Setchu's FW25 collection was a masterclass in reductionism An exploration of multifunctionality and minimalism at Pitti Uomo

The FW25 collection by Setchu, presented yesterday at Pitti Uomo, not only marked the runway debut of one of the most appreciated designers on the Milanese scene but also offered a more mature and structured vision of the designer's previous efforts that blend elements of Japanese art with Western tailoring tradition. Satoshi Kuwata, the young Japanese designer and founder of the brand, staged a collection that explores the essence of "reduction" through the use of shapes, folds, and transformations that challenge the conventions of both men's and women's wardrobes. The collection began with a simple square of paper, a base that represents the philosophy of Setchu: starting from a simple element and translating this form into a complex and dynamic language. Folded multiple times in different directions, the square becomes the symbol of the transition from two-dimensionality to three-dimensionality. And just as the white square, the garments themselves transform and adapt to multiple interpretations. For example, safari jackets and coats can be shortened, shirts and blazers extend into square panels, and the tails of a tailcoat can be tucked inside, offering different ways to wear each piece.

The color palette of the collection is intrinsically linked to the philosophy of simplicity and reduction. Essential colors such as black, white, and gray dominate the scene, with particular attention to the gray and black tartan, which represents the brand's seasonal signature. This pattern, reminiscent of punk aesthetics, has been reinterpreted in a more subdued version that plays with various shades of gray to create a more refined and contemporary visual effect. Alongside the classic tones, Kuwata drew inspiration from his native Japan through his use of silk jacquard, modernizing traditional motifs. Among these, stands out a reinterpretation of Genji Monogatari, one of the great classics of Japanese literature, transformed into an homoerotic interpretation and enriched with bold patterns, such as octopuses in a phallic shape reminiscent of Hokusai, taken from Japanese erotic manga, which appear on lace. These very aspects revealed to the audience more facets of the designer’s personality, who didn’t want to limit himself to the simple concept of his multifunctional origami fashion but also infuse it with personality, mischief, and character, which suggest that future collections will hold a series of surprises that we can't wait to discover.