“Renaulution” is the transformation strategy through which the newly-named CEO of Kering Group, Milan-born Luca de Meo, has over the last few years uplifted the fortunes of France’s greatest automotive group. Now, transplanted to luxury, his new role will require him to “Guccelerate” performance in order to generate a “Kerinaissance.” It will also demand that he dress the part—and that demand can only be appropriately answered by wearing Kering-crafted tailoring. But from where? Only three brands in the Kering Group have true masculine tailoring heritage. And with all due respect to the sharply-shouldered, flare-panted flaneur silhouette of Saint Laurent, or the agonizingly complicated elegance of Alexander McQueen, by far the most compelling candidate for the new boss’s uniform is Brioni.

This morning’s presentation at the Palazzo Stampa Soncino showcased the commandingly multifaceted nature of Brioni’s menswear authority. As we entered, white-jacketed artisans from the label’s 66-year old tailoring production line in Penne, Abruzzo, showcased tasks including hand-fashioning buttonholes, hand-stitching a tuxedo’s shoulder, hand-building a felted undercollar, and hand-scalpelling an already sliver-thin section of silk-cashmere. The gentleman working (extremely rapidly) on the tuxedo had attended Brioni’s tailoring school when still in his teens and worked there ever since, a total of 18 years.

The next room revealed the latest fruits of Brioni’s industry-revolutionizing vertical integration. Creative director Norbert Stumpfl has spent the last seven years adapting the expansive sophistication of the house’s historical style to the demands of today’s high rollers: this season his offerings combined stealth and impact. Tailored jackets in unlined nubuck leather rested above tailored pants in crisp, dense cotton with discreetly integrated elastic panels and drawstrings. Suiting in two-toned solaro-weave cashmere silk, double breasted and peak lapeled with mother of pearl buttons, were matched to same-color shirting for a straightforward full-look option that decision-wary clients appreciate, said Stumpfl: “he just puts it on and looks stunning.” A long-skirted suit in dark navy was delivered in a new Super 220 four-ply wool developed exclusively for Brioni by Dormeuil. Its extreme lightness and softness made it feel barely tangible. It also looked like outstanding new CEO attire.

Communicating the effect of such intangibly-refined material specialness, conceded Stumpfl, is challenging. “In the end you have to feel it, and ideally you have to wear it. Only then can you fully understand,” he said. More casual looks included silk linen shirt jackets worn with solaro baseball caps, leather lanyards, and scrunchable suede loafers. An outrageously handsome workwear jacket was cut in unlined brown suede and placed over a work-shirt in undyed Japanese denim. There were crocodile blousons and a spectacular matching shirt and Soffio “breeze” jacket in a white seersucker whose textured landscape of cotton/silk puckerings were gently stained with a structured patina of ceramic blue.

Moving on to eveningwear, we saw a suit cut in a pink silk that had been enzyme treated to transform the material’s usual shiny finish in order to create a deeper, matte texture to the eye. An inky black jacket was made by individually stitching thousands of strips of ribbon, each only a millimeter apart, into a barely discernible fabric cascade: running your finger down it was akin to gently riffling the pages of a richly-printed book. The final look in the line-up was a piece for Brioni super fans: a golden jacket embroidered with 24 karat gold beadings in the same shape as the house’s Penne factory seen from above. This was another strong contender for the incoming boss’s wardrobe once “Re-Balenciaga” has been achieved. Brioni, if handled right, can be at the heart of that process.