After his runway debut in Florence last June, Pierre-Louis Mascia went all in at Milan Fashion Week, and pulled it off! The French designer held his large audience spellbound on Friday, opening Milan Fashion Week Men with a lavish show. The setting was dark, bordered by large curtains, the music was intense, and the silhouettes were sumptuous, the models barely illuminated by the thin candles they held in their hands. All the elements combined to create a suggestive, totally exotic atmosphere, veined with a baroque, romantic vibe, at times melancholic.

Mascia’s Fall/Winter 2025-26 collection for women and men, entitled ‘Bright Star’, was an effortless fusion of Victoriana, the Italian Renaissance, and outlandish references to distant countries. Mascia was inspired by English poet John Keats, and imagined the collection “as a visual poem.” Prints, textures and colours created a coherent chromatic ensemble, gently harmonising with one another. Tapestry-like shawls with long tassels were layered over silk pyjamas sets and bathrobe-coats with velvet lapels, whose motifs seemed washed out by time.

Oversize, diagonally tied silk scarves gently wrapped up the models’ bodies, worn over a cardigan or a polo shirt. Landscapes sketched in ink, 19th century-style, cropped up from the lower part a jacket and trousers in shades of blue-grey. Patchwork shirts were a medley of thin-striped cotton and printed silk. Checks, ethnic motifs, floral tapestries, stripes and other patterns were adroitly blended, while ribbons and trimmings lent a fresh flavour to some jackets and trouser cuffs.

Tunics, skirts and coats featured in flowing, cocooning silhouettes. The clothes were comfortable, made in soft, shimmering materials. Mascia utilised various types of silk alongside wool, cashmere and double-sided cotton. The collection also introduced beautiful red officer jackets, black hussar-style tops, and British-style check coats.

“I imagined a wardrobe for characters who are quite sensitive or damaged, and manage to overcome their tribulations by turning them into courage. This resulted in a more muted, saturated palette. In a world where we tend to concentrate colours, I tried to find more subtle, less garish hues,” Mascia told FashionNetwork.com. Golden browns, dark reds, and faded blues featured in his palette for next winter.

Mascia is renowned for his ability to capture an image and bring it to life, tapping different designs, periods, patterns and shades which, once assembled together, appear obvious. He has partnered with Achille Pinto, a silk printer based in Como, Italy, to create bold assemblages using innovative techniques, the fruit of constant research. This collection is further proof of Mascia’s ability, with its incredible printed effects on devoré velvet and quilted fabrics.

“I wanted to come to Milan to take on a new challenge, after exhibiting at the Pitti Uomo show for years. This reminds us of our roots, since Achille Pinto is based in Como [not far from Milan]. The show is also the most immediate way of presenting my collections to consumers, and show how well the garments fit together when worn,” said Mascia, who added that, following his June show, “complete outfits are our best-sellers.”

Milan Fashion Week’s first day ended with Philipp Plein’s high-energy show, signalling the label’s return to the menswear calendar. To mark the occasion, the eponymous German designer invited his guests to the hotel he has recently inaugurated in central Milan. More precisely, to one of the hotel’s four restaurants, the Philipps, with Las Vegas-style interiors done up with mirrors, neon lights and large chandeliers.

French rapper Montana opened the show and set the tempo, clad in a black leather jacket with a glittering crystal Plein logo on the back. He was soon followed by the models, who strode across the room weaving between the rows of tables and chairs where the guests were seated. Dimmed lights gave the room a club feel. The style was full-blown rock star, characterised by dark glasses, dark suits, embroidered dinner jackets worn bare-chested (some models sported elaborate tattoos for effect) or slipped over a tame turtle-neck sweater in total black or white looks.

Though Plein stayed true to his maximalist ethos, his wardrobe is edging towards a touch more restraint. “There are more couture items and less streetwear, made in rare materials such as silk, fine wool and cashmere, as well as performance fabrics and various denim treatments. It’s all more sophisticated,” said Plein of his clever code-mixing, talking to FashionNetwork.com.

A black jacket decorated with appliqué was worn over a sweatshirt, the look completed by a baseball cap. A shearling jacket was matched with a jacquard sweater, and an elegant grey check coat with generously cut soft wool trousers looking almost like joggers. A longline white cashmere overcoat was matched with a pair of jeans. 

Lateral piping ran along the legs of a pair of trousers and a jacket’s sleeves. Elsewhere, a check overshirt was encrusted with sequins. The collection was scattered with lavish albeit discreet details, while the palette featured mostly neutral colours. In the end, Philipp Plein’s wardrobe for next winter consisted of a range of highly wearable items, fully in line with the quiet luxury trend.