In this new project of restraint and measure, an unchanged logic of excellence finds its fullest expression in the absolute quality of materials. Starting with linen and silk, full in handle, exploiting coarse and relief weaves to increase the ease and fluidity of garments. Wool, instead, is chosen in variants close to weightlessness, transforming it into a true summer fabric. Leather appears in particularly supple and high-performing versions. 

In a wholly spontaneous play of assonances, forms are calibrated to the intrinsic characteristics of the material. Close fits occur only in elastic fabrics, marking the body out of a need for tone and agility rather than any desire for display. Conversely, loose-weave fabrics allow for more structured shapes, never oversized and always crisp. 

Equally logical is the articulation of colour, favouring intense tones: dark brown, navy blue, brique set against grey. Red, when present, reveals a particular depth. This density is softened by flashes of light, both strong and delicate. Thus, to enhance the freshness of the summer suit, white is softened into the most natural shades of cream, while remaining fully luminous in the cotton organza evening shirts cut à jour and in the immaculate tuxedos. 

Thinking of the Pyrenees, or imagining a journey through the Alps. Large coats quilted on the outside, or rough fur overcoats, neither napped nor doubled, dyed khaki or dark green; a relaxed yet chic jacket in boiled cloth – white or black, to be worn with a crisp white scarf; trousers that are either precise or, on the contrary, deliberately emphasised, also thanks to the practical generosity of their pockets. 

Pullovers appear hand-knitted or embroidered, made in a mat-like wool with a lived-in look: close-fitting under jackets and coats, or else ample and straight, like the ski sweaters of the past. 

The result is a sensible, well-balanced collection, one that clearly reveals the reasons why the male wardrobe is made up of certain garments and responds to specific needs. First among these is the need to reinterpret even the most classic forms of urban dress with the ease of a sporting spirit. This search for soft nonchalance has led to a rethinking of established relationships, avoiding predictable correspondences between garment and body. If a piece is sporty, it does not necessarily have to be fitted; on the contrary, it may acquire volume and scale. 

A desire for solidity and restraint also emerges in the colours: beyond white and black, ecru, pine green and anthracite, punctuated by sharp flashes of turquoise or lacquer red that recall the decorations of alpine walking sticks.