It’s hard to think of modern fashion without acknowledging the influence of Renzo Rosso. Born in Northeastern Italy, Rosso launched Diesel in 1978 with a vision that challenged the boundaries of denim and streetwear, soon revolutionizing the global fashion landscape. Over the years, he expanded his empire under the OTB (Only The Brave) Group umbrella, curating a family of forward-thinking brands such as Maison Margiela, Marni, Jil Sander and Viktor & Rolf. But Rosso’s impact extends beyond clothing: from his philanthropic work with the OTB Foundation to his forays into wine, hospitality, and interior design, he has persistently blurred the lines between business, culture, and creativity.
INTERVIEWS
At the heart of Rosso’s universe is the notion that art and design transcend categories and geographies—a philosophy that feels right at home in Miami during Art Week. It was amidst this milieu of artistic exchange and celebration that DSCENE Magazine Editor Katarina Doric caught up with Rosso. The occasion was the 30th anniversary of The Pelican Hotel, a South Beach landmark he acquired and whimsically restored in the mid-1990s. Known for its eclectic, playful interiors—each room a narrative unto itself—the Pelican is an example of Rosso’s refusal to accept the mundane and his drive to explore new forms of expression.
Renzo Rosso spoke about his lifelong curiosity, his commitment to creative freedom, and the power of exposure to different worlds. From the influence of art fairs like Art Basel on his thinking, to lessons learned from remote tribal communities in the African savannah, and the way these experiences inform his approach to fashion, design, and hospitality—this conversation offers a window into the mind of an entrepreneur who believes that culture, creativity, and commerce can coexist to elevate one another.
Read our exclusive interview with Renzo Rosso—an entrepreneur who has made “bravery” the core of his business, and whose relentless curiosity continues to reshape not just what we wear, but how we understand the world around us.
Congratulations on the Pelican Hotel’s 30th anniversary! How have things changed since you first started? – South Beach was different then. You’d see Gianni Versace taking walks, and there were just a couple of main spots like Café Milano and the News Café. Over time, it became too commercial and even rough. I spoke to the mayor about leaving, but he assured me improvements would come, and he delivered. It’s not the same as the ’90s, but it’s better than a few years ago. I believe the Pelican and its Art Deco heritage can keep thriving as Miami evolves.
How did you develop the concept? – When I decided to create the Pelican, I asked everyone in my design studio to propose ideas. Each came up with their own concept, resulting in 33 distinct rooms—some industrial, some Caribbean, even one styled like a gynecologist’s office. Everything is authentic vintage décor, so guests can choose who they want to be for that stay. The idea was to make something truly original, where the room itself becomes part of the Miami experience.
For me, everything is culture. Seeing different things, learning about them, that’s culture. And culture makes me more solid, more global. The more you know, the easier it is to understand where to go next.
How has Art Basel Miami been treating you this year? – Art Basel is always a remarkable place. I come every year, and not just for the art—there’s a broader creative environment here. I’m a curious person, and creativity fuels everything I do. I’m involved in many businesses: fashion is my main field, but I also have interests in interior design, wine, hotels, decoration, agriculture. Observing how creativity moves the world gives me endless inspiration. Art truly connects all these creative industries. You might take a photo of something that catches your eye without knowing why, and maybe a year later it sparks the perfect color combination for a new project.
For me, everything is culture. Seeing different things, learning about them, that’s culture. And culture makes me more solid, more global. The more you know, the easier it is to understand where to go next.
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Have you seen anything at Art Basel this time that particularly struck you? – I’ve just visited the main show so far, and tomorrow I’m going to see some graffiti work at Wynwood, as well. I love graffiti; it’s hugely inspiring, especially for fashion. I still have one more day to explore.
When did you first start following the art world? – About 25 years ago. At the start, I approached it in a very structured way. I took a teacher with me to museums and exhibitions so I could learn the stories behind the artworks. Knowing an artist’s motivation changes how you see their work. Without context, you might think, “What is this?” But when you understand why it exists, you see it with completely new eyes.
I also travel a lot to experience different cultures. This year, for example, I was in the Central African Republic, a place with very few tourists. I lived for a week in the savannah with a tribe, and it was incredible. The tribe’s leader told me, “For me, the savannah is both my hospital and my supermarket.” At first, I didn’t understand, but then I saw how they survive with what nature provides—food, water, medicine from plants. Everything they need is right there. That’s culture too. Culture is behind art, it’s behind people living in the jungle, it’s behind everything we see.
I’m a deeply curious person, so the more I travel and meet new people—like I’m doing with you right now—the more I learn. You can transfer something valuable to me, and it’s through this constant exchange of ideas that my curiosity helps me grow a little more every day.
Would you say your success is linked to this constant search for knowledge, culture, and exposure to new ideas? – You never know exactly how it all connects. Maybe you see something and think, “This could inspire the design of a chair,” but sometimes you won’t use that idea for years—or maybe never. It’s still part of your cultural foundation.
I love speaking with intelligent, cultured people because we can have deep conversations. When I meet people who accept everything passively and never question anything, I politely excuse myself. I admire those who react, who want to transform what exists, who don’t simply submit to the status quo.
I channel my energy into pushing my teams to embrace creativity and try new things. This is my attitude, and as long as I’m here, I’ll continue running my holding, my people, and my companies in this spirit.
Your brands aren’t about submission; they’re about change and innovation. What’s next for you? – My brands are very much focused on creativity rather than just profit. Recently, I’ve received many compliments—from journalists, fashion insiders, and even people from the art world—saying, “Congratulations, Renzo, the way you run your business is truly different.” I channel my energy into pushing my teams to embrace creativity and try new things. This is my attitude, and as long as I’m here, I’ll continue running my holding, my people, and my companies in this spirit.
With so many brands under your umbrella, how do you ensure each stays uniquely creative? – My creative directors must be free. I don’t want to group them together—that would risk contaminating their individual visions. I can provide research, techniques, legal support, logistics, finance, production, and various other services. But when it comes to creativity itself, they need to be unrestricted.
At most, I might offer a suggestion—“What do you think about this idea?”—and then they’re on their own to develop it as they see fit.
It’s not just about the material support—you genuinely believe in them and chose them for their vision. – That’s my job. Whether it’s considered good or not, this is simply who I am and how I work with them. I’m incredibly lucky to have so many creative directors, multiple brands, and numerous offices. Just imagine the number of talented individuals in each office—each with their own opinions and visions. Everyone sees things differently, and that’s the beauty of it.
The fascinating part is that I can gather insights from various people and brands—like Jil Sander or Margiela—and then form my own perspective from all that input.
How involved are you on a regular basis? – I meet my creative directors at least once a month. We have lunch or dinner, they present their vision, and we discuss it. I give my opinion, but they must feel free to pursue their own ideas.
The fascinating part is that I can gather insights from various people and brands—like Jil Sander or Margiela—and then form my own perspective from all that input.
You seem creative in your own right. – I am creative now, but I wasn’t like that before.
I wouldn’t say that. Starting a brand like Diesel at that time was so forward-thinking, I wouldn’t call that lacking creativity. – Perhaps you’re right; maybe I just didn’t realize it back then. In the early days, if I walked into a vintage store and picked out ten items, only one or two might actually be good. Now, I can immediately spot the best piece. So, I’ve developed my ability to recognize and understand creativity over time. When I say I wasn’t creative before, I mean I wasn’t aware of my creative instincts in the same way I am today.
What’s next after Art Basel? – Tomorrow I head to Los Angeles to scout locations and meet my partner, Mike Amiri. Then I’ll go to New York, where my daughter lives, and I’ll meet my CEO. We’ll look at stores and locations—so yes, work, work, work. But it’s not only work. Tomorrow I have a free day in Miami. I’ll go to Wynwood with my friend, just relax. In L.A., I’ll spend time with Amiri and his family. In New York, I’m also among friends and family. It’s one life—family, business, leisure—they all blend together.
When you love what you do, every day is a holiday. – Let’s say I took a full month off recently—ten days in the jungle, then some time in the capital, and afterward 20 days on my boat in the Greek islands, totally away from business. When I returned, my wife said I smiled more for two months straight. It shows how important it is to disconnect sometimes.
