Alberto Caliri sees Missoni’s rhythmic interplays of patterns and zingy chromatic combinations as anything but static. For him, the brand’s patrimony is not only distinctive but alive, and endlessly regenerative: “There’s a sort of Missoni-ty encapsulated in every piece,” he notes, “something that feels familiar yet instinctive, dynamic.”

Although he knows the archive by heart, or maybe because of that, he’s expanding what he calls “a palimpsest of textures,” conjuring new patterns and motifs with yarns never used before, or energizing existing ones with the gently nuanced and artistic palette he favors. His partner-in-craft is the Raschel knitting machine—a before-technology multi-tasking wonder that’s the house’s secret weapon to fashion everything from elasticated lace to hand-crochet effects, to tartan windowpanes or zig-zags. “After all the years we’ve been using it, we haven’t explored its full potential yet,” he remarked.

Caliri’s quiet confidence mirrors his design approach. For resort, he focused on easy pieces and lean silhouettes, inflected with what he described as “a subtle bourgeois vibe, slightly masculine.” It’s continuity with a twist: “Missoni is about passing down pieces from mother to daughter,” he said, “because they’re inherently timeless, like family heirlooms.” Polo shirts that stretched into minidresses; soft, malleable three-piece suits; sensual, slender halter dresses dusted with micro-sequins and lined with unexpected knitted-in stripes—they were all designed to slip together easily, each conjuring that unmistakable Missoni-ty he was talking about.