Massimo Giorgetti introduces I Feel The Rush, the MSGM Spring Summer 2026 men’s collection shaped by the physicality and rhythm of bike life. He approaches the bicycle not simply as transport, but as a charged object, one that carries adrenaline, effort, and escape. Each piece connects to motion, dust, and the sensation of pushing the body past its limit. The title itself marks the emotional pitch: a state where fatigue gives way to euphoria.
Rather than staging an idea, Giorgetti documents his experience. Photographs snapped on actual bike rides, mountains, terrain, brief flashes of movement, appear as prints across garments. These moments live across shirts, outerwear, and athletic cuts, bringing immediacy to each item. Iconic symbols from competitive cycling, such as the Maglia Rosa and Maglia Gialla, enter the collection as references rather than relics, paired with imagery pulled directly from Giorgetti’s personal rides.
He strips down tailoring to suit motion. Crisp shirts take the form of mesh, and silhouettes shift toward agility. Materials focus on performance: perforated knits, technical nylons, and surfaces designed to handle friction. Cordura shows signs of imagined wear, sun, sweat, and road, while shaping pieces that still feel ready to move.
Denim doesn’t stay untouched. It arrives discolored, weathered with deliberate grass stains and muted tones that resemble dry trails. The palette avoids polish, it draws from ground and sun, with no trace of artificial gloss. This collection favors materials that feel used, even before they’re worn.
To root the concept in real motion, Giorgetti turns to Milan’s own riders, members of Collective 24.7 Fastlife. These bikers appear in the presentation not as styled models but as people who live the energy the clothes reference. Their physicality gives the collection weight.
The brand’s flagship store shifts to match the tone. MSGM works with Fosbury, a Milan-based architecture group, to refit the space as a raw staging ground. The environment strips away anything ornamental. Surfaces and structures rely on industrial material, erasing distraction.
