Milan’s Spring 2026 season was one of beginnings and goodbyes: Demna at Gucci, Louise Trotter at Bottega Veneta, Dario Vitale at Versace and Simone Bellotti at Jil Sander all made their debuts, while Giorgio Armani’s final Emporio Armani collection and Silvia Venturini Fendi’s last show for Fendi closed two chapters. In between, Prada went back to a more intellectual way of dressing and Diesel scattered its looks across the city in an egg hunt. 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 Fall 2026 overview and Milan Fall 2025 overview, or browse every city in our Fashion Week coverage.
Prada
A Prada show is always a pleasure, and this one felt especially intriguing. Miuccia Prada and Raf Simons return to a more intellectual way of dressing with Body of Composition, a response to the overload of today’s culture, with clothes that make you think without losing their beauty. Military uniforms open the show, reimagined with jewelled gloves and ladylike bags, while skirts are patchworked, bubbled or hung from suspenders. Pastel pinks, pistachio greens and searing yellows glow against a glossy orange runway, and jewel-crusted necklines send phones shooting into the air. The standout quality is freedom: bra tops that barely hold form, dresses that float away from the body. Classic Prada with a twist, a ray of sunshine without cheesiness… Read the full Prada review
Gucci
I wanted to hate it, but Demna’s Gucci debut is hard to resist. It arrived as a surprise lookbook, La Famiglia, shot by Catherine Opie as 37 portraits of Gucci archetypes: Miss Aperitivo in sequins, La VIC in wall-to-wall monogram, L’Influencer in a glossy leather set. Each is a stereotype through Demna’s eyes, witty, mocking, deeply glamorous. Bamboo bags, Horsebit loafers and the Flora print feel current rather than nostalgic, the styling is pure sprezzatura, with stepped-in kitten heels and glossy jackets over rugby knits, and sequined gowns and feathered coats bring the drama. This is not Balenciaga in Gucci drag. Demna gives Gucci back its bite and absurdity, an aesthetic base before his February runway. His Gucci has arrived… Read the full Gucci review
Bottega Veneta
Louise Trotter’s Bottega Veneta debut is one to remember, and the anticipation was met with a beautiful collection. This was not minimalism but maximalism done with a knowing hand, rich in craft and quiet luxury. The intrecciato weave is everywhere yet never predictable, scaled up on a tailored coat until it looks like snake skin. There is a dramatic floor-length cape, robes touched with feathers that seem to float, and recycled fibreglass turned into sweaters and skirts that shimmered like fur but moved like glass. Oversized silhouettes with strong shoulders are balanced by parachute silk dresses, trailing fringe and micro-pleats, and a reimagined Lauren Hutton clutch steals the spotlight again. Assured rather than showy, Trotter makes Bottega’s heritage her own… Read the full Bottega Veneta review
Versace
Where does reinvention end and disconnection begin? Dario Vitale’s Versace debut, staged inside Milan’s Pinacoteca Ambrosiana, is a tribute to Gianni Versace and a statement of intent. He mines the archives for cinched high-waisted jeans, slashed-back dresses, tight tees and bold colour clashes, set to George Michael and Prince. It is sexy in a different register, less polished and more raw: an undone belt, a dress slipping at the back, a cardigan tied around a chain-mail skirt. Medusa motifs and rhinestones collide with slouchy layering, while knitwear, denim and leather keep it wearable. Imperfect, vulnerable, sometimes messy, but alive. Very much Versace, just not the version we’re used to, and the criticism says more about legacy than the clothes… Read the full Versace review
Fendi
Silvia Venturini Fendi’s last collection as creative director is a perfect sendoff, like a love letter written in colour, texture and craft. This was Fendi at its most vibrant and playful, turning luxe sportswear into fantasy: silk track jackets, organza windbreakers and drawstrings cinched onto dresses and skirts, plus fluid knits and perforated leathers. Rich reds, electric blues and soft pastels pulse down the runway, bold but never brash. The accessories are witty, from sequined Peekaboos and cable-knit Baguettes to the new Collier bag, and the knitted fur coat of look 23 is a true masterpiece. A season highlight, with truly delicious clothes. She becomes honorary president as Maria Grazia Chiuri takes the reins, and leaves on a high note… Read the full Fendi review
Emporio Armani
Giorgio Armani’s final Emporio Armani collection is simple, cosy and regal, with a quiet beauty that rests on restraint. His absence from the finale made it more poignant, and the applause stretched on as if the audience wanted to hold on longer. Titled Ritorni, or Returns, it evokes the dreamy state of being home after a holiday but not yet grounded. Sandy neutrals and soft metallics bloom into sequined harem pants, pastel silks and sheer dresses that shimmer like fireworks. Travel is the thread, through ikat prints, obi-style fastenings, raffia details and fluid robes, with robe coats, wide trousers, scooter skirts and flat shoes made for ease. Less a collection than a farewell letter we did not plan for… Read the full Emporio Armani review
Max Mara
Ian Griffiths balances history and modernity at Max Mara, moving between Madame de Pompadour’s Rococo and 1980s tailoring. The trench, the house signature, returns cropped, deconstructed and sleeveless, sometimes blooming at the shoulders with petal-like folds. Suits are precisely cut, and pencil skirts sprout gauzy crests that give them a surreal, underwater lightness. Organza layers, floral chiffons and frilled accents bring the Rococo, but structure and restraint keep the fussiness in check. A recurring black belt, sometimes a slim elastic strap and sometimes harness-like, ties it together and adds toughness. Bare shoulders, open backs and cropped tops are daring but never gratuitous. Max Mara embraces whimsy without giving up its roots, and I loved every minute of it… Read the full Max Mara review
Ferragamo
Maximilian Davis has sharpened Ferragamo’s modern identity since his debut, but this outing felt a little out of sync. In the same Milanese courtyard where he first showed three years ago, he looks to the 1920s: the Jazz Age, Josephine Baker, Harlem speakeasies and silent film muses in leopard print. The craftsmanship is undeniable, with liquid silks, intricate lace and clever tailoring. Flapper dresses come in scalloped satin and sheer lace, zoot suit tailoring is deconstructed, animal prints turn softer, and fringe swings from unexpected places. Satin mules and cage-like pumps are archive finds. Sultry and technically accomplished, yet caught between past and present, the vision didn’t quite come together, and the storytelling lacks the clarity of his earlier work… Read the full Ferragamo review
Jil Sander
Simone Bellotti’s debut at Jil Sander is minimalism that finally isn’t boring. No safe, stripped-down basics here, just sleek precision with enough surprise, honouring the brand’s heritage while nudging it forward. Tailoring is sharp, with high-buttoned coats and slim trousers with sly waistband slits, and meticulously crafted leather blazers have a sculptural, quiet power. The standout idea is the play of structure and exposure: subtle cutouts and sheer layers make for a refined, intelligent kind of sexy. Sleek blacks, greys and navies are punctuated by pinks, reds and a butter yellow, while square-toed lace-ups, sculptural pumps and the new Pivot bag keep it wearable. Bellotti reinterprets history rather than repeating it, and minimalism sharpens rather than flattens… Read the full Jil Sander review
Moschino
Possibly Adrian Appiolaza’s most engaging Moschino show yet, the first time edge and personality have appeared on his runway. Not everything landed, but the playful irreverence that is the house’s strength is back. Inspiration is Arte Povera, the late-1960s Italian movement of making much from little, so potato sacks become skirts, burlap becomes dresses and deadstock swatches are collaged into trenches. Franco Moschino’s spirit returns in the cheeky Niente T-shirt and newspaper prints with optimistic headlines. The accessories are the highlight, and I loved every bag: a saucepan, plastic-wrapped apples as a clutch, a balloon dog brooch, even toilet brushes on the shoes. It doesn’t answer every question, but could be the first real step towards Moschino being back… Read the full Moschino review
Diesel
Pure chaos in the best possible way. Glenn Martens staged a Diesel Egg Hunt, scattering 55 looks around Milan in transparent egg-shaped capsules, which felt democratic, rare in this industry. He pushes Diesel’s deconstructed denim further with recycled satin denim, distressed and lasered into almost alien textures. Biker jackets sprout straps and aprons, dresses wrap unexpectedly, and chiffon and knits come with trompe l’oeil layers and shredded edges. Faded blues and metallics meet shocking pinks and acid greens, and the mood is post-apocalyptic cool girl dressing up. The Load-D bag and metallic-accented shoes are futuristic yet wearable. Photos miss the texture, but the energy comes through, and I loved it. Diesel remains totally of the moment… Read the full Diesel review
Alberta Ferretti
Lorenzo Serafini imagines a wardrobe for private life at Alberta Ferretti, for women who prefer discretion to display. Intimacy over exhibition, not the romantic, emotional Ferretti I usually connect with. The clothes are objectively beautiful: fluid caftans, kimono-inspired dresses and pyjama-like trousers in airy fabrics, on a cream-carpeted runway in blush, mint and neutral hues. Ease drives the cut, with loose sleeves, handkerchief hems and flowing Fortuny-style pleating, and pebble-studded moccasins add casual sophistication. Bold leopard prints and gilded jersey gowns add sparks of confidence, but subtlety wins over drama. Serafini’s vision of women living gracefully on their own terms is clear. For me, though, it did not fully resonate, and the emotional connection stays a little elusive… Read the full Alberta Ferretti review
AVAVAV
Avavav is known for satire and spectacle, but Soon on Sale felt surprisingly toned down. The set was an outlet store, mannequins posing as models, everything 80% off, as Beate Karlsson took aim at the industry’s fixation on sale racks and the pressure on designers. The concept is clever, sad, funny and sharp, but the clothes don’t hit with the same force. Up close the detailing shines: crushed velvet posing as denim, boned hoodies shaped like uptown cocktail dresses, lace-edged miniskirts, sprayed ribcage motifs and terrycloth tailoring. Spiked Luge heels and cosmic Moonrubber boots carry the absurdist edge. A safer collection than expected. Perhaps Karlsson is recalibrating, stepping away from the strain of big shows and the chase for virality… Read the full AVAVAV review
Ferrari
Under Rocco Iannone, Ferrari’s clothes deserve to sit in the same conversation as its cars. This season leaned into reduction, stripping things back to form, function and material, over half the looks in white or ivory, the natural shades of untreated raw fabrics. Tailoring moves easily, shirts and dresses have sculptural lines, and knits carry seat-belt-like details echoing Ferrari’s design codes, while acid-washed denim and sponged leather widen the palette. Craftsmanship is exquisite. Square-toed driving shoes, cord-wrapped pumps, angular tool-like bags and jewellery shaped like bolts and padlocks stay mechanical without ever tipping into gimmick, and a finale of sparkling embroidered silks shimmered like light across metal. Another delicious collection, and Ferrari is pulling ahead of many established labels… Read the full Ferrari review
Roberto Cavalli
Fausto Puglisi’s Gold Obsession for Roberto Cavalli is sexy, regal and unapologetically glamorous. At first glance it feels understated, but the detailing reveals itself up close. Gold is a language this season, from sunray pleats that shimmer like Old Hollywood to velvet devoré slip dresses so tactile they begged to be touched. Denim, the enduring Cavalli signature, returns gilded, while cutouts bare skin, sequins trace tiger stripes and body-hugging cocktail dresses carry the house’s classic electricity. Plissé gowns have a Cleopatra-like aura, loose denim and flowing shirts bring a Jane Birkin ease, with a nod to Elizabeth Taylor. The snake emblem returns on heels, jewellery and accessories, tied to themes of freedom and transformation. Pure glam, pure Cavalli… Read the full Roberto Cavalli review
The Attico
This is exactly how I’d want to dress if men did not exist: fierce, unapologetic, a little reckless. Gilda Ambrosio and Giorgia Tordini showed in a stark white cube turned labyrinth, each doorway hinting at a different femininity, polished yet undone, sensual yet armoured. Lei è così is built on contradictions. Oversized trench coats slouch at the hips and flash lacy lingerie, while tailoring keeps undoing itself with single-button blazers, collars layered almost absurdly high, trouser suits with subtle cutouts. Business meeting bedroom, noir film spliced with Milanese swagger. Cork wedges perched on stiletto bases and feather-trimmed gowns make a memorable finale. A real idea sits beneath the spectacle: the Attico woman is bold, magnetic and impossible to contain… Read the full The Attico review
Pictures courtesy of Vogue Runway
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