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 provided by the brand

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 provided by the brand

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 were styled with oversized bags and headscarves, long sheer dresses and fitted tops were combined with oversized bottoms. Leather pants, leather skirts, leather everything. Knit polos and oversized sweaters were styled in unexpected ways, and outerwear pieces played with form – like a sleek white leather jacket with broad shoulders or a floor-length lamb leather coat. The new “it bag,” the Revers, nodded to BOSS’s tailoring roots with a blazer-inspired neckline and belt detail in leather and suede.

BOSS focused once again on classy earthy tones, exploring precision and simplicity through innovation, bringing together structure and chaos. Many pieces played with volume and asymmetry, like long sleeves, off-kilter necklines, and dramatically wide-leg pants. The BOSS Paradox showed how opposites can coexist in harmony, redefining what modern power dressing can feel like.

PRADA
review by MAREK BARTEK

all images PRADA provided by the brand

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.

EMPORIO ARMANI
review by NIA TOPALOVA

all images EMPORIO ARMANI provided by the brand

Mr Armani still lives and breathes in the composed gentleness of his creations. His eternal presence came back to life through the subtle elegance he sought all his life. “Returns” marked the first Emporio Armani show since he left us on September 4th, and one of the last collections personally curated by him.

The show opened in the most beautiful way possible: with an all-white sequence of silhouettes. Gradually, the colour palette began to shift — ivory tones gave way to soft metallics in sheer suits and dresses. From there, the hues grew even more vibrant, but the silhouettes remained light, fluid, and breathable, even when layered. The collection felt like a soft summer wardrobe — with airy, long silk skirts and dresses, and satin tailoring paired with sheer tops. There were ethnic touches throughout, in the patterns, accessories, and footwear. 

Armani’s legacy was always rooted in precision, restraint, and an intuitive yet deeply attuned understanding of how women want to move and feel in their clothes. Armani’s woman was never overdone, but always perfectly and confidently put together. Practicality and poise always lived side by side — a philosophy that remained intact this season as well, with trousers cut wide and easy, and outerwear designed with elegance and comfort.

In the final moments of the show, the audience and models applauded, sending their respect and condolences. With Giorgio Armani’s passing, Milan Fashion Week lost its maestro. What’s certain from now on is one thing: he left behind a language entirely his own. One of lasting elegance that completely changed the way the world understands and expresses itself through clothing.

MOSCHINO
review by NIA TOPALOVA

all images MOSCHINO via vogue.com

Moschino’s Spring/Summer 2026, led by creative director Adrian Appiolaza, was rooted in the idea of "nothing", a nod to making something out of very little. Titled Niente, the show focused on reuse, recycle, and reimagine as central themes, drawing inspiration from the Arte Povera movement and Moschino's own quirky, irreverent DNA.

The collection reworked pre-existing materials, turning scraps, humble objects, and discarded fabrics into high-fashion statements. Apples or newspapers were turned into handbags, and the iconic “Tie Me Bag” was shown in rubber or cloth. Everyday items like sackcloth, rope, cardboard, and even potato sacks were transformed into dresses, skirts, and accessories. 

Moschino redefined luxury by craft and creativity, instead of cost and excess. And honestly, this was much needed right now. The collection celebrated the joy of the handmade and the artistic, where even something as simple as a knotted rope or patched fabric held value and meaning. “Niente” also paid tribute to Moschino’s heritage, referencing house symbols like the Smiley, trompe l’oeil prints, and the 1990s newspaper dress, reimagined for today’s world. Look 4 featured an original 1992 Franco Moschino “Niente” T-shirt, returning to the runway before being auctioned as part of a circular fashion initiative with eBay.

Ultimately, “Niente” was all about finding beauty in the overlooked, value in the discarded, and playfulness in the process of making clothes, showing how even “nothing” could become something magical.