6 Key Takeaways from Milan Fashion Week Fall/Winter 2026
From Demna’s star-studded, dramatic first Gucci show to a bold Fendi debut from Maria Grazia Chiuri, with Uma Thurman and Monica Bellucci front row, and even a Madonna cameo at Dolce & Gabbana, this season in Milan packed plenty of celebrity power. And while some seasons in the past have felt safe in the Italian fashion capital, many Milan designers took risks this season, pushing a distinct vision.
“It was a good moment in Milan,” says Vogue’s Tiziana Cardini. “The shows were strong and had a point of view. They sparked a lot of conversation, because they were polarising and unexpected. It definitely was not a boring season. And we’ve had some of those.”
Designers had a lot to grapple with this season against a challenging retail backdrop, following the collapse of Saks Global at the start of the year and the increasingly unstable geopolitical climate. The high stakes were felt across collections and shows, as Milan designers shot for creativity, world and wardrobe building to inspire people to buy clothes this fall.
“This edition of Milan Fashion Week has been particularly intense and significant. We have seen highly anticipated debuts, changes in creative direction that have brought great international attention to Milan, and a widespread quality that has run throughout the entire calendar,” says Carlo Capasa, president of Camera della Moda Italiana. “In a complex moment for the global market, the week demonstrated that the Milanese system knows how to respond with substance, not just with image: solid collections, strong identity, and the construction of long-term value.”
Three major debuts brought new energy
All eyes were on the designer debuts at Fendi, Marni, and Gucci in Milan this season.
First came Maria Grazia Chiuri’s Fendi debut on Wednesday afternoon. The designer opted for a monochrome palette to focus on defining silhouette and cut. Chiuri paid tribute to the five Fendi sisters, her mentors during her first design role at the house from 1988-1999, with orange, yellow, or black-and-white fur scarves that read “five sisters”. Otherwise, some of the collection evoked her work at Dior, with ballet-style long skirts and black lace paired with tailoring.
“I think it was a strong outing for Fendi,” Cardini says. “You may like it, you may not, but Chiuri definitely has guts. She believes in her vision, she’s fearless, and she goes against the grain. And as a woman in this industry, that’s a good thing.”
Meryll Rogge made her Marni debut on Thursday evening, with a focus on wearability and reality. The collection riffed on Marni founder Consuelo Castiglioni’s codes, including knee-length skirts, heavy embellishments and jewelry, and offbeat color and texture combinations. “It was important to bring the [brand] back to real life again,” the designer said post-show. “People were wearing Marni from day to night. It wasn’t a brand for only special occasions. And so that’s what we tried to do.” Many editors and buyers rejoiced at the house’s return to its codes, with Rogge’s signature style mixed in.
Then came the big one, Demna’s runway debut at Gucci, Kering’s biggest brand, and the key to the group’s recovery after many quarters of declining sales. The show took place in the Palazzo Scintille, where Demna created a fake museum, complete with replica statues from the Uffizi Galleries. While the collection has had mixed reviews, no one could deny the energy in the room. And arguably, in today’s attention economy, building a compelling Gucci universe is one way to drive people to buy revenue drivers like bags and shoes.
