There was something inevitable about the energy of Glenn Martens’ final show for Diesel. After six years of disrupting the Italian house through denim, sensuality and experimentation, Spring/Summer 2027 does not feel like a quiet farewell. It feels like one last party: intense, chaotic and unapologetically alive.
From the beginning of his tenure, Martens understood that denim did not have to remain familiar. Under his direction, it became expressive: distorted, reconstructed, layered and pushed beyond its traditional boundaries. Rather than treating denim as a signature to be repeated, he turned it into a language, one capable of carrying attitude, sensuality and irreverence while remaining deeply connected to Diesel’s identity.
Inside a purpose-built club space with a charged atmosphere, the collection unfolded with denim pieces coated and lasered to create a leather-like effect. Skirts and bootcut jeans further reinforced the material’s versatility. Even the smallest denim shorts become almost a manifesto for the party: provocative, playful and unmistakably Diesel.
The collection constantly plays with illusion, with trompe-l’œil prints and foil-printed denim jackets imitating baseball and biker silhouettes. Nothing is quite what it first appears to be. The woman and the man of Diesel can be refined, rebellious or deliberately unconventional, sometimes all at once. Denim remains at the center of everything, but once again refuses to behave like conventional denim.
This versatility has always been central to Martens’ vision. He has never seemed interested in choosing between commercial fashion and experimentation. Instead, he looks for the point where the two can coexist: where a recognizable garment can be disrupted enough to feel new, while retaining the instinctive energy that defines Diesel. That tension extends beyond the clothes. Throughout his tenure, Martens transformed Diesel’s runway presentations into experiences, using spectacular and unconventional environments to reinforce the brand’s culture of freedom and self-expression. His final show continues that tradition, placing the collection within a world where fashion feels inseparable from its surroundings.
And then comes the final gesture. Ella Snyder closes the show. She is the same model who opened Martens’ debut Diesel collection six years ago. It is a full-circle moment, bringing the story back to where it began. As the show reaches its climax and release, a rework of Donna Summer’s “Love to Love You Baby” fills the space.
