‘Italian fashion is torn between nostalgia and progress.’


‘Italian fashion is torn between nostalgia and progress.’

Angelo Flaccavento, Italy’s most authoritative (and opinionated) voice in fashion journalism, gets vocal.

By Jonathan Wingfield
Photographs by Johnny Dufort
Styling by Lotta Volkova


‘Paris Fashion Week which closed yesterday lasted for too long and provided little pleasure.’
(The Business of Fashion, October 3, 2018)
Angelo Flaccavento tells it like it is. The Sicilian journalist has been writing about fashion for almost 20 years, and if you’ve never come across his show reviews and industry reporting – principally for Italian daily business newspaper Il Sole 24 Ore and digital platform The Business of Fashion – then you’re missing a treat. Or escaping torture, depending on whether you find yourself on the receiving end of his no-nonsense, hit-’em-where-it-hurts prose. Because in today’s era of native content, puff-pieces and general editorial fluffiness, Flaccavento serves up eye-watering missives that are as startling honest and unvarnished as they are likely to reveal fashion’s inconvenient truths.

In particular, it’s Flaccavento’s evaluation of Italian fashion – past, present and future – that distinguishes him as a vital resource for the industry. Fashion in Italy is unquestionably at a crossroads right now. Even Italy’s proud history of craftsmanship and formal tailoring, exemplified by the ‘Made in Italy’ seal of approval, all seem desperately at odds with the global rise of streetwear and sneakers. With all this swimming through our minds, System has spent the past couple of seasons in the company of Angelo Flaccavento. Meanwhile, stylist Lotta Volkova and photographer Johnny Dufort took to the streets of Milan to shoot a photographic survey of Italian fashion from A(rmani) to Z(anotti).
Read the conversation in System No. 12. Click to buy.