Diesel presented its Fall Winter 2026 collection in Milan under the direction of Glenn Martens, staging the runway within a dense installation composed of more than 50,000 objects drawn from its archive, campaigns, and offices. Figurines, inflatables, clothing, and memorabilia surrounded the space, including polar bears, aliens, Santa Claus figures, balloons, plush toys, branded underwear, and real pizza slices, forming an environment shaped by accumulation and unpredictability.
FALL WINTER 2026.27
Martens anchored the collection in the concept of the “walk of shame,” exploring the instability and energy that follow a night without restraint. He translated this idea into clothing through distortion, twisting, and permanent alteration. Resin-treated knits and denim opened the show, their surfaces stiffened into fixed creases that reshaped familiar forms. Trompe-l’oeil garments simulated layered pieces through optical illusion, creating the appearance of multiple garments compressed into a single structure. Twisting and wrapping techniques reshaped silhouettes and introduced tension across the body.
Denim remained central to the collection. Jeans appeared washed, creased, and sculpted into irregular forms that disrupted their original structure. Knitted garments collapsed into compressed shapes, tightening around the torso and arms. Martens introduced recycled felt materials resembling insulation, pressing them into structured coats and tailored sets. These dense surfaces emphasized physical manipulation, allowing garments to carry visible evidence of pressure and reshaping. Plaid garments wrapped around the waist recalled flannel shirts, and faded graphic prints and torn surfaces appeared across tops and denim.
Coats and suits emerged from layered wool scraps pressed together into solid constructions. Foiled surfaces cracked open along seams and folds, revealing hidden textures beneath the outer layer. Velvet garments and denim appeared in washed tones that softened their appearance while maintaining structural clarity. Floral references appeared through intarsia knits and printed fabrics, fractured and rearranged across the garment surface.
Faux fur garments carried streaks of orange, red, and blue, creating the impression of color spreading across the material. Sheer garments and embellished denim revealed saturated tones concentrated along seams and creases. Leather garments appeared toward the end of the presentation. Laminated jeans and leather jackets arrived in baby blue, pink, yellow, and orange, expanding the collection’s material and color range.
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The installation surrounding the runway extended these ideas beyond clothing. Archive objects, campaign props, and fragments of the brand’s past formed a visual record of its identity. Guests navigated this environment while observing garments shaped through similar processes of layering and alteration. The collection translated distortion, compression, and material experimentation into a complete wardrobe shaped by physical intervention and structural change.
