Beautifully orchestrated imagery shows a young man brushing the still surface of the water, touching his own reflection. He is a contemporary-dressed modern Narcissus in a lightweight suite, aware of the seductive power, yet choosing to break the spell. This is the creative concept for this summer’s edition of the most influential trade show for men’s fashion. It urges us to ”dive into the Pitti Pool”. Chris Vidal Tenomaa and Tuomas Laitinen from SSAW magazine are the team behind the shoot. They say this is the way to approach Pitti Uomo 110.
So after an overly polite ”grazie gentile” to the barista in the press room, I take a deep breath and dive into the fair. The 740 brands, of which 48% are international, are neatly packaged into sections to make it easier to digest. For example, the progressive Scandinavian outdoor brands are to be found under ”I Go Out”. It makes sense. Pitti Uomo serves as a compass for guiding the dialogue between supply and demand.
Still, even when properly caffeinated and hydrated, it’s a lot.
Walking the Fortezza da Basso in Florence, it’s inevitable to see the brands, the influencers, and the public aficionados fight for attention as a metaphor for the end-consumer market. The hottest and loudest DJs and the best Aperols equal buying media; it will only take you so far.
When everything is so visually saturated, both collection design and brand design become more like non-negotiables than distinctive features. It’s expected, not necessarily a differentiator. Especially when everything is starting to not only sound like Claude, but also look like Claude. Design is friction. It shows the world that you care. What about the right personalities? Yes, but you need something more. Storytelling? It better be good! Collaborations? Let’s call it a health factor.
Enter center stage. South Korean brand and special guest JiyongKim first leads us through an alley of monumental draped textiles into an exhibition space. At architectural scale, 34 coats exposed to direct sunlight during 3-day increments hang to form a gradient through the room. Each garment, subtly camouflaged in light and dark shades, is reflected in a water basin beneath, reinforcing further the natural experience.
The idea came to the designer while at Central Saint Martins, seeing tourist merch get bleached in the shopping windows of London during the pandemic. This set the core of the philosophy of discovering new value in faded traces. After his acclaimed bachelor’s collection ”Daylight Matters”, he went on to launch his independent brand in 2021.
The signature sun bleach technique serves as an impactful presentation as well as a crystal-clear differentiator distributed straight through the product. No chemical dyes or extensive water waste; the textiles are draped and left outside to the hands of time. It breeds slowness, connection to nature, and sustainability without saying the word. It speaks to a generation obsessed with original pieces and second-hand fashion. Meanwhile, the concept is simple enough to explain to your parents.
I guess that’s what it takes.
Although a schoolbook example of launching a brand in the ’20s, maybe if the textiles were as natural as the process, it would have been considered a masterclass?
Erik Olofsson Haavikko is the Creative Director of Scandinavian MIND. He also serves as a design consultant.