Milan Fashion Week S/S 2027 arrived at a moment of undeniable transition: from Prada’s leap of faith once again in skirts to Diesel’s unapologetic excess as the final bow from Glenn Martens. Bottega Veneta demonstrates again why sometimes couture and fashion are only an excuse for bigger, more poetic statements, while there was no shortage of youth, irreverence and playfulness, courtesy of MSGM and Marni. The city once again showcased that its strength lies precisely in the mix of voices it can accommodate.
Now more than ever, the voice of Milano and “The Boot” echoes and feels the need to show why it is still a big-league player, with the increasing number of fashion weeks sprouting around the globe. There have been big changes in the local industry. The Queen of Italian Fashion, Donatella Versace, was succeeded by Dario Vitale, who presented his debut collection for S/S 2026. The brand was absent from the S/S 2027 catwalk season. Prada Group acquired Versace and appointed successful ex-Alaïa designer Pieter Mulier, while Donatella announced an unexpected new project with American Revolve Group.
With Giorgio Armani and Valentino Garavani sadly passing away, it is clear that one chapter is coming to an end. But there’s a new era ahead. The legacy of these amazing designers makes its way through the eyes and crafts of the upcoming ones, maintaining the class and chic sensibility of Italian tailoring and craftsmanship while adding new references and feelings from a significantly more global Italian youth demographic.
Although it’s hard to bring all the shows together and summarise them into one single “S/S 2027 trends” category, it’s rather more accurate to say that Milano is a hub for a privileged variety and richness of contrasts, hosting legendary fashion houses as well as nurturing new talent.
An online avalanche of clippings regarding Miuccia’s old 2006 interviews and her perspective on skirts as a primary piece of clothing serves as a real-time reaction to how we perceive these garments as the centrepiece of this S/S 2027 collection. One could almost tell where Raf’s or Miuccia’s vision took over more in a potpourri of smart, toned-down, even somewhat SFW, selections of blacks, whites and greys, in simple forms mostly reminiscent of the classic canon of femininity in fashion from the first half of the 20th century. But we know Prada’s boldness is never lacking; eyewear added an extra layer of strength and character to the looks, alongside beautiful satin, beaded and flower patterns, transparencies, vibrant colours, pastels and hyper-minimalistic tops, a refreshing gift of avant-garde 2027 femininity for fashion enthusiasts.
Simone Bellotti started the show with a fairly sober selection. British modelling icon Edie Campbell opened, followed by 36 tailor-ish, minimalistic silhouettes with slight fun hints up until a vibrant 38th look. Breaking free, the upcoming mix of still-smart outfits was highlighted by pastels, cute garments and more architectural shapes. This S/S 2027 collection retakes a common approach we will be seeing in many more houses, just as with Julie Kegels’ Paris FW debut: edgy, cut-smart heels and retro stockings taking turns one after another in vibrant colours to casually add edge to clean looks.
Arrivederci, Glenn! Saying goodbye to the Only The Brave-owned house after six successful years, Martens leaves behind a new, fresh, wilder and more aspirational firm. This totally makes sense after his announcement as CD for Margiela, in an era where the bar and fashion criticism are high enough that carrying the weight of two big firms at the same time would be no small feat. Let’s see how JW Anderson will manage in the upcoming seasons. Martens said goodbye in the most Diesel way possible, showing that the brand is more than denim, with “grunge Couture” looks that were slowly turning odd and becoming distressed. Those who attended the show reported other front-rowers acting weird as the show progressed, erotic acts and even metal-style headbangers, making clear it was all part of Martens’ goodbye.
Talk about balance and proportion: the clamour of the public for Louise Trotter is nurtured on the runway, and sometimes also in on-screen looks worn by Jacob Elordi. This Spring 2027 ready-to-wear collection is a poem to the people of tomorrow, borrowing dresses, suits, hats, pants and bags that belong to memorable fashion archive moments and bringing them back in a fresh, classy arrangement. Those present at the runway were already stunned by the work of Ukrainian-born Berlin artist Illya Goldman Gubin, with the one-of-a-kind cardboard stools, only to continue this visual promenade proposed by Trotter in beige, white and black, bright mauve detailing, varied white and salmon detailing, and black sequins, all perfectly balanced.
What’s more classic than a brown-and-wood panelled setting to showcase class itself? Ferragamo S/S 2027 carried character, with strong, bold, structured blazers, shirts and skirts helping to maintain the collective image of the house, while the introduction of fantastic dystopian pieces added freshness and glamour: latex-like, transparent-ish dresses and coats in a brilliant variation of colours shone back at reflectors. Want to keep it simple with the shoes? Very Italian. Double-stacked belts seem to be a trend as well, as does the playful contrast between tight, slim figures and baggy reinterpretations of classic garments. We see you, Paloma Elsesser, Anok, Sara Caballero, Serkan Deniz and Mona Tougaard! C-L-A-S-S-Y.
Don’t let yourself be fooled by the picturesque film-essence of this runway and its tailor-made casting. This Marni collection wasn’t designed by Wes Anderson, but by Meryll Rogge, bringing the best of the Antwerp clever-kitsch aesthetic into completely free-spirited colour contrasts. While kept more “quotidian” than other designers in the Milano week, this casualwear is screaming “the main character is all of us!”, which totally aligns with the origins of this brand in a more contemporary era. Can’t deny the young ethos of these looks, almost feeling like thrifting treasures new generations find in their parents’ closets.
This duo has a clear and more straightforward vision for the future of fashion, making it less about complex archive reverberance and subtle niche hints, but rather more about sensations. Mostly monochromatic, elongated drapes are adorned with colour, exuberant shapes or checkered/flower patterns, while gravity does the rest of the work here. The contrast between raw, undone elements and more theatrical forms of elegance, relaxed workwear and Golden Age of Hollywood ostrich-feather headpieces adds a sense of drama.
Let the cape or coat do the job and look totally flawless. There’s a LOT of fabric and baggy shapes filled with character in these looks. While Luca Lin’s work doesn’t necessarily keep a constant theme season after season, his work tends to be very cohesive single-collection-wise, with jackets/blazers being his signature strength. For this occasion, a selection of casualwear with exaggerated proportions highlights a playful approach to tailoring and construction. Classic shirts, blazers and trousers are enlarged, twisted and layered to create relaxed silhouettes that feel both structured and fluid. Undoubtedly, a plain tonal colour palette set in depth whispers “artisan and heritage”.
Massimo Giorgetti brought out another face of Milano for this Spring/Summer 2027, less conventional than his own unique path through fashion. This time, it’s giving “Millennial Indie Sleaze and make them a graphic designer”, with ironic ties, polos, graphic shirts and vibrant-coloured pants. MSGM embraces its signature colourful and graphic aesthetic, this time introducing imagery by Italian pop artist Mario Schifano. Think stripes, psychedelic florals and fun takes on tailoring and shirting.
Wild hair, Eve in the garden, hippie, colourful and free-spirited, drawing from its eclectic energy and the LA couture look and feel, all filtered through Fausto Puglisi’s over-the-top approach. The collection mixes early-2000s references with Italian craftsmanship, bringing together heavily embellished denim, flowing silhouettes and an abundance of animal, floral and tattoo-inspired prints. Feathers, crystals, fringe and fur add a playful sense of excess, while updated versions of signature accessories and ’90s-inspired footwear reinforce the nostalgic mood. The result is a bold and unapologetically sensual collection that celebrates Cavalli’s maximalist spirit through a distinctly West Coast lens.
