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Welcome to Enzo’s Edit—your curated gateway into my digital realm. Here, you’ll find direct links to my social media profiles, offering a window into my daily life, inspirations, and the fashion pieces that captivate me. From candid moments with family and friends to the ensembles that define my style, my feeds reflect the journey and passions that shape me.
But Enzo’s Edit is more than just snapshots; it’s a space where I share my perspectives on current pop culture events, red carpet moments, and fashion-related media. Expect thoughtful reviews, sharp critiques, and personal takes that blend industry insight with individual flair.
Whether you’re here to explore my latest style inspirations, delve into fashion discourse, or simply connect, you’re in the right place. Feel free to reach out through any of these platforms; I’m always open to meaningful conversations and collaborations.
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The Thread Report: Where fashion meets the moment.
Stay tapped into the pulse of pop culture with fashion at the forefront. From red carpet throwbacks to runway revelations, The Thread Report breaks down the trends, icons, and style shifts shaping the scene — all with my own hot takes, reviews, and unapologetic opinions woven in.
confidence. Let’s embark on a journey of sartorial self-discovery together.
WHATS NEW?
By ENZO
Posted: 19/05/2025
Pierpaolo Piccioli’s appointment at Balenciaga isn’t just a changing of the guard — it’s a recalibration of identity. After years of Balenciaga being defined by disruption and digital virality under Demna, this move signals a desire to return to something more grounded: craftsmanship, human emotion, and a deeper creative integrity.
Piccioli represents the antithesis of spectacle for spectacle’s sake. His work at Valentino was tender, poetic, and unapologetically romantic — but always rooted in purpose. For Balenciaga, a house that’s been wrestling with controversy and the exhaustion of provocation, his arrival feels like a conscious reset. Not a reinvention, but a restoration.
What’s admirable is how Piccioli positions himself within the lineage rather than above it. He speaks with respect — not only for Demna, but for Nicolas Ghesquière and, crucially, Cristóbal Balenciaga himself. That kind of reverence, paired with his proven ability to modernise heritage without diluting its soul, could be exactly what Balenciaga needs in this moment.
There’s also a quiet strategy at play. Kering is clearly steering the narrative here — after absorbing a stake in Valentino and repositioning Demna at Gucci, placing Piccioli at Balenciaga ties the arc together. It’s a stabilising move during a volatile time in luxury, and one that will likely reassure both the market and the creative community.
If Piccioli succeeds — and I believe he will — we may see Balenciaga re-emerge not as a meme or a headline, but as a house with real emotional resonance. Less noise. More nuance.
Check out Vogue’s own perspective on this same story. Link below.
Posted: 19/05/2025
Pierpaolo Piccioli’s appointment at Balenciaga isn’t just a changing of the guard — it’s a recalibration of identity. After years of Balenciaga being defined by disruption and digital virality under Demna, this move signals a desire to return to something more grounded: craftsmanship, human emotion, and a deeper creative integrity.
Piccioli represents the antithesis of spectacle for spectacle’s sake. His work at Valentino was tender, poetic, and unapologetically romantic — but always rooted in purpose. For Balenciaga, a house that’s been wrestling with controversy and the exhaustion of provocation, his arrival feels like a conscious reset. Not a reinvention, but a restoration.
What’s admirable is how Piccioli positions himself within the lineage rather than above it. He speaks with respect — not only for Demna, but for Nicolas Ghesquière and, crucially, Cristóbal Balenciaga himself. That kind of reverence, paired with his proven ability to modernise heritage without diluting its soul, could be exactly what Balenciaga needs in this moment.
There’s also a quiet strategy at play. Kering is clearly steering the narrative here — after absorbing a stake in Valentino and repositioning Demna at Gucci, placing Piccioli at Balenciaga ties the arc together. It’s a stabilising move during a volatile time in luxury, and one that will likely reassure both the market and the creative community.
If Piccioli succeeds — and I believe he will — we may see Balenciaga re-emerge not as a meme or a headline, but as a house with real emotional resonance. Less noise. More nuance.
Check out Vogue’s own perspective on this same story. Link below.
POP CULTURE RECAP!
By ENZO
Posted: 15/05/2025
House of McQueen: A Theatrical Love Letter to the Man, the Myth, the Madness”
Look, let’s just start here—Alexander McQueen was never just a designer. The man was drama. Couture with a conscience. Beauty wrapped in bruises. And this new production, House of McQueen, isn’t trying to sell you clothes. It’s trying to make you feel him.
I won’t lie—my first real intro to the McQueen universe was through that Grace Kelly-inspired wedding dress Kate Middleton wore. It was iconic, yeah, but let’s be real—Sarah Burton did that, not Lee. And no shade, I loved it, I did. But that was the fairy tale. What made me obsessed with McQueen was the nightmare. The twisted fantasy. The way he’d send models down the runway like broken dolls or futuristic queens. Every look was a story, and not always a pretty one.
So when I heard they were doing a full-on off-Broadway play about him? I was half nervous, half hyped. Nervous ’cause McQueen’s life wasn’t glitter and lace. It was rejection, depression, homophobia, heartbreak—all stitched into the fabric of his shows. But hyped ’cause who else deserves a whole-ass theatrical moment if not him?
And from what I’ve seen? House of McQueen is giving. Gary James McQueen—his actual nephew—is creative directing it, which already gives it a layer of respect and connection most tributes don’t have. They’re not just showing the fashion, they’re showing the man. The pain. The wild imagination. The stuff that made McQueen who he was, not just the brand, but the boy who came from nothing and changed everything.
What I really rate is how the team’s not trying to gloss over anything. They’re hitting real issues: bullying, suicide, mental health, being queer in spaces that weren’t safe. They’re saying the quiet parts loud. And that matters, especially for the younger gen who might only know the name from a perfume bottle or a clutch bag. They don’t know about the ‘Highland Rape’ collection. They don’t know about the time he brought a whole robot arm on stage to spray paint Shalom Harlow in a white dress live. Art, babes.
And don’t get me started on the tech—projection mapping, holography, even a whole immersive experience coming to LA called Provocateur. McQueen woulda loved that. Man was always ten steps ahead, always about shocking and wowing. Never just clothes—it was always theatre.
This ain’t just a tribute. It’s a reminder. McQueen was loud, complicated, sensitive, brilliant. And this show? It’s a chance to sit with that. To feel the ache and the ecstasy of a life lived bold and messy. I’m just glad someone finally told the story the way it deserved to be told.
For a full breakdown and more details, check out the Vogue article linked below. That’s their write-up—this one’s just my personal take on the moment.
Posted: 15/05/2025
House of McQueen: A Theatrical Love Letter to the Man, the Myth, the Madness”
Look, let’s just start here—Alexander McQueen was never just a designer. The man was drama. Couture with a conscience. Beauty wrapped in bruises. And this new production, House of McQueen, isn’t trying to sell you clothes. It’s trying to make you feel him.
I won’t lie—my first real intro to the McQueen universe was through that Grace Kelly-inspired wedding dress Kate Middleton wore. It was iconic, yeah, but let’s be real—Sarah Burton did that, not Lee. And no shade, I loved it, I did. But that was the fairy tale. What made me obsessed with McQueen was the nightmare. The twisted fantasy. The way he’d send models down the runway like broken dolls or futuristic queens. Every look was a story, and not always a pretty one.
So when I heard they were doing a full-on off-Broadway play about him? I was half nervous, half hyped. Nervous ’cause McQueen’s life wasn’t glitter and lace. It was rejection, depression, homophobia, heartbreak—all stitched into the fabric of his shows. But hyped ’cause who else deserves a whole-ass theatrical moment if not him?
And from what I’ve seen? House of McQueen is giving. Gary James McQueen—his actual nephew—is creative directing it, which already gives it a layer of respect and connection most tributes don’t have. They’re not just showing the fashion, they’re showing the man. The pain. The wild imagination. The stuff that made McQueen who he was, not just the brand, but the boy who came from nothing and changed everything.
What I really rate is how the team’s not trying to gloss over anything. They’re hitting real issues: bullying, suicide, mental health, being queer in spaces that weren’t safe. They’re saying the quiet parts loud. And that matters, especially for the younger gen who might only know the name from a perfume bottle or a clutch bag. They don’t know about the ‘Highland Rape’ collection. They don’t know about the time he brought a whole robot arm on stage to spray paint Shalom Harlow in a white dress live. Art, babes.
And don’t get me started on the tech—projection mapping, holography, even a whole immersive experience coming to LA called Provocateur. McQueen woulda loved that. Man was always ten steps ahead, always about shocking and wowing. Never just clothes—it was always theatre.
This ain’t just a tribute. It’s a reminder. McQueen was loud, complicated, sensitive, brilliant. And this show? It’s a chance to sit with that. To feel the ache and the ecstasy of a life lived bold and messy. I’m just glad someone finally told the story the way it deserved to be told.
For a full breakdown and more details, check out the Vogue article linked below. That’s their write-up—this one’s just my personal take on the moment.
RED CARPET UPDATES:
By ENZO
Posted: 14/05/2025
Cannes 2025 — A Strong Start, with Some Bold Moves
So I’ve been keeping an eye on the early red carpet looks from Cannes, and let’s just say—it’s already shaping up to be one for the books. Some really clean executions, a few questionable risks, but overall? The drama is alive and well.
Hayley Atwell stepped out in a sculptural crimson gown that was… interesting. The structure was ambitious—very theatrical with that exaggerated peplum and mermaid hem. Visually, it commanded attention. But from a technical standpoint, it overwhelmed her proportions a bit. The fabric choice gave it weight, maybe too much, but I’ll give her this: she came to make a statement, and in that sense, it worked.
Now, Julia Garner? She understood the brief. That sheer, ruched black number was razor-sharp. The asymmetry, the high slit, the way the fabric hugged her frame—elegant but with edge. It had a real modern noir vibe. Minimal styling, strong silhouette. Easily one of the best looks so far.
Angela Bassett, as always, came correct. That textural detailing on her gown moved beautifully—almost like fringe but elevated. She’s got a presence that does most of the work already, and the dress complemented that without competing.
Halle Berry, on the other hand, took a big swing. The corseted bodice was clean, but those exaggerated gingham hip details threw off the balance. I see what she was going for—something playful and unconventional—but the execution leaned more costume than couture. Still, credit where it’s due: she wore it with confidence.
Pom Klementieff wore a fluid lavender gown that felt Grecian with a modern twist. It draped nicely, but the fit was risky—any misstep and it could’ve gone sideways. That said, she pulled it off.
Bella Hadid came through in Saint Laurent, keeping it simple and sharp. That clean black silhouette with the side cutout was pure understated sex appeal. Sometimes restraint is the most powerful move, and she proved it.
Irina Shayk’s look had volume, movement, and a starry-night kind of energy. That dotted Armani Privé gown was romantic without being soft—there was a strength to it. And Shanina Shaik? That crystal-embellished piece had texture, gradient, and a confident silhouette. The craftsmanship was on point.
Cannes has always been about spectacle, and this year’s opening looks are already delivering. Some hits, a few near-misses, but plenty to talk about. Can’t wait to see what the rest of the week brings.
— Check out more images and daily updates at Vogue for more red carpet coverage.
Posted: 14/05/2025
Cannes 2025 — A Strong Start, with Some Bold Moves
So I’ve been keeping an eye on the early red carpet looks from Cannes, and let’s just say—it’s already shaping up to be one for the books. Some really clean executions, a few questionable risks, but overall? The drama is alive and well.
Hayley Atwell stepped out in a sculptural crimson gown that was… interesting. The structure was ambitious—very theatrical with that exaggerated peplum and mermaid hem. Visually, it commanded attention. But from a technical standpoint, it overwhelmed her proportions a bit. The fabric choice gave it weight, maybe too much, but I’ll give her this: she came to make a statement, and in that sense, it worked.
Now, Julia Garner? She understood the brief. That sheer, ruched black number was razor-sharp. The asymmetry, the high slit, the way the fabric hugged her frame—elegant but with edge. It had a real modern noir vibe. Minimal styling, strong silhouette. Easily one of the best looks so far.
Angela Bassett, as always, came correct. That textural detailing on her gown moved beautifully—almost like fringe but elevated. She’s got a presence that does most of the work already, and the dress complemented that without competing.
Halle Berry, on the other hand, took a big swing. The corseted bodice was clean, but those exaggerated gingham hip details threw off the balance. I see what she was going for—something playful and unconventional—but the execution leaned more costume than couture. Still, credit where it’s due: she wore it with confidence.
Pom Klementieff wore a fluid lavender gown that felt Grecian with a modern twist. It draped nicely, but the fit was risky—any misstep and it could’ve gone sideways. That said, she pulled it off.
Bella Hadid came through in Saint Laurent, keeping it simple and sharp. That clean black silhouette with the side cutout was pure understated sex appeal. Sometimes restraint is the most powerful move, and she proved it.
Irina Shayk’s look had volume, movement, and a starry-night kind of energy. That dotted Armani Privé gown was romantic without being soft—there was a strength to it. And Shanina Shaik? That crystal-embellished piece had texture, gradient, and a confident silhouette. The craftsmanship was on point.
Cannes has always been about spectacle, and this year’s opening looks are already delivering. Some hits, a few near-misses, but plenty to talk about. Can’t wait to see what the rest of the week brings.
— Check out more images and daily updates at Vogue for more red carpet coverage.
WHATS NEW?
Enzo Jiovarni Reviews: All’s Fair (First Impressions)
Posted: 15/05/2025
When the promo for All’s Fair dropped, I had to pause. A Ryan Murphy legal drama led by a gang of powerhouse women in fierce tailoring? Yeah, my interest was piqued. It’s got the DNA of Scandal, Suits, and How to Get Away with Murder, but with Murphy’s signature glossy chaos layered on thick.
Now, let’s talk about it—Kim Kardashian front and centre. Look, I respect the hustle. She’s built an empire. But let’s be real: she’s not an actress, and standing next to the likes of Glenn Close, Niecy Nash, Sarah Paulson and Naomi Watts? That’s a steep hill to climb. It’s clear she’s the marketing hook here, and Ryan knows exactly what he’s doing. Whether she delivers is another convo.
Also—let’s not pretend Murphy’s recent projects have all been bangers. He’s had some highs (Feud, Dahmer), but also a few flops that didn’t quite hit the mark. So while All’s Fair looks like a potential slay, I’m going in cautious. It’s all giving “we’ll see.” Haven’t seen the full show yet—this is strictly based on the teasers and promo material so far. But from the aesthetic alone? It’s sleek, dramatic, and screaming to be watched on a slow Sunday with your phone in hand for live tweets.
Verdict: A loaded cast, luxe visuals, and a headline-making lead. Could be iconic… or just iconic to look at. Either way, I’m watching. Anticipation level: 4 outta 5 briefcases—lawyered up and ready to judge.
Wanna dive deeper? Variety’s got the full scoop—check out their article.
When the promo for All’s Fair dropped, I had to pause. A Ryan Murphy legal drama led by a gang of powerhouse women in fierce tailoring? Yeah, my interest was piqued. It’s got the DNA of Scandal, Suits, and How to Get Away with Murder, but with Murphy’s signature glossy chaos layered on thick.
Now, let’s talk about it—Kim Kardashian front and centre. Look, I respect the hustle. She’s built an empire. But let’s be real: she’s not an actress, and standing next to the likes of Glenn Close, Niecy Nash, Sarah Paulson and Naomi Watts? That’s a steep hill to climb. It’s clear she’s the marketing hook here, and Ryan knows exactly what he’s doing. Whether she delivers is another convo.
Also—let’s not pretend Murphy’s recent projects have all been bangers. He’s had some highs (Feud, Dahmer), but also a few flops that didn’t quite hit the mark. So while All’s Fair looks like a potential slay, I’m going in cautious. It’s all giving “we’ll see.” Haven’t seen the full show yet—this is strictly based on the teasers and promo material so far. But from the aesthetic alone? It’s sleek, dramatic, and screaming to be watched on a slow Sunday with your phone in hand for live tweets.
Verdict: A loaded cast, luxe visuals, and a headline-making lead. Could be iconic… or just iconic to look at. Either way, I’m watching. Anticipation level: 4 outta 5 briefcases—lawyered up and ready to judge.
Wanna dive deeper? Variety’s got the full scoop—check out their article.
POP CULTURE RECAP!
By ENZO
Posted: 14/05/2025
Jenna Ortega’s Newspaper Print Moment.
Alright, let’s talk about Jenna Ortega’s little fashion flashback moment on the Hurry Up Tomorrow red carpet — because this one? This one was cute.
She stepped out in John Galliano’s iconic newspaper print dress from Dior’s autumn/winter 2000 collection — yes, that dress. The one that practically belongs in the Fashion Hall of Fame thanks to Sarah Jessica Parker’s Carrie Bradshaw in Sex and the City. It’s a bold reference, but Jenna made it feel fresh, not forced.
The look was textbook kitsch — and I mean that in the best way. She kept it simple: delicate gold heels, soft jewellery, and her signature raven hair styled straight, letting the dress do all the talking. She didn’t try to reinvent the wheel — she just drove it straight to the carpet, and it worked.
It’s giving nostalgia, it’s giving pop culture nod, it’s giving Gen Z meets Y2K fashion literacy. And what makes it hit is she wore it well. Confident, playful, a lil’ glam-goth edge with that kohl eyeliner. It’s not trying to be a “moment,” and that’s why it is one.
So yeah — not overhyped, just smart styling. Jenna dipped into fashion archives and pulled out a piece that’s not just iconic, but super relevant right now. A cute reminder that great style never really dies — it just waits for someone new to carry it right.
And she did.
You can catch Vogue’s full take on this look—and peep the rest of the standout styles—on their site below. Trust, it’s a vibe.
Posted: 14/05/2025
Jenna Ortega’s Newspaper Print Moment.
Alright, let’s talk about Jenna Ortega’s little fashion flashback moment on the Hurry Up Tomorrow red carpet — because this one? This one was cute.
She stepped out in John Galliano’s iconic newspaper print dress from Dior’s autumn/winter 2000 collection — yes, that dress. The one that practically belongs in the Fashion Hall of Fame thanks to Sarah Jessica Parker’s Carrie Bradshaw in Sex and the City. It’s a bold reference, but Jenna made it feel fresh, not forced.
The look was textbook kitsch — and I mean that in the best way. She kept it simple: delicate gold heels, soft jewellery, and her signature raven hair styled straight, letting the dress do all the talking. She didn’t try to reinvent the wheel — she just drove it straight to the carpet, and it worked.
It’s giving nostalgia, it’s giving pop culture nod, it’s giving Gen Z meets Y2K fashion literacy. And what makes it hit is she wore it well. Confident, playful, a lil’ glam-goth edge with that kohl eyeliner. It’s not trying to be a “moment,” and that’s why it is one.
So yeah — not overhyped, just smart styling. Jenna dipped into fashion archives and pulled out a piece that’s not just iconic, but super relevant right now. A cute reminder that great style never really dies — it just waits for someone new to carry it right.
And she did.
You can catch Vogue’s full take on this look—and peep the rest of the standout styles—on their site below. Trust, it’s a vibe.
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