Between tradition, tailoring, and contemporary vision, Poiesis is rewriting the language of Florentine tailoring
There is a quieter Florence still stitching the future. Not the Florence of postcards. Not the one defined by endless queues outside the Uffizi or crowded café tables in Piazza della Signoria. This is a more discreet Florence, almost hidden. A city still shaped by workshops, skilled hands, clouds of steam rising from irons, and fabrics carefully spread across old wooden tables. It is here, among the streets of Porta Romana, that Poiesis takes form today — the Florentine tailoring house founded by Leonardo Simoncini. A place that feels suspended in another era, yet speaks deeply to the present.
Because Simoncini’s work is not an exercise in nostalgia. It is not an attempt to recreate classic tailoring as if it were a museum piece. Rather, it is a contemporary reflection on masculine elegance, the value of time, and the true meaning of dressing well. And perhaps that is exactly what makes Poiesis one of the most compelling names in the new generation of Florentine tailoring.
From Australia back to Florence: an unexpected path into menswear tailoring
Leonardo Simoncini, born in Florence in 1992, did not initially imagine a life surrounded by canvas interlinings, basted fittings, and lapels. After studying languages, he briefly pursued physiotherapy, only to realize something was missing. He decided to leave for Australia instead — a year abroad that helped him improve his English, but more importantly, allowed him to observe the world from a different perspective.
When he returned to Florence in 2013, he began working part-time at Gucci as a sales assistant. That was where the obsession truly began. Observing luxury ready-to-wear garments up close, Leonardo became fascinated by the architecture of tailoring: the proportions, the construction, the invisible structure that determines how a jacket truly fits the body. “I kept asking myself why certain garments, even beautiful ones, simply didn’t work properly when worn.” Slowly, the question became a vocation.
The Liverano years and the hidden secrets of Florentine tailoring
During those same years, he enrolled in a tailoring and pattern-making course in Prato. The program was largely oriented toward womenswear, yet it opened the door to a defining opportunity: an internship at Liverano & Liverano. It was 2015. What was meant to be a short experience became seven transformative years. At Liverano, Leonardo learned everything — from the simplest gestures, such as properly holding a needle and thimble, to pocket construction, client fittings, and understanding the male silhouette through pattern making.
And according to him, pattern making remains the true hidden heart of tailoring. “Pattern making is the one thing nobody really wants to teach you. It’s the secret every tailoring house protects.” Inside those rooms, he learned not only technique, but an entire language — an almost architectural discipline of dressing. A fundamental period that gave him technical knowledge, method, and above all, a clear understanding of his own stylistic identity.
The Florentine jacket according to Poiesis
The Poiesis jacket is rooted in tradition, yet avoids sterile imitation. The Florentine tailoring school follows very precise codes: a single front dart, no side panels, open quarters, slightly extended shoulders, and double side vents. The result is a silhouette that feels clean, essential, and masculine.
It exists in perfect balance between two extremes: the rigid structure of English tailoring and the relaxed softness of Neapolitan tailoring. The Florentine jacket maintains structure without heaviness. Elegance without stiffness.
There are no aggressive shoulder pads. The shoulder remains natural, light, almost imperceptible when worn. And perhaps this is exactly what makes it feel so modern today.
Leonardo particularly favors:
- the six-button double-breasted jacket;
- the three-button single-breasted jacket;
- a higher pressing line along the lapel.
This choice emerged from his experience traveling in humid countries, where traditionally pressed Florentine jackets tended to open at the front over time. “I preferred to keep the sprezzatura line slightly higher, almost at the first button. With time, it naturally softens and lowers.”
Contemporary masculine elegance: less performance, more character
Speaking with Leonardo, it quickly becomes clear that his concept of elegance has very little to do with rigid etiquette or an obsession with luxury. For him, elegance is behavior. “You can wear a beautiful double-breasted jacket and still be an asshole.” A brutally simple statement, yet probably more relevant today than any traditional style manual.
According to Leonardo, an elegant man is someone who respects others, who possesses restraint, natural manners, and self-awareness. The clothes come afterward. There is, however, one thing he believes should disappear entirely from the male wardrobe: high no-show socks. And perhaps it is precisely this approach that distances Poiesis from the exaggerated aesthetics dominating much of modern menswear culture online.
Inside Poiesis: 70 hours for a jacket
Poiesis was founded between 2022 and 2023. Initially based in the southern area of Florence, the atelier is now located in Porta Romana, one of the few neighborhoods that still retains an authentic Florentine spirit, far from excessive tourism and still alive with workshops and craftsmanship. The name Poiesis derives from the ancient Greek ποίησις, meaning “to create” or “to bring into existence.” A perfect definition for tailoring. Inside the atelier, coats and jackets are entirely handmade in-house. Trousers are cut by Leonardo and then produced externally. Completing a jacket requires roughly 70 hours of work and two client fittings.
Every detail emerges slowly: the proportion of the lapel, the curve of the sleeve, the tension across the chest, the balance of the shoulder. The most expensive element is not the cloth. It is time. Prices begin at €2,500 for a jacket and €2,800 for a full suit, excluding fabric. Yet Leonardo believes the real issue today is not financial, but cultural. “There’s a lack of knowledge. Many people buy luxury without truly understanding what they’re purchasing.” His original goal was to bring younger generations closer to bespoke menswear. Yet today, most of his clientele consists of clients over 30 and a significant number of international customers.
The new generation of Florentine tailoring
Today, Poiesis has grown. In part thanks to Filippo Ciccone, Leonardo’s longtime friend, who now assists inside the atelier. After years working in photography and filmmaking — and after spending five years himself at Liverano & Liverano — he decided to join Simone in building the project. Today, Filippo mainly handles second fittings and finishing work, while envisioning a future where tailoring and imagery merge through photography and storytelling. Together, they represent a new generation of artisans: more open to international dialogue, communication, and visual culture.
It is no coincidence that Poiesis now hosts trunk shows in Singapore, Paris, and Jakarta, while also looking toward India as a future market. Because Italian tailoring today can no longer survive on tradition alone. It must also learn how to tell its story. And according to Leonardo, this is precisely where Naples proved more forward-thinking than Florence. “Neapolitan tailoring built an incredibly strong narrative around itself. In Florence, tailoring houses spent years fighting each other.”
Today, there are roughly ten active menswear tailoring houses left in Florence. While Leonardo admires the tradition of Neapolitan tailoring, he criticizes what he sees as a certain lack of attention to detail, too often justified as stylistic character. From the Milanese school, he appreciates the sophistication of pattern making, even if he dislikes the rigidity of the jackets. “The foundation of every great jacket is always a strong pattern. But today, true pattern making is no longer properly taught, so you have to figure it out yourself.” Among the tailoring houses he admires most, he cites Sartoria Crimi for double-breasted jackets and Musella Dembech for overall jacket construction.
The future of Italian bespoke tailoring
Despite everything, Simoncini looks toward the future with optimism. He understands that the market is changing. Clients increasingly want shorter waiting times, fewer fittings, and more accessible pricing. For this reason, he also envisions a future connected to high-quality ready-to-wear and more evolved made-to-measure systems. But he does not believe bespoke tailoring is disappearing. Quite the opposite. “I see the future of tailoring as incredibly bright.”
Because in a world dominated by speed, homogenization, and industrial luxury, more and more people are beginning to desire something authentic again. Something genuinely made for them. And ultimately, true masculine elegance always begins there: with a garment that does not try to impress anyone, but simply succeeds in expressing who we are.
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