Milan Fashion Week has just kicked off, and Diesel chose to unveil its new collection with a set design that didn’t go unnoticed. For Fall/Winter 2026, Glenn Martens stages a saturated environment—a creative storage space where memory and vision coexist without any attempt at forced order. Even the invitation, a Murano glass banana, brings us back to an imagery made of objects suspended somewhere between collecting and design.
The runway is overtaken by an accumulation of pop objects: toys, design elements, fetishes, recognizable fragments and others that are indecipherable. An almost compulsive layering that builds a dense, irregular landscape—deliberately excessive. It’s not mere scenography, but a narrative device: Diesel turns into a creative garage, a physical archive where everything is stored, reworked, and finally put back into circulation.
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The effect is that of a continuous flow of stimuli, the same one that defines our present. We live immersed in accumulation: images, objects, cultural references, trends layering endlessly on top of one another. Diesel’s set design, first and foremost, captures this condition and returns it to its audience without overcomplicating it, turning chaos into something tangible.
In this scenario, accumulation becomes ambivalent. On one side it is creative energy, an infinite field of possible combinations. On the other, it is pure noise and overload. Martens seems to suggest that fashion today can no longer afford to ignore this tension. The creative garage thus becomes a metaphor for a system that does not erase the past, but absorbs and recontextualizes it.
The collection moves within this landscape as part of a broader ecosystem, yet it is the set that struck us the most. It is precisely from there that Glenn Martens makes his intentions clear. Identity, especially in fashion, is not born from subtraction but from the ability to manage density. With this Fall/Winter 26, Diesel does not offer an escape from contemporary chaos; instead, it inhabits it—starting from the runway’s set design.
