After Cavalli and a drive by Mytheresa’s Negroni sbagliato-fueled cocktail party at Bar Basso (Diego Della Valle was walking in just as I was leaving), I traveled through the drizzle to the Diesel show, which took place in a graffiti-walled park called the Scalo Farini. While press and other V.I.P. guests were escorted to two closed-off areas flanking the raised stage, the rest of the 7,000 strong crowd—made up of lots of fashion students—hovered around or sat in the rafters, watching the show on a jumbo screen.
Diesel, maker of the artificially worn-in, crack-baring jeans that became an early-2000s status symbol, is having a legitimate renaissance with the youths—I asked buyers! It’s all thanks to the designs of the impossibly cool Glenn Martens, who has managed to filch from that tawdry era with a deft sophistication. (I loved the pieces that looked like they were disintegrating right on the body.) Martens, who also designs his own label, Y/Project, is the name already being whispered as a potential successor to Sarah Burton at Alexander McQueen. Who knows if that will end up being true—no doubt McQueen and Kering are going to be super careful about honoring Burton first before any news comes out—but what I do know is that Martens is dynamite, and that Diesel was smart to hire him.
After Diesel, I popped by Moncler’s party for its latest Pharrell Williams “co-creation”—the company and the Louis Vuitton men’s creative director have been working together since 2009. (As for how this is okay, it’s likely a matter of pre-established agreements and also goodwill between Moncler and LVMH.) For Moncler, this was less about the collection, which debuted at London fashion week in February, and more about having a presence at MFW. Nevertheless, I like to watch Moncler closely no matter the occasion. C.E.O. Remo Ruffini, who bought the business in the early 2000s, transforming it into the de facto outerwear brand for global elites, is a keen observer of consumer behavior. He was early to collaborations—perhaps the first to pull people in at the high end—and has iterated on the model every couple of years.