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For Spring 2026, Meet The Buyer evolves into a scenic narrative. CoccoleBimbi chooses to tell the story of buying as a creative, conscious—almost performative—gesture. An act that takes shape on stage, where every choice is deliberate. Here, luxury has nothing to do with excess or with rushing the time of childhood. Instead, it lies in the ability to remain true to who you are, to inhabit your identity with ease and authenticity. The symbolic place where this unfolds is a suspended, weightless yet meaningful space, where dream and reality coexist without friction. An invisible theatre in which style does not weigh, does not impose, does not shout. It simply exists.
The theatre as a metaphor
The set is an essential theatre: a red curtain, a wooden floor, a stage that is imagined rather than declared. Theatre is the place of staging, but also of precision. Nothing is left to chance: every gesture is studied, every entrance has meaning, every pause contributes to the narrative.
In the same way, buying is not a simple selection of products. It is a form of direction. A sequence of choices that, season after season, builds a coherent story.
In this project, Cesare Morisco is not only the face of Meet The Buyer, but the silent director of the show. His work is not about chasing trends, but guiding them: identifying brands capable of speaking the language of CoccoleBimbi—one made of distinct identities, cultural depth, and vision.
On Stage: Spring SS26
Spring ’26, as staged by CoccoleBimbi, is a choral collection, built through manifesto brands that embody different yet complementary approaches. Heritage and experimentation, irony and rigour, street attitude and iconic codes coexist in a measured balance.
Marc Jacobs enters into dialogue with Max&Co., Gucci Kids meets Converse, Fear of God Essentials builds new volumes alongside Fendi Kids, while Marni Kids, Molo, Billieblush, MM6 Maison Margiela, Versace, Diesel, Etro and Golden Goose shape a landscape that is rich yet never redundant.
Each brand brings a distinct voice to the stage, contributing to a collective narrative that speaks of a contemporary, conscious, and free childhood.
The children are neither mannequins nor performers of predefined roles: like the set, they are also generated by artificial intelligence, yet they wear real Spring ’26 garments, animating the space with naturalness and spontaneity. Childhood thus becomes living, creative, and liberated energy—ready to take the stage.
