Pitti Uomo, like fashion itself, long ago outgrew the strict division into categories: over here the eternal classics, over there experimental fashion, and off in the distance technical clothing. All of these elements stopped contradicting one another long ago and now coexist on equal footing in the male wardrobe — something clearly visible in the style of the fair's guests. If anything, the classics are visibly rejuvenating themselves, and their established makers are skillfully interpreting fashion trends in their collections.
For instance, a Pitti regular, Belvest — one of the best suit manufacturers in its class — aims to present at the fair not strict business two-pieces but rather to showcase the breadth of its technological capabilities and points of view. Worth noting are their ultra-light, loose-silhouette suits from a blend of wool, silk, and linen, and a sage-colored trench in 100% linen. Linen, whether pure or in blends, appears in practically every summer model. The inevitable slight wrinkling (depending on the linen percentage in the composition) lends them just the right dose of summer ease.
In a world where fewer and fewer men wear a jacket, elements that were previously neutral — in most cases simply white — come to the fore: shirts. One of the most notable collections belongs to the brand Alessandro Gherardi. Its collection stands out for linen shirts in fruit-candy shades and cotton seersucker shirts in bright colors, specially treated to look as though they'd been washed many times over. Also worth noting is a highly successful denim capsule — from solid to acid-washed — as well as the eternal "Americana": snap-button shirts with shaped patch pockets and denim overshirts.
The Neapolitan brand Maria Santangelo likewise offers roomy shirt-jackets with capacious pockets, cowboy-style snap-button models in bright shades, flowing lyocell shirts with a silky texture, and linen ones in wide bright stripes and floral prints reminiscent of traditional Indian block printing.
In a world where fewer and fewer men wear a jacket, elements that were previously neutral — in most cases simply white — come to the fore: shirts.
Perhaps the idea of how modern menswear is evolving was best expressed by the young German brand GABRIELSTUNZ. This atelier and small-batch производство in Frankfurt was founded just two years ago, yet a serious pedigree is evident in its collection. Gabriel Stunz's professional path began at Comme des Garçons in Paris, then continued in the teams of Damir Doma and Hed Mayner. The lessons of these masters of deconstruction and cut are clearly visible in his collections, where the classics are skillfully reassembled into complex but perfectly considered models. Notably, Gabriel uses Lyria fabrics in his collections — a very niche producer of predominantly interior textiles from Prato (Tuscany). Its materials and yarns are dyed with natural pigments, including coffee, tea, and ash, and its fabrics are distinguished by expressive textures.
Another example of a free interpretation of the classics is the French footwear brand Timothée, headed by Japanese designer Masamitsu Hata. This is immediately apparent in how subtly footwear classics are reimagined in his collection, taken in terms of comfort to the level of house slippers. Worth noting are the loafers with a wide toe and side lacing like a topsider's, as well as virtuosically crafted (by Portuguese artisans) complex-cut moccasins with weaving at the toe and not a single visible seam.
Traditionally one of the fair's most interesting accessory brands is the French label Bonastre. An architect by training, Fernando Bonastre de Selis works superbly with volumetric forms and isn't afraid of complex details. Besides his own label, he also designs accessories for the Paris brand Lemaire. The Rider bag was inspired by a skater's concave ramp and the brutalism of the '50s–'60s, though you can also make out the shape of a saddle in it. It's a unisex bag that can be worn on the shoulder or crossbody by means of an adjustable strap. It now comes in sizes from S to L. Bonastre's newest creation is the calfskin Skeleton Tote with an exoskeleton — inserts that dictate the geometry of how it folds on an origami principle.
The Japanese presence across various categories was also significant at this Pitti. The brand Teclor, whose history spans more than 60 years, presented a highly technical collection. Standing out in it is a trench made from a three-layer material with a waterproof, breathable membrane and sealed seams, as well as an ultra-light vest for fans of fashionable outdoor gear. Another respected manufacturer, Tsuchiya Kaban, has since 1965 produced indestructible school backpacks familiar to every Japanese schoolchild. To social-media users it's known for viral bags for carrying wine glasses or a watermelon. Their more practical and quite unconventional models look like black kraft-paper bags. In reality, though, they're made of the finest, highly pliable matte kidskin.
Pitti Uomo still remains a unique event in its format. Nowhere else will you find 740 brands of the widest stylistic range gathered in one place.
Summing up the fair's results, one can assert that, despite a slight drop in the number of buyers (by 3.5%) and exhibitors this season, Pitti Uomo still remains a unique event in its format. Nowhere else will you find 740 brands of the widest stylistic range gathered in one place.
Alexander Rymkevich