MILAN FASHION WEEK SPRING/SUMMER 2026: DAY 3

editors ELIANA CASA, MAREK BARTEK, MARIA MOTA and MARIE-PAULINE CESARI

MAX MARA
review by MARIA MOTA

all images MAX MARA via vogue.com

Delicate pastel tones set the mood for Max Mara’s Spring/Summer 2026 collection. The classic trench coat was reimagined with unexpected cuts, while the sleeveless versions stood out for their elegance. Waists were cinched with sleek black bands, adding structure and contrast to the silhouettes. Double-pocket blazers with unconventional collars refreshed traditional tailoring, and puffed-up tulle shapes were balanced by more structured elements, creating a perfect interplay of volume and form.

Back detailing was a key focus, with many looks featuring open backs or cut-outs, often framed by the simple black straps. Comfort also had its place, seen in chunky knit sweaters and soft crop tops that softened the overall polish of the collection. Mini shorts remained a standout trend, styled alongside fitted pants. A hint of ballerina-core appeared in the movement of fabrics and soft layering. Beautifully patterned floral fabrics added a final note of femininity.

BOSS
review by NIA TOPALOVA

all images BOSS via vogue.com

This season, we witnessed BOSS’ ‘reflections of sartorial fluidity’, in collaboration with multi-disciplinary AI-driven artists such as designer Andrés Reisinger, creative director Sybille de Saint Louvent, artist Joann, and poet and AI researcher Sasha Stiles, who rose the question of “What does it mean to be human in a world of machines and algorithms?”. The show took place at Fonderia Macchi, and began with an immersive installation by Andrés Reisinger – an expansive yet light, almost transparent silver canvas that slowly rose into the air as the models appeared. We saw a lot of draping, layering, fluidity, we even saw eel leather transformed into dresses. Perfectly sculptured suits styled with oversized bags and headscarves, long sheer dresses, leather pants, leather skirts, leather everything. BOSS focused once again on classy earthy tones, exploring precision and simplicity through innovation. 

PRADA
review by MAREK BARTEK

all images PRADA via vogue.com

Happy Prada Day, everyone! In a world full of insecurities, one thing remains constant, and that is that Prada will be showing during Milan Fashion Week and it will be an experience to remember. Walking into the space, there was clearly some redecorating made between the men’s show and today. Though the space remained empty, without any elaborate construction set, the floral rugs disappeared, and the floor turned into a mirror thanks to highly reflective orange cast floor. The seats were also matching. Keeping the mirrors clean is not easy, especially when people walk on top of it. One quick cleanup right before the show started, and here we go!

The iconic 1985 Moments of Love by Art of Noise filled the space, and the first look walked out. It was a dark blue utility shirt-and-trousers set with a black rectangular shoulder bag (held by the straps in hand) in croc leather pattern, the recently released pastel coloured earrings and shiny leather Oxford flats. I have to say I was a bit shocked. This wasn’t a look I was expecting at all but if there’s someone who knows how to deliver a surprise, it is the creative duo of Miuccia Prada and Raf Simons. The second look was a light blue short sleeve set with long satin gloves — which turned out to be a defying accessory of the collection — made the anticipation only grow, and then the third and fourth and all the other looks appeared, and the dam broke wide open.

Following the same credo as the Menswear show, spotlight definitely went to the waist down pieces, only this time it was skirts. There were so many variations but in general there were three main groups. One group was made to look like they were constructed out of scraps of leftover fabrics sawn together, and holding onto body thanks to ribbon belts. Ruffles mixed with lace, pleats, heavy wools with buttons in varieties of colours and lengths creating a disruptive juxtaposition to the very simple, tailored bralettes. The second group was dungaree skirts — knee-length, flowy and with shoulder straps that hold them in place. These were worn as a layering piece over bloomers, and styled with bralets or utility shirts. The third kind were knee-length balloon skirts with a rubber band waist, made out of extra wrinkly material. Though they also appeared separate with skirts tucked in them, the real eye candy was when they were layered underneath space-age inspired dresses creating that chaotic contrast to the polish of satin. Outerwear was defined by relaxed tailored blazers, pea or knee-length coats and utility leather jackets and even a parka.

The colours went from greys, blacks, blues and whites to the iconic Prada red, shades of orange, green, pink, yellow and even purple. Though there was an abundance of colour, this season we saw no print. The depth was reached in different ways by layering and the over-the-top design of skirts.

Jewellery went beyond the traditional, and appeared also in the form of embellishments on dresses’ necklines creating a necklace illusion or alongside tops’ square neck-line. Layered over shirts, they carried a folklore vibe, something we haven’t really seen Prada dip into before. Shoes offered us a nice variety of the sexy heels with bows — because it’s never too late for a coquette moment — or with straps that went from the centre of the shoe around the foot. From the flats, we got leather Oxfords, suede and satin sneakers and, what can only be described as, hiking sandals. Bags were either super slouchy or extremely elegant, rectangular or tubular. The honorary mention goes to the satin sacks.

What else is there to say, Prada beats to the sound of their own drum, and season after season they prove that’s what makes them so special, so successful, so Prada.