Il Giorno dei Morti — All Souls’ Day in Italy 2026

On November 2, Italians observe Il Giorno dei Morti, also known as La Commemorazione dei Defunti, or All Souls’ Day. Much like Mexico’s Día de los Muertos, it is a day devoted to remembering and honoring loved ones who have passed away. Following Ognissanti (All Saints’ Day) on November 1, families throughout Italy visit cemeteries, clean and decorate graves with flowers—particularly chrysanthemums—and light candles in remembrance. Churches hold special Masses and prayers for the departed.

The day also has a particularly charming place in the traditions of Italian children. In Sicily, an old custom holds that departed relatives return during the night, leaving sweets, toys, and small gifts for children. In parts of southern Italy, families prepare special treats associated with the occasion, while elsewhere regional pastries and biscuits known as ossa dei morti, or “bones of the dead,” appear in bakeries. In parts of Sardinia, children go door to door receiving treats in memory of the souls of the departed. These traditions offer children a gentle introduction to the idea that those who have died remain part of the family's story.

Although customs vary from region to region, Il Giorno dei Morti remains an occasion for families to gather, share memories, and honor the generations that came before them. Like Día de los Muertos, it reminds us that remembrance need not be solely an expression of sorrow, but can also be a celebration of love, family, and the enduring presence of those we have lost.

BEAUTY: Clothing--Shinyakozuka

Shinya Kozuka, who was the guest designer at Pitti Uomo this past winter, has been at it with his eponymously named menswear line since he graduated from Central Saint Martins in 2013. But this Spring Summer '27 collection entitled "watercolor path" marks his official debut on the Milan menswear schedule. And the collection has a curious impact ... like a haiku, it is streamlined and subtle but packed with poetic meaning.

Apparently, Kozuka often forgets his glasses at home and navigates his Tokyo neighborhood in a blur. From this experience came the idea of making the collection feel as if it exists in a haze. In his show notes, he said," There is something nice about being out of focus. Not everything needs to be perfectly clear. Not everything needs to be sharply defined. I think there is something important about repetition." The motif that flew into frame was birds in a beautiful spectrum of greens and blues. For the narrative, witness the design on a sweater in Look 18 that depicts a lone figure walking hrough a cityscape, casting a shadow onto a nearby flying bird.

The hand-made, hand-painted aspect of the collection is what makes it feel like a haiku ... something from the mind of an artist, from the hand of the maker. Looks 1, 2, 3, 5, 7, and 13 are literally caked with paint. Many pieces are made from sheer material ... I love the jumpsuit in Look 6. And one tunic poignantly and simply announces, "homecoming." Like a haiku, we glean a bigger sense of  meaning from each of the lines and garments in this pensive collection.

https://shinyakozuka.com/

BEAUTY: Clothing--Giorgio Armani

It was a sad day last September when we learned of the death of a legend, Giorgio Armani. He had just celebrated his 91st birthday in July but had been ill in hospital for a bit. While it is not a surprise when someone of an advanced age dies (a dear friend of mine who checked out at 92 a couple of years ago asked me a few days before she died, "How much longer do I think I'm going to live?"), it is still a loss. But Sig. Armani lived a full life of creativity and left behind a legacy of true beauty.

It is impossible to exaggerate his achievements and contribution to culture, to design (not only of clothing, but of home furnishings and architecture), and to fashion history during his fifty year career. Along with names who changed silhouettes and shapes and ushered in new cuts and styles and materials, Armani takes his place in the pantheon. He deconstructed the men's suit in the 80s, turning it into something soft and sensual, something sexy and flowing, without altering the basic concept of what it was. He removed layers of felting inside suits, making them relaxed and able to behave like thin silk. Just take a look at the iconic clothing from the film "American Gigolo" and you will see what I mean. It was soft and casual with a sense of effortless power. This revolution rippled out into the industry and we see its waves even now: designers still grapple with ways to make suiting less stiff, to make clothing more luxe without being precious, and to make pieces with more innate ease without being sloppy. In short, to make clothes more Armani. But no one does Armani like Armani. Clean lined and impeccably tailored, Armani's sensibility is about luxe fabrics and the way a garment hangs and drapes on the body (of both men and women). But there is something else that I really respond to in each Armani collection and that is a vague sense, a shadow, an echo of historical fashion. The way a jacket or coat is cut or its stance, the inclusion of waistcoats, belted outerwear, loose cut and high waisted trousers...it all reminds me of...what, the 1920s and 30s? The 1880s and 1890s? The 1940s and 50s? Yes to all of it.

So this Spring Summer '27 collection shown at Milano Moda Uomo, is the second to exist without any direct input from the master himself. Armani's partner in business and in life, Leo Dell'Orco (the two had worked together for nearly forty-five years, and became romantic partners after the death of Armani's first love, Sergio Galeotti). He is certainly carrying on the DNA of the house with gorgeous, loose-fitting and flowing trousers but this collection seemed to be about the cuts of jackets and the addition of denim...and lots of it, or at least a lot in the Armani-verse. But this is a denim that appears to be the typical woven canvas structure but which actually looks and feels more like shantung silk ... of course. In his show notes, Dell-Orco said, "I envisioned a collection that is very Armani: fluid lines, this time closer to the body, and fabrics with a lived-in appearance—vibrant, sun-scorched, and full of character. I believe that in menswear it is essential to return to researching and innovating materials."

As for the jackets, we see a newcomer to Armani... a roomier version of a classic academic's jacket, longer and looser than the traditional version (seen in Looks 5, 11, 12, 15, 17). And the collection ended with a great section of eveningwear, stripped down to its essential silhouette, clean, unencumbered ... and featuring lapel pins of the zodiac symbols for Scorpio and Cancer, Dell-Orco's and Armani's signs respectively. A touching gesture of love across the gap...

https://www.armani.com/

BEAUTY: Clothing--Thom Browne

Thom Browne. Milano Moda Uomo. Spring Summer 2027.

This absolutely delightful collection using Browne's classic vocabulary sprung up from the idea of gardens and all the life that occupies one: dragonflies, bees (aside from beekeeper hats, we see literal representations of bees but also garments with a honeycomb motif), butterflies (and designs of their wings arching across jackets), grasshoppers, and ants (click on Look #16 to see some tiny ants on the short red sweater vest). Stalks of blooming lilies and the lush silhouettes of peonies appear. And the fairytale of The Princess and The Frog weaves its way in, but according to Browne, this time it is The Prince and The Frog...lily pads on a pond, tiny embroidered frogs on neck ties, and Browne himself taking a bow in a giant frog head!

All this on light, breezy coats along with skirts both kilt-like and pencil, in spring-y pastel deliciousness. And I think this is the first time Browne has sent jeans down a runway (see Look #16 again ). But the most fun: the black rain slicker and the beautiful white bridal look at the end of the show! Watch the video below.

https://www.thombrowne.com/

BEAUTY: Clothing--Dolce and Gabbana

Hot on the heels of Pitti Uomo in Florence, we have Milano Moda Uomo. And we can always count on Domenico Dolce and Steffano Gabbana to mine the rich cultural, social, topographical, religious, and visual culture of Italy, and in particular, their homeland of Sicily.

For this collection of 80 looks (D & G have always been prolific), a sense of the sea and shore and prints with Sicilian citrus and antique postcards waft through woven jackets and eyelet lace pants and shirts ... it is called "Sicilian Vacation" after all. And although the collection starts off with plenty of looks in black (very Catholic of them), it blossoms into something from the heyday of Italian cinema, between the 1950s to the 1970s. There's a bit of "La Dolce Vita" (look at the cuts of some of the trousers and suiting) and a bit of 1970s mod prints. There are plenty of jackets, shirts, and pants encrusted with beads and jewels. The addition of easy-breezy beachwear makes it a holiday. Tutto fantastico!

And take a look at the incredible, over-the-top beaded and encrusted shoes, looking like altar pieces from a Baroque church. Some feature the coral motif seen on garments! Click on the photos below for a jaw-dropping close-up!

https://www.dolcegabbana.com/

BEAUTY: Clothing--Simone Rocha at Pitti Uomo

This year's guest designer at Pitti Uomo (the twice-yearly international fashion trade show in Italy) was Simone Rocha who showed her first exclusive menswear collection...even though she has been showing menswear sprinkled into her womenswear shows for about four seasons now. So this was a wonderful opportunity for Rocha who said, "To be able to bring my vocabulary, distill it down, and refocus it in this way has been a very exciting process, and the whole experience here at Pitti has been fabulous. I’m very grateful to Pitti for having me as their guest designer."

She used Florence, the city of Pitti Uomo, as a springboard for inspiration and studied the classic 1985 Merchant and Ivory film "A Room With A View" based on E.M. Forster's novel of the same name. Soaking up the costume design of the film which takes place in the early 1900s, Rocha said, "This is my Irish man [referencing one of the characters in the book and film] and he’s arrived in Florence and become the main character." This Spring-Summer '27 collection was shown in the performance space of the Teatro della Pergola, a 17th-century opera house, and she used one of the floral prints she found in antique trunks in the theatre on ties and embroidery on garments. Indeed, Rocha was able to employ her now-standard vocabulary of lace, ruffles, bows, pleats, and the pearls and rhinestones of costume jewelry in a nice hybrid of classic UK menswear, with a curious--and cool--addition of work aprons in leather, and spiked shoes! I love this collection for the way it pushes boundaries but also, strangely, exists simultaneously within them...

https://simonerocha.com