Issey Miyake in Pitti: Homme Plissé in Villa della Petraia
The key to any brand's survival over generations is the strength of its DNA and few marques have more stylish genetics than Issey Miyake, which presented its Homme Plissé collection Wednesday night in Florence.
Issey Miyake spring 2026 collection in Florence - FashionNetwork.com
The great and much-loved Issey's greatest signifier – his endless pleats - was the leitmotif of the whole show staged in the garden of a Medici villa in the hills above Florence. And when one is talking about longevity few brands had a longer history than the Medici family.
This season's Guest of Honor in Pitti, fashion's best organized trade show, Homme Plissé's location was Villa Medicea della Petraia, a beautiful villa overlooking the capital of the Renaissance bathed in sunset light.
The fall 2025 clothes, in turn, were highly respectful of the brand's DNA, with every single look containing one pleated element. The heart of the matter was the quirky cutting and tailoring, where pleated shoulder holsters covered redingotes, or cardigans came with tunic/dresses. Issey Miyake spring 2026 collection in Florence - FashionNetwork.com
Miyake was a world leader in fabric recycling – famously opening a shop in Ginza two decades ago all of whose products were made of recycled bottles. A tradition respected with some very cool translucent nylon raincoats and jerkins. Made in a palette of Clongowes Wood purple, faded lime, sinful red, or priestly black – there were scores of very fashionable and wearable clothes. One of Japan's greatest designers, Issey Miyake founded his eponymous house in 1970. He built an iconic body of work defined by technologically driven fabrics, artistic silhouettes, unique collaborations, and a long-term fascination with pleated textiles—hence the collection's name. Pre-show, waiters looking very swish in classic Homme Plissé pleated recycled polyester jackets served clever cocktails in mixes of gin, ouzo or Japanese tea. Guy and girl models wandered around the narrow paths of the villa's ornate garden and like a lot of fashion displays in gardens, the show never really took off. Nor did it rise to a crescendo, especially as no designer took a bow. Still, Issey always dreamed of dressing a generation with a certain gentle elegance, and this collection continued that idea. Issey Miyake spring 2026 collection in Florence - FashionNetwork.com
Inside the beautiful villa, guests had toured around a very slim elevated - pleats covered – circular table bearing a whole series of abstract painted illustrations.
The show invitation actually came with a very slim Perspex Natura paintbrush. Beside the sketches were printed fabric swatches in the same designs. Many subsequently appearing in some gloriously vibrant colors – dense red and orange dawns; moody autumnal browns; or green and yellow abstractions. All these sketches presented underneath some magnificent frescos by the artist Volterrano, celebrating the glories of the Medici family. Their famed five six ball emblem prominently displayed. Which, in a sense, this show mimicked by celebrating the ever-powerful DNA of the late great Issey Miyake.
Copyright © 2025 FashionNetwork.com All rights reserved.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Fashion Network
a day ago
- Fashion Network
Copenhagen Fashion Week: strong season as 20th anniversary draws closer
As it approaches its 20th anniversary in 2026, Copenhagen Fashion Week appears to be going from strength to strength. Hugely influential in terms of its pioneering sustainability focus, its latest outing last week also offered up some strong collections. See catwalk Also with anniversaries on her mind, Cecilie Bahnsen returned to Copenhagen Fashion Week for a landmark moment: a 10th anniversary show, set against the raw concrete expanse of Refshaleøen, a post-industrial peninsula. Part-retrospective, it was both a celebration of the past and its ongoing evolution with a look to the future. See catwalk Most looks were one-offs, shaped by hand in the studio. There was a sense of extravagance here, 'not in opulence, but in intention'. White and silver were the key non-colours as the label sent out a series of structured sheers with frills, appliqués, embellishment — think sculptural but soft. The show was titled Hana-bi, the Japanese word for fireworks, composed of the characters for 'flower' and 'fire.' Swedish fashion house Filippa K showcased on the official CPHFW schedule with creative lead Anna Teurnell 'introducing a marinière-inspired wardrobe of classic, relaxed prep influences with a sporty touch'. The pieces balanced functionality and style, moving from work and commute, to evening and leisure (although the work, commute and leisure elements were much more prominent than the evening). The presentation was held on the rooftop of the label's Copenhagen store on Pilestraede, with stylist Alexandra Carl and 12 models debuting both womenswear and menswear looks. These were easily and instantly wearable looks in a low-key palette of classics and neutrals. Think relaxed tailored pant and vest combos, bomber jackets in traditional khaki, Breton striped tops with slouchy jeans, and a line-up of simplified or traditional macs and trenches. See catwalk By contrast, Baum und Pferdgarten's collection, Notes from the Grandstand, galloped into the season 'with a refined take on contrast' and strong colours. Inspired by the world of the Derby, it draws on the 'vivid uniforms of jockeys, the movement of the racetrack, and the elegance of guests dressed to be seen. It's a playful study of opposites, where sporting utility meets high-society glamour'. See catwalk Creative directors Rikke Baumgarten and Helle Hestehave were attracted to the sharp colour-blocking and purpose-driven silhouettes worn by jockeys and guests' extravagant outfits (again though, as with Filippa K, the jockey styles were more prominent than the guest looks). They came up with striped nylon nods to what jockeys wear, while checks and bold colour contrasts added 'a feeling of movement'. Frilled details on sporty outerwear 'introduce a feminine tension, subtly referencing classic equestrian attire'. See catwalk There was underwear on the runway too. Swiss-born brand Sloggi unveiled a partnership with rising luxury womenswear brand Nicklas Skovgaard, who was 'inspired by the private and intimate world of underwear and sleep', making Sloggi a good partner for the show. Skovgaard worked with the brand's signature pieces as well as new items such as 'The Up' – a push-up bra launching as part of the SS26 Zero Feel collection. But even when we weren't looking at full-on Sloggi underwear, there were extravagant petticoats — either as star pieces or peeking out from under his signature sculptural looks — lace footless tights and negligée-like capes. See catwalk Meanwhile, Rotate's collection captured the mood of a 'high-summer reverie, a season suspended in golden light, where femininity takes centre stage through fluid fabrics, daring silhouettes, and a palette kissed by the sun'. The creative directors said it was their 'most feminine chapter yet, where softness becomes an expression of strength'. See catwalk It was rooted in subtle nods to the 1970s, with 'a warm, sun-drenched nostalgia that blends the era's spirit with the brand's signature modern refinement'. Fluidity was key as capes framed the face, sheer gowns skimmed the floor, silk utility bodysuits hugged the body, and low collars met soft suedes and denims. See catwalk Signature dresses took on fresh shapes from the season's ubiquitous slip styles and sculptural columns to breezy scarf-tied designs. Linen tailoring debuted in dresses and suiting, while drapery was key for chiffon and satin pieces and gusseted details injected 'a subtle architecture, marrying softness with form'. See catwalk That may sound demanding but there were plenty of easy pieces such as the soft blouses paired with jeans, hot pant updates, or oversized blousons for quintessential early-into-late 70s looks. The palette shifted between warm neutrals taupe, softened whites, greys, and delicate pastels of faded peach, soft yellow, and light blues, all accented with subtle golden highlights. See catwalk And making their debut, Rotate's upcoming shoes offer included animal-print slingbacks, soft yellow and red accents, and heels with sculptural flower detailing.
Fashion Network
a day ago
- Fashion Network
Copenhagen Fashion Week: strong season as 20th anniversary draws closer
As it approaches its 20th anniversary in 2026, Copenhagen Fashion Week appears to be going from strength to strength. Hugely influential in terms of its pioneering sustainability focus, its latest outing last week also offered up some strong collections. See catwalk Also with anniversaries on her mind, Cecilie Bahnsen returned to Copenhagen Fashion Week for a landmark moment: a 10th anniversary show, set against the raw concrete expanse of Refshaleøen, a post-industrial peninsula. Part-retrospective, it was both a celebration of the past and its ongoing evolution with a look to the future. See catwalk Most looks were one-offs, shaped by hand in the studio. There was a sense of extravagance here, 'not in opulence, but in intention'. White and silver were the key non-colours as the label sent out a series of structured sheers with frills, appliqués, embellishment — think sculptural but soft. The show was titled Hana-bi, the Japanese word for fireworks, composed of the characters for 'flower' and 'fire.' Swedish fashion house Filippa K showcased on the official CPHFW schedule with creative lead Anna Teurnell 'introducing a marinière-inspired wardrobe of classic, relaxed prep influences with a sporty touch'. The pieces balanced functionality and style, moving from work and commute, to evening and leisure (although the work, commute and leisure elements were much more prominent than the evening). The presentation was held on the rooftop of the label's Copenhagen store on Pilestraede, with stylist Alexandra Carl and 12 models debuting both womenswear and menswear looks. These were easily and instantly wearable looks in a low-key palette of classics and neutrals. Think relaxed tailored pant and vest combos, bomber jackets in traditional khaki, Breton striped tops with slouchy jeans, and a line-up of simplified or traditional macs and trenches. See catwalk By contrast, Baum und Pferdgarten's collection, Notes from the Grandstand, galloped into the season 'with a refined take on contrast' and strong colours. Inspired by the world of the Derby, it draws on the 'vivid uniforms of jockeys, the movement of the racetrack, and the elegance of guests dressed to be seen. It's a playful study of opposites, where sporting utility meets high-society glamour'. See catwalk Creative directors Rikke Baumgarten and Helle Hestehave were attracted to the sharp colour-blocking and purpose-driven silhouettes worn by jockeys and guests' extravagant outfits (again though, as with Filippa K, the jockey styles were more prominent than the guest looks). They came up with striped nylon nods to what jockeys wear, while checks and bold colour contrasts added 'a feeling of movement'. Frilled details on sporty outerwear 'introduce a feminine tension, subtly referencing classic equestrian attire'. See catwalk There was underwear on the runway too. Swiss-born brand Sloggi unveiled a partnership with rising luxury womenswear brand Nicklas Skovgaard, who was 'inspired by the private and intimate world of underwear and sleep', making Sloggi a good partner for the show. Skovgaard worked with the brand's signature pieces as well as new items such as 'The Up' – a push-up bra launching as part of the SS26 Zero Feel collection. But even when we weren't looking at full-on Sloggi underwear, there were extravagant petticoats — either as star pieces or peeking out from under his signature sculptural looks — lace footless tights and negligée-like capes. See catwalk Meanwhile, Rotate's collection captured the mood of a 'high-summer reverie, a season suspended in golden light, where femininity takes centre stage through fluid fabrics, daring silhouettes, and a palette kissed by the sun'. The creative directors said it was their 'most feminine chapter yet, where softness becomes an expression of strength'. See catwalk It was rooted in subtle nods to the 1970s, with 'a warm, sun-drenched nostalgia that blends the era's spirit with the brand's signature modern refinement'. Fluidity was key as capes framed the face, sheer gowns skimmed the floor, silk utility bodysuits hugged the body, and low collars met soft suedes and denims. See catwalk Signature dresses took on fresh shapes from the season's ubiquitous slip styles and sculptural columns to breezy scarf-tied designs. Linen tailoring debuted in dresses and suiting, while drapery was key for chiffon and satin pieces and gusseted details injected 'a subtle architecture, marrying softness with form'. See catwalk That may sound demanding but there were plenty of easy pieces such as the soft blouses paired with jeans, hot pant updates, or oversized blousons for quintessential early-into-late 70s looks. The palette shifted between warm neutrals taupe, softened whites, greys, and delicate pastels of faded peach, soft yellow, and light blues, all accented with subtle golden highlights. See catwalk And making their debut, Rotate's upcoming shoes offer included animal-print slingbacks, soft yellow and red accents, and heels with sculptural flower detailing.
Euronews
5 days ago
- Euronews
Zdzisław Beksiński's dreamlike works on display in Warsaw
ADVERTISEMENT Polish painter and photographer Zdzisław Beksiński invited viewers to enter a world of dreams. Disturbing, unclear, beautiful and above all, deeply surreal. Now, 44 paintings - including 11 never-seen works - are on display at the Museum of Fantastic Art in Warsaw. Kept in the homes of friends, these artworks were living traces of the artist's presence and influence. Above all, these works were for his friends and loved ones, rather than for the acclaim of galleries. "The owners of these works hesitated for a long time [before agreeing to let them be displayed publicly]. These were not 'paintings for sale', they are fragments of a shared history," Magdalena Jaworska, director of the Museum of Fantastic Art, says in an interview with Euronews Culture. "For fans, this is a unique chance to see what Beksiński was like in private," she adds. Sanok, Osaka, Warsaw Adding to the unique private collection are works from the Historical Museum in Sanok - a place the artist has recognised as the sole heir to his work. Among them is a drawing from 1946 - a poignant self-portrait from his youth. But it doesn't stop there: five paintings come from the artist's legendary Japanese collection. The works, which once went to a museum in Osaka, are now - thanks to a private collector - back in Poland. They are like recurring dreams: forgotten, yet somehow familiar. 'Architect of nightmares' Like cinematic surrealist David Lynch, Beksiński did not explain his work. He did not give his paintings titles; nor did he elaborate on their larger meaning. Beksiński wanted to paint dreams. But for him, the word "dream" carried a different meaning. He painted sweat-triggering dreams that grab you and don't let go in the waking world. His work is not textbook symbolism. It's a restlessness that doesn't ask for permission. One can be enthralled, one can look away, but no one remains indifferent. A photographer who gave up his camera to paint silence One more surprise awaits at Koneser Square: 40 large-format photographs of the artist. Photography was Beksiński's first love, the first language with which he tried to speak about the world. He gave it up when he understood that it was impossible to enter every space of the soul with the camera. The brush proved to be more capacious. "Painting knows no boundaries. And Beksiński knew that very well," says Magdalena Jaworska. A place for the master Although crowds attend his exhibitions (over 70,000 spectators in Warsaw during the pandemic, almost 50,000 in Gdansk in 2023), academic circles still keep Beksiński at a distance. For some, he is too dark. For others, too emotional. And there are those who think his work is too obvious. "This is art that escapes definition," notes the director of the Museum of Fantastic Art. Perhaps its power lies the works' ability to tell the uncomfortable truth. Silence that speaks volumes Zdzisław Beksiński died tragically in 2005. His passing shook the art world, but it did not shut down the conversation he had with his viewers. Today, his face stares out from murals in Warsaw's Ursynów district - a silent presence in the urban landscape, a symbol of remembrance and respect. Although he is no longer with us, his paintings still speak to us - as if he had never really stopped painting. Apocalyptic beauty Does his work soothe or terrify? The answer to both questions is a resounding 'yes'. And that is precisely its strength. "I for one see a glimmer of hope in his paintings. Despite all the death, destruction and emptiness, Beksiński did not impose anything on anyone. He was giving [the viewer] space. Freedom. Silence. And in this silence everyone can hear something different," says Jaworska. The Beksinski in Warsaw exhibition is open until 28 September at the Museum of Fantastic Art in Warsaw. Video editor • Glogowski Pawel
