The Best Designer Looks From Milan Fashion Week Fall/Winter 2026

Gucci

As techno-house music and flashing strobe lights filled a museum-like space, surrounded by marble statuary, one immediately got the sense that Creative Director Demna was injecting new, lively energy into Gucci with his first runway show for the storied house.

Models, with star-studded exits from supers like Alex Consani, Gabriette, Karlie Kloss, and Kate Moss, sauntered down the runway oozing the femme fatale attitude that both Demna and Gucci have become known for. Slinky dresses, voluminous feather embroideries, shearling coats, and slim suits merged jackets and tops into ultra-fitted garments. Chiseled male models in skin-tight compression shirts and painted-on jeans served as a contrast to his glamazons.

Jil Sander

For his sophomore outing at Jil Sander, Simone Bellotti showed a sleek collection of seductively simple clothes in a palette of faded neutrals mixed with blacks, blues, and grays. Minimalism is a hard aesthetic to nail without looking boring; however, Bellotti’s vision of it was anything but.

Though there was nary an embellishment to be seen, there was an exciting movement to each of the pieces with jackets that revealed a reverse silhouette as the models turned, skirts with provocative side slits, and bubble-hemmed parachute dresses worn with trousers.

Fendi

Maria Grazia Chiuri reclaimed her design throne at Fendi after leaving her original tenure at the house in 1999. During her first go-around, she helped create the iconic baguette bag, so the anticipation surrounding her first post-return collection has made her the talk of the town.

Chiuri’s collection centered on the return to desire. This meant clothes that serve the body’s desires, not to control them but to accommodate them; models wore sheer laces that revealed their figures, plush furs caressed their arms and necks, and beaded dresses sparkled as they walked. This was a collection that you could see women actually wearing on their bodies, rather than daydreaming about.

Missoni

What would happen if you mixed rich, fall layering with glitzy metallic disco knits? You’d get the latest collection from Missoni. While the house is known for using its famous zig-zag print on lightweight items like bikinis and scarves, the vision for its fall collection saw the print on much more substantial pieces like knit sets, leather coats, and swanky suits. Everything was heavy on the drama, but the prints and glitter added a fun, light touch.

No. 21

The No. 21 show started in reverse, with all the models walking out in the traditional finale line, which had onlookers scratching their heads about what we had just witnessed. “Was that it?” my seatmate asked, but then the models began to walk out one by one. This clever state of confusion was the perfect metaphor for the collection, which had clothes hanging off the body as if models were caught mid-change. There were lamé dresses that looked like decadent, deflated mylar balloons, and huge tufts of fur tied around models’ necks wearing satin onesies.

Etro

The Etro show had models dressed as if they were free-spirited bohemians who were stranded on the most glamorous island bluff. There was an escapism quality to the clothes that will serve their wearers nicely in the cooler months. Models walked through archways made of flower garlands in paisley-printed ruffle dresses that swished from under maritime cable knits and sequined sheaths with feathers that floated like fins. There were also pirate-like coats full of swashbuckling style and sweater dresses brightly stitched with exotic animal motifs.

MM6

Exaggerated normality was central to the MM6 show, held at Milano Centrale, the city’s main train station. Models walked through as if on their way to their daily commute, but the clothes were anything but everyday. The collection was full of 80s nods, with sharp shoulders, new-wave mono glasses, and roomy fleece jackets. They were nostalgic clothes for the most part, but given visual twists with rolled up hems, tucked into ruffled bell shirts, or paired with shiny patent boots. 

Max Mara

The fall collection at Max Mara focused on durability and “soft power,” with knitted cashmeres, brushed wools, and lush silks crafted in strong yet not stiff silhouettes. Berry hues and earthy tones also kept the collection from looking dour. Silver rivets lined sweaters and boots, giving them a sturdy appearance, while a stunning silk evening gown was shaped with rounded cashmere shoulders that looked a bit like armor; though historical references were easy to spot, it was more modern than medieval.

Boss

Boss paid homage to the art of dressing with a collection that mined its archive to deliver masterful tailoring that looked crisp and incredibly cool. Broad-shouldered jackets with shrunken waists and perfectly cut coats were the anchor for most of the looks; they were given a bit of flair with leather boutonnieres and printed silk and jacquard scarves. One you could imagine a modern-day Katharine Hepburn or Marlene Dietrich rocking with alpumb.

Prada

At Prada, 15 models walked the runway four times each, with a piece of their outfit peeled away after every exit. A model wearing a trench coat one moment would reveal a bright anorak with fur trim, then a blue button-down and crinkly pencil skirt, the next. This lesson in layering was Miuccia’s and Raf’s visual commentary of “the idea of layering complexity, which is what exists in history, in politics, in life, and that reflects in the clothes.” Aside from the layered looks, there were also stunning beaded and feathered shoes that remained a constant.

Emporio Armani

The Emporio Armani collection doubled the sartorial drama for fall with models walking out in unison wearing mirrored looks. Shaggy coats and silk gowns came with twin versions in contrasting colors, which is sure to delight the Armani clientele who love to have color options to pick from. A play on a tuxedo and a blazer dress was a sharp style for evening wear.

Marni

Meryll Rogge’s debut show at Marni took a fresh look at the brand’s DNA. “Opposites never in opposition” was the approach to design, with a constant visual tango of textiles and prints, tailoring and fluidity keeping things in line. A gauzy top and skirt covered in clinking mother-of-pearl paillettes was grounded by an earthy-colored sweater vest, along with an abstract leopard coat worn over a two-toned silk and crepe top. Belted floral lace skirts served as a strong synthesis of Rogge’s new era at the brand.

Roberto Cavalli

Creative Director Fausto Puglisi embraced the dark side for the fall Roberto Cavalli collection. Structured A-line forms, billowing dresses, and graphic, textured surfaces coexisted with a moody color palette. “I wanted to design a collection that was New Romantic and dark,” Puglisi told the press. “But this kind of dark is very festive, sensual, feminine—and tough.” His goth, romantic approach felt like the next evolutionary step for a brand that’s known for over-the-top glam.

Tod’s

Fall weather was on Tod’s Creative Director Matteo Tamburini’s mind, who envisioned a fall wardrobe that spotlighted the brand’s artisanal methodology. Tod’s is known for crafting brilliant leather goods, so in this collection, we saw the textile thinly cut and treated with laser-sharp precision, moving almost as if it were silk. When not used as head-to-toe outfits, leather was used to make the brand’s signature loafers, ankle boots, and cinched waists as super-thin belts.

Sportmax

Sport Max is the edgier sister line to Max Mara, and as such, the brand uses the same premium textiles and techniques to craft their collections. The main difference is that a Sportmax look has a high-octane energy to it that allows it to break away from the more cozy trappings of Max Mara.

For fall, coats were sleeveless, juxtaposed with high cowl necks, cropped with dangling tails, or given a shimmering gloss, with pops of color poking out, giving them a youthful energy. While Sportmax may be geared toward the millennial and Gen Z generations, one could imagine women of any age looking confident in the clothes.

Blumarine

David Koma believes that the ‘diva’ personifies the Italian comprehension of glamour as power. His latest collection for Blumarine was filled with looks that could imagine the most magnetic of divas commanding the stage or movie scene. His divas channel their power in a darkly theatrical palette of red, black, white, silver, and gold in dramatic shapes that would make any ordinary wallflower faint. Touches of petal ruffles, hand-embroidered macramé on collars and cuffs, and rose-gold embroidery added a lightness that kept things from looking overly heavy.

Moschino

Walking into the Moschino venue and onto a cobblestone felt runway with mounds of dirt scattered throughout, one got the sense that the clothes would be equally topsy-turvy in design. There was a real sense of movement in the collection as models walked in columns, a scarf-print dress bounced with abandon, ruffled shirt cuffs dangled to the floor, and striped balloon pants worn with fitted tops were breezy options. The eclectic styling didn’t feel random but rather a reflection of the many points of inspiration that define the Moschino DNA.

Ferrari

At Ferrari, Creative Director Rocco Iannone dressed models in garments that acted as a second skin. His powerful pieces were all rendered in flesh tones that matched models’ complexions, making the notion of nudity more impactful than just sexy. Dresses hugged and wrapped around the body like liquid, puffy satin coats matched the skin so well that they appeared to alter the wearer’s body shape. There were ombre pieces that made it look as though the models’ hair was melting, which was apropos given that, finally, water fell from the ceiling like raindrops.

Ferragamo

Maximillian Davis was inspired by the 1920s, the period when Ferragamo was founded, while creating the house’s fall collection. The decade was monumental for fashion, with women embracing free-flowing silhouettes via the flapper dress, and Davis translated this into glistening lamé dresses with plenty of volume, set off by cocooning outerwear.

Elsewhere, midi-length sheer dresses also evoked the freedom of flappers. Speaking of freedom, there was a stylist sailor motif that permeated throughout, because, as Davis puts it, they “crossed the water to discover new beginnings,” with nautical uniforms subverted by displaced buttons and undone fastenings.

Dolce & Gabbana

A hush fell over everyone at the Dolce & Gabbana show once the legendary Madonna walked into the venue flanked by countless security guards and paparazzi. Not only was she a guest, but she also narrated a short film that played before the show, describing the unabashed Italian glamour that serves as the brand’s design ethos.

The collection was almost entirely black with unlined lace dresses that left little to the imagination. Crisp white button-downs and fuzzy coats gave these lace numbers a bit of cover. Elsewhere, fitted tailored pieces reminiscent of what Madonna would wear in the ‘90s gave models an air of scintillating style. 

Bottega Veneta

For Louise Trotter’s second Bottega Veneta collection, she explored soft structures through operatic drama. The house’s interccarto weave was masterfully used on clothing and accessories alike, showcasing why the technique has become such a hallmark, with a simple tank becoming a chic counterbalance to a wavy-woven leather skirt. But the skills of Bottega Veneta don’t stop there; technical fibers, knits, and silks are transformed into glamorously gargantuan pieces that move with wild bravado.

Giorgio Armani

The industry is still mourning the loss of Giorgio Armani, so as a continued tribute to the fashion legend, his brand’s family and in-house creative team delivered a fall collection that paid homage to all the design tropes he became known for. Relaxed tailoring for daywear, fluid motion in elegant evening gowns, and rich jewel tones were on full display. The Giorgio Armani show had long closed out Milan Fashion Week, and this heartfelt tribute collection was the perfect end note.

Diesel

“This collection is about waking up in a place, with no idea what happened last night, and you are the most glorious person ever,” said Creative Director Glenn Martens of the fall Diesel show. Models walked amongst nearly 50,000 pieces of archival Diesel Memorabilia, wearing clothes that were smushed and wrinkled as if they had been picked up off the floor in the hurry after a one-night stand.

Pieces were deliberately mismatched and wrapped weirdly because, in Martens’s eye, that meant they were perfectly in place. Nothing that looked ‘off’ was done haphazardly, either, like, for example, the creased denim that was dipped in resin.