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Alessandro Sartori definitely does not momxxx bend to traits. While inventive administrators and trend designers the world round have confronted pandemic and political turmoil with the mottled glory of technicolor experimentation, asymmetric deconstructed designs, and interactive installations, Sartori presents an alternative vision, clad in uniform certainty, looking for to dissolve the firewall between non-public and public in his latest seasonal offering: Ermenegildo Zegna XXX Fall/Winter 2021.

The Italian fashion house’s newest assortment arrives digitally in video format-many brands are opting to show this fashion in 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), fashions saunter by city mazes unperturbed by overhead surveillance cameras or even the confines of our current situation.

Branded because the (Re)set, the newest collection blends Zegna’s heritage of tailoring and effective material with a steadfast perspective in a precarious world. For Sartori, clothing is not about compartmentalizing identity-"In the gathering shapes are fluid, comfortable, and adaptable. The coziness of jersey and cashmere garments reshape the very thought of formality as the collection pieces get new and unreleased functions," Sartori says. The new sartorial path balances luxury with loungewear ("Chore coats in cashmere" are "wrapped as a robe" reads the brand’s accompanying show assertion).

"We all are experiencing a new reality that is worried with new wants. This led us to a previously unseen form of lifestyle and attitudes." Sartori commented., "At Zegna, we translated the change with the phrase (Re)set to (Re)tailor the trendy man."

The video is spectacular in its ambition and production. "I determined to current the gathering within the form of a style movie, with a real script that we wrote beginning from the collection: a visible narrative full of wonders from one state of affairs to the other," Sartori continues. "Shot in Milan, in internal and exterior set, the film follows a seamless pace, the place indoor and outdoor collide, like our life today."

In one scene, a lithe mannequin breaks the fourth wall, solely to brandish and don a pair of sporty sunglasses just as he prepares to fulfill the viewer’s gaze. Thus, an additional entanglement of the public and the personal is woven into Zegna’s new philosophical fabric: the vogue is constructed for both comfort and protection. As the model passes by way of a series of rooms-a dwelling room, a discotheque, a dimly-lit space with a commodious sofa into which a mannequin plops down to read the Zegna Daily-it turns into apparent they are all linked in a massive dollhouse-like set. The lights dim, revealing one room in which Sartori himself is slumped into a loveseat reading the brand’s eponymous newspaper. When the lights return, the fashions having left their varied habitats-clad of their earth tone shawls and robes-organize in live performance, opening the Zegna Daily, to reveal the paper’s headline, which reads: The (Re)set.