All sides of knitwear. Pullover, sweater, jumper, cardigan. There’s a wide range of nouns included in a single word, definitely acquired by fashionable slang: knitwear. As many are the models that complete the male wardrobe: there’s the “V” neck, the round neck, the turtle neck, the cardigan. Another element that characterizes further this commodities sector is the variety of fabric, that – in winter – is largely wool or cashmere: in this season cotton is rarely used, and only for sportswear. the more intellectual côté of fashion often wears knitwear as outerwear; refined designers and luminary of the most snob side like Yamamoto, designed long “coat-like cardigans” made of ribbed wool. The captivating and clever luxury by Gucci, now suggests beautiful round-neck pullovers, with heavy yarn and bright colours; they don’t replace the coat, but they should be worn under a light jacket, maybe unlined and soft. The final effect is a practical but chic mix, especially directed to young customers, but I think it could be brilliant for more mature men too, searching for a cool and informal look, but with a touch of quality. Bazaar Uomo 1993, Maxi-Cardigan by Yohij Yamamoto Ph. Judson Baker; The Men Issue ottobre 2013, Gucci. Ph. Letizia Ragno.

Fashion shows have become performances, live “narratives”. Yesterday unvarnished fashion walked the runway; today, set-up, music, lights and even invitations immediately introduce in the collection’s mood. Years ago all designers modeled in the Fair’s old location: the same halls, white walls, chairs and catwalks. Dolce & Gabbana were among the first to change location. In 1995, still in the old one, they displayed damasked for men: the idea of buying and restoring the old cinema Metropol wasn’t in their projects yet. Today, thanks to the magnificence of a (ex) movie theatre changed, by necessity, into a hall inspired by Visconti, that mediterranean romanticism is celebrated with a much more affecting intensity. Opposite feeling at Prada, able to surprising intuitions: every season her space changes scenography, and every time is a surprise: nothing shines through, not even from the invitation. In 2011, when she changed her fashion’s direction suggesting bright colours, a catwalk made of steel tubes and lighted up by neon lights. Two examples of excellence, totally opposing and totally brilliant. Above, from left, an outfit by Dolce & Gabbana (from Bazaar Uomo, 1995; ph. Rennio) and one by Prada (from max, 2011; ph. Tesh).

Those intermittent trends. Every season has its trends, some that strengthen or renovate themselves consecutively, others that come back from a remote past, others that vanish. Fashion – for its own definition – never keeps still; until the beginning of 2000, when a colour or a certain fabric, or some shapes left the scene, we knew that we wouldn’t have seen them for a long time. Today things have changed. For example the “military” never disappear totally: we always find it, scattered and fragmented, maybe just in a detail. Velvet, in particular smooth, is another suitable example: we find it intermittently; in some seasons is one of the undisputed protagonists, in others, instead, stays on the bench. Not wholly, however:  Giorgio Armani and Dolce & Gabbana never omit some smooth velvet outfits; in next winter’s collections, for example, they’ve suggested it in black, in “evening” variations. But its beauty- that stays in sheen of fabric – is much more intensified when it’s dyed in underbrush or red shades. On stands of vintage markets we can find dozens of velvet jackets and coats, even shirts: the one in the picture is twenty years old, but it’s incredibly up-to-date and mesh with current fashion. Picture by Danilo Russo, from Harper’s Bazaar Uomo 1994. Clothes by Dries Van Noten.

A picture of 1995 by Francesca Galliani. Total white and luxury accessories: printed coloured silk tie (Hermès), crocodile brogues (Bruno Magli), watch (Cartier) and cufflinks (Antonini). Model Nick Scotti.

The top model Larry Scott in a double-breasted pinstriped suit by Trussardi. Photo by Judson Baker.