. Because the mannequin passes via a collection of rooms-a living room, a discotheque, a dimly-lit area with a commodious sofa into which a model plops all the way down to read the Zegna Daily-it becomes obvious they're all linked in an enormous dollhouse-like set. The lights dim, revealing one room through which Sartori himself is slumped into a loveseat studying the brand’s eponymous newspaper. When the lights return, the models having left their varied habitats-clad in their earth tone shawls and robes-arrange in live performance, opening the Zegna Daily, to reveal the paper’s headline, which reads: The (Re)set.