Sade Akinosho in Conversation with Blanck: Precision, Presence & Power Dressing

In a fashion world obsessed with performance and spectacle, Sade Akinosho is a quiet rebellion — calm, composed, and completely self-possessed.

For her, style is less about show and more about self. And at Pitti Uomo, a global stage known for sartorial theatrics, she brings exactly what makes her unforgettable: presence, not pretence.

In conversation with Blanck, Sade opens up about what the event really means to her — and what it doesn’t. “Honestly, Pitti really isn’t that deep for me,” she shares, with characteristic honesty. “I’d be lying to pretend otherwise.” That sentiment cuts through the noise: she’s not there to play dress-up or make statements. She’s there to show up as herself, for herself.

For all its global attention and street-style glamour, Sade sees Pitti Uomo as something more personal — a space for expression, free from judgment.

“What I like about Pitti is the unspoken freedom to be expressive with style — be it sartorial or punk,” she explains. From minimal to maximal, traditional to eccentric, attendees bring a refreshing fluidity that doesn’t always translate through the camera lens. But it’s there. “It really is that free,” she adds.

Akinosho’s style identity is anchored in structure — crisp cuts, clean lines, and timeless silhouettes. “My true style and love affair is tailoring,” she says, reaffirming what’s become her signature. While Pitti has become more relaxed in recent years, her commitment to the art of tailoring hasn’t wavered. For her, it’s not about trends or aesthetics. It’s about intention. Tailoring, in her world, is a language — fluent, sophisticated, and endlessly personal.

When asked about the increasing presence of Black attendees at Pitti, Sade is quick to note that excellence in dress is not new — nor is it owed to any particular stage. “Tailoring, Black excellence, and style have always existed long before Pitti,” she says. While there may be an unspoken sense of responsibility to represent, for her, showing up in style is simply what we do. It’s not performance — it’s heritage.

Sade Akinosho doesn’t go to Pitti Uomo to fit in, perform, or lead a movement. She goes as a woman grounded in clarity, armed with style, and uninterested in anything inauthentic.

For Blanck, that makes her the kind of icon we love: not one chasing the spotlight — but one who brings her own.