Diesel presented Spring Summer 2027 in Milan as the final collection by creative director Glenn Martens. For his last show, Martens returned to the energy that has defined much of his work for the brand, placing denim, experimentation and club culture inside a purpose-built venue designed around intensity and unpredictability.
SPRING SUMMER 2027
“The party always comes first at Diesel,” Martens said. “It’s about inclusivity, self-expression, pleasure and the democracy of experience. The collection is the essence of Diesel: disruptive, sexy, fluid, fun. We are all in this together: let’s take a ride one more time.”
That idea extended beyond the clothes. Marseille-based artist collective (LA)HORDE developed a performance involving 200 participants positioned throughout the audience. The performers interacted with guests and one another as the show progressed, creating moments that moved between strange, uncomfortable and sensual. Their actions appeared spontaneous while operating within an established set of rules.
Martens built much of the collection around garments that appeared assembled from several different pieces. A waxed leather jacket layered over a topstitched blazer and ribbed knit sweater, while tracksuit collars and shirt cuffs entered hybrid constructions. Orchid-shaped openings marked the points where different garments connected. This approach also produced leather and denim pantasocks, continuing Martens’ interest in questioning where one garment ends and another begins.
Diesel coated and lasered several pieces to create surfaces that resembled leather. Straight-leg jeans received the same treatment, while bootcut styles gained their shape through inserts placed at the inner ankle. Other jeans featured visible topstitching, ankle openings designed around footwear and denim shirts fixed at the waist to create the appearance of a tied layer.
Trompe l’oeil provided another recurring technique. Lightweight button-up shirts carried printed images of heavier outerwear, including tweed coats and winter jackets. One print returned to the raw-edged shearling coat shown during Martens’ first Diesel runway collection, creating a direct reference to the beginning of his tenure.
Elsewhere, foil printing altered the identity of familiar pieces. Denim bomber jackets carried surface treatments that made them resemble baseball jackets or biker styles. Rucked and twisted constructions gave T-shirts new proportions, while shirts and tailoring appeared pulled, caught and deliberately displaced. A belted top referred back to the first piece Martens presented for Diesel.
Accessories continued the collection’s focus on hardware and altered everyday objects. The D-ONE bag returned across several treatments and textures, with its handles extending into multiple buckled straps. Leather charms took the form of familiar items, including a sock transformed into a pouch and a newspaper interpreted as a clutch.
The new LOCK-D bag incorporated Diesel’s Double D motif as its fastening. The same symbol appeared across footwear, including loafers and closed-toe mules. Men’s footwear also included denim clogs and Western-influenced heeled boots, while D-ONE buckle hardware appeared across additional shoe designs.
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Diesel completed the offering with a smaller version of the metal-bracelet D-RUSH watch and new tonal versions of its transparent acetate TRAN-D-SPARNT eyewear. Across Spring Summer 2027, Martens revisited techniques and references from his Diesel tenure while keeping denim firmly at the center of his final collection.
