Crocs onboards Rashmika Mandanna as global brand ambassador

Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Fashion Network

2 hours ago

Fashion Network

Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Make way for unbridled creativity and new languages. The third day of men's fashion shows in Milan proved the vitality of young creation, bringing a breath of fresh air to this fashion week dedicated to Spring/Summer 2026. Among the most interesting names in this new wave, a fine trio. The provocative and committed label Simon Cracker delivered a collection à la Margiela. Englishman Saul Nash fused sport, technique, and couture. And Magliano opted for a cinematic format with a real theatrical projection, working on a versatile multi-horizon wardrobe. See catwalk Welcomed to the Fondazione Sozzani on the outskirts of Bovisa - a new cultural space and art gallery opened by Carla Sozzani after closing the 10 Corso Como chapter - the Simon Cracker label couldn't have wished for a better venue to present its new avant-garde collection, clearly and openly inspired by Martin Margiela, fashion's last true pioneer. At the label, the devil doesn't dress in Prada, but "hides in the details", as the collection's name, "Il diavolo è nei dettagli", suggests. "Unlike other colleagues, we quote our sources with complete transparency. We didn't set out to copy Martin Margiela, but just tried to speak his same language around a precise wardrobe with an emphasis on details, as the Belgian couturier taught us," explained Simone Botte backstage, who founded the brand in 2010 with a 100% upcycling commitment from the outset, and was joined after Covid by Filippo Biraghi as brand coordinator. Aside from the humorous quotes, using safety pins and giant clothespins or large photocopied buttons affixed directly to the garments, the collection was surprisingly coherent and desirable. The design duo confirmed their evolution and the maturity acquired over the seasons. The neo-punk aesthetic of the early days has gradually given way to a more structured and understandable wardrobe, certainly less messy and cluttered than in the past, without abandoning the responsible commitment that has characterized the brand since its inception, with unique pieces that were entirely upcycled and designed with zero waste in mind. See catwalk The fabric used for the T-shirts, cut in squares and simply sewn on the sides, came, for example, from a huge roll of cotton jersey soiled and damaged by the floods and torrential rains that hit Emilia-Romagna in 2023, which had been washed, revitalized and dyed. For this show, Simon Cracker opted for a radical vision in true Margiela style. In other words, no superfluous accessories and zero styling. All models wore custom Crocs with hand-drawn patches and graffiti, a T-shirt with a label sewn on the front (indicating washing instructions) and tailored shorts. On top of this basic uniform, they each donned a single piece from the wardrobe, where designers give free rein to their inventiveness. There was the jacket with infinite sleeves, made up of six different pairs of sleeves, which dragged across the floor or playfully rolled up on top of each other to create a wearable dimension. The baggy pants were tightened at the waist by an XXL climbing rope fastened with a large knot. Large golden paperclips decorate a black jacket and transform into a pocket-watch chain. A long pair of mottled painter's pants is slipped on like a coverall, the waist turned into a boat neck. A banker's suit became a dress, the collar slightly lowered and plastered wide open over the torso. Naive black felt-tip drawings on white cotton were woven into ensembles made from lace doilies. A great deal of work is also done on dyes with "impressionist" effects. See catwalk For his second show in Milan, Saul Nash chose the Teatro Principe, a discotheque that was one of the Lombardy capital's finest hours during the nineties, while recreating its slightly cheesy nightclub decor with velvet curtains and old red sky sofas. Good music filled the space. A spotlight illuminated the runway, on which the models - nerdy sportsmen with thin metal-rimmed glasses - moved elegantly, suddenly slowing their pace in a swaying movement, sometimes coming close together and gently embracing. The Guyanese-born British designer and dancer, who grew up in north-east London, is one of the new names on the fashion scene to watch closely. Having passed through the Central Saint Martin school and the Royal College of Art, he founded his house in 2018. Semi-finalist for the LVMH Prize in 2021, he won the International Woolmark Prize in 2022. Known for his art of fusing sportswear and high-end with a techno-functional approach, he delivered a collection that was both sporty and chic, often sensual, packed with couture details, most of them invisible to the naked eye. Like a discreet zip, hidden by a tie, which opened a chest-high pocket in a shirt made from lightweight technical fabric. A handy place to slip one's cigarettes, or a small revolver. The top of a tracksuit could be worn as a vest, thanks to armpit openings. The ultra-chic denim jacket with its faded graphics had a designer cut and zips up the front, while tight-fitting knitwear in tie dye unbuttoned diagonally below the right shoulder, revealing a muscular chest through an oval opening. The collars of striped, lace-up linen jackets extended into hoods. Elsewhere, a hood was tied at the front to form a tie. The classic grey jersey fleece sweater was transformed into a suit jacket. Tuxedo belts draped over certain sizes. This dressing room, where everything is precise and well-defined, was completed by transparent tulle tank tops and impalpable nylon windbreakers. All that was left for Saul Nash to do was collect his applause with an unexpected dance step. A change of register at Magliano. This season, the designer chose to swap the usual fashion show for a film. He invited his guests to Milan's small Cinema Centrale on Saturday evening. "This current period of crisis is reminiscent of Covid," confided Luca Magliano, who greeted his guests at the cinema entrance. "As a result, we decided to take a break and create a sort of sabbatical collection. The idea was to do something out of the ordinary, outside the urban setting, and to propose a different form of expression", he said, admitting that he shot the film just a fortnight ago. He entrusted the project for this eight-minute short to the young British director Thomas Hardiman, author of "Medusa Deluxe". Hardiman assembled Magliano's little world on a ferry. The boat, whose journey lasts the duration of the film, was populated by colorful characters who were by turns moody, temperamental, or marginal, but always endearing, from the nerd to the mechanic, via the musicians, the cocktail-loving vamp, and the jilted lover. The camera moved from one character to the next, following them as they wandered and rambled, crossing the ferry from top to bottom until it ends up on the deck, accompanied by a splendid jazzy score that punctuated the film effectively. Along the way, one catches glimpses of looks from the new Magliano collection, including a handsome hand-knitted sweater in large gold thread knits, some nonchalantly elegant shirts that glide over the skin, and futuristic-looking technical jackets. The message of this film, entitled "Maglianic" (an ironic reference to Titanic), was that fashion is a natural, no-fuss part of life. At no point did you notice Magliano's clothes, for they were literally inhabited by the characters. This was in stark contrast to recent big-budget films sponsored by certain luxury houses, whose clothes were displayed in every scene, including on the extras. Fashion belongs to everyone, as long as we make it our own. With its slightly mysterious atmosphere, zany dialogue, and lively music, the film succeeds in evoking the Magliano style: authentic, intense, popular, humorous, with a pinch of romanticism.

Fashion Network

2 hours ago

Fashion Network

Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Make way for unbridled creativity and new languages. The third day of men's fashion shows in Milan proved the vitality of young creation, bringing a breath of fresh air to this fashion week dedicated to Spring/Summer 2026. Among the most interesting names in this new wave, a fine trio. The provocative and committed label Simon Cracker delivered a collection à la Margiela. Englishman Saul Nash fused sport, technique, and couture. And Magliano opted for a cinematic format with a real theatrical projection, working on a versatile multi-horizon wardrobe. See catwalk Welcomed to the Fondazione Sozzani on the outskirts of Bovisa - a new cultural space and art gallery opened by Carla Sozzani after closing the 10 Corso Como chapter - the Simon Cracker label couldn't have wished for a better venue to present its new avant-garde collection, clearly and openly inspired by Martin Margiela, fashion's last true pioneer. At the label, the devil doesn't dress in Prada, but "hides in the details", as the collection's name, "Il diavolo è nei dettagli", suggests. "Unlike other colleagues, we quote our sources with complete transparency. We didn't set out to copy Martin Margiela, but just tried to speak his same language around a precise wardrobe with an emphasis on details, as the Belgian couturier taught us," explained Simone Botte backstage, who founded the brand in 2010 with a 100% upcycling commitment from the outset, and was joined after Covid by Filippo Biraghi as brand coordinator. Aside from the humorous quotes, using safety pins and giant clothespins or large photocopied buttons affixed directly to the garments, the collection was surprisingly coherent and desirable. The design duo confirmed their evolution and the maturity acquired over the seasons. The neo-punk aesthetic of the early days has gradually given way to a more structured and understandable wardrobe, certainly less messy and cluttered than in the past, without abandoning the responsible commitment that has characterized the brand since its inception, with unique pieces that were entirely upcycled and designed with zero waste in mind. See catwalk The fabric used for the T-shirts, cut in squares and simply sewn on the sides, came, for example, from a huge roll of cotton jersey soiled and damaged by the floods and torrential rains that hit Emilia-Romagna in 2023, which had been washed, revitalized and dyed. For this show, Simon Cracker opted for a radical vision in true Margiela style. In other words, no superfluous accessories and zero styling. All models wore custom Crocs with hand-drawn patches and graffiti, a T-shirt with a label sewn on the front (indicating washing instructions) and tailored shorts. On top of this basic uniform, they each donned a single piece from the wardrobe, where designers give free rein to their inventiveness. There was the jacket with infinite sleeves, made up of six different pairs of sleeves, which dragged across the floor or playfully rolled up on top of each other to create a wearable dimension. The baggy pants were tightened at the waist by an XXL climbing rope fastened with a large knot. Large golden paperclips decorate a black jacket and transform into a pocket-watch chain. A long pair of mottled painter's pants is slipped on like a coverall, the waist turned into a boat neck. A banker's suit became a dress, the collar slightly lowered and plastered wide open over the torso. Naive black felt-tip drawings on white cotton were woven into ensembles made from lace doilies. A great deal of work is also done on dyes with "impressionist" effects. See catwalk For his second show in Milan, Saul Nash chose the Teatro Principe, a discotheque that was one of the Lombardy capital's finest hours during the nineties, while recreating its slightly cheesy nightclub decor with velvet curtains and old red sky sofas. Good music filled the space. A spotlight illuminated the runway, on which the models - nerdy sportsmen with thin metal-rimmed glasses - moved elegantly, suddenly slowing their pace in a swaying movement, sometimes coming close together and gently embracing. The Guyanese-born British designer and dancer, who grew up in north-east London, is one of the new names on the fashion scene to watch closely. Having passed through the Central Saint Martin school and the Royal College of Art, he founded his house in 2018. Semi-finalist for the LVMH Prize in 2021, he won the International Woolmark Prize in 2022. Known for his art of fusing sportswear and high-end with a techno-functional approach, he delivered a collection that was both sporty and chic, often sensual, packed with couture details, most of them invisible to the naked eye. Like a discreet zip, hidden by a tie, which opened a chest-high pocket in a shirt made from lightweight technical fabric. A handy place to slip one's cigarettes, or a small revolver. The top of a tracksuit could be worn as a vest, thanks to armpit openings. The ultra-chic denim jacket with its faded graphics had a designer cut and zips up the front, while tight-fitting knitwear in tie dye unbuttoned diagonally below the right shoulder, revealing a muscular chest through an oval opening. The collars of striped, lace-up linen jackets extended into hoods. Elsewhere, a hood was tied at the front to form a tie. The classic grey jersey fleece sweater was transformed into a suit jacket. Tuxedo belts draped over certain sizes. This dressing room, where everything is precise and well-defined, was completed by transparent tulle tank tops and impalpable nylon windbreakers. All that was left for Saul Nash to do was collect his applause with an unexpected dance step. A change of register at Magliano. This season, the designer chose to swap the usual fashion show for a film. He invited his guests to Milan's small Cinema Centrale on Saturday evening. "This current period of crisis is reminiscent of Covid," confided Luca Magliano, who greeted his guests at the cinema entrance. "As a result, we decided to take a break and create a sort of sabbatical collection. The idea was to do something out of the ordinary, outside the urban setting, and to propose a different form of expression", he said, admitting that he shot the film just a fortnight ago. He entrusted the project for this eight-minute short to the young British director Thomas Hardiman, author of "Medusa Deluxe". Hardiman assembled Magliano's little world on a ferry. The boat, whose journey lasts the duration of the film, was populated by colorful characters who were by turns moody, temperamental, or marginal, but always endearing, from the nerd to the mechanic, via the musicians, the cocktail-loving vamp, and the jilted lover. The camera moved from one character to the next, following them as they wandered and rambled, crossing the ferry from top to bottom until it ends up on the deck, accompanied by a splendid jazzy score that punctuated the film effectively. Along the way, one catches glimpses of looks from the new Magliano collection, including a handsome hand-knitted sweater in large gold thread knits, some nonchalantly elegant shirts that glide over the skin, and futuristic-looking technical jackets. The message of this film, entitled "Maglianic" (an ironic reference to Titanic), was that fashion is a natural, no-fuss part of life. At no point did you notice Magliano's clothes, for they were literally inhabited by the characters. This was in stark contrast to recent big-budget films sponsored by certain luxury houses, whose clothes were displayed in every scene, including on the extras. Fashion belongs to everyone, as long as we make it our own. With its slightly mysterious atmosphere, zany dialogue, and lively music, the film succeeds in evoking the Magliano style: authentic, intense, popular, humorous, with a pinch of romanticism.

Fashion Network

4 hours ago

Fashion Network

Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Make way for unbridled creativity and new languages. The third day of men's fashion shows in Milan proved the vitality of young creation, bringing a breath of fresh air to this fashion week dedicated to Spring/Summer 2026. Among the most interesting names in this new wave, a fine trio. The provocative and committed label Simon Cracker delivered a collection à la Margiela. Englishman Saul Nash fused sport, technique, and couture. And Magliano opted for a cinematic format with a real theatrical projection, working on a versatile multi-horizon wardrobe. See catwalk Welcomed to the Fondazione Sozzani on the outskirts of Bovisa - a new cultural space and art gallery opened by Carla Sozzani after closing the 10 Corso Como chapter - the Simon Cracker label couldn't have wished for a better venue to present its new avant-garde collection, clearly and openly inspired by Martin Margiela, fashion's last true pioneer. At the label, the devil doesn't dress in Prada, but "hides in the details", as the collection's name, "Il diavolo è nei dettagli", suggests. "Unlike other colleagues, we quote our sources with complete transparency. We didn't set out to copy Martin Margiela, but just tried to speak his same language around a precise wardrobe with an emphasis on details, as the Belgian couturier taught us," explained Simone Botte backstage, who founded the brand in 2010 with a 100% upcycling commitment from the outset, and was joined after Covid by Filippo Biraghi as brand coordinator. Aside from the humorous quotes, using safety pins and giant clothespins or large photocopied buttons affixed directly to the garments, the collection was surprisingly coherent and desirable. The design duo confirmed their evolution and the maturity acquired over the seasons. The neo-punk aesthetic of the early days has gradually given way to a more structured and understandable wardrobe, certainly less messy and cluttered than in the past, without abandoning the responsible commitment that has characterized the brand since its inception, with unique pieces that were entirely upcycled and designed with zero waste in mind. See catwalk The fabric used for the T-shirts, cut in squares and simply sewn on the sides, came, for example, from a huge roll of cotton jersey soiled and damaged by the floods and torrential rains that hit Emilia-Romagna in 2023, which had been washed, revitalized and dyed. For this show, Simon Cracker opted for a radical vision in true Margiela style. In other words, no superfluous accessories and zero styling. All models wore custom Crocs with hand-drawn patches and graffiti, a T-shirt with a label sewn on the front (indicating washing instructions) and tailored shorts. On top of this basic uniform, they each donned a single piece from the wardrobe, where designers give free rein to their inventiveness. There was the jacket with infinite sleeves, made up of six different pairs of sleeves, which dragged across the floor or playfully rolled up on top of each other to create a wearable dimension. The baggy pants were tightened at the waist by an XXL climbing rope fastened with a large knot. Large golden paperclips decorate a black jacket and transform into a pocket-watch chain. A long pair of mottled painter's pants is slipped on like a coverall, the waist turned into a boat neck. A banker's suit became a dress, the collar slightly lowered and plastered wide open over the torso. Naive black felt-tip drawings on white cotton were woven into ensembles made from lace doilies. A great deal of work is also done on dyes with "impressionist" effects. See catwalk For his second show in Milan, Saul Nash chose the Teatro Principe, a discotheque that was one of the Lombardy capital's finest hours during the nineties, while recreating its slightly cheesy nightclub decor with velvet curtains and old red sky sofas. Good music filled the space. A spotlight illuminated the runway, on which the models - nerdy sportsmen with thin metal-rimmed glasses - moved elegantly, suddenly slowing their pace in a swaying movement, sometimes coming close together and gently embracing. The Guyanese-born British designer and dancer, who grew up in north-east London, is one of the new names on the fashion scene to watch closely. Having passed through the Central Saint Martin school and the Royal College of Art, he founded his house in 2018. Semi-finalist for the LVMH Prize in 2021, he won the International Woolmark Prize in 2022. Known for his art of fusing sportswear and high-end with a techno-functional approach, he delivered a collection that was both sporty and chic, often sensual, packed with couture details, most of them invisible to the naked eye. Like a discreet zip, hidden by a tie, which opened a chest-high pocket in a shirt made from lightweight technical fabric. A handy place to slip one's cigarettes, or a small revolver. The top of a tracksuit could be worn as a vest, thanks to armpit openings. The ultra-chic denim jacket with its faded graphics had a designer cut and zips up the front, while tight-fitting knitwear in tie dye unbuttoned diagonally below the right shoulder, revealing a muscular chest through an oval opening. The collars of striped, lace-up linen jackets extended into hoods. Elsewhere, a hood was tied at the front to form a tie. The classic grey jersey fleece sweater was transformed into a suit jacket. Tuxedo belts draped over certain sizes. This dressing room, where everything is precise and well-defined, was completed by transparent tulle tank tops and impalpable nylon windbreakers. All that was left for Saul Nash to do was collect his applause with an unexpected dance step. A change of register at Magliano. This season, the designer chose to swap the usual fashion show for a film. He invited his guests to Milan's small Cinema Centrale on Saturday evening. "This current period of crisis is reminiscent of Covid," confided Luca Magliano, who greeted his guests at the cinema entrance. "As a result, we decided to take a break and create a sort of sabbatical collection. The idea was to do something out of the ordinary, outside the urban setting, and to propose a different form of expression", he said, admitting that he shot the film just a fortnight ago. He entrusted the project for this eight-minute short to the young British director Thomas Hardiman, author of "Medusa Deluxe". Hardiman assembled Magliano's little world on a ferry. The boat, whose journey lasts the duration of the film, was populated by colorful characters who were by turns moody, temperamental, or marginal, but always endearing, from the nerd to the mechanic, via the musicians, the cocktail-loving vamp, and the jilted lover. The camera moved from one character to the next, following them as they wandered and rambled, crossing the ferry from top to bottom until it ends up on the deck, accompanied by a splendid jazzy score that punctuated the film effectively. Along the way, one catches glimpses of looks from the new Magliano collection, including a handsome hand-knitted sweater in large gold thread knits, some nonchalantly elegant shirts that glide over the skin, and futuristic-looking technical jackets. The message of this film, entitled "Maglianic" (an ironic reference to Titanic), was that fashion is a natural, no-fuss part of life. At no point did you notice Magliano's clothes, for they were literally inhabited by the characters. This was in stark contrast to recent big-budget films sponsored by certain luxury houses, whose clothes were displayed in every scene, including on the extras. Fashion belongs to everyone, as long as we make it our own. With its slightly mysterious atmosphere, zany dialogue, and lively music, the film succeeds in evoking the Magliano style: authentic, intense, popular, humorous, with a pinch of romanticism.

Crocs onboards Rashmika Mandanna as global brand ambassador

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Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Crocs onboards Rashmika Mandanna as global brand ambassador

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Try Our AI Features

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Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

Young designers stand out in Milan with Simon Cracker, Saul Nash and Magliano

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