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Mode Diplomatique, Piazza della Repubblica, Rome (2026)

23/01/2026

VALENTINO OU LES BRUINES DE LA BEAUTÉ
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Aujourd’hui à , l’adieu à un créateur. Et le salut a une manière d’être au monde — exigeante, élégante, consciente du temps.

regardait au-delà des apparences.

Il savait ce que cachent les masques, ce que recouvrent les sourires calmes, et pourquoi la beauté ne supporte ni la précipitation ni le bruit. Il l’entendait comme on entend quelque chose de juste.

Avec attention.
Avec retenue.
Avec responsabilité.

Son élégance était romaine, moderne, éternelle. Une quête obsessionnelle d’une vie où la beauté était la cathédrale pour laquelle il faisait sonner les cloches à chaque collection.

L’homme était aussi captivant que le créateur. Son élégance personnelle se jouait dans un maniérisme poli, sans fard, teinté d’un snobisme bienveillant — adorable — porté avec un habillé presque parfait.

Presque.

Cette manière presque féminine, comme celles qu’il ne cessa d’embellir, relevait d’un panache de pacha : la montre alourdie de bracelets, les pierres accumulées sans crainte, le mouchoir de poche paon, un poignet répondant à l’autre. Un maximalisme intime, vécu, naturel — celui delle donne di , qui portent leur power comme une protection et un plaisir.

À ses côtés, incarnait l’autre rigueur — verso (alter) ego de Valentino — calme, précise, créative, constante. Ensemble, ils ont montré que le style n’est pas une image, mais vivre savoir. Être savoir. Princes, pluriels. Monsieur Giammetti a apporté au génie de Valentino une structure et une vision magistrales, construisant avec lui, et pour lui, une pensée pour durer, protéger et transmettre. Sapienza, consacrée .

Le credo de monsieur ? la beauté rend la vie plus importante. Cette exigence peut sembler dépassée dans le monde d’aujourd’hui. Elle est au contraire rare. Et profondément nécessaire.

Valentino vivait dans son propre monde. Il l’a habité avec justesse — et quelque chose de lui demeurera. Italianità lombarda à la française.

De la fin naîtront des fleurs de couleurs,
Et je serai en elles,
Éternité.

🌹
—
ALESSANDRO BERGA | L’ÉDITEUR

22/01/2026

WHY YACHTING. WHY NOW.
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is experiencing a crisis of imagination. Craft is still present — archival silhouettes, bar jackets, fluidity, handwork, proportion, savoir-faire — but the work no longer arrests. Too many collections speak at once, about everything and nothing, until provocation replaces intention. Refinement remains; excitement falters. Étreints éteints.

The collection under .anderson said one thing and showed another. His mood board is a genuine return to the maison codes. It truly is. On the runway, however, everything appears at once: references, shoulders, decoration, ideas layered on ideas. The craft is undeniable. What’s missing is a single, clear point of view. Dior doesn’t need more intelligence. It needs direction.

The 2025 offered me a different grammar.

What strikes first is not scale, but organization. is structured by use, function, and lifecycle, allowing each language to remain legible within a larger whole. You don’t scroll, you transit — hulls are read in profile, space through circulation, and innovation appears as infrastructure rather than display.

Just inland, in Grasse, Christian Dior once withdrew to La Colle Noire — not to escape fashion, but to re-anchor it in landscape, rhythm, and discipline. forms a geographic and cultural arc between couture as heritage and yachting as craft.

Between shores and sea, elegance is built, not declared. Decisions are architectural. Space is earned. Silence is engineered. Proportion governs emotion, not the reverse.

This series invites you to ride with me there — at sea — to fashion yachting through clarity, creativity, and crésus, white gusto.

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ALESSANDRO BERGA | L’ÉDITEUR

28/12/2025

BRAVER BARDOT
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La liberté s’imposa à elle très tôt, lui imposa le La. Elle en perçut d’emblée le prix. Elle comprit que la célébrité est vulnérabilité; non une élévation mais une mise à nu. Elle apprit à être vue, puis elle se retira. Son choix ne lui a presque jamais été pardonné.

se désista à l’histoire, l’Histoire. Sa carrière d’actrice fut brève — moins de vingt années, des années cinquante au début des années soixante-dix — et pourtant elle fixa un fantasme dont le monde ne sut se défaire. Tandis que d’autres composaient avec leur quête de fame, elle provoqua le frame. Pro-vocare : appeler en avant, sommer de répondre. Elle ne cherchait ni l’outrage ni le scandale. Elle convolait. Et le monde subjugué.

La part la plus longue de sa vie se déroula ailleurs. Depuis La Madrague, face à la mer, elle choisit les . Sans emphase, sans mise en scène, avec une constance indifférente aux modes. Elle leur consacra plus de cinquante années — bien davantage que celles offertes au cinéma — acceptant l’isolement, le discrédit, l’impatience morale, bien avant que la cause animale ne devienne nécessaire.

La France eut peine à la dompter. Elle refusa de se traduire, de se rendre maniable. Elle ne tempéra pas ses convictions pour préserver sa dignité. Dans un pays qui chérit l’idée de la rébellion mais redoute ses effets, Bardot les embrassa. Et créa sa vie de femme.

Sa vie fut une litote : d’abord le corps, puis la distance ; d’abord le cinéma, puis le refus de ce qu’il exigeait en retour ; enfin les animaux, puis la dévotion de ne jamais les abandonner.

Son courage était dans le départ. Et l’abnégation.

Certains mythes durent parce qu’ils s’adaptent.
Les plus rares durent parce qu’ils refusent.

Brigitte, Bardot.

—

L’ÉDITEUR

01/10/2025

VIA VENETA DELLA BOTTEGA INTRECCIATA
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In fashion, métier matters.

follows , now at , and , now at — two who each redefined Bottega in their moment: Lee with virality and edge, Blazy with modernity and continuity. Their legacy sets the stage for her première: métier mastered, re-interpretation reinvented.

What she gave at SS26 was not atmosphere but syntax. Each of the 75 looks read as signifier — skirts marking rhythm, hems as punctuation, bags as anchors — intrecciato’ed with nuance into a legible language, beyond a wardrobe.

Fashion here was not simulated but legible. The debut of the Campana intrecciato bag beside Andiamo, Orbit Flash, James, and suede treatments was not sequencing but lexicon — a vocabulary of material and weight. A weave magnified by Lee, deepened by Blazy, disciplined by Trotter. Maglieria, pelletteria, denim, sartoria: not looks, but clauses in a discourse of form.

The impact lay in restraint. No excess citation. No fog. The clothes were their own voice. A hem dragging like a pause. A cut carrying air like breath.

Louise Trotter’s debut was a total intrecciare itself: craft, light, sound, space echoed in Kwangho Lee’s suspended works, Studio 6:AM’s Murano vetreria, McQueen’s art-audio. Ambience was a chord, not a curtain.

Intrecciato has always been ’s rulebook. At , brought it back to the surface — a supra grammatica for proportions and flow. What emerged was not novelty for its own sake but la pâte du métier: the seasoned hand that lets a house’s grammar speak fluently again. Trotter reminded us: artigianato is essence at .

Where others (ho)staged heritage, cinema, distraction, including .Anderson’s gauche fourre-tout crispée — hers was inversion.

Substance before aura. Métier as text. Ambience as echo — a refusal of fashion’s addiction to instant signal and trend from the past.

Did trust la Veneta, enough to Bottega with it? Sì! A thrilling thrix début!
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ALESSANDRO BERGA | L’ÉDITOR

29/09/2025

I AM LOVE, LA FAMIGLIA
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Did trust the product enough to lead with it? No.

LA FAMIGLIA vibes a remake of I AM LOVE stripped of essence—swapping ’s restraint and precision for spectacle and borrowed scaffolding. Sorry . In 2009, gave us proportion, silence, stillness as luxury’s architecture. In 2025, gives us citation—cinema without substance, heritage subsumed into melodrama.

The launch borrowed ’s playbook: grid wipe ( 2012, 2018), then his authorial control. outsourced vision— for art gravitas, & for auteur credibility—citation without authorship. Scaffolding before substance, signaling before product truth.

sexualized Gucci. Frida Giannini romanticized it. maximalized it. must deconstruct it—bamboo, horsebit, valigeria, stripe into new proportions and propositions. But deconstruction must be visible. When codes dissolve into fog, they don’t reset; they disappear. What’s needed is a New Guccismo—like Neorealismo once was for cinema: a discipline that restores codes through clarity, structure, and truth.

Heritage resets need anchors.
Spectacle should elevate heritage, not obscure it.

That’s the difference between I AM LOVE—luxury intrinsic—and —borrowed and subsumed.

Cultural signaling preceded product truth.

In luxury, order matters.
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ALESSANDRO BERGA | L’ÉDITOR

20/09/2025

SOPHIA, 91
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Sophia Loren is more than actress—she is evidence that style is a form of survival. What she wore was never accessory but ontology: the dress that sculpts, the hat that shadows, the jewel that ignites. Clothes, on her, did not adorn; they declared.

The couturiers defined her through their codes. offered her Privé restraint: pared lines, silvery understatement, a modernist language that sharpened her presence rather than adorning it. gave her Roman romanticism and ceremonial red—gowns as loyalty and defiance, devotion rendered in silk. anchored her in la dolce vita, with hourglass couture born of Catholic ritual and Cinecittà excess. draped her in Roman baroque—embroidered satins, gowns as theatre of status. made her a sculpture in motion, his impossible pleats and volumes testing the very physics of fabric. Vargas clothed her in Mediterranean sensuality, couture that read as drama and fiesta. , , imposed architectural rigor: she entered Altman’s Prêt-à-Porter as couture turned cinema, intellect cut into cloth. , the milliner, crowned her with hats that converted silhouette into theatre and authority. gave her lace and brocade, structured femininity that fused French hauteur with Italian vitality. ’s offered her disciplined refinement—pared luxury, quiet elegance—where excess yielded to a sovereign line. enveloped her in Roman fur innovation, luxury as modern armor, matriarchal and global. From Cinecittà to Paris salons, and for decades to her quiet perch in Genève, Loren carried couture as if it were passport and throne.

She was earthquake dressed in silk. Satin was fire, lace struck, fur rose like battlements, jewels blazed like beacons. On her, a gown launched. Presence was silhouette. Authority was hemline.

🌹 Oggi, Domani. , 91.
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ALESSANDRO BERGA | L’ÉDITOR

04/09/2025

| SUCCESSION SIGILLATA
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The passing of closes an era of design and supreme indipendenza — simultaneously activates the statuto a efficacia differita, the governance structure he engineered years in advance to safeguard permanence and continuity.

At its core is a dual-lock system:

- Voting architecture: equity is split into six classes with identical economic rights but asymmetric voting power. Classes A (30% of capital, 1.33 votes per share) and F (10% of capital, 3 votes per share) together hold >53% of votes with just 40% of capital — a permanent control bloc by design. Class A appoints three directors including the chair; Class F appoints two, one of whom is CEO.

- Institutional anchor: the Giorgio Armani Foundation — which before succession held only a symbolic 0.1% stake — now activates governance rights embedded in the statute. It becomes the stabilizer within Classes A and F, controlling appointments and safeguarding the maison’s founding principles.

The statute builds in hard guardrails: extraordinary decisions require 75% approval, dividends capped at ~50% of net profit, creative leadership validated through class balance, and no IPO before five years. Financial policy is mandated around reinvestment, balance sheet strength, and stylistic integrity — Armani’s governance translated into code.

The human dimension is equally codified: sister Rosanna, nieces Silvana and Roberta, nephew Andrea Camerana, and trusted lieutenant Pantaleo “Leo” Dell’Orco are the designated guardians of style and governance.

It is a structure meant to be self-sufficient and resistant.

And yet, as the luxury landscape consolidates, one question remains open: will and - whom invested €541 million to take a 24% stake in - eventually be invited into this equation?

La Goulue — dear to Mr. Armani, Lautrec’s icône flamboyante at the Moulin Rouge, audacity turned into form — as she fixed excess in dance, he fixed independence in a dual lock: statuto a efficacia differita, lex ut design, hereditas ut memoria.
_

ALESSANDRO BERGA | L’ÉDITOR

04/09/2025

GRAMMATICA GIORGIO
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He did not decorate the body; he subtracted until presence appeared.

When fashion learned to speak in exclamation points, he removed the punctuation. No quotation marks around the body—no wink, no excess. Ligne claire. Misura. The jacket unburdened so the soul could breathe: shoulders that winked, senza enfasi. Stone, sand, ombra: not absence, but lucidity.

Where style is often performance, he insisted on presence. He turned down the volume so intention could be heard. A world-builder who kept the sentence spare—atelier to casa, red carpet to prêt-à-porter—rigore e grazia in quiet counterpoint. He offered an ubi consistam discipliné: not an armor, an axis. Not minimalism as lack, but restraint as eloquence to his women and his men.

In 1990, as captured in ’s Made in Milan, he confessed his deconstruction: “I’m always thinking about adding something or taking something away. Mostly taking something away. Non sopporto l’esibizionismo.”

A line rare in its self‑effacement, Italian truth in sotto voce. The jacket, he explained, “has to have a lived‑in look, like you just pulled it from your closet.” His linens were nobiltà, se froissent avec noblesse. That whisper—editing to presence. There lies his quiet sartorial radicality.

He taught that proportion is a kind of ethics; that power doesn’t swagger—it stands correctly. The line before the noise. The human kept at the center. What remains is a practice, not a trend: walk cleaner, choose less, mean more.

Grazie, Maestro per la grammatica.

Entre lightness et lumière, votre silhouette demeurera.

Riposa in Panache 🌹 , .

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ALESSANDRO BERGA | L’ÉDITOR

10/08/2025

CRAFT AS CODE: COUTURIERS CREATIVE DIRECTORS
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In , appointing a new creative head is about , and vision. The choice: celebrity virality or the rarer hand that re-codes a maison héritage from within.

At , ’s appointment will test this balance. At , he turned the intrecciato into living code — recognisable as a monogram, yet made for the long run. His “anti-viral virality” — collections that never pander to the feed yet dominate it — signals couture-calibre discipline stepping into ’s architecture.

played safe: .anderson after — fluent in sculptural modernism but in a design language far from couture’s core. of could have brought a spaniard almost -esque folie . Two sensibilities, deux écoles.

Where will continue to provoke and copycats , will withdraw à la — and in doing so, command the ?

At , keeps canonizing Schiap’s Surrealist audacity — mining her obsessions: the “shocking” pink keyed to Daisy Fellowes’s Cartier diamond, the theatre of trompe-l’œil, the scandal of Wallis Simpson’s Lobster Dress — translating them into atelier-first clothes cut to live on the body, catching the air du temps without dilution.

and have yet to be given that scale of stage, but their work reminds us: the true couturier offers not noise, not collage, but codes that live, evolve, and endure. ’s tabula rasa at and is the other extreme of that pendulum — relevant in its destruction that made obsessed, subdued and .a contemplatif.

Que voulez-vous, I’m drawn to the long runways between what has been and what is yet to come; to collections where time is uninvited, where couture drifts until it brushes fashion’s relevance.
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ALESSANDRO BERGA | L’ÉDITOR

29/05/2025

DUENDE DIOR
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What lacks is not relevance but rapture.

Yes, gave Dior a feminism it could wear on a T-shirt—but was confusing respectability with radicalism the aim of a couture relegated au second rang? For the past nine years, she has confused message with meaning, mistaking platform for poetry. But Dior is not a social agenda podium. It is a sanctuary—a place for the divine theatre of fabric, not the didactic. Not discourse and orthodoxy. I know, lots of you, will opinate of my obtus-ness. Je persiste: a maison de couture should remain a maison de couture.

And so what Dior craves after thy err, isn’t another heir/ess, nor another hérétique.

Dior craves a touch of unreality, of artifice too refined to be ironic without social activism appropriations du jour, de l’année. understands that: Dior as a controlled delirium—an equipoise where severity and excess perform a pas de deux.

Monsieur Dior New Look was also nostalgique appealing to the post-war mood as high drama, where meaning emerged through exaggeration, through the tension of form and feeling. It flirted—seriously—with the sublime. Equally Font’s designs possess duende— Espana dark tremor of the soul— tristesse de joie that was at once monastic and sensual, austere yet hallucinatory.

Josep departure from was not retreat but refusal—a gesture of integrity rare in this era of curated relevance. He left at the peak, choosing silence over submission. I believe his silence has only deepened his aura, a Cristobal docet of May 1968.

Now, five years into this luminous absence, Font stands as fashion’s most tantalizing possibilité. To pair his vision with Dior’s legacy would be more than a return—it would be a reinvention. Not safe. Not strategic. made another, unfortunate, choice.

Madame , the hour calls not for consensus but conviction. Christian Dior believed: avoir du goût, c’est avoir le sien. Dieu et Or. Dior needs a New Monaco du Look who knows that couture, at its most rarefied, dances always on the edge of faith and tone.

Foi et Ton. Font. Josep Font.
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ALESSANDRO BERGA | L’ÉDITOR

06/03/2025

SARTORIA SEMIOTICA A’s DÉBUT
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Witnessing fashion history unfold before our eyes as .a channels the provocative spirit of ’s Gucci era while crafting something entirely his own. This collection isn’t just clothing—it’s a conversation between decades, between restraint and release.

His début proves that sensuality and sexuality coexist in perfect harmony. Ackermann’s sartoria speaks a language of inner confidence that suddenly erupts into moments of calculated audacity.

The seamless transition from ’s provocative legacy to Ackermann’s contemplative luxuriance represents more than a changing of guards; it embodies our cultural pendulum’s swing between hedonism and restraint, between performative sexuality and genuine sensuousness. has crafted not escapism but a mirror—one that reflects both what we are and what we might become if we dared to confront our contradictions honestly.

After years of comfortable minimalism—our collective retreat into the sanctuary of familiar silhouettes sophistiquées—Ackermann signals the return of fashion that demands attention, that celebrates the body, that whispers (and sometimes shouts) of desire.

As Tom Ford once revolutionized our visual language after the excess of the ‘80s gave way to ‘90s rebelles, Ackermann now offers us a new vocabulary. The smoked-out eyes, the dramatic lines, the confident interplay of revelation and concealment—all reimagined for today’s sensibilities.

As we move toward a future uncertain in its politics yet inevitable in its hungers, Ackermann offers neither escape nor accusation, but rather, invitation: to inhabit our bodies and our contradictions with greater consciousness, to find in sartorial expression a language for what remains, otherwise, unspeakable.

One thing remains certain: fashion that moves us—truly moves us— stand exposed not in flesh but in consciousness. And we’re here for every sublime moment of it

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ALESSANDRO BERGA | L’ÉDITOR

Mode Diplomatique

23/01/2026

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28/12/2025

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