After two weeks of menswear collections across Florence, Milan and Paris, buyers are taking stock. What convinced them about the Spring/Summer 2027 collections, and more broadly, what was the prevailing mood across showrooms and runways?
The international guest designers at the 110th edition of Pitti Uomo 110 received widespread praise, as did the Florentine trade show’s ability to balance creativity with commercial relevance in its brand selection.
“I attended Simone Rocha’s runway event, which many had been eagerly anticipating, and Sunflower, which embodied a fresh Danish wave: precise, no-frills design, cool outerwear, expertly treated denim, and a tailored take on streetwear that I believe will also perform well commercially,” said Marco Raccuia, Head of Buying for Women’s Accessories, Cosmetics, Home & Food at Rinascente, speaking to Pambianconews.
“Pitti offers a very clear perspective, both for visitors and buyers. I found Simone Rocha and Noir 'N' Bleu particularly interesting—a brand we have followed for years. In Florence they took more risks and presented a broader creative vision,” agreed Carla Cereda of Milan’s historic Biffi boutiques.
“In Florence I noticed a renewed focus on product quality. Creative research is becoming stronger again. ‘Resilience’ emerged as the key theme, with more relaxed collections, more authentic identities and, finally, a renewed emphasis on tailoring. I also sensed a subtle Japanese and Korean influence,” observed Daniela Kraler of South Tyrol’s Franz Kraler boutiques.
“Pitti remains an essential appointment because of its unique strength: it brings together product, relationships, research and commercial pragmatism. At the Fortezza, I was particularly drawn to projects with a strong identity combined with genuinely sellable products. The Japanese scene, emerging Scandinavian and European labels, relaxed uniforms, lightweight tailoring, natural fabrics and refined workwear all stood out. Today’s customer is no longer looking simply for eye-catching pieces; they want garments that appear understated but reveal construction, quality and substance,” reflected Michele Franzese, founder of Michele Franzese Moda in Naples.
In Milan, Raccuia noticed “a lighter schedule of presentations and runway shows.” Among them, he particularly appreciated Thom Browne’s presentation, staged in the memorable Seersucker Garden at the historic Palazzo Serbelloni.
“Dolce&Gabbana transported us back to Taormina, presenting a man defined by impeccable tailoring, while the finale featuring every model dressed entirely in white created a striking closing moment. Prada, with its total-leather looks, proposed a man who, unlike every other collection, rejected the oversized silhouette and redefined contemporary menswear proportions.”
The collections by the American designer and by Miuccia Prada and Raf Simons ranked among buyers’ most frequently cited highlights.
They presented a collection that shifted attention back to the essence of the product at a time when the market feels saturated with stimuli and unnecessary layers. I admired their ability to create desirability through precise proportions, advanced materials and a new visual lightness, without relying on spectacle. I was also struck by the coherence between the collection and its presentation, both centred on clarity and reduction to the essentials,” said Beppe Nugnes from his boutique in Trani.
In Milan I sensed serenity, emotion, elegance, real life and a quieter kind of luxury. Prada’s show best captured the spirit of the season: essential garments, clean silhouettes, no excess—just intelligent design with strong commercial potential,” added Kraler.
Rather than a revolutionary season, it felt like one of consolidation and a return to essentials. After years dominated by collaborations, increasingly elaborate storytelling and the pursuit of instant impact, many designers are focusing once again on product, fit and wardrobe construction. I perceived less noise and more substance,” Nugnes concluded.
Among independent and emerging brands, Cereda praised the creativity of Simon Cracker, which showed at Fondazione Sozzani, while encouraging young designers “to be more open and less self-focused.” “There are brands building highly recognisable identities,” Raccuia noted. “I was impressed by the material research and evolution of Auralee, Ssstein and Soshiotsuki, all of which are exploring new forms of contemporary tailoring.” “There are several emerging brands that caught my attention. I’m particularly interested in those that are not yet overexposed, that maintain selective distribution and can bring cultural value to a boutique without becoming markdown merchandise. But I remain highly selective: an emerging brand interests me only if it has identity, strong product and the ability to sell at full price.” Moving on to Paris, the prevailing impression, as always, was that the city is less commercially driven than Milan and more willing to take creative risks. “We saw collections with strong desirability, from ready-to-wear to accessories. At last we’re seeing functional, identity-driven yet understated handbags, rich in tailoring details, particularly at Dior. Saint Laurent set the tone with a sensual silhouette, while Rick Owens surprised us by remaining completely true to himself. Sarah Burton’s first menswear chapter for Givenchy was particularly interesting. Ami Paris stayed true to its DNA while showing greater maturity and its innate ability to capture contemporary everyday dressing,” Raccuia commented. “For me, Paris remains essential because it’s where you truly understand the international direction of fashion. It’s tougher, more global and more competitive. You immediately see which collections have vision, which have product and which rely only on image. Milan is about product, industry and relationships; Paris is about vision, research and international selection. Milan gives you solidity, Paris gives you direction. Today’s buyer must combine both: image and revenue, desire and sell-through,” Franzese summarised.
Buyers are, understandably, paying close attention to the actual commercial potential of collections, particularly at a time when the luxury sector is experiencing a slowdown. “The feeling is that the market is still searching for the right balance between highly distinctive products and more concrete, commercially viable proposals. Customers are more discerning, less impulsive and increasingly reward brands that can justify their pricing through quality and recognisable identity. For us, the most compelling collections continue to be those that build a contemporary menswear wardrobe without becoming excessively extreme—strong stylistic coherence combined with genuine sellability,” explained Federico Giglio of Giglio. “Today the market seems to be asking for something different: authenticity, quality, fit and genuine desirability,” Nugnes observed. “That’s why I find brands focusing once again on wardrobe-building more convincing than those chasing shock value. Overall, I believe the most interesting direction to emerge this season is the gradual return to a more grounded fashion—less contrived and closer to real life.” “I’m no longer convinced by products that seem destined for markdowns from the outset. I’m not convinced by brands that are too widely distributed, too present on marketplaces or too exposed to heavy discounts during the season. Today’s customer is well informed: if they see the same product everywhere and know it will soon be discounted, they lose the motivation to buy it at full price,” Franzese concluded.
Article originally published by Pambianco on 30 June 2026. Written by Marco Caruccio.
