Adnkronos (Adnkronos) – The steel structure and red lights are reminiscent of a Berlin club. It could almost be the infamous Berghain, given that the club's now most feared bouncer, Sven Marquardt, sits in the front row. But we're in Milan, at Diesel, for the latest show designed by Glenn Martens, who, it should be noted, will remain firmly at the helm of Maison Margiela.
OTB's flagship brand chose to close the Belgian designer's successful chapter by transforming the show into a celebration that defies the definition of a traditional fashion show. First a kiss. Then another. A couple indulges in effusions among the guests, then another and another. Two hundred performers, disguised among the guests, come to life while the models parade.
Behind the apparent improvisation lies a precise direction. The performance is by (LA)HORDE, the French artistic collective that has directed the Ballet National de Marseille since 2019 and also curated the ballet troupe for Rosalía's LUX Tour. The idea is a happening in which the unexpected becomes part of the show. A celebration whose tension and sensuality recall Gaspar Noé's 'Climax.'
“At Diesel, the party always comes first,” explains Glenn Martens, describing a collection he defines as “disruptive, sexy, fluid, fun” and built on the idea that everyone is part of the same experience.
And fashion follows this logic, too. Daywear is dismantled and reassembled. Models, some with deliberately smeared lipstick, wear leather jackets, blazers, sweaters, and shirts fused together; embroidery and cut-outs draw orchids across the body; the new Pantasock blends leather and denim. Skirts are short in the front and even more drastically shortened in the back, while trompe-l'oeil transforms light shirts into heavy coats, denim into leather, and microshorts into an optical illusion. It's the chaos of those rushing to get dressed after a night too long: sheer dresses, slip dresses, shirts, and tailored suits seem to have been tangled together, cut up, and reassembled without much regard for the rules. And finally, denim returns, Diesel's most recognizable code, right down to the micro shorts of the last look worn by Ella Snyder, the same model who opened Martens's first show for the brand in 2021. A full circle.
For Renzo Rosso, this is a conclusion agreed upon some time ago. The OTB owner told reporters that he and Martens had already decided a year ago to end the creative process this way, leaving him a sort of final "red carpet." But, he assures, this doesn't represent a setback for the brand. On the contrary, Rosso emphasizes Martens' work not only on the collection but also on entertainment and audience engagement: "He worked on the assembly, the reassembly of the garments, on entertainment, on sensuality. It's something truly unique and special." And he's not yet revealing his cards on Diesel's creative future. "We have a truly strong team," he says, announcing that the next name will be announced later. For Rosso, creativity remains the main tool with which a group like OTB can compete with the large luxury conglomerates: "We can't compete only against their resources, that's why we base everything on creativity. I think we have a unique DNA."
Technology is another area Rosso says he wants to push the company forward. He's a staunch supporter of artificial intelligence and says he's already introduced it to various areas of the group, involving hundreds of managers. But, he emphasizes, it must be guided: the challenge is to use AI without allowing it to replace the human, creative component. This is a theme he also addresses in his latest film, "Be Brave," which explores the relationship between innovation and courage. "Be Brave is my life," he says.
And changes, he observes, also come from the new generations, influenced by social, political, and technological transformation. For this reason, he believes, companies must continue to evolve. As for Milan, Rosso considers it increasingly an international hub of fashion and creativity. "It's really making great strides," he observes, emphasizing the growing presence of major brands and the role of Montenapoleone as an international showcase. This growth, he admits, also brings with it the problem of ever-increasing rents, but he believes it reflects the city's attractiveness and the Italian lifestyle. Diesel is turning over a new leaf today, but the party continues until the last look. Glenn Martens's last night for the brand is sensual and deliberately messy. Just like a nightclub from which, sooner or later, you have to leave. (by Federica Mochi)
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