Mode Diplomatique (2025)

We are global, unrestricted, fashion collective reporting live from an insider bench. Our commitment to free individual expression is daily, we are multilingual, curating designer's in their native tongues. We avoid the trap of blogging ferocity that are lurking beneath the drop in fashion's crédibilité. ALESSANDRO BERGA

L'ÉDITOR _Styliste de mots et de modes

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

30/09/2024

Q***R ALÉTHEIA
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Frankl, Gautier, de Montaigne, Heidegger, Severino. Alessandro Michele is overbred. His soliloque on beauty is full of many things not named, and many quotes, even if they have named, have been détournées.

As his prête-plume wrote, beauty is “an anchor to navigate within that «pavillon des folies» we call life”. And went on to glorify the concept of beauty through a litany of pompous intellettualismi to win our vibes and to move us. It could have worked if his SS 2025 carried conviction not camouflage. Far from a revelation.

In his première chez , quoting Mr. Garavani would have carried weight. But Michele didn’t because his was about what he did not name, merely q***r aesthetics and himself as a disruptive creator. He hid “Beauty”, fourre-tout utile, behind the “elusive and incendiary movement that questions our wholeness, acting as a surprising propagator of fullness.”

IF the courage of his q***r aesthetics came into words the way his SS25 is about, it would have conveyed the creative character everyone was eager to rediscover in .

To the trained eyes and versed cultivé, you can sense the Gucci-isms in his wardrobes and the wannabe-elitism in his words. Morality failed sensibility in a reverse snobbery.

I wanted to believe in this but so far, it is a failure. This SS25 suffers far too much from its multiple Gucci rewrites. It goes in all directions and Alessandro Michele struggles to stand out fashion wise, for q***rs, himself and ultimately for Messieurs Garavani and .

A “purposeless” beauty that is too bloated and often hideous. This is not Mr. Garavani’s world, as you can imagine.
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| L’ÉDITOR

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