Roberto Cavalli Fall 2026

Roberto Cavalli Fall 2026

What if Alvin Ailey—all discipline and sensual control—and Luisa Casati—all decadence and theatrical excess—somehow ended up at the same dinner party? That was basically the question Fausto Puglisi posed this season at Roberto Cavalli. And honestly, only Puglisi would even think to ask it. He has always had a thing for America—he literally has the Hollywood sign tattooed on his forearm—so the tension between Italian hedonism and American pragmatism felt personal. Cavalli, historically, is about unapologetic sensuality. Puglisi kept that—but filtered it through something a little sharper. A little tougher. A little more “walk into the room and own it” instead of “float through in chiffon.” The opening black leather pantsuit set the tone. Boyish cut. Clean. Paired with a spangled bra top that still winked at Cavalli’s DNA. Then came an A-line tutu skirt—a callback to Puglisi’s early days—styled with pointy loafers. Loafers. On a Cavalli runway. That alone told you the fantasy had shifted. There was also a cocktail look barely more substantial than a leotard, its neckline nodding to Princess Diana’s revenge dress energy. Not literal—but that same sharp, post-breakup clarity.

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Prada Fall 2026

Prada Fall 2026

There was a time—wasn’t there?—when designers stood up and issued commandments. Skirts shall be short. Shoulders shall be bold. Thou shalt obey. It all felt so clean, so decisive. So… unrealistic. Because in real life? I stand in front of my closet at 8:07 a.m. holding two completely incompatible things thinking, Can I make this work? Do I even care? At Prada, Miuccia Prada and Raf Simons weren’t interested in diktats. They were interested in that exact closet spiral. “What do I wear with what? What is possible? Can I do it another way?” Simons said backstage. And honestly? That’s the real runway. The one in your bedroom, five minutes before you’re late. To make the point, they cast just 15 models. Each wore four layered looks. Sixty exits in total—but recycled, reworked, peeled back in front of us. At first it felt confusing. Wait, didn’t we just see that coat? But then it clicked. Oh. OH. It’s the same woman, the same pieces, just… rearranged. Not a fashion fantasy. A wardrobe. A life.He said he was struck by the beauty of the objects. The craft. The durability. The fact that something we dismiss as “dark” was actually… luminous. Careful. Considered. Made to last. “They really weren’t so dark at all,” he said. And you could feel the subtext. We overlook things that aren’t loud. We confuse discretion with dullness. We move on too fast. Which, honestly, feels very Max Mara.

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Max Mara Fall 2026

Max Mara Fall 2026

We talk about the “Dark Ages” like they were this murky, backward blur. Pre-social media fashion energy, honestly—no documentation, no receipts, just vibes and assumptions. But Ian Griffiths—who has been designing at Max Mara since 1987, which in fashion years is basically medieval—recently visited Sutton Hoo, that ancient Anglo-Saxon burial site in England. And it rattled him. In a good way. He said he was struck by the beauty of the objects. The craft. The durability. The fact that something we dismiss as “dark” was actually… luminous. Careful. Considered. Made to last. “They really weren’t so dark at all,” he said. And you could feel the subtext. We overlook things that aren’t loud. We confuse discretion with dullness. We move on too fast. Which, honestly, feels very Max Mara.

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Marni Fall 2026

Marni Fall 2026

Brands have auras. You can pretend they don’t. You can say it’s just product and strategy and quarterly reports. But no. They have karma. Past lives. Energy that lingers long after the founder steps away and the next designer arrives with a new deck and a fresh moodboard. Marni has always had an aura. Slightly sideways. Artfully offbeat. Disciplined but weird. Milanese modernism with a pulse. Founded by Consuelo Castiglioni, later stretched and shaken up by Francesco Risso, and now—karmically, poetically—back in a woman’s hands. There’s something satisfying about that. Like the universe quietly rearranging the furniture. Enter Meryll Rogge. “I’ve been a Marni fan since I was a teenager,” she said. Which is either terrifying or perfect, depending on how you look at it. Because being a fan is different from being a strategist. It’s emotional. It’s formative. It shapes you before you even know you’re being shaped. And Marni, let’s be honest, has always magnetized a very specific kind of woman. Intelligent. Creative. Slightly allergic to obviousness. Rogge clearly grew up inside that orbit.

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