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.

Continue ReadingRoberto Cavalli Fall 2026
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.

Continue ReadingPrada Fall 2026
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.

Continue ReadingMax Mara Fall 2026
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.

Continue ReadingMarni Fall 2026
No. 21 Fall 2026

No. 21 Fall 2026

The MM6 show took over a waiting room at Milano Centrale, which meant actual commuters were just… there. Watching. Staring. As the fashion crowd climbed the marble steps in Tabis and eye shields, very clearly not headed for the late train back to the suburbs. It was awkward and perfect and slightly hilarious—and honestly, a pretty ideal setting for the most street-facing corner of MM6 Maison Margiela. Especially given that this season the studio collective was deep in archetype mode, studying everyday clothes and the people who actually wear them.

Continue ReadingNo. 21 Fall 2026
MM6 Margiela Fall 2026

MM6 Margiela Fall 2026

The MM6 show took over a waiting room at Milano Centrale, which meant actual commuters were just… there. Watching. Staring. As the fashion crowd climbed the marble steps in Tabis and eye shields, very clearly not headed for the late train back to the suburbs. It was awkward and perfect and slightly hilarious—and honestly, a pretty ideal setting for the most street-facing corner of MM6 Maison Margiela. Especially given that this season the studio collective was deep in archetype mode, studying everyday clothes and the people who actually wear them.

Continue ReadingMM6 Margiela Fall 2026
Etro Fall 2026

Etro Fall 2026

Marco De Vincenzo loves a metaphor. Like, really loves one. This season he described the collection as a wave—between rigor and explosion, control and abandon, sharp lines and total release. Which feels right, because watching Etro right now feels a bit like watching something inhale… and then completely lose its mind. “Its bohemian side resurfaces,” he said, “hyper-colored, maximalist, a little mad.” And yes. Mad, but in that intentional, self-aware way. In De Vincenzo’s telling, Etro is basically an ouroboros—a decorative universe endlessly feeding on itself, regenerating, looping back, never getting bored. Somehow neither do we.

Continue ReadingEtro Fall 2026
Missoni Fall 2026

Missoni Fall 2026

Alberto Caliri’s time at Missoni feels less like a series of hard resets and more like one long, ongoing sentence. Each show picks up exactly where the last one left off—no plot twists, no dramatic pivots, just a few carefully chosen additions that quietly make the whole thing richer. “This show starts where the previous one left off,” he said, plainly. “I’m partial to consistency.” Which, in a fashion landscape addicted to whiplash, feels almost radical. Caliri knows the Missoni archives like muscle memory. After years inside the house, he doesn’t treat its history like something fragile or sacred—more like something lived-in. He opens drawers confidently. Pulls references without dusting them off too much. Less archivist, more trusted insider who knows exactly what still works and what doesn’t need explaining.

Continue ReadingMissoni Fall 2026
Fendi Fall 2026

Fendi Fall 2026

“Less I, More Us.” The phrase was stenciled right there on the runway, and echoed again on the webbing of bags—like a mantra you were meant to absorb whether you wanted to or not. And sure, on the surface, Maria Grazia Chiuri’s debut as chief creative officer at Fendi was very much about togetherness. Collaboration. Pluralism. Shared language. But let’s be real for a second: this was also unmistakably a Chiuri show. Calm, controlled, intentional. Less ego on display, maybe—but a very clear hand on the wheel. Before the show, she kept talking about silhouette. Shape. Structure. And by the time she took her bow, it was obvious she wasn’t just redrawing the outline of the clothes—she was quietly redrawing the outline of Fendi itself.

Continue ReadingFendi Fall 2026
Jil Sander Fall 2026

Jil Sander Fall 2026

For his first outing at Jil Sander last season, Simone Bellotti was in full reduction mode. Strip it back. Pare it down. Get obsessed with line. “Very straight, very clean, removing fabric,” he said at the time. This season? He did the opposite. And not in a chaotic way—in a deliberate, almost teasing way. Ruffles snaked down the sides of trousers. Coats were slashed high up the back. Skirts were split open at the seams just enough to flash a white-stockinged thigh. He put it plainly: “Can something superfluous be considered essential?” And in his hands, the answer is… absolutely yes. Bellotti comes from menswear, which means tailoring is his native language—and nuance is his obsession. This season, he’d been deep in the black-and-white photographs of Anders Petersen, specifically his images of Café Lehmitz, a bar in Hamburg’s red-light district in the late 1960s. The thing that stuck with him wasn’t grime or decadence so much as intimacy. Bodies close. Clothes slipping. That slightly off-kilter feeling when nothing is quite sitting where it’s supposed to. “Some suits come up wrong,” he said. “The collar looks like it’s falling in the back. The shoulders on a dress are detached from the body.” Clothes, basically, that want to escape.

Continue ReadingJil Sander Fall 2026