MILAN FASHION WEEK SPRING/SUMMER 2027: DAY 4
TOD’S
review by DEBORAH DRENOFCI
all images courtesy of TOD’S
Tod's SS27 collection reads like a moodboard of inspiration for wearing more pops of colour and unexpected combinations to the office. Matteo Tamburini's ongoing exploration of Italian heritage through a contemporary lens really showed in the clever details of this collection.
Particularly interesting was how the muted, earthy palette never felt heavy. Browns, khakis and creams turned vibrant and light, with or without a brighter partner. Shades of brown were layered tone on tone, while a red bag added depth instead of stealing the show. Elsewhere, brown met khaki and burgundy, burgundy met orange, and orange landed on brown in more than one shade. Navy softened into beige, and mustard brought a flash of warmth. Nothing clashed. Everything simply warmed up.
Fluid drape defined the collection, yet the tailoring stayed structured. Hems fell into soft, asymmetric points, while coats kept their sharp shoulders. A recurring detail was laser-cut perforation, forming neat polka dots across bags, trench coats, tops, skirts and loafers.Trousers ranged from ruffled and wide to shorts and capris. An eye-catching piece was the cinnamon trench worn by Irina Shayk, with a white ribbon belt, a high funnel collar and buttons that felt random yet intentional. The leather skirts added a much-needed swagger, one in burgundy and orange paired with a burgundy bandeau, the other in dijon and black. Tod's reminded us that Italian craftsmanship lies in the details. And that the office never needed to be beige only.
SPORTMAX
review by TIANA DE HASETH
all images courtesy of SPORTMAX
If there is one brand that defines chic, it's Sportmax for sure. The Spring 2027 ready to wear collection took off with a transformation of traditional workwear, making it feel more breathable and fluid. Inspired by the intense summer heat, the collection is especially made for those who are contestantly commuting. The colour palette consisted of natural, warm hues that drew inspiration from the pearlescent colours of water seen through glass, moving from soft greys to stronger jewel tones.
The runway featured tailored blouses, loose pants and bodycon dresses tailored to fit the hot weather. For businesswear to be reimagined to be lighter and breathable for a hot climate, the fabrics were reconstructed, by using sheer fabrics, voile, viscose and lightweight wool. The pieces still look like workwear but with open or transparent sections. The architectural craftsmanship that is put into the collection, is evident in the diverse silhouettes that go from being oversized to fitted and A-line shapes.. Sportmax’s idea of making clothes more fluid and breathable feels important in a time of climate change. It gives us a way for our business wear to survive in the extreme heat while still remaining chic.
BLUMARINE
review by DEBORAH DRENOFCI
all images courtesy of BLUMARINE
David Koma surely knows how to adore femininity, embracing lightness, sensuality and play in this collection. The more you looked at the collection, the more you were immersed into an enchanted world, where each garment belongs to a fairy with her own attitude, personality and way of being. It could be described as a pink fairyland built on Y2K references and a mystical, candy-coloured palette.
The first look, worn by Irina Shayk, was a black tulle gown with ruffled shoulders and a sheer buttoned corset across the waist. It was followed by two more black looks, seductive, powerful and mysterious, as if the first three were the grandes dames of this kingdom. And then the colours popped, with shades of pink, florals and voluminous cuts.
A bubblegum-pink mini dress came with a tiered hem, accessorised with a large silver necklace covering the chest, while spiral ruffles hug a sheer gown with asymmetric hems. A trompe-l'oeil rose print traced the ribcage in an elegant, sophisticated way. The collection then moved from pink to lands of aquamarine, lilac, and Maya blue, with bold floral and crystal embellishments. A lingerie-inspired slip dress in pink floral lace laid over a lavender base was paired with a lilac knit cardigan with an ostrich feather neckline. Two looks were particularly playful: the colourful layered logo baby tees over big, cloud-like skirts. A dreamy collection, elegant yet daring, light yet confident. After all, we are all fairies.
GUCCI
review by MAREK BARTEK
all images courtesy of GUCCI
Demna spent the past year trying to answer one question: What is Gucci? His own conclusion, outlined in the statement published ahead of the show, is that the house lives in the tension between propriety and sensuality, aristocracy and pop culture, belonging and rebellion. "Gucci is a space of possibility," he writes, "where anyone can become whoever they choose to be." Ironically, this collection felt far less expansive than that vision suggests.
Yes, everyone looked good. In fact, almost everyone looked impossibly cool. Demna has an undeniable talent for creating characters, and whether it was the sharply dressed Milanese bourgeoisie, the horsey socialite or the dangerously polished prep school rebel, there was always something just slightly off. A pointed shoulder. A severe pair of sunglasses. A leather bomber blown just out of proportion. It was sexy in the way Demna has always done sexy — very controlled, intimidating and a little confrontational.
But beyond the attitude, I struggled to find much that genuinely surprised me. The store set felt oddly symbolic. These were clothes that belonged in a Gucci boutique more than they did on a runway. Beautifully made? Absolutely. Highly desirable? Without question. Yet they didn’t really venture beyond being exactly that: desirable clothes.
The exception came midway through the show. The tartan looks, particularly looks 31 through 34, hinted at something far interesting. Their oversized horsebits, layered shirting and twisted boarding-school styling finally introduced the friction Demna spoke about in his manifesto. Here, it felt like Gucci's heritage was being challenged rather than simply paraphrased.
The closing evening dresses delivered glamour, and the tailoring was impeccably sharp, but the wow moment everyone kept waiting for never quite arrived. For a designer whose work at Vetements and Balenciaga once reshaped fashion's conversation, this felt surprisingly safe. It wasn't unsuccessful. It was simply... fine. Demna set out to define Gucci's future. Instead, he mostly delivered a very good Gucci wardrobe.