FLORENCE — Menswear embodies a unique sense of identity. It thrives on the intricate relationships between different styles and cultural codes, navigating the fine line between tradition and modernity. At the latest Pitti Uomo, this dynamic was emphasized, showcasing the spectrum of masculinity and how clothing serves as a vital expression of it.
Pitti immediately captivates with its vibrant attendees. As Scott “The Sartorialist” Schuman noted, we witnessed the vibrant contrasts of “goths vs. sarts, trads vs. retros, preppies vs. sneakerheads.” Here, the sartorialists predominantly shine. Picture the crowd of finely tailored gentlemen, almost theatrical in their commitment to formal aesthetics. They strutted with great flair during the inaugural Sebiro Sanpo, or “suit walk,” in Tokyo. While it bordered on comical and even nostalgic, it highlighted a clear truth: formal attire still thrives, and at Pitti, the nuances of style experimentation are celebrated.
Yet, the event presents two distinct narratives: exhibitors at the Fortezza da Basso display a plethora of products — from Brunello Cucinelli’s soft, charming tailoring to Denobiliaryparticle’s exquisite knits, as well as Bonastre’s luxurious bags and Rag & Bone’s ruggedly stylish interpretations of urban life, alongside Mackintosh’s impeccably crafted raincoats. Meanwhile, some challenge the boundaries through avant-garde presentations.
This year, an impressive installation by Marc Leschelier, curated by Philéo, punctuated the main square: 18 monoliths crafted from scaffolding and draped in Leschelier’s distinctive “concrete canvas,” a fabric-like material used in construction. Titled Ancient/New Site, these sculptures evoke the grandeur of Stonehenge while simultaneously appearing soft and fragile, similar to archaeological remnants that whisper of a future. Their striking presence offered not only visual delight but also a contemplative counterpoint to the traditionalism present at Pitti.
Joining the dialogue was Hed Mayner, the Israeli maestro of modern tailoring, now based between Paris and Bergamo. As he collaborates with Modartis, Mayner continues to redefine abstract forms infused with emotion and expansive volumes. Presenting at the Palazzina Reale, a transitional space linking the station to the city, his collections reveal how far he has evolved, injecting layers of history into contemporary vernacular.
Maintaining his signature oversized silhouettes, Mayner experiments with the interplay of fabric and movement, provoking an emotional interaction between attire and the wearer. This season’s pieces are articulated yet imbued with an exploratory spirit. His unique style, marked by softly sloping shoulders and fluid lines, subverts conventional notions of masculinity while striking a careful balance with elegance.
Mariavittoria Sargentini’s vision for Labo, a new phase of her label Marvielab, was an interactive feat: a modular assembly of garments in varied sizes and weights, demonstrated through an artistic dance performance. It served as a delightful reminder that dressing can be both joyful and creative, reflecting a numerical harmony as well.
Designer Shinya Kozuka took to the stage with his label Shinyakozuka, offering a poetic interpretation of winterwear suitable for both snowy landscapes and urban settings. The collection, characterized by gentle aesthetics and unassuming forms, featured delightful knitted pieces that captured a sense of both charm and practicality.
Galib Gassanoff, a Georgian designer based in Milan, is gaining recognition for his raw, sculptural approach to craftsmanship. Collaborating with Consinee, the premier Chinese yarnmaker, Gassanoff’s project “Echoes of Craft” curated by Sara Sozzani Maino, is a rich exploration of textures and dramatic silhouettes. While the static presentation left audiences wanting, the full impact of the designs will surely shine through in Gassanoff’s upcoming show.
At Tangtsungchien, a fresh exploration of soft masculinity emerged under the creative vision of Taiwanese designer Soshi Otsuki. Even as a newcomer, his collection offers promise with slouchy, unisex shapes and intricate detailing. There’s a distinct influence from 1990s Giorgio Armani, demonstrating how impactful his legacy remains in redefining menswear norms with a touch of gentility—timeless yet radical.
Soshi Otsuki’s brand, Soshiotsuki, represents a meaningful shift in this nostalgic influence. Since receiving the LVMH Prize, Otsuki has delved into the vibrant Japanese economic bubble of the 1980s-90s, where men in Armani epitomized a unique style. When filtered through a Takeshi Kitano lens, encompassing references to both Giorgio and Yohji Yamamoto, Otsuki’s exploration of gesture and essence results in garments imbued with fluidity and grace. A subtle interplay of proportions and muted tones offers a refreshing antidote to the flamboyance found elsewhere.
