Milan’s biggest houses supplied plenty of headlines this season, but the week’s most interesting new beginning came from two designers who had already said goodbye to the city. Elsewhere, familiar wardrobes were pulled apart, made lighter or given a sharper point of view. These are the Milan Fashion Week Spring/Summer 2027 collections that stayed with us – and one notable absence from the schedule.
Moschino
A year after staging their farewell to Sunnei as a mock auction, Simone Rizzo and Loris Messina returned to Milan for their Moschino debut. They took the show to the roof of a car park, where a crowd walked against the flow of models. The clothes carried their own jokes, including a dress with an exaggerated padded backside and a muscle shirt, alongside colourful pieces designed for everyday life. Their first collection understood that Moschino’s humour works best when it has something to say.
Loro Piana
Loro Piana presented its collection among the bookshelves of Milan’s Biblioteca Nazionale Braidense. A burnt-orange hunting jacket had a hood, drawcords and generous pockets, but was made from silk treated to perform like technical outerwear. Banana fibre appeared in knitwear, while field jackets and soft tailoring gave the collection its practical shape. These were clothes made to work harder than they first appeared to.
Etro
For its first collection by the in-house team after Marco De Vincenzo’s departure, Etro let its paisley fade into the summer light. Prints appeared blurred or broken into patches, while sheer dresses, long trains and moving fringes gave the collection an airy feel. Lean trousers, suede jackets and denim kept those lighter pieces grounded. Etro’s familiar patterns were still there – they just looked as though they’d spent the day in the sun.
Marni
For her second collection at Marni, Meryll Rogge looked more closely at the house’s existing language. Sack dresses in raw calfskin gave familiar shapes a tougher edge, while outsized buckles, displaced buttons and graphic prints changed the scale of recognisable details. Sportswear interrupted tailoring; decoration appeared in unexpected places. Rogge is making Marni’s oddness feel specific again.
Jil Sander
Simone Bellotti let things slip out of place at Jil Sander. Suit jackets opened away from the body, collars sat askew, and creased fabrics challenged the immaculate finish associated with the house. Shortened lapels made some of the tailoring feel almost strange, while ballooning dresses brought volume into the collection. After establishing his precision, Bellotti seems ready to see what happens when he disrupts it.
Ferragamo
Maximilian Davis began with Salvatore Ferragamo’s 1947 Invisible Sandal and followed it with the silhouettes of the 1940s. Waists were pulled in with menswear belts, sometimes doubled or moved up to frame the bust, while wartime pockets appeared across the collection. Transparent silk-wool revealed the construction beneath sharply cut tailoring, and draped skirts drew on the house’s history with scarves. The period references gave Davis something concrete to work with without making the clothes feel stuck there.
Tod’s
Matteo Tamburini looked back to the images and music of his teenage years in the 1990s, a formative decade for Tod’s too. The result mixed formal clothes with a sportier wardrobe: marbled nubuck, fluid leather dresses and skirts, and lightweight trousers that caught the air as models walked. The Gommino’s perforated motif appeared beyond the shoe, across clothing and accessories. Tod’s leather expertise was still unmistakable, but the collection gave it more room to move.
Brunello Cucinelli
Brunello Cucinelli’s women’s presentation placed remarkable handwork inside an easy summer wardrobe. Raffia was constructed in the pattern of Viennese canework, crochet gained sculptural volume, and mesh opened up jackets and knitwear. These pieces were worn with shirts, cargo trousers, shorts and long skirts, keeping the focus on how they might be used. The closer you looked, the more there was to see.
Alberta Ferretti
Lorenzo Serafini called his Alberta Ferretti collection Échappée belle, drawing on the idea of escape and a movement in dance. Dresses floated around the body, with feathers, metallic threads and light layers adding motion to every step. References to 1920s dress appeared in lingerie, kimonos and balloon trousers, while faded colour gave the collection the feeling of a summer already passing. Serafini made a case for clothes that feel most alive when they move.
MM6 Maison Margiela
At MM6, getting dressed became a game of trying things on the “wrong” way. A shirt folded into a dress, a sweater became a skirt, and altered closures gave familiar garments more than one use. The collection had a surprisingly sweet side, with small Henleys and vintage-looking shorts, before a stack of six Havaianas soles brought the house’s favourite number into the joke. It made experimentation look easy enough to try at home.
Sportmax
Sportmax designed for a summer of rising temperatures, though its answer was sometimes as curious as it was practical. Sleeves disappeared from outerwear and layers of silk organza made clothes look almost weightless. Metal belts held fabric like curtains, while an angled peplum gave one dress the structure of a small shelter. The collection’s strongest pieces treated heat as a design problem and produced shapes worth looking at twice.
MSGM
Massimo Giorgetti brought MSGM back to colour, graphics and the pleasure of putting unlikely pieces together. Nylon met chiffon, tailoring met softer fabrics, and images drawn from the work of Italian artist Mario Schifano appeared on skirts and T-shirts. There was a renewed ease to the collection: bright, a little messy and sure of what makes the label appealing. Amid so many houses announcing new eras, MSGM seemed happy to remember its own.
Giorgio Armani
Silvana Armani closed the week with a collection titled Evolution, moving between fluid daywear and clothes made for after dark. Tailored jackets appeared with city shorts; black silk became tuxedo dresses; butterflies crossed tops and gowns in paillettes and chain mesh. References to Giorgio Armani were present too, including a recreation of his First Communion suit and a jacket bearing his portrait. The collection gave Silvana room to develop the house’s wardrobe in her own way.
Across these collections, Milan’s strongest ideas often began with something familiar: a shirt, a suit, a leather coat, a house code worth keeping. Moschino supplied the week’s debut, while Armani ended it with a glimpse of an established name moving forward. Versace’s empty place on the schedule leaves another new chapter for next season.
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