by Stephen Garner

Creative director Massimo Giorgetti’s inspiration behind his spring/summer 2021 menswear collection for MSGM stems from a breath of hope and positivity.

“Back in the office after lockdown I found myself re-imagining the collection and reconsidering who we were aiming it at, how we were doing it and what was our message,” said Giorgetti. “I tried to go for what was essential, with a strong and compact collection. I asked myself what was the meaning of simplicity, for me and for MSGM. It isn’t only the clean colours, prints and patterns, always vivid, kaleidoscopic and explosive – true to a message of optimism that I felt it was my duty to express. Simplicity is rather total immediacy. The immediacy of fresh, desirable clothes that are easy to wear. Clothes that bring joy.”

“I wanted the collection to convey, both visually and aesthetically, the idea of a joyous rebirth, the yearning for a renewal that I myself was experiencing after the challenging period during the first months of the year,” added Giorgetti. “MSGM can only interpret the present and imagine the future with joy, passion, and poetry.”

A line on items in nylon jacquard from ”Fluo: Storie di Giovani a Riccione”, the cult book by Isabella Santacroce, was written by the very Giorgetti: “I want my heart to beat forever and I want to enjoy life to the full, the sky above my head, sand under my feet, and love always in my hands like a lemon ice cream enjoyed by the seaside on a May afternoon when the best is still to begin, and continue as before, so fast and so immortal.”

The corresponding collection is relaxed – striped t-shirts and polo shirts, workwear pieces, checked overshirts worn over printed t-shirts, technical jackets in crumpled fabric over light Bermuda shorts.

The prints are catchy, with tie dye, paisley, Monstera leaves with a tropical flavor. The colors are either muted or brilliant, but always playful: pink, lilac azure, but there are also bold accents of green, blue and red on sweaters with strokes of jacquard.

Printed or stamped on the knitwear are three works by the American painter Seth Armstrong: Roman Romp (2014), Li’l Baja (2017), and Laurel Canyon (2018). Seen from the district in the Hollywood Hills it is named after, an area crowded with both houses and vegetation, Laurel Canyon seems to refer to the topic of home confinement, and examine in a voyeuristic (but always ironic) way the private lives of its inhabitants.