Diesel has reached a dimension of sublime subversion in its FW25 fashion show, a manifesto of aesthetic disobedience that fuses the elevated with the overflowing, the sublime with the chaotic. On a stage of three kilometres of graffiti canvas, which becomes an immense canvas where art merges with fashion, the brand dismantles the boundaries between luxury, destruction and the avant-garde. More than a collection, this fashion show becomes a journey into the unknown, a space where beauty can only be understood through the radical transformation of form.
The huge inflatable installation was jointly created by 7,000 amateur and expert graffiti artists. ‘I love that thousands of people from all over the world worked together to create the stage design. We gave the global street art collective total creative freedom: everyone expressed themselves in their own way in a project that took months to realise. This is true Diesel democracy,’ said Glenn Martens, the brand’s creative director, about the set. That energy, raw and unfettered, is what flows like an unstoppable torrent down the catwalk.
Every garment in Diesel FW25 is a challenge to the rules of haute couture. Denim becomes a mutant form, utilitarianism is diluted in stylistic chaos, and craftsmanship cracks under the pressure of a limitless aesthetic. Tailoring, traditionally a bastion of the ordered, dissolves into fragments, each seam a rupture, each cut a rebellion. Collarless bouclé jackets, corsets that merge with frayed jeans, jacquard shorts that seem to flee the rules of proportion, and all crowned with a tailoring technique so meticulously destructive that the boundaries between the finished and the incomplete disappear.
Experimentation, of course, doesn’t stop at the details. The strictest garments of men’s tailoring are stripped of their formality in an unfinished cut that explores the limits of reinforced neoprene, while bouclé skirts descend towards the line of the impossible, supported by elasticated waistbands that defy the logic of the garment. These pieces, suspended between art and wear, seem to have a life of their own. They are not just clothes, they are emblems of a fashion that is constantly reinventing itself, playing with time and decadence.
Silhouettes are distorted by the aesthetic brutality of ultra-low cut skirts, trousers and coats, as if each garment were in a perpetual state of collapse, held in place by the tension between body and fabric. The destructive effects on the bouclé, which is printed on lycra and on fabrics that appear to have been absorbed by wear and tear, are a metaphor for Diesel’s own creative process: a form of beauty that emerges only from controlled devastation.
The influence of street art is palpable in every inch of the show. Ultra quilted jackets, enveloping like a second skin, are paired with wool skirts that defy the rules of elegance, while plasticised denim jeans are presented as a reflection on the alienation of modernity, as if they were sculptures that only find their true form in the extreme manipulation of the material. Each piece seems to have a story of rupture, a narrative of resistance against the traditional blandness of fashion. The distortion of denim, almost obliterated, becomes a radical act of subversion.
The experimentation with shapes also extends to the acid stitch, a tribute to the purest stylistic irreverence. Yellow ruffled bandeaus, criss-cross dresses with incongruous ruffle details, and tiny jackets in bright orange become artefacts of a parallel universe, where femininity manifests itself through an erratic, almost timeless structure. The rubber trompe l’oeil that mimics a braided knitted jumper extends this obsession with the illusory, the transformed and the overflowing.
This show is not limited to the interplay of textures and cuts. It is a visual manifesto that challenges the interaction with the body, where the Bumster Jeans – already an icon of the brand – become the epicentre of aesthetic transgression, supported by an adjustable internal structure that does nothing more than expose the fragmentation of the garment, as if the clothes were alive, evolving, mutating. The image of a printed T-shirt that adheres irregularly to the body becomes a symbol of a fashion that no longer seeks simply to dress, but to deconstruct identity itself.
The accessories only reinforce the message. The Double D bag in bouclé is presented as a monumental piece, while the new unisex bags, the Flag-D and the Load-D, with their minimalist yet powerful shapes, embrace the deconstruction of conventional forms. Thick-soled boots, worn-in houndstooth trainers, sinuously moulded Liquifie-D eyewear and the D-Curve, Wrap-D and D-Rush watches, with their avant-garde geometric lines, are pure wearable art. Each accessory is an extension of a body that follows no rules, constantly reinventing itself.
Exclusive streetart capsule
On 27 February, Diesel launches an exclusive capsule that encapsulates the spirit of the fashion show. It is a collaboration with six international graffiti artists, whose Diesel pieces were transformed into canvases for their unique visions. These works, scanned and digitised, are distributed in a collection that brings street art directly into Diesel shops and on diesel.com. A visual journey that connects fashion with street art, taking it to a new sphere of expression.
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