MILAN FASHION WEEK SPRING/SUMMER 2027: DAY 2
JIL SANDER
review by MARIA MOTA
all images courtesy of JIL SANDER
For Spring/Summer 2026, Simone Bellotti looked deeper into imperfection — perhaps the very thing we crave most in the times we live in. The imbalance. The irregularity. The traces of something human. At Jil Sander, everything began, as expected, with sharp tailoring, precision, and the idea of the uniform, only to be distorted by just the right amount. At first, there was restraint. Jackets were closed all the way to the top, sitting close to the neck. Pockets were placed high. Silhouettes were straight, occasionally scrunched here and there. Volumes grew while simultaneously tightening around the body. The palette remained familiar: black, navy, grey.
Slowly, it started to loosen, to breathe, to expand, to round, to live. Buttons became fewer, closing garments only as much as they needed to. Collars dropped lower, slouched as if gently pushed down. And then lower. Pastels entered the conversation. Buttons were misplaced, creating asymmetry to the whole silhouette. One collar sat out, the other stayed in. Shirts slipped off shoulders as though they had fallen and nobody had bothered to put them back.
Silk was allowed to crease. Sleeves were sometimes too short, sometimes too long, sometimes exactly right. Colour combinations became brighter, stranger, more alive. I want to call it messy, but it wasn’t. There was still control. The difference was that the control was no longer about making everything perfect.
In the accessories, too, things were allowed to misbehave. Bags revealed contrasting interiors and shoes came with creases and asymmetrical flaps that can be bent and shaped however you like. Bellotti writes, “Faced with what feels incoherent, one understands more clearly what one wants.” The collection seemed to ask us to resist that instinct for correction: to ignore the voice in our heads telling us to fix the button, steam the crease, put everything back where it belongs. Instead, leave it.
Perhaps that is the most interesting part of this collection. Jil Sander has already established that they know how to make the clothes. What Bellotti introduced was a small disruption that allowed the clothes to register the person wearing them. Because fashion, ultimately, is meant to be lived in. Clothes should carry the evidence of movement, of accident, of having been worn rather than simply presented.
ANTONIO MARRAS
review by DEBORAH DRENOFCI
all images courtesy of ANTONIO MARRAS
Antonio Marras honoured his genius through the details, both in the garments of the SS27 collection and in the staging of the show itself. He handed us an invitation to the imagined Sardinian wedding of Ippolita and Antiogu in Alghero, his home town. The name of the collection, A Midsummer Midday Wedding, points to Shakespeare's midsummer comedy, which also ends with a wedding. Sardinia and the South of Italy rarely get the attention they deserve in fashion. Marras is one of the few who made it from there, and he has always brought his island with him.
A long banquet table stood at the centre of the basketball court of Giardino Vincenzo Muccioli, its asphalt covered in mismatched rugs. All these details, from the floral decorations to the worn-out basketball hoop, made sense when Marras explained backstage that this was the wedding of the day after. A celebration still going, with a bit of mess and tiredness, yet all about love and dance.
That feeling of a party that perhaps should have ended earlier was visible in the garments. Honey, cream, black, pale blue and grey dominated with elegance. Gowns came embroidered with black lace florals, structured suits with floral appliqués. The real craftsmanship was in the mixing, as lace met brocade, sheer met heavy and checks met stripes in oversized suits that captured the identity of Marras' work. Cargo pieces embroidered with crystals or florals were worn over the most elegant gowns, adding to the menefrego energy of the wedding after the wedding. Sardinia spoke loudest in the jewellery, a collaboration with Giovanni Raspini. Island masks, small lizards and blossoms, all cast in aged metal.
Marras explained that he always tries to start from minimalism, but along the way gets carried off by the rush and inconsistencies of life. At the end of the show, the models picked up their chairs from the street and sat down at the table. Then the newlyweds entered - chaotically - the bride in a ruffled gown and veil, the groom in a metallic-patterned short suit and socks, and reminded us once again that love is life, and life is a celebration, a crazy one even.
MISSONI
review by TIANA DE HASETH
all images courtesy of MISSONI
Italian fashion house Missoni embraced a softer, beach-bohemian lifestyle for its Spring 2027 ready-to-wear collection. Whether your holiday is in Ibiza, St. Barts, Mexico City, or California, the collection expresses the perfect feeling of relaxation you get when you are on holiday.
Known for its signature zigzag patterns and colourful knitwear, Creative Director Alberto Caliri took a softer approach this season, giving the garments a more relaxed and understated feel. The familiar patterns are more subtle in this collection and the incoporated stripes and chevron is what made the collection feel like Missoni’s signature identity.
Presenting the collection in a quiet garden setting furher evoked a relaxed and natural atmosphere. The runway featured many eye-catching details and pieces, from hats and statement necklaces to wide cardigans, balloon pants that added movement to the silhouettes as models walked down the runway.
The colour palette consisted of light brown and beige earthy colours, while the rest of the palette leaned towards more beachy tones. Soft, lightweight fabrics further allowed garments to breathe, while mesh and sequins added a touch of glamour, making the looks feel fresh and fashion forward for spring. Calari’s idea is for us to dress without having to think too much about it and this collection definitely reflected that feeling.
MM6 MAISON MARGIELA
review by ELIANA CASA
all images courtesy of MM6 MAISON MARGIELA
It might take a day or two to slowly savour all the details of the MM6 Spring/Summer 2027 collection and appreciate the essence behind them. If this fashion show reminded us of anything, it is that there are no rules dictating how a garment should or should not be worn. From a darkened setting, the MM6 team, all dressed in white lab coats, unwrapped a paper wall from which the models emerged, in an intimate and secretive gesture. The collection opened with a few looks that some may call ‘a real contradiction’, but somehow they capture the spirit of the entire collection. A shirt is worn as a dress, showcasing the signature MM6 seam in the front, with all the indications on how to clean the garment. Skirts are turned into dresses: some fastened all the way up and layered over shirts, while others are left open, with belts hanging down. Who said a garment must necessarily represent what it has been categorised as? After all, isn’t refusing to be confined by categories one of the most human acts of creation?
A leather jacket can be transformed into a skirt, while two juxtaposed oversized sweaters or shirts can be sewn together to create deconstructed crinoline dresses – they are light and airy. Some silhouettes are careless, reminiscent of quirky indie-punk looks, with jeans rolled up to the knee to make room for suede boots, left open with dangling zips and laced up only at the very end. Other knitted looks are even more laid-back, suggesting that this time, it’s the body that inhabits the fabric, rather than the other way around. The five-finger heels also made an important appearance, giving the Tabis a new way of coming to life, while six five-finger flip-flops are glued on top of one another, taking the form of wedges.
Repetition and this idea of modulation are mirrored in the soundtrack too. “For the first part, I wanted to create something akin to an assembly line. Then the second part becomes much more free, almost like a surprise. A phoenix rising from the ashes of the past. The voice begins to tell a story, then reinvents itself, becoming slightly delirious and passionate. It returns to themes of glory and vanity, but also of disillusionment. I composed much of the track through improvisation,” explained Bernardino Femminielli, the sound designer, backstage.
The corsets in the dresses are left loose, or better ‘improvised’; others are casually unbuttoned, offering a glimpse of pastel-coloured bralettes, just as one might unbuckle them after a long day’s work or a night out – much like the hair which are left deliberately messy. At MM6, everything seems to happen naturally, but nothing is put together by chance — and that is the beautiful contradiction of fashion. Just like in a laboratory, every minutiae is carefully studied, every stitch positioned in a certain way for a reason. One shirt sleeve appears on only one side of a sweater? We don’t need to know why.
That idea of imperfection fighting against the performative nature of our time is, ultimately, what we need to know. The designer — or designers — behind the brand remain anonymous, allowing the clothes, for one more season, and their ‘perfect’ imperfections to speak for themselves.
ETRO
review by TIANA DE HASETH
all images courtesy of ETRO
Bohemia is not leaving anytime soon! Etro’s Spring Summer 2027 collection debuts on the runway with models wearing feather earrings, statement necklaces, mesh maxi dresses, and vibrant patterns, letting the boho chic take the runway. The collection is named “Halo” as it represents the sun and summer when everything seems to glow, and so does Etro’s collection this season.
Flowy dresses are most dominant in the collection, alongside loose-fitted clothing made from lightweight fabrics that gives the collection its free-spirited bohemian essence. The lineup stars beige looks and transitions through orange, yellow, blue, green, brown, red , pink, showing the duality and versatility of the collection.
The tribal, earthy, and floral prints, mixed with the vibrtant colours makes the looks stand out. Sheer mesh fabrics play a big role in shaping the silhouettes, while it lets the dresses drape over the body. And the tribal-like necklaces and feather earrings complete the look.
Etro perfectly shows how boho chic can feel both contemporary, and refined. “Halo” embraces the warmth, freedom, and glow of summer, bringing its signature bohemian spirit back to the runway in a collection that feels earthy and effortlessly stylish.