ANDREĀDAMO emerged during the first half of 2020, when pandemic restrictions brought much of the fashion industry to a standstill. Adamo has described the period as one in which he was forced to reconsider where he wanted his creative life to go. Rather than continuing to apply his experience exclusively to other houses, he invested his savings and began developing an independent project. Together around a deceptively simple question: could clothing behave like a second skin?

Adamo connected that thought with his surname, the figures of Adam and Eve, nudity, skin colour and underwear designed to be visible rather than hidden. The resulting brand name and aesthetic were therefore closely tied from the beginning to the unadorned human body. SSENSE, which has carried the label internationally, similarly describes ANDREĀDAMO as taking its conceptual cue from Adam and Eve and the idea of the body without shame. Cultural climate also influenced the project. Adamo has repeatedly discussed the conversations around racial equality and the Black Lives Matter movement that were taking place as he developed the brand. Rather than treating one pale beige as the universal meaning of “nude,” he wanted the palette to acknowledge the variety of human complexions. Vogue documented this thinking in 2021, while Adamo later spoke specifically about Brazilian ballet dancer Ingrid Silva’s experience of altering ballet shoes to match her skin tone, which deepened his thinking on representation. me part of the idea. Instead of attaching evocative or food-related names to skin-inspired shades, Adamo chose numerical designations. Those numbered colours remained part of the house vocabulary; by Spring/Summer 2025, Vogue was referring explicitly to Nude 01, Nude 02 and Nude 03 as colours associated with ANDREĀDAMO’s identity. The Second Skin

The other breakthrough was technical.

For his first collection, Adamo focused on stretch ribbed knitwear and seamless construction so that garments could follow the body’s movement with as little interruption as possible. He has described approaching people connected with Italian hosiery company Pompea while researching seamless technology before ultimately working with a supplier capable of combining the qualities he wanted from seamless production and knitwear.

His description of the process is memorable: the garments could emerge from a tubular construction in a manner comparable to hosiery. That allowed ANDREĀDAMO to explore clothes that hugged, framed and revealed the body without relying on conventional garment construction alone. Deliberately concise. Vogue Italia reported that the first collection contained just 12 pieces, developed in five colour variations and designed to build complete looks. The small vocabulary was a strategic advantage. Instead of changing direction immediately, Adamo reinforced his principal codes over successive collections: ribbed stretch surfaces, anatomical openings, skin-related colours, layering and a tension between revealing the body and covering it. This helped ANDREĀDAMO become recognisable without depending heavily on logos. Adamo has described wanting the work itself to create the visual identity. Idea of Who Can Wear the Clothes

Although much of ANDREĀDAMO’s public image is built around the female body, Adamo has resisted treating gender as a rigid design boundary. He has used the term “wo(man)” for his collections, explaining that he prefers continuity between genders to a conventional division between masculine and feminine wardrobes.

His central proposition is less about placing every garment inside a formal “genderless” category than about allowing the wearer to decide how they want to inhabit it. Elastic knitwear, bodysuits, tanks, tops and other adaptable pieces have naturally supported this approach. Surrounding ANDREĀDAMO has also reflected a wide view of beauty. Model Alva Claire has appeared in the brand’s runway casting, and a 2022 Vogue Italia conversation between Claire and Adamo explored their shared interest in inclusivity and in building a fashion culture that accommodates bodies beyond a single traditional runway standard. e Pieces to International Retail

The commercial development was strikingly quick. Vogue Italia reported that Net-a-Porter, LuisaViaRoma, Antonia, TsUM and Harvey Nichols bought into the first collection, with Selfridges and Modes among retailers joining for the second. The brand’s own retailer directory has subsequently listed names including Net-a-Porter, Selfridges, LuisaViaRoma, Harvey Nichols, Antonia and Modes. Ability amplified that momentum. Elodie was among ANDREĀDAMO’s important early supporters in Italy, including a custom project created as a contemporary homage to Raffaella Carrà, in collaboration with stylist Ramona Tabita. Dua Lipa went on to wear ANDREĀDAMO repeatedly, including a custom seamless jacquard catsuit for her 2022 Osheaga performance. Vogue France has also documented the label on personalities including Julia Fox and Lily James, while 10 Magazine has cited figures such as Doja Cat, Nicola Peltz Beckham, Miley Cyrus and Anitta among those wearing the brand. provided another early digital moment. Vogue Italia reported that after receiving a request for ANDREĀDAMO pieces, Adamo sent the clothes to Jenner; the white top she subsequently posted became one of the collection’s most requested bestsellers. ion Week and an Expanding Vocabulary

As the business developed, the runway allowed Adamo to demonstrate that the “second skin” idea could extend well beyond a narrow category of stretch knitwear.

Spring/Summer 2023, titled Famāra on the brand’s collection archive, was staged around water, with models walking through a shallow pool in Milan. The setting connected the collection to Adamo’s memories of growing up beside the sea and to inspirations encountered during travel in Lanzarote. In 2023, Downtown84 turned toward Crotone itself. The cracked clay landscape around the Calabrian city was translated into jacquard knit patterns and textured surfaces, while greys recalled the surrounding terrain. Sunflower yellow carried an especially personal association: Adamo named the shade Mariacarla after his grandmother, who loved sunflowers. The season also introduced ANDREĀDAMO accessories, including the Althea and Boule bags. 024 continued the evolution. Presented as Improntā in the brand archive, it retained the anatomical relationship between fabric and body while broadening the wardrobe through roomier coats, softer knitwear and wide-leg trousers. Vogue observed that Adamo was extending his proposition to accommodate different ways women might want to dress while keeping the label’s sculptural identity intact. Mer 2025: Freedom and Movement

After a season away from a conventional runway show, ANDREĀDAMO returned to the catwalk for Spring/Summer 2025 with support from Camera Nazionale della Moda Italiana. The official brand archive names the collection Bal d’Afrique. Nude 01, Nude 02 and Nude 03 palette remained, but the silhouette became more expansive. Balloon trousers and miniskirts in georgette introduced air around the body; aviator-style leather jackets added weight; organza, mesh, corsetry and transparent threads created layers between exposure and concealment.

Especially notable were trompe-l’œil garments in which airbrushing produced the optical impression of a naked body beneath the clothing. Fringes in knit, sequins and crystals brought movement to a collection that showed how far the original “second skin” vocabulary could be stretched without losing its identity. Finding Design in the Unexpected

For Fall/Winter 2025, Adamo presented Me/Stake, a collection built around imperfection, chance and the unexpected possibilities that emerge during making.

Rather than disguising irregularities generated during development, the studio turned them into design ideas. A mistaken combination of bouclé and English-ribbed wool became a new knitted texture. A sleeve temporarily shortened with safety pins led to radial pleating. An irregular mouliné yarn test was reconsidered as a surface for stretch dresses with distressed-looking hems. Experiments with velvet yarn in viscose jacquard also led to the label’s first animal-patterned treatment. This illustrated an important evolution in ANDREĀDAMO’s identity. Sensuality remained central, but it now lived alongside tailoring, larger proportions, textured knits and increasingly sophisticated material contrasts.