Two visions far from the classic idea of menswear: on one hand, the restless romanticism of Simone Rocha; on the other, the almost architectural construction of Kei Ninomiya. Pitti Uomo 110 thus confirms menswear as a territory of transformation, contamination, and new identity.
The next edition of Pitti Immagine Uomo, scheduled in Florence from June 16 to 19, 2026, will not merely be another step on the international calendar dedicated to menswear. It will also be a moment of reading change, because among the announced protagonists appear two creative presences of strong symbolic value: Simone Rocha and Kei Ninomiya. Two very different names, two distant aesthetic worlds, but united by the same ability: to bring menswear out of its most predictable zone.
Simone Rocha, Irish designer based in London and founder of the brand bearing her name, will present in Florence a special show/event. For her it will be the first show entirely dedicated to menswear within a men’s calendar. An important step, because her work has always inhabited a subtle threshold between romanticism and restlessness, fragility and construction, sweetness and tension.
Bringing this sensibility into Pitti means opening the masculine wardrobe to a less rigid, less automatic, more emotional and layered register. Not a man constructed only through strength, role, and authority, but a more complex figure — capable of containing vulnerability, ornament, memory, and desire.
Alongside her will be Kei Ninomiya, Japanese designer who grew up in the Comme des Garçons universe and leads the brand noir kei ninomiya. His research moves in a different direction: more structural, more conceptual, almost architectural. In his garments, form is never simply decoration, but construction, system, a body that becomes a design surface.
If Simone Rocha brings a poetic, theatrical, and almost sentimental sensibility to menswear, Kei Ninomiya brings a more radical tension toward structure, material, and the transformation of garment into visual object.
And it is precisely this double movement that makes the choice of Pitti Uomo 110 interesting. On one hand, emotion; on the other, construction. On one hand, romanticism; on the other, architecture. Two different paths to say the same thing: menswear can no longer remain closed within its historical codes.
Contemporary menswear is no longer merely jacket, trouser, measure, proportion, controlled elegance. It has become a place of contamination, where the masculine is interrogated, traversed, even destabilized.
After the theme “The Pool”, with the pool as an unstable reflection of contemporary masculine identity, the presence of Simone Rocha and Kei Ninomiya confirms a precise direction: Pitti Uomo does not want to limit itself to telling what men will wear in spring/summer 2027, but what kind of man is emerging behind those clothes.
A man less monolithic, less predictable, perhaps less certain of his old symbols, but precisely for this reason more interesting.
Pitti Uomo 110 thus confirms itself not only as a commercial platform, but as a cultural space in which the masculine is observed, rethought, and set back in motion.
— Alessandro Sicuro
Brand Strategist | Photographer | Art Director | Project Manager
Alessandro Sicuro Comunication
Sure-com America 