From Sharon Stone to Sarah Jessica Parker, the star powered Milan Fashion Week Autumn Winter 2025-26 showcased luxury brands Prada, Versace, Jil Sander, Dolce Gabbana, Diesel, Marni, Gucci, Fendi and Emporio Armani among many many others- looks that will dominate the red carpet during awards season.
Armani at Milan Fashion Week Autumn Winter 2025
There was a lot of interest for Fendi and Gucci, which showcased without a creative director at the helm, following the departures of Kim Jones and Sabato, respectively. Sadly, Bottega Veneta was missing from the schedule after Matthieu Blazy’s exit to join Chanel.
With the Fall Winter 2025 edition of Milan Fashion Week Women’s Collection boasting a calendar of 160 fashion shows, presentations and events, the event is a powerful economic engine, attracting thousands of people to the city each season and generating a strong impact on the fashion industry by getting the world’s leading fashion designers, retailers, stylists, celebrities and journalists under one roof. Here is our round-up of the top shows at Milan fashion Week 2025-26:
Gucci
Gucci opened Milan Fashion Week Autumn Winter 2025 with an impressive catwalk, laid out in the shape of the Gucci logo. The front-row guests admired the emerald green set and looked forward to the autumn 2025 showing by the in-house design team — the Italian fashion house went ahead with its scheduled Autumn Winter 2025 runway show, weeks after letting go of Creative Director Sabato De Sarno.
Gucci Autumn Winter 2025 co-ed show felt foundational and there were enough individual staple pieces to craft our own look. The show notes described it as a “continuum,” an ode to Gucci’s heritage craftsmanship, design aesthetic, and cultural significance throughout the ages. Choreographed in two parts, male and female models walked simultaneously on opposite sides of the GG set, and switched sides. A live orchestra conducted by Oscar-winning Justin Hurwitz of La La Land fame provided the soundtrack.
The collection is a testament to Gucci’s core codes — shaped by craftspeople and creative directors over the decades — beautifully unified and showcased, be it in the ’60s-style suits and cropped car coats, 70s large eyewear or the ’90s Tom Ford era cropped leather biker worn with skinny pants. The womenswear was ladylike tinged with subversion i.e. a lacy green bra top and slip worn under a lavender wool coat. There were pea coats in bright colours, a cardigan glittering with metallic hand embroideries, and tweed skirts. For men, the tailoring was sleek—double breasted skinny suits with pants slit at the heel and leather overcoats.
Prada
What does femininity mean today? How can it be defined? For Prada Autumn Winter 2025, Miuccia Prada and Raf Simons explored what makes sense for women to wear today, provoking discussion on the perception of the typicality of femininity, about notions of beauty, and about how it can constantly evolve.
Prada at Milan Fashion Week Autumn Winter 2025
Per WWD: ‘LBDs, cut from a very dark herringbone fabric in roomy sack shapes, the edges left raw, and big, covered buttons… Some LBDs were reduced to mere fabric tubes cinched loosely over the bust. Simons argued that the “idea of feminine beauty in fashion very often results in sculptural designs,” and so they decided to reject such constructions and leave the body free. Amid a surfeit of quiet luxury and minimalism, “we kind of want to push a bit harder and try different things,” Simons said.’
Displacement, rescaling, dematerialisation and recontextualising. Dresses, emblematic of femininity, were transformed, through form and how each is worn. Fragments of garments shifted around the body, liberated from their original function. Non-recognisable in appearance, proportions were altered, adjusting the clothes and the relationship between body and dress. Untypical materials were used and raw seams were exposed with intention. There were gestures of glamour in the jewels, handbags and bows – in contrast with rawness. This difference and divergence is reflective of the multiplicity of femininity.
Jil Sander
Described as “an aesthetic experience that makes the tension between opposites, different textures and touches, palpable,” Jil Sander Autumn Winter 2025 is both urban and nocturnal, tough and delicate, equally luxurious, glitzy, and real.
Jil Sander at Milan Fashion Week Autumn Winter 2025
Jil Sander Autumn Winter 2025 opened with strapless dresses making a statement with long, sequinned fringes, moving on to sculptural coats with asymmetric lapels, handcrafted alpaca knitwear with metallic embroideries, a turquoise fur coat with leopard print, a rectangular-cut satin jacket and an evening gown with fur epaulettes. The shimmering fringes, fur-trimmed shoulders and metallic breastplates shaped a fresh artistic code and aesthetic at Jil Sander. In short, the red carpet collection that concluded the Meier era at Jil Sander reflected the minimalist, glamorous aesthetic they have been mining in recent years.
Per WWD, “the Meiers said the message they wanted to send out with the collection was one of “strength, power and toughness in fronting the world — but finding beauty in that, as well.” This translated into a strong lineup covering a spectrum of colors and styles, going from black to white and from tough to ornamental, with matte and shiny finishes, austere lines and glitzy embellishments, studs and bows coexisting.”
Fendi
From flashback to fast forward. Silvia Venturini Fendi interprets the House’s origin in the Fall Winter 2025 collection as Fendi celebrates 100 years. The company’s theater at its Via Andrea Solari headquarters was transformed to resemble the historic Fendi boutique and salons on Via Borgognona.
Fendi at Milan Fashion Week Autumn Winter 2025
Venturini Fendi’s seven-year-old twin grandsons Dardo and Tazio dressed in equestrian outfits designed in the late ’60s by Lagerfeld opened the salon doors to release the fashion models for a show that the press notes described as “Fendi-ness, where irony and humour mingle with sobriety, and sensuality is instilled with a Roman rigour.”
Per WWD: ‘parading what is sure to be one of the most luxurious runway collections of the Milan season, strong on eel skin and leather coats, including a terrific trench; sleek suede shirts; voluptuous and roomy double-face pea-coats, and handsome tweeds and checks dappled with crystal and metallic embroideries. There were also dazzling op-art coats reminiscent of one of the most acclaimed collections of the late Karl Lagerfeld, who masterminded Fendi’s women’s and fur collections for more than 50 years.’
Diesel
Diesel presented its Fall Winter 2025 collection at Milan Fashion Wee with the biggest ever graffiti installation — over three kilometres of graffiti fabric, made by a global street art collective of around 7,000 graffiti artists, was draped across the 3200-square-meter arena alongside Diesel’s inflatable sculpture.
Diesel at Milan Fashion Week Autumn Winter 2025
Elevated albeit disrupted, slashed and impossibly low-cut, the brand describes it as “the language of Diesel — denim, utility, pop, artisanal — is exploded and mixed in the collection, envisioned by Creative Director Glenn Martens, elevating and playing with archetypes and subverting traditions.”
In 1978, Renzo Rosso started Diesel with the intention of creating the world’s most innovated denim. And this season Glenn Martens introduced one of the most striking silhouettes, swapping the visual of low-waist denim jeans onto drop-waist coats and dresses — some with the suspended skirt construction. “Denim in core is the most democratic material ever because it doesn’t matter if it’s you, me or the kids raving in Berlin. We all have denim pants… Denim is a consistency across everybody,” Glenn Martens tells BoF.
Versace
For Autumn Winter 2025, Donatella Versace wrote on the official website, “This is a collection of Versace Superheroes. Our House codes are recognized all over the world and make us so strong. I love clothes to empower, to give strength and confidence. Everyone should have a little Versace attitude. With this collection I am not following any rules. Only the rules of the Versace DNA.”
Versace at Milan Fashion Week Autumn Winter 2025
Since the 20th anniversary of Gianni Versace’s death, Donatella has made a practice of revisiting the luxury label’s past. Among the other brand codes she touched on here, per the show notes, were the offset shoulders of Gianni’s final Atelier Versace haute couture show for fall 1997 and the costumes he designed for the ballet with fitted bodices and gravity-defying crinoline skirts.
The collection’s best pieces—a pair of sensuous dresses in unraveling metallic thread, one gold, the other silver—hailed from Donatella’s first show, fall 1998 couture. She had one eye on the future too. The 3D-printed pieces introduced last season returned in a flamboyant form, accented with oversized crystals.
Marni
Born from the collaboration between creative director Francesco Risso and Nigerian artists Slawn and Soldier, Marni autumn winter 2025 titled The Salon is the result of a month-long artistic residency in London. The trio combined “opulent influences with the unfiltered energy of underground culture. Presented as a dynamic fable, the show was a celebration of the transformative power of creativity, joyously disrupting the boundaries between form and essence.”
Marni at Milan Fashion Week Autumn Winter 2025
The show transformed the Marni headquarters into a jazz club. Among the models who walked the runway, Golden Globe winning actress Tracee Ellis Ross was a vision in a yellow pop art-style dress. Elsewhere, oversized painted flowers decorated rigorous tailored suits and wool coats featured cocoon-like back closures.
Per W: “The collection spoke to high-volume silhouettes and punchy, loud colors. Given Marni’s predilection for all things arty, it made total sense that there were artist collaborations involved. For the occasion, the brand partnered with visual artists Soldier Boyfriend and Olaolu Slawn, the latter of whom uses spray paint to create pop art pieces with mesmerizing, melting faces. These prints were seen on the backs of fur-trimmed coats, plastered on blazers, and transferred onto dresses.”
Ferragamo
At Ferragamo, creative director Maximilian Davis set the mood with thousands of red roses. The British-born designer presented a collection inspired by the German Tanztheater ‘and the unbound expression of their liberated choreography’, as the show notes explained.
Hints of the 1920s and 80s – decades key to the expressionist dance genre – were seen throughout, whether in the form of drop-waist, lace-appliqué silk slips, leathers or floral prints taken directly from Ferragamo’s iconic Eighties campaigns. Despite the inspiration steeped in heritage archives, Davis masterfully crafted the collection to feel relevant, desirable and wearable. It’s safe to say guests left with a wish-list including the skirt-suits, oversize coats, silk minis and new iterations of the cult Hug handbag.
Giorgio Armani
“For Giorgio Armani, each collection is a return to his roots,” the show notes said. “This season, garments take on the volcanic hues and mineral glows of sun-scorched earth, reassuring in its ancestral purity.”
To close Milan Fashion Week Autumn Winter 2025, Armani returned to its roots—quite literally this time: the collection titled “Radici” -or “roots” in Italian- with relaxed silhouettes, muted colour palette and artistically tinted scarves. A story where purity and precision of line are mellowed by the choice of materials that are soft and dense to the touch, such as velvet, cashmere, and jacquard silks.
For evening, models wore fluid pantsuits, lightweight coats, shimmering tunics and crop tops with sequinned skirts, paired with flat boots. Intricately embroidered tops were paired with sheer trousers. While the pieces might seem minimalist at the first look, the intricate hand embroideries and intricate beading made each look an investment piece.
“For me, each collection stems from the desire to explore new perspectives and offer fresh interpretations of a style which has a clear, well-defined outline,” the designer told BoF. “This season, I focused on the idea of the roots, envisioning pieces that take on the colours of the earth, of minerals and sun-scorched landscapes. I aim for a new harmony because I believe this is what we all need.”
Jasmeen Dugal is Associate Editor at FashionABC, contributing her insights on fashion, technology, and sustainability. She brings with herself more than two decades of editorial experience, working for national newspapers and luxury magazines in India.
Jasmeen Dugal has worked with exchange4media as a senior writer contributing articles on the country’s advertising and marketing movements, and then with Condenast India as Net Editor where she helmed Vogue India’s official website in terms of design, layout and daily content. Besides this, she is also an entrepreneur running her own luxury portal, Explosivefashion, which highlights the latest in luxury fashion and hospitality.
