I find myself writing this only days after returning from Milan, where the air—still weighted with the residue of late-summer humidity and the faint, persistent tremor of industry anticipation—felt almost eerily aligned with the release of Lord Piana’s latest campaign. It is a campaign that, for reasons both aesthetic and personal, has already been described by several contributing editors as “a soft revolution,” the sort of work that slips in quietly but lingers long after the typical commercial cycle has moved on.