For ZEGNA, a closet is more than a space to store and protect clothing. It is a sanctuary where durability is acknowledged, value is safeguarded, and pieces that have been cherished are honored—holding time still until the moment they are worn again. In that sense, a “family closet” becomes a living archive: a realm where instinct and intuition, thought and inheritance intersect, and where the simple act of getting dressed can spark encounters across generations.
Courtesy of ZEGNA
A fictional closet filled with real garments
Winter 2026 unfolds inside an imagined closet that is, paradoxically, built from reality—personal items belonging to third-generation family members Gildo Zegna (Group Executive Chairman) and Paolo Zegna, alongside garments inherited from ancestors. The premise is rooted in an enduring love for fabric and for wearing clothes—an attachment so deep that the very idea of discarding becomes unthinkable.
Courtesy of ZEGNA
At the heart of this closet sits “ABITO N.1”, the first suit made Su Misura in the 1930s for Count Ermenegildo Zegna, crafted in Australian wool and presented like a museum piece within a glass case.
Courtesy of ZEGNA
Alessandro Sartori on clothes as “outer, chosen skin”
For Artistic Director Alessandro Sartori, fashion begins with lived experience. He describes clothes as our “outer, chosen skin,” like pages of a diary written over the course of existence—an idea that anchors this collection’s narrative of generational baton-passing, where carefully kept possessions are taken up and re-used by others.
It is the surprise of discovering a garment once owned by a father, grandfather, or uncle; the revelations that come from decoding how it was worn; the impulse to try something new. Sartori is equally drawn to the wordless dialogue that arises between body and gesture—and to the pride and patience required to make pieces that can be stored, reused, and continuously reinterpreted over time.
Alessandro Sartori/Courtesy of ZEGNA
Within that framework, Trofeo wool, introduced in 1965, returns as a symbol of ZEGNA’s commitment to excellence—recast in a contemporary key to reconnect generations through material.
Courtesy of ZEGNA
Long, loose silhouettes—quiet dignity
The silhouettes are long and relaxed, carrying an ease that never slips into indifference. Coats and jackets are extended and enlarged, defined by square shoulders. Trousers rise high at the waist before falling into generous volume.
Even double-breasted closures—often read as emblems of structure—are reimagined with lightness and play: simplified fronts, and a sideways central button placed between traditional fastening points, allowing the wearer to move between classic formality and a more open, loosened fit. The same spirit of multiple ways of wearing appears throughout, including double-lapel blazers and double-collar blousons.
Courtesy of ZEGNA
Overshirts read fluid and elegant, while shearling and knitted bomber jackets bring warmth through texture rather than heaviness.
Category lines dissolve
Boundaries keep shifting. Windowpane and checks—typically reserved for suiting—reappear as jacquard on washed silk shirts. Anorak shapes migrate into classic blousons that sit between inner and outer layers. Polo shirts arrive in weightier materials; stand-collar blazers are sharpened with leather detailing; quilted leather gilets and bomber jackets introduce a graphic edge.
Courtesy of ZEGNA
Accessories extend the wardrobe outward: outdoor slippers and moccasins in suede, wool felt, and nubuck; squared eyewear; felt-lined rain hats; and softly constructed duffels and briefcases.
Palette and texture as time, woven in
The palette mixes creamy tones with organic shades, lifted by jewel-like accents, while anthracite grey and restrained black quietly return the collection to the origins of classic dressing. Texture is everywhere: from paper-like wools to tweeds, printed flannels, double cashmere constructions, technical silk gabardines, and beyond—materials chosen not only for surface and hand, but for how they carry time.
Inside and outside the “family closet,” generations connect through shared values made tangible—through cloth, through wear, and through the traces a life leaves behind.
Courtesy of ZEGNA
Courtesy of ZEGNA
Courtesy of ZEGNA
Courtesy of ZEGNA
Courtesy of ZEGNAA fictional closet filled with real garments
Winter 2026 unfolds inside an imagined closet that is, paradoxically, built from reality—personal items belonging to third-generation family members Gildo Zegna (Group Executive Chairman) and Paolo Zegna, alongside garments inherited from ancestors. The premise is rooted in an enduring love for fabric and for wearing clothes—an attachment so deep that the very idea of discarding becomes unthinkable.
Courtesy of ZEGNAAt the heart of this closet sits “ABITO N.1”, the first suit made Su Misura in the 1930s for Count Ermenegildo Zegna, crafted in Australian wool and presented like a museum piece within a glass case.
Courtesy of ZEGNAAlessandro Sartori on clothes as “outer, chosen skin”
For Artistic Director Alessandro Sartori, fashion begins with lived experience. He describes clothes as our “outer, chosen skin,” like pages of a diary written over the course of existence—an idea that anchors this collection’s narrative of generational baton-passing, where carefully kept possessions are taken up and re-used by others.
It is the surprise of discovering a garment once owned by a father, grandfather, or uncle; the revelations that come from decoding how it was worn; the impulse to try something new. Sartori is equally drawn to the wordless dialogue that arises between body and gesture—and to the pride and patience required to make pieces that can be stored, reused, and continuously reinterpreted over time.
Alessandro Sartori/Courtesy of ZEGNAWithin that framework, Trofeo wool, introduced in 1965, returns as a symbol of ZEGNA’s commitment to excellence—recast in a contemporary key to reconnect generations through material.
Courtesy of ZEGNALong, loose silhouettes—quiet dignity
The silhouettes are long and relaxed, carrying an ease that never slips into indifference. Coats and jackets are extended and enlarged, defined by square shoulders. Trousers rise high at the waist before falling into generous volume.
Even double-breasted closures—often read as emblems of structure—are reimagined with lightness and play: simplified fronts, and a sideways central button placed between traditional fastening points, allowing the wearer to move between classic formality and a more open, loosened fit. The same spirit of multiple ways of wearing appears throughout, including double-lapel blazers and double-collar blousons.
Courtesy of ZEGNAOvershirts read fluid and elegant, while shearling and knitted bomber jackets bring warmth through texture rather than heaviness.
Category lines dissolve
Boundaries keep shifting. Windowpane and checks—typically reserved for suiting—reappear as jacquard on washed silk shirts. Anorak shapes migrate into classic blousons that sit between inner and outer layers. Polo shirts arrive in weightier materials; stand-collar blazers are sharpened with leather detailing; quilted leather gilets and bomber jackets introduce a graphic edge.
Courtesy of ZEGNAAccessories extend the wardrobe outward: outdoor slippers and moccasins in suede, wool felt, and nubuck; squared eyewear; felt-lined rain hats; and softly constructed duffels and briefcases.
Palette and texture as time, woven in
The palette mixes creamy tones with organic shades, lifted by jewel-like accents, while anthracite grey and restrained black quietly return the collection to the origins of classic dressing. Texture is everywhere: from paper-like wools to tweeds, printed flannels, double cashmere constructions, technical silk gabardines, and beyond—materials chosen not only for surface and hand, but for how they carry time.
Inside and outside the “family closet,” generations connect through shared values made tangible—through cloth, through wear, and through the traces a life leaves behind.
Courtesy of ZEGNACourtesy of ZEGNACourtesy of ZEGNACourtesy of ZEGNA
