Milan Fashion Week: A Study in Transitions and Tenacity (Autumn/Winter 2025-2026)
While New York and London grapple with maintaining their positions as global fashion capitals amidst economic headwinds, Milan displays a remarkable resilience. The Autumn/Winter 2025-2026 season, showcased from February 25th to March 3rd, maintained its usual robust schedule of approximately fifty runway shows. This season was a fascinating blend of established powerhouses strategically placed to maximize visitor stays, emerging talents debuting at revitalized brands, and significant anniversary celebrations marking milestones for iconic Italian houses. The absence of Bottega Veneta, undergoing a creative direction shift, and a few smaller brands citing the prohibitive cost of a runway show, highlighted the challenges even successful brands face in the current economic climate.
The opening act was a particularly intriguing affair, burdened by unforeseen drama. Gucci, the Florentine giant, announced on February 6th the departure of its creative director, Sabato de Sarno, a mere year after his appointment in 2023. The house confirmed that the in-house studio team would design and execute the Milan collection. De Sarno’s inability to reignite the brand’s former spark, following the maximalist reign of Alessandro Michele, wasn’t entirely surprising to industry observers. However, the timing of his exit raised eyebrows. Typically, a designer is afforded the courtesy of completing their final collection and bidding farewell on the runway. A separation occurring less than three weeks before a major show undoubtedly indicates internal turmoil.
Despite the undeniably complex circumstances, Gucci sought to project an image of composure and confidence. The carefully curated staging of the show spoke volumes. Located in a vast studio on the outskirts of Milan, Gucci constructed an opulent, emerald-hued environment. The walls were draped in plush curtains, the ceiling mirrored, and the runway formed two interlocked "G" logos – a signature emblem of the brand. At the center, an orchestra performed an original composition by Justin Hurwitz, composer of the film “La La Land,” facing a front row packed with celebrities, including actress Jessica Chastain seated alongside François-Henri Pinault, CEO of Kering, Gucci’s parent company, who appeared outwardly cheerful.
However, the clothing itself felt less certain, the reason being evident: reimagining an entire collection in under three weeks is a monumental task. The studio team, understandably, focused on core Gucci values, drawing inspiration from various periods in the brand’s illustrious history. There were rounded, cropped coats reminiscent of Jackie Kennedy’s elegant sixties wardrobe, low-cut tops paired with faux furs that echoed the sexy flamboyance of Tom Ford’s early 2000s tenure, furry shoes harking back to Alessandro Michele’s whimsical aesthetic, and delicate lace and heavy embroidery favored by Sabato de Sarno.
Perhaps aiming to inject a sense of modernity, the studio chose to present this collage of influences in bold, saturated colors: violet, acid green, Barbie pink, turquoise, and vermilion. The overall effect, however, lacked cohesion, and more importantly, a distinct voice that would allow Gucci to articulate a vision beyond simply revisiting its past. The new designer, whose appointment is expected to be announced soon, will need to be able to confidently project Gucci into the future.
In stark contrast to Gucci’s somewhat muddled presentation, the collection from Jil Sander, helmed by the husband-and-wife duo Luke and Lucie Meier, proved to be a poignant and powerful swan song. The pieces were so strong, so refined, that they amplified the sadness surrounding the couple’s departure into the unknown. The success hinged on a masterful chromatic transition from darkness to light. The audience was ushered into a narrow, black-clad space. The initial silhouettes blended seamlessly into the surroundings, infused with punk references, featuring leather shoes and trousers adorned with studs, kilts, jackets, and belts embellished with silver pins. This edginess was subtly interwoven with the Meier’s penchant for the formal wardrobe, with bustiers adorned with long, shimmering fringes, silk trousers, and coats embroidered with feathers.
Gradually, the garments began to capture the light. Bands of pale lace were integrated into dresses, a sequined plastron spread across the front of a shirt, culminating in ivory looks that stood out dramatically against the dim backdrop. The most compelling pieces were undoubtedly those that bridged the two worlds, such as a light silk dress that appeared to have been dipped in black dye from the waist down, creating a haunting, yet elegant visual effect. This collection served as a resounding testament to the Meiers’ talent and should undoubtedly prompt headhunters seeking artistic directors to seriously consider them for future roles.
At Alberta Ferretti, the season marked the debut collection of Lorenzo Serafini. He succeeds the founder who lent her name to the company and retired after forty-three years of unwavering dedication. She was present in the front row for the show, held at the headquarters of the Aeffe group (which also owns Moschino). Aiming to live up to the challenge, Serafini envisioned a woman who was "romantic but rational," clad in large, enveloping coats and flowing dresses. This contrast worked well in certain streamlined silhouettes, but in others, an excess of ruffles, drapes, or sequins weighed down the overall look.
Regardless of Lorenzo Serafini’s potential, it is a well-established truth that first collections rarely achieve resounding success. Transition collections rarely fare much better. Farewells, however, tend to inspire designers to create some of their most compelling work. This season served as a poignant reminder of this phenomenon, a testament to the emotional power inherent in endings and beginnings within the ever-evolving world of fashion. The enduring strength and spirit of Milan Fashion Week, despite the surrounding challenges, remains a powerful force, ready to embrace what the future holds.
