Milan Fall 2026 was a season of new chapters: Maria Grazia Chiuri’s first Fendi, Silvana Armani’s first ready to wear for Giorgio Armani, Meryll Rogge’s reset at Marni, and second outings for Demna at Gucci, Louise Trotter at Bottega Veneta and Simone Bellotti at Jil Sander. 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 2025 overview, or browse every city in our Fashion Week coverage.
Prada
Prada was built around a simple idea: the everyday act of getting dressed. Instead of 60 different outfits, just 15 models returned to the runway again and again, removing layers each time. A coat became a sweater look, then a dress, then a slip. Coats, chunky knits, sheer slips and scarves were stacked in shifting combinations, and everything looked intentionally worn in, with slightly dirty cuffs, frayed hems and waxed jackets peeling to show the fabric underneath. Conceptually it was clever, and it reflected how people actually dress. But even with all that layering, the collection sometimes felt strangely flat. The usual Prada tension between ugly and cool didn’t fully land this time. Awkward chic is what makes the brand exciting, and here it occasionally felt more awkward than chic… Read the full Prada review
Gucci
Demna’s second act at Gucci felt like a deliberate jolt. He set the show in a museum-like arena inspired by Botticelli and the Uffizi, but the clothes were pure now, face-forward and loud. This Gucci was all about sex appeal, with shimmer everywhere. Fabric hugged tattoos and skin like a second layer: muscle tees, tube dresses, low-rise leather trousers, and tailoring in liquid, glossy fabrics that moved with the body. Lurex, sequins, satin and crushed leather caught the light, the Jackie bag felt less stiff, and logo tights and double Gs were used like punctuation. Sky-high stilettos, a cast of internet names, athletes and runway icons, and walks that were intentionally a little wonky. It was Tom Ford era nostalgia filtered through Demna’s louder aesthetic, and it catered heavily to conventionally perfect, sexed-up bodies… Read the full Gucci review
Bottega Veneta
Louise Trotter’s second outing at Bottega Veneta is indulgently confident. Shown inside the brand’s Milan headquarters, it took its mood from the city itself: hard on the outside, soft underneath, a balance between brutalism and sensuality. The opening looks focused on tailoring, with rounded shoulders, sculpted lines and sturdy leather belts inspired by bag construction. Then texture became the real story. Peacoats came in matte crocodile leather, intrecciato with furry fringe and velvet carved to mimic astrakhan; silk threads were worked to resemble shearling, and real shearling was brushed to look like fox. Oversized shearling coats and sweeping leather capes carried the drama, layered over mini skirts and cocoon-like sweater dresses. It was women designing for women, and the difference shows. Sometimes more really is more, and here it works… Read the full Bottega Veneta review
Fendi
Going into Maria Grazia Chiuri’s first collection for Fendi, I’ll admit I was ready to hate it. Instead, I ended up really liking it. Not because it was shocking or wildly new, but because it was simply good: solid, confident, very wearable clothes. Her return to the Roman house where she started her career felt like coming home, and her message, “Less I, More Us”, ran through a coed show built on a shared wardrobe. The palette leaned heavily on black, which sharpened the tailoring: double-breasted jackets with neat skirts, slim coats, lace dresses that skimmed the body. And then came the fur, including a lime green jacket that was impossible to ignore. She also revisited the Baguette, which she helped develop in the late ’90s. You could spot traces of her Dior era, but this felt like a better fit… Read the full Fendi review
Giorgio Armani
Silvana Armani’s first ready to wear collection for Giorgio Armani marked an important shift for the house. She did not try to make a dramatic statement. She leaned into what Armani has always done best, and the result felt soft, clean and rooted in the brand’s DNA. It opened with fluid grey flannel suits, long jackets over relaxed wide leg trousers. One early look carried a red lion brooch on the lapel, then another a crab, a small personal nod to Silvana’s Leo star sign and Giorgio’s Cancer. Jackets were unstructured, coats long and easy, trousers skimmed the floor, with kimono collars and quilted silk satin midway through. Velvet and iridescent fabrics in burgundy and midnight blue closed the show, though the earlier tailored looks remained the most convincing. She seems less interested in reinventing the brand than in refining it… Read the full Giorgio Armani review
Max Mara
Max Mara felt exactly like what the brand does best: classic, confident and built to last. Ian Griffiths looked to medieval history this season, specifically the powerful Italian noblewoman Matilde di Canossa and the artifacts of the so-called Dark Ages, but the reference never felt heavy or costume-like. It showed up in robe-like coats, tunics and long, slightly austere silhouettes. Suede in armour-like grey came studded with metal rivets, tall suede boots rose above the knee, and the cloaks, mantles and tabards were made in plush cashmere and soft teddy fabric. Even at its roughest, this is probably as rugged as Max Mara gets, and honestly, that restraint is part of the appeal. A long camel cashmere cloak with suede shoulder panels looked quietly powerful, and variations of the classic 101801 coat were there too… Read the full Max Mara review
Ferragamo
Maximilian Davis returned to familiar territory at Ferragamo, the world of the 1920s speakeasy, but this time the story moved closer to the sea. Sailor uniforms and maritime details shaped the collection while the mood of an after-dark gathering lingered in the background. Oversized navy peacoats came with removable silk panels that created a subtle Cubist effect, a nod to the American Precisionist artist Charles Demuth, and that modular idea ran throughout, with panels buttoned, unbuttoned and slightly displaced. Tailoring was the backbone: slim waists, full trousers and strong coats in navy, ivory and muted purples. Calling it “quiet luxury” would undersell the craft. Middy blouses and sailor-style knits never felt like costume. The button detailing sometimes worked beautifully, and at other moments the layering of fastenings and panels felt slightly overworked… Read the full Ferragamo review
Jil Sander
Simone Bellotti’s second collection for Jil Sander felt like a continuation of the conversation he started last season. After a debut about reduction and sharp precision, he explored the opposite idea: what happens when something extra, something decorative, becomes essential? The house’s minimalism was still there in long blazers, structured coats and clean skirts, but with small disruptions. Collars slipped out of place, shoulders looked detached from the body, and some jackets curved around the torso in what he called “banana” shapes. Skirts opened to show flashes of white stocking, and coats had high slits at the back. The inspiration was Anders Petersen’s photographs of Café Lehmitz, a gritty Hamburg bar from the late 1960s. It was clean, chic and quietly cool, but it didn’t leave a very strong impression. Compared to other shows this season, it felt a bit forgettable… Read the full Jil Sander review
Marni
The new Marni is here. With Meryll Rogge now at the helm, this collection felt like a fresh reset. It still carried Marni’s love for colour, texture and offbeat charm, but the direction felt slightly more refined than what we’ve seen in the past. The first thing that stood out was the mix of prints and fabrics: florals clashing with graphic motifs, textured knits next to silky dresses, that slightly chaotic Marni energy but a little more controlled. Some looks carried hints of other brands or trends moving through Milan, but the mood was distinctly Milanese. Think bourgeois boho, polished but relaxed, eccentric but wearable. Oversized coats, soft tailoring, fluid dresses, scarves and layered knits. In a season of louder statements this might fly under the radar, and that would be a mistake. One of the more underrated shows of the season… Read the full Marni review
Moschino
This Moschino collection by Adrian Appiolaza felt like a playful return to what makes the brand so recognisable. At its core, this show was really about the bags, and they stole the spotlight almost immediately: accessories shaped like bags of churros, potted cacti, piggy banks and even horse saddles. Strange, clever and very Moschino. It was also deeply personal. Drawing on his Argentine roots, Appiolaza filled the runway with Buenos Aires references, from gaucho-inspired pieces and football fan imagery to the cartoon character Mafalda and a pixelated print of Eva Perón. Even with all the jokes, some garments stood on their own: a soft dress printed with horse heads, billowy gaucho trousers with a sharply tailored waistcoat, a jacket with 1940s-inspired lines. It wasn’t just about humour. The storytelling ran deeper than the accessories alone… Read the full Moschino review
Etro
Etro delivered a collection that slowly unfolded from restraint into full-on maximalist fantasy. Under Marco De Vincenzo, the show felt like a journey, and honestly it was very fun to watch. The opening was surprisingly controlled: sharp coats, menswear-inspired tailoring, military-style coats, peacoats and tartan scarves tied at the waist for a subtle British influence. Then the mood loosened. Silhouettes softened, fabrics got lighter, and sheer layers and body-skimming dresses brought air to the runway. From there it leaned fully into its maximalist side, with sequins, feathers on skirts and stoles, exaggerated wool “furs”, paisleys and stripes, all building to a finale of crochet dresses embroidered with small creatures and cascading sequins. It respected Etro’s heritage while still pushing forward. And unexpectedly, it ended up being one of the collections I enjoyed the most… Read the full Etro review
Diesel
Glenn Martens built this Diesel collection around the “walk of shame”, or as the show framed it, the walk home after a very good night out. Clothes looked like they had been thrown on in a rush the next morning: shirts twisted around the body, knits pulled unevenly, denim jackets yanked into strange shapes. Nothing felt polished. Denim was coated and stiffened as if it had survived spilled drinks, shirts wrapped into dresses, and T-shirts tangled with check skirts to make jumpsuit-like shapes. It all looked grabbed from the floor and somehow still cool. The techniques were not new, but that worked in the collection’s favour, because Diesel thrives on this rough, rebellious attitude. Even the set matched, filled with thousands of random objects from the archives, part rave, part messy bedroom. Call it romantic grunge. Nothing revolutionary, but still fun… Read the full Diesel review
Roberto Cavalli
Fausto Puglisi’s Cavalli feels like a continuation of something he has been steadily building, and this season he simply sharpened it. The result is confident, sexy and very Italian. Black dominated the runway, not just as a colour but as a mood, explored through croc-embossed leather jackets, glossy trousers, lace dresses and velvet gowns. The opening look, a black leather pantsuit with a spangled bra top, set the tone. There was a vintage kind of sexiness throughout: short lace dresses with crisscross backs, sequin-covered minis, silky gowns with long pleated sleeves. The theatrical mood came from the Italian muse Marchesa Luisa Casati, set against a dose of American practicality, like a boyish-cut leather suit or a tutu skirt with pointed loafers. Cavalli’s animal imagery appeared more softly too, as a photographic silver fox print floating across chiffon… Read the full Roberto Cavalli review
Onitsuka Tiger
Andrea Pompilio’s collection for Onitsuka Tiger was unexpectedly one of the most fun shows of the season. It had a cool, youthful energy, like a playful campus world where fashion rules were a little loose and personality came first. The inspiration came from Japanese pop culture, manga aesthetics and the colour of Tokyo streets, along with the concept of “Ma”, the meaningful space between things. In practice that meant opposites in balance: formal tailoring with casual sportswear, pastels with bold textures. School uniform references were central, with pleated mini skirts, blazers and striped tees worn by “too cool for school” skater boys, slightly eccentric professors and playful schoolgirls. Bows appeared everywhere. Footwear was easily the standout: the classic Mexico 66 sneaker came back with a squared toe, and the real star was the kitten-heeled version… Read the full Onitsuka Tiger review
Pictures courtesy of Vogue Runway
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