In an unusual move for an international fashion house, Brunello Cucinelli presented its Fall-Winter 2026 collection inside the Abulkasim Madrasah in Tashkent, Uzbekistan. The courtyard of the 19th-century Islamic educational complex was covered with handmade carpets, while local musicians and performers accompanied the models as they walked through the historic space.
The choice of venue was deliberate. The Abulkasim Madrasah, built in 1864 on the site of an earlier complex, is not merely a preserved monument. Its former student rooms now house workshops where craftspeople practice ceramics, wood carving, engraving, miniature painting, and other traditional arts. For the Italian brand, known for its emphasis on handcraft, the setting offered a direct connection to Uzbekistan's own artisanal heritage.
Artisanality as a bridge between Solomeo and Tashkent
Carolina Cucinelli, Vice President and Co-Creative Director of Brunello Cucinelli, said she had spent time exploring local crafts during her visit. "Artisanality is one of the most important key points between Uzbekistan and Solomeo," she said, referring to the Umbrian village where the company is based. "We had the chance to see pottery, jewellery and the fabric. This is amazing. Everything is very colourful."
The show featured both men's and women's collections, with tailoring, knitwear, and outerwear presented against the madrasah's architecture and the carpets covering its courtyard. The event was organised by Glamour Avenue, a luxury retailer in Tashkent. Dmitriy Maschenko, CEO of Podium and Glamour Avenue, said the concept was designed around the cultural setting. "The concept of the show was to bring Italian culture together with our great Uzbek culture," he said.
The choice of a historic craft centre also mirrors Cucinelli's activities in Italy. In 2025, Brunello Cucinelli received an honorary doctorate partly recognising his work on the restoration of Solomeo, where the company is headquartered. A school established there trains students in traditional skills including tailoring, pattern cutting, gardening, and masonry.
Uzbekistan's own fashion scene is also looking beyond its domestic market. Some local designers have begun testing demand abroad, combining contemporary fashion with materials and techniques rooted in Uzbek craft traditions. Maschenko said he expected more international fashion brands to enter the Uzbek market in the coming years.
The event comes as Tashkent positions itself as a regional hub, with new tech initiatives aiming to make the city Central Asia's gateway. While the fashion show was a cultural statement, it also underscored the growing international interest in Uzbekistan's creative economy.
For Brunello Cucinelli, the Tashkent show was another step in its strategy of staging presentations in culturally significant locations. The brand has previously shown in historic Italian settings, but this was its first major event in Central Asia. The juxtaposition of Italian elegance with Uzbek craftsmanship created a dialogue that went beyond fashion, touching on shared values of handwork and heritage.
As Europe's fashion industry increasingly looks east, the Tashkent show may signal a broader trend. With its rich textile traditions and a young, design-savvy population, Uzbekistan offers a new frontier for luxury brands seeking authentic collaborations. The Abulkasim Madrasah, once a centre of learning, has now served as a stage for a different kind of education—one that bridges cultures through style.
