MILAN FASHION WEEK MENSWEAR SPRING/SUMMER 2026: DAY 3
editors ELIANA CASA and MAREK BARTEK
QASIMI
review by FIONA FROMMELT
all images QASIMI provided by the brand
Not quite past, not quite present: A massive textile installation floats in the centre of the courtyard. It feels like we are stepping into a memory: a summer day recalled in a haze. The heat is heavy, the sky a pale, washed-out blue, the courtyard bleached in sunlight. Everything was slightly too bright, slightly too warm, as if time had slowed down. Like we are remembering a past season while simultaneously foreshadowing it. This was a season of hybrids: featuring layered textures, varied weights, and different levels of transparency. Everything pointed to an in-between state. The collection reflected this atmosphere with muted, natural tones, shades that seemed to absorb the light rather than reflect it.
Looks alternated between solid, structured pieces and ultra-sheer garments, often combining both in a look. It was a continuous exploration of shape and deconstruction: asymmetry and unconventional openings appeared on shirts and jackets, while pants came with what resembled knee cutouts, throwing us back to 2016, but like in a good way (with what is currently going on in the world, this was a welcomed breather). Blouses were almost floor-length, and pants and skirts merged into one. A key element is the memory nylon used in jackets and trousers, which temporarily records memory in the form of creases. Over time, the marks fade, underscoring the in-between state that was central to this collection.
There was an ongoing dialogue between textures; shiny pyjama-style trousers juxtaposed with fuzzy sweaters. Beads resembling small, hard stones were used throughout, dangling from garments or tucked into open sections, adding a raw, handcrafted dimension. They also appeared in accessories, reinforcing the collection’s textural layering. This runway had clever modular details. A vest-like piece, seemingly standard at first glance, was actually backless and zipped directly onto a shirt at the shoulders, making it become an accessory rather than a standalone garment. Pockets were ever present, serving both as utility and design accents.
Overall, the collection made in collaboration with Dala Nasser felt like a study in contrasts: heavy vs. light, opaque vs. transparent, polished vs. raw, then vs. now. Not quite past, not quite present, but definitely beautiful.
PRADA
review by MAREK BARTEK
all images and title image PRADA provided by the brand
The Prada Day has finally arrived! For the first time since the brand has started to host shows exclusively at Fondazione Prada, we were welcomed to an almost empty space. No big constructions, not crazy set design. Just seats on the perimeter of the room, a bunch of big fluffy rugs in the shape of flowers on the floor and the sounds of birds chipping.
The press notes to the show were equally minimal — a 37-word thought flow speaking of “shift of attitude”, “peak’s end” and “imaginary places”. But when the first models walked out, suddenly it all clicked, and we were transported into some futuristic meadow dreamscape. The opening look gave us a pretty good idea of what to expect: an oversized white shirt with a faded green drawing of sun and waves over a baby blue turtle neck, and styled with beige leather bloomer micro shorts, high black socks and black open-toe loafers.
After the show, Raf Simons shared that “sometimes it’s good to reflect and calm down”, with Miuccia Prada adding that it is especially important when “fashion is doing too much.” This collection was all about simplifying and dismantling the idea of doing things just for the sake of doing them.
With the motto of no need to overcomplicate things, we watched a collection full of references to the past shows, reimagined through a fresh lens. The colourful overalls with contrast zipper from Prada’s Spring 2025 Menswear collection got reinterpreted into tracksuits following the same colour ratio. They were worn either as a set, paired with knee length trench coats or suits with pushed up sleeves revealing the tracksuit jacket beneath it. Another spotted reference were the two sculptural hourglass knits, reminiscent of the look 2 from the Fall 2025 Womenswear. Many of the colours are iconically Prada coded but it was almost impossible not to see the similarities to the Fall 2024 Menswear. Eye catching were also the patterns going from literal flower ones into more abstract shapes. There was always only one look featuring each, making them stand out, while feeling cohesive to the story. Prada and Simons have grown fond of florals in the past seasons, and it’s interesting to see the creative development of it.
The ready-to-wear spotlight definitely went to the waist down pieces. In general, we saw four main versions: joggers, ankle-length trousers (this time slightly wider than previous collections), short shorts (more classy or bloomers) or nothing at all. Oversized shirts and mini shorts are equally Prada as they are Raf Simons, and so the abundance of this silhouette came as no surprise, either in a more literal way or more abstract, in the form of thigh-length shirts, especially they were worn without any trousers. Styling enhanced the entire Prada experience, with colourful turtlenecks peaking from underneath collar pieces or boat and V-necks often layered with shirts. And of course, it wouldn’t be Ms Prada and Mr Simons, if they didn’t feed us some cheeky details that could’ve been easily missed. The leather jacket from the look 2 featured some lovely leather string details on cuffs, pockets and chest, and a few tops had tassels of fringe dangling from their hems.
Last but most definitely not least — the accessories. Cylinder hats, weaved either in a basket-like way with loose straws hovering over the models’ faces or more neat, slightly smaller, gave the entire collection that out of this world ambience. Bags came in leather and nylon, duffel, backpacks or day bags, but instead of typical black they were showcased in two-colour combinations. The colours carried over all the way down to the shoes, offering us fresh versions of moccasins, flip flops, sandals, open to loafers, low ankle boots and textile sneakers.
Everything seemed to work with everything. There was no elaborate concept behind it, rather, as the press notes said, it was an “impulse” that fuelled the creation of this collection.
SAUL NASH
review by NIA TOPALOVA
all images SAUL NASH via vogue.com
For his second show in Milan, Saul Nash offered a deeply personal reflection on intimacy and connection. The models moved gently, pausing, wrapped in long, tender embraces. At one point, the lights dropped to darkness, only to return again softly.
Sharp constructed silhouettes with cuts revealed flashes of skin: a half-open chest, or a sleeve zipped under the arm. Earthy tones grounded the collection, while denim with patterns and details such as zippers and belts played with contrasts. Several looks featured prints of arms embracing the body, a literal yet powerful expression of closeness.
The show reflected Nash’s own roots in dance. The physical fluidity of models drifting and hesitating resembled choreography without defined steps - a way of communicating through the body instead of simply wearing the pieces.