Milan’s Fall 2025 season was one of goodbyes and birthdays: Donatella Versace showed her last collection as creative director and Lucie and Luke Meier bowed out at Jil Sander, while Fendi turned 100 and Dsquared2 threw a party for its 30th. Elsewhere, Lorenzo Serafini made his debut at Alberta Ferretti and Gucci’s in-house team filled the gap left by Sabato De Sarno. Here is a quick overview of every show we reviewed, with a short take and a few looks from each. The full reviews are linked under every house.
Want to compare seasons? Read our Milan Spring 2026 overview and Milan Fall 2026 overview, or browse every city in our Fashion Week coverage.
Prada
Miuccia Prada and Raf Simons did not answer what beauty is; they sewed the question into the very fabric of the collection. It opened with a deliberate disruption: baggy black dresses, almost monastic in their simplicity, with rough edges and raw seams that dismissed traditional sex appeal. Silhouettes were intentionally awkward, from paper-bag waists and coats that swallowed the body to crumpled floral dresses that looked stuffed in a closet for years. Sensual moments were rare: fur chubbies with pumps and little else, plunging split collars. Bejewelled collars, top-handle bags and distressed sneakers against sharply pointed heels added contrast. The intellectualism is pure Prada, but it at times teetered on self-indulgence, and the scales tipped toward theory rather than practicality… Read the full Prada review
Gucci
A journey through the past decades, made by the in-house team after Sabato De Sarno’s abrupt departure, another transitional phase. The runway was shaped like the interlocking G, which turns 50 this year. Mod shifts with oversized buttons and front pockets recalled Audrey Hepburn, while Studio 54 arrived in disco jumpsuits, shimmering gowns and jewel tones. Lace-inset slip dresses and see-through beaded skirts gave a sensual edge, and the colours were bold and unexpected: bright green with purple, pale pink against deep red, chartreuse, electric blue. Add gold jewellery, fuzzy handbags, vibrant tights and plenty of Horsebit. Beautifully executed, but with no creative director it felt like a carefully curated greatest-hits album rather than a bold new direction… Read the full Gucci review
Versace
Donatella Versace’s last show as creative director carried extra weight, and with rumours of a sale hanging over it we kept wondering what Versace is without her. Her answer, staged in a repurposed Milan tram depot, was glamorous, bold and unapologetic: nobody knows this brand as she does. Sculptural coats and gowns made from Versace Home duvets opened, followed by close-fitting silhouettes, low necklines, denim, patchwork and cowboy boots that felt unexpected yet fitting. Metallics, baroque prints and gold came with oversized rhinestone embroidery and 3D-printed designs. Alex Consani wore silver, and Mona Tougaard closed in strapless black. The finale returned to her 1998 debut, metallic gowns unravelling like liquid gold and silver. She did herself and her brother proud… Read the full Versace review
Fendi
Fendi turned 100 with a grand celebration from Silvia Venturini Fendi, on a set recreating the house atelier of the 1960s and 1970s. Her grandchildren, Tazio and Dardo, opened in equestrian outfits, echoing her own walk at Karl Lagerfeld’s 1966 Fendi debut. Rather than quote the archive, the collection went after the emotion of what Fendi means to her. Beanies draped with netting nodded to Adele Fendi’s veils, and the co-ed offering was well executed, though the womenswear stole the show: kid mohair knits, cashmere polos, structured coats, and shearling made to mimic mink, fox and sable, with detachable stoles adding old-world glam without feeling dated. A century down, and the legacy looks to be in very safe hands… Read the full Fendi review
Giorgio Armani
Titled Radici, Italian for roots, this was Armani’s tribute to everything that defines him: fluid silhouettes, rich textures and a refined palette. The mood was calm and polished, with models walking through a set reminiscent of a luxurious café and none of the usual fashion week chaos. Tailoring came softer and looser, with jackets belted at the waist or cut as wraps that draw on global influences. Trousers were the standout, cinched at the ankle or draped in elegant pleats, in chocolate brown, deep olive and mineral greys. Wide belts, sculptural chokers and brimless hats did real work. I wanted to like this collection a bit more, though: the eveningwear, all shimmering embroidery and beaded sheer layers, was somewhat disappointing… Read the full Giorgio Armani review
Max Mara
Ian Griffiths went to the Brontë sisters for Untamed Heroine, pairing the restraint of Jane Eyre with the wild spirit of Catherine Earnshaw. It opened with teddy coats, field jackets and a madder red cashmere coat, before settling into a cool grey called casha, drawn from natural cashmere. Corduroy, ribbed knits and flecked cashmere capes evoked the Yorkshire moors, full skirts were cinched with bomber-jacket ribbing, and wide wool and leather trousers borrowed knee seams from hiking gear. Outerwear led: oversized wrap coats, structured redingotes and military greatcoats, authoritative yet romantic. Backpacks and tweed poacher jackets added an outdoorsy edge, and black velvet gowns turned the evening gothic. Powerful yet poetic, and history made to work for today’s wardrobe… Read the full Max Mara review
Ferragamo
Maximilian Davis looked to choreographer Pina Bausch, building on last season’s ballet theme with a runway scattered in red rose petals, a nod to her Nelken and to American Beauty. Her oversized outerwear was the key influence, but tailoring was softened with jersey so sharp structure could move. Surreal touches: the Hug bag reworked into waist accessories and jacket pockets, drop-waist dresses mixing satin, lace and shearling, feathers reversed into ruffles, a trench coat that becomes a sleek satin dress, even fur-trimmed flip-flops. The new archetype is the off-duty dancer in wool coats, silk nightgown dresses and sheer flapper lace, all in red, camel, white and black. Davis isn’t here to shock, he’s here to refine… Read the full Ferragamo review
Jil Sander
Lucie and Luke Meier’s final collection for Jil Sander was a long way from their airy, feminine debut in 2017. The venue was draped in black velvet, the mood dark and rebellious: spiky black fringe on trench coats, strapless dresses and sharp suits, military details, faux fur and structured kilts. The models looked dressed for battle, perhaps a metaphor for the industry. Softness broke through in floral silks dip-dyed from bright yellow to black, including a short-sleeved A-line dress fit for black tie, plus a turquoise fur coat and a blush-pink satin jacket. The duo bowed in head-to-toe black, understated yet emotional, closing an era of sharp precision and artistic rebellion. And quite an era it was… Read the full Jil Sander review
Marni
Francesco Risso staged The Pink Sun in an intimate cabaret-style venue where performance, art and fashion merged, deeply personal and joyfully unrestrained. Volume, texture and colour everywhere: cocoon-like Crombie coats, sheath dresses unfolding into pleated skirts, georgette against fuzzy mohair, and satin siren gowns in glowing jewel tones. Blazers carried Slawn’s spray-painted faces, a scarlet pantsuit had a wolf picked out in black sequins, and glossy mock-croc skirts sat under cropped jackets. Add a canary-yellow asymmetric dress with cascading fur trim, opera coats with appliquéd florals, and patchwork silks in acid green, faded purple and rich blue. In an industry that often plays it safe, Risso treats fashion as a playground for maximalist imagination… Read the full Marni review
Moschino
Adrian Appiolaza started from Franco Moschino’s 1992 Mannequin dress, the piece that turned dressmaking itself into fashion. Suits came unfinished, with gold needles pinned into the lapels, and models wore dressmaker-dummy tunics with the branding moved up to the neckline. Then came couture from a costume closet: paper doll dresses, sofa-cushion hats and a garbage bag gown printed with C’est Trash Chic!, humour with a bite. The accessories were just as funny, from a Milano cookie handbag to a clutch of spaghetti and cherry tomatoes and an oversized Levi’s patch reading In Love We Trust. Viral gimmicks balanced by pieces with staying power, and a sweatshirt slogan that fits the moment: Luxury is relative… Read the full Moschino review
Etro
One of the best-styled shows of the season: effortless, cool and brimming with whimsy. Marco De Vincenzo kept Etro’s maximalism but made the textures and prints feel rich and restrained, on silhouettes that stayed sleek. It opened with a black-and-white striped wool fur coat over slouchy paisley trousers and a knitted waistcoat. Furs were everywhere this season, yet Etro’s stood out, beside thick jacquards, wool coats and wild fringes. Dense florals and abstracted paisleys had mystical depth, and Korean artist Maria Jeon’s fantastical zoology was embroidered onto airy organza tunics and sweeping dusters. The set, by Roman collective Numero Cromatico, was a huge curtain of mythical creatures. The most restrained looks, tonal and slouchy but precise, were among the best… Read the full Etro review
Diesel
Glenn Martens took Diesel’s raw, edgy aesthetic and cranked it up a notch. We saw a mix of high and low, refined and raw, with denim as the star, though not the usual jeans and jackets: exaggerated shapes, deconstructed pieces and unexpected layering. Coats were slouchy, skirts shredded and asymmetric, and the accessories had a DIY, almost punk energy. Deep blues, greys and blacks met fiery red and neon green, somewhere between ’90s grunge and Y2K cyberpunk. The set made a statement: six miles of white fabric sent to artists worldwide came back covered in graffiti, forming the largest street art installation ever attempted. Martens pushes boundaries while keeping Diesel’s DNA intact, proof that high fashion can be fun… Read the full Diesel review
Alberta Ferretti
Lorenzo Serafini’s debut, Progressive Romantics, was a love letter to femininity blending Ferretti’s elegance with his modern sensibility. Shown at Palazzo Donizetti, intimate yet grand, it set floaty chiffon gowns against structured cashmere coats and delicate florals against sharp tailoring. The silhouettes were effortless, with old-world glamour and a contemporary edge, in soft pinks, deep blues and rich earth tones. Details such as resin cameo buttons and hand-pleated fabrics gave it a luxe finish. Not everything landed: the sheer dresses with sequined torsos were perhaps a bit awkward and largely forgettable. Still, Serafini captures the house’s romanticism without sliding into nostalgia. A strong, promising start that leaves you keen to see what comes next… Read the full Alberta Ferretti review
Dsquared2
The Caten twins turned 30 years of Dsquared2 into a party. In a nightclub-inspired space, models arrived in vintage limos, cabs and pickup trucks before walking, and the cast had Naomi Campbell, Irina Shayk and Tyson Beckford. Doechii gave a fierce, show-stopping performance, and Brigitte Nielsen arrived as a police officer to arrest the Catens, who broke free in style. The clothes were classic Dsquared2, sexy, playful and totally over-the-top: cowboys, leather-clad rebels, rockstars and red-carpet divas, with low-slung jeans, trucker hats and slogan tees back again. There were collaborations with Magliano, Vaquera and Bettter, Ducati biker leathers, a glam rock nod to Kiss and a tribute to photographer and muse Julie Enfield. This brand isn’t slowing down anytime soon… Read the full Dsquared2 review
Roberto Cavalli
Fausto Puglisi went to Pompeii, channelling its frescoes, lava flows and mythology. The volcanic theme ran deep: devoré velvet dresses that shimmer like molten rock, trench coats and denim echoing ancient ruins, slips with intricate 3D embroidery and gowns that move like lava. Leopard was there, but the usual maximalism was softened into something more refined. Faux furs and black leather coats were the standout outerwear, smoky and sultry, with lava stones, pearls and oversized cameos, plus serpentine bags and sneakers. Puglisi is willing to evolve the brand, but for all the drama it felt too structured, too restrained. Where did the full-throttle Cavalli sex appeal go? What I really wanted was in-your-face, unapologetic sexiness… Read the full Roberto Cavalli review
Sunnei
No gimmicks, just clothes? Simone Rizzo and Loris Messina stepped back from their usual theatrics and showed outside Palazzina Sunnei, with models carrying multiple SUNNEI shopping bags, a cheeky nod to buying and selling. The silhouettes were clean, mixing structured and relaxed tailoring. High-waisted pleated trousers balanced polish with comfort, and sleeveless felted tops with snap buttons brought an armour-like modernity. Fuzzy knits and mohair sweaters added warmth, with a vibrant green capelike sweater and a grey slip dress with a feather-trimmed collar standing out. The athletic signatures, zippered tops, arm warmers and padded vests, were more subdued. But did it work? The question is left hanging, though everything here points to yes… Read the full Sunnei review
Pictures courtesy of Vogue Runway
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