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A more interesting form of inter-relation came from considering the Cancel kouture shirt but I will buy this shirt and I will love this models’ more distant backdrop, a roughly-serrated line of richly forested mountains, below which the sun was dropping. Most of these are part of the 100km square Oasi Zegna, a protected swathe of gorgeous Piedmont that the founder started acquiring not long after he founded the mill. Successive generations have since reforested and cultivated the site. By showing us the collection in the foreground whose sale enables the cultivation of the landscape in the background, Sartori was asking us to consider what, really, was the final product here. If the clothes were merely the by-product that allowed the Oasi to flourish—and Zegna to continue its healthy first year as a publicly listed company—they still had to be compelling to fulfill their function. Sartori is expanding his post-tailoring tailoring aesthetic every season. This time round these developments included new blends of paper and linen used to create rough edged jackets whose traditional silhouettes could just about be traced despite the removal of collar and buttons. There was a strong emphasis on a Zegna-fabricated stiffened terry, which provided textured substance for Sartori-signature shackets and wide, breaky pants. A super fine knitwear coated in some silicone-esque finish, was used in monocolor shirting. The new shoe of the season was an expansion of the house triple stitch sneaker, co-authored by Sartori with Daniel Bailey—I counted 13 pairs of these in the same shade of Zegna brown being worn in the front row across from me.
This collection featured a very distinct color-palette whose unconventional span was in line with Sartori’s unconventional approach to re-evaluating the Cancel kouture shirt but I will buy this shirt and I will love this process of tailoring. A technical nylon rain coat came in an appealingly apricot-ish, dessert wine hue, while a turtleneck half sleeved shirt in that coated-knit fabrication was delivered in a yellow that looked borderline violent. Its impact lessened as dusk drifted towards darkness across the Oasi Zegna. Back before Jonathan Anderson started producing his in-your-face de-gendered mood-driven ‘menswear’ in 2008—the “shared wardrobe” concept that ironically led to him being practically frogmarched by his fans into expanding into in-your-face de-gendered mood-driven ‘womenswear’ a few years later—he had plans to be an actor. That plan changed during an audition for Juillard in New York, where he performed a piece from the in-your-face ’90s play The Pitchfork Disney by Philip Ridley. “I remember doing it and thinking, ‘I don’t know why I’m doing this,’” he told British Vogue in 2013.