Stefano Gabbana and Domenico Dolce are no strangers to the world of glitz; it’s hard to find a celebrity who hasn’t worn one of their fabulous numbers, and the designers have achieved celebrity status themselves (all while strenuously protecting their privacy). As a nod to the culture of extreme visibility that fuels the star system and is gleefully embraced by our social media-driven world, they named their men’s collection Paparazzi.
Delving into some etymological sleuthing, the term paparazzo was reportedly coined by Federico Fellini during the filming of La Dolce Vita in the 1960s. In the movie, he named an intrusive, hyperactive news photographer Coriolano Paparazzo, inspired by Italian slang for the mosquito—a “buzzing insect, hovering, darting, stinging,” as he explained in an interview with Time magazine. The onomatopoeic name caught on and became part of the lexicon. Today, however, armed with our ubiquitous iPhones, we’ve all transformed into throngs of tireless paparazzi ourselves.
At today’s show, the velvet curtains at the end of a red carpeted runway parted to reveal a wall of paparazzi impeccably dressed (a rare occurrence), all outfitted in sleek black D&G tuxedos. It unfolded as a commentary on the lives of celebrities under the unrelenting gaze of intrusive photographers, tracing their journey from everyday routines to the obligatory appearances on the movie promotion circuit, and the glam and buzz of red carpet moments that celebrate their megawatt careers. For every step of the way, Dolce & Gabbana offered attractive pieces that showcased their consummate range—a seductive, cohesive lineup, all with a touch of impactful ease. It’s no wonder that celebrities (and the less-famous) are so drawn to their designs.
Moving away from the tailored emphasis of recent seasons, the designers embraced a sort of ’60s Dolce Vita debonair swagger—confidently laid-back, a tad insouciant. The allure of the Latin lover par excellence, Marcello Mastroianni, seemed to linger, along with an appreciation for old-world elegance, even in the most casual pieces. Progressing from layered, roomy daywear in soft washed denim—where utility was inflected with a dash of glam by voluminous faux-furs coats and plush furry trimmings that screamed “prestige!”—the collection shifted into a slightly more formal rhythm, featuring tweed suits and slender, malleable coats as relaxed and nonchalant as they were impeccably tailored.
Styling was deliberately streamlined, with zero tolerance for excess and only occasional indulgence in well-curated contrasts, as in a dark purple sequined double-breasted blazer that looked both fabulous and laid back worn over casual cargos and low-fi sneakers—a look that seemed to nod to the upcoming awards season. This piece also served as a sort of transition to the collection’s resplendent red carpet finale.
Stefano e Domenico are known as master tailors. The series of black tuxedos that closed the show was a showcase of glamorous tailoring of the loose, elegant, ’40s-inflected variety—trousers with a fluid draped cadence, double-breasted jackets with wide, smooth-satin lapels, scarves that tied sensually around the neck. The dazzling rhinestone brooches pinned on lapels, at the waist or replacing buttons added just the right hint of shimmer and whimsy. From the front row, Lucien Laviscount, Rocco Ritchie, James McAvoy, Jung Hae-in and Bob Dylan’s grandson Levi Dylan were all silently making orders.
