A Feel For Fashion: Walter D'Aprile

Menswear is constantly evolving; do you foresee a moment when the perfect balance between formal and streetwear will be achieved?

I don't think a perfect balance can ever truly exist, because fashion is, by nature, in a constant state of change. The industry changes with us, with the climate, and with the way we live. Whether it's always comfortable or safe is another question, but the industry should always be pushing toward something new. I like the idea of an unstable equilibrium: you can strive for perfection, but you'll never fully reach it. Instead, you keep experimenting, adjusting, and trying again. Accepting that process is essential, because it's precisely what allows new ideas and different perspectives to emerge. We're here to disrupt the status quo and create the next one.

How would you define men’s elegance in the contemporary context?

Defining elegance today is almost impossible, and that's probably a good thing. Fashion has always been obsessed with creating labels, categories, and dictionaries to explain what is elegant, stylish, or trendy. The problem is that the moment you define something too precisely, it usually stops being interesting. Today's fashion landscape is far more democratic; everyone can build their own idea of elegance, and that's healthier than any rulebook. Personally, my idea of elegance is very simple: it's about black and proportion. I wear almost exclusively black, and I believe elegance comes from the relationship between the body and the clothes. A garment can be luxurious or casual, formal or informal, but if the proportions are right, it can feel elegant. In the end, fashion is still, above all, a matter of proportion. Everything else is just commentary.

Men’s fashion habits tend to evolve more slowly than women’s. In your opinion, why is that?

Men are lazier than women when it comes to fashion. They like to stay in their comfort zone and, when they decide to experiment, they usually do it slowly, one step at a time. Habits and rituals help men feel more confident. They don't always want to play with clothes or constantly reinvent themselves. Most of the time, they're simply looking for a uniform that makes them feel comfortable and good about themselves.

Do trends still matter?

Yes, I think so. The real problem is speed. Everything in fashion moves too fast today, and we're part of that problem too. We're constantly chasing the next thing before we've fully understood the current one.

How do you think creativity in fashion can actually drive business growth?

I often talk about functional creativity, creativity that remains in constant dialogue with reality. Today, creativity can no longer be an escape from reality; it must engage with it, highlighting its darker aspects and, at times, calling out what is wrong. If fashion wants to stop being perceived as frivolous, it needs to take a stand and engage more actively in political and social debates, acknowledging the complexity of the times we live in.

Artificial intelligence will continue to revolutionize and influence our way of living and working. What excites you and what worries you?

Change, whether we like it or not, must be accepted. AI is a potentially valuable tool that can improve processes, simplify workflows, and save both time and resources. What concerns me is not its use as a tool, but its use as a substitute for human creativity. I would like ideas to continue to originate from human minds, with technology acting as a partner rather than a starting point. After all, we don't need a machine to tell us what we already know how to do ourselves. Fashion is also a predictive industry, but one that relies on human sensitivity, the ability to interpret change and imagine what comes next. I don't believe AI, at least in its current form, can predict the future through data alone. It can certainly help us analyse the present, but anticipating what's next still requires intuition, culture, and imagination. I hope the human mind remains essential for that.

After launching the French edition of nss, you are now presenting the new book. How did it all begin?

It started with J'adore Napoli, an editorial project that was born in the hometown of its founders with the aim of telling the city's story beyond its own borders. Over time, it evolved into a media platform and an international phenomenon. This June, during Paris Fashion Week, we will unveil Paris Noir. The new book, created in collaboration with Etienne Russo and Villa Eugénie, completes our trilogy dedicated to Paris, telling the story of the city through the people, places, and communities that define its identity. Three years ago, nss france was born from the desire to create a media platform capable of bringing together the worlds of luxury, streetwear, and sportswear through the lens of Paris and contemporary French culture. The ambition was the same that drove us in Italy: to build a bridge between worlds that may seem distant, but are in fact deeply connected. So coming back to your question: How did it all begin? Someone wiser than me once said, “Think local, act global.” I think that perfectly captures the spirit of nss. We are all about connecting cultures, and every project we create moves in that direction.

What do you like most about Paris Fashion Week?

People in the streets, especially in the summer months, crowded bars… Beyond the shows and events, the city continues to live and breathe. Fashion engages with its streets, communities, and spaces, driven especially by independent brands, creatives, and showrooms. If luxury took a more active role in this dialogue, its perception could shift, allowing people to better understand the values and culture that exist within this world.

This interview has been lightly edited.