MILAN FASHION WEEK FALL/WINTER 2026: DAY 4
TOD’S
review by ANOUK WOUDT
all images courtesy of TOD’S
Through draping cloths and sharply cinched waists, Tod’s seems to be inching itself further and further outside of their comfort zone with this fall collection. Returning motifs from spring appeared in foulard-inspired dresses that are morphed into something a dash more free-spirited. Ruched silken necklines and a deeply open back gave a carefree elegance that stood out amongst their standard of unfussy luxury. Asymmetrically sharp triangular cuts also made an appearance across the runway, dedicating a newfound edge to wardrobe classics, although the skinny belts paired with neck scarves and long coats still presented us with a classic ‘sciura’ look. In true autumnal fashion, warm, earthy tones washed over everything, intercut with sterile black and white accents that maintained the pieces’ structure.
Refinement remains at Tods’ centre, with supple aged calfskins and high-quality leathers that gleamed in nearly every look. This played into the collection’s homage to Italian saddlery traditions, especially through the ponchos and strapped ankle boots that were perfectly on theme for this year of the horse. Bags and boots also put craftsmanship on full-display, reworked in forms that tested the boundaries of these natural materials. Accompanied by a delicate orchestration that evolved into Portishead’s The Rip, the music was the perfect touch to secure this collection a place in your mind.
MARCO RAMBALDI
review by AYA SOFIA OPPENBERG
all images courtesy of MARCO RAMBALDI
If you’ve never seen the Italian cult classic Fantozzi, imagine the most beautifully tragic, overworked accountant in a suit that’s perpetually two sizes too small for his existential dread. For FW26, Marco Rambaldi has taken inspiration from this specific brand of "everyman" awkwardness and invited it to a high-intellectual dinner party with Pasolini. How would it look if we take the sacred mundane, and turn it inside out? We all have an office uniform, a domestic knit, or a Sunday best, but Rambaldi isn't interested in the version of those clothes that makes it into the family photo. For this collection, we saw the internal architecture – the seams, raw edges, and quiet skeletons of the garments we wear to perform "adulthood."
It all felt like a deliberate act of sartorial oversharing; jackets and skirts were flipped to reveal their inner constructions, stripping away that polished "Made in Italy" facade to show the messy, human work underneath. The knitwear played a layered mind game – trompe-l’oeil twinsets that hid secret layers beneath their cardigans, as if mirroring the social masks we all put on just to get through a Tuesday. Even the animal prints had been downgraded from "predatory" to "domestic," with classic motifs morphing into a spotted Dalmatian fauna; delightfully unpretentious. Rambaldi gave us a wardrobe for the sentimental rebel, with the only way to honor a classic is to wear your heart on your sleeve.
SPORTMAX
review by FRANCESCO PIZZUTI
all images courtesy of SPORTMAX
Sportmax stayed consistent for Fall/Winter 2026 with a collection that felt technical and tender, an exploration of structure softened by movement. The silhouettes were extremely fluid and dynamic, sporty elements were split, with coats and dresses cut open by decisive slits, both at the back and along the sides, allowing air to circulate and fabric to follow the body rather than constrain it. Jackets arrived with cape-like overlays and big, flipped-out collars, adding sculptural dimension but maintaining that soft wearability that marks the collection.
Dresses, light and flowy, with no seams in sight, took a no-frills approach before revealing their quiet complexity in motion. Side and back openings disrupted their surfaces, transforming stillness into flow. A knit mini dress blurred the line between undergarment and outerwear, embodying the collection’s interplay between high-coverage and exposure.
Accessories carried a subtle irony. Tiny bags were worn around the neck like necklaces, echoed by oversized earrings in similar proportions. Hard-shell clutches, shaped like rounded canteens, contrasted with the malleability of the garments, while softer leather bags grounded the looks in practicality. Above-the-knee leather boots sharpened the softness.
The palette stayed within earthy browns, beiges, whites, and blacks, every so often punctuated by flashes of orange — on eyeshadow, earrings, shoes, and bags — a true joy for the eyes. More synthetic textiles met natural wool and cotton, reinforcing Sportmax’s interplay between technology and nature, the classic and the avant-garde.
BLUMARINE
review by AYA SOFIA OPPENBERG
all images courtesy of BLUMARINE
David Koma has successfully performed a Newtonian reboot on the house of Blumarine, stripping the brand’s signature romance of its sweetness and replacing it with a lethal, high-definition edge. Staged within a mirror-lined Salone dei Tessuti, the collection acted as a literal and metaphorical reflection of vanity, channeling the razor-sharp, predatory glamour of a Helmut Newton archive.
The brand’s signature rose was stripped of its traditional sweetness, appearing instead as 3D appliqués and bold prints on structured, mini-length silhouettes that demanded attention. Throughout the runway, there was a constant friction between vulnerability and control, evidenced by the pairing of delicate Chantilly lace minidresses with a biker-inspired leather suit. High-collars and raised basques (subtle nods to 18th-century paniers) provided a historical weight to the otherwise daring, modern cuts. The finale leaned into unapologetic decadence, featuring airy tulle trains and oversized furry stoles worn over lingerie and cascading gold chains. Between a lethal palette of black, blood red, and liquid silver, Koma successfully navigated the line between the sacred and the provocative, reclaiming Blumarine as the primary wardrobe for the woman who views her reflection as a tactical advantage.