Yannik Zamboni’s creations are nothing like the functional and rowdy anti-fashion movement from the 50s, the loud, sloppy-looking grunge from the 60s nor the fetish-focused punk movement from the 70s.
The anti-fashion movement has always been about an attitude of rebellion and indifference towards frivolity, aesthetic and behavioural conventions of uniformization, imprisoning and oppressive societal mindsets such as beauty standards, gender stereotypification and consumerism.
Zamboni’s trangressive aesthetic is no less disruptive or political, except his idealistic propositions are exquisitely narrated within a fresh minimalistic visual identity.
Yes, we’ve seen minimalist anti-fashion expressions timidly arise in the 90s, but what makes this young designer so unprecedentedly and relevantly contemporary is his strong engagement to ideological issues such as upcycling, veganism and LGBTQIA+ rights.
Edwin Way Teale once said “reduce the complexity of life by eliminating the needless wants of life, and the labors of life reduce themselves”. We can definitly see that awareness in Zamboni’s creations.
Although his aesthetic is minimal, his complex constructions enable a sublimely intellectualized look to come forth. Sometimes entrancingly unflattering, sometimes violently desirable. Always breathtaking.
His shades of white evoke a lyrically futuristic, ecological, and clean atmosphere (the urge of the decade) and enliven not a teenage sense of revolution, but a mindful sight of evolution. To quote from the master of minimalist anti-fashion himself, Martin Margiela, “White means the strength of fragility and the fragility of the passage of time”.
Make no mistake, his work is highly expressive. His mastery in embroidering images,assembling angular shapes, recycled-looking patches and transparent fabrics (and still keeping it minimal) will make you sigh in a heartbeat.
A true ambassador of anti-fashion. The planet, ourselves at Fashion New Order -and humanity- appreciate the contribution.

Pedro Milanezi