London Fashion Week & Milan Fashion Week Roundups
Ferragamo SS27
Maybe it’s the energy of 2026, late-stage capitalism or both, but when it comes to the realm of design, the stakes are severe. The general public and fashionphiles have never had so much information available at their fingertips — including previous collections to study. And it seems that what we’ll all tolerate has shifted. This is relevant to this season’s collections shown in London and Milan, where it seems that most houses are at a fork in the road as the stakes become higher. In this cultural moment, I think it has become more obvious who is inspired and who is collecting a check.
Starting with the McQueen show under Seán McGirr, it has become impossible to ignore that the designs are now speaking an entirely different language from the one bestowed by its founder. Chunky brown platforms reminded of millennial fashion cosplaying the seventies. A butter yellow gown looked like it belonged on a number of different runways that are not McQueen. The pristine quality of the venue really echoed this lack of depth (including psychological depth) tied to its founder’s designs. The gothic archways of the church curved over a cleanly carpeted floor that was intended to echo the brand’s Dante collection shown in an abandoned church in March of 1996. This time around, it looked like a facade. And for this SS27 show, pitiful billows of artificial smoke were intended to evoke a sense of mystery. But like the designs, it falls flat. Their current state raises a classic question around a house’s continuation after the founder has passed. Under Sarah Burton, McQueen’s right hand before his passing, the perpetuation of it made sense.
Steve O Smith SS27
To no surprise, some independent designers and Central Saint Martins graduates gave noteworthy showings, including Steve O Smith who views and treats his designs as an extension of his drawing practice. Chopova Lowena presented an eclectic collection inside the Bloomsbury Lanes, a bowling alley which created the perfect backdrop for the designer’s “Lucky Spirit, Lost Strike” collection. Lowena’s strewn together looks incorporate childlike components, goth and hints of prep that give the sensation of viewing collage turned into fashion. It also felt like viewing a collection inspired by healthy doses of Beetlejuice and Rayanne in My So-Called Life with a sprinkle of Britney’s “Hit Me Baby One More Time” video.
Burberry, on the other hand, set an example with their SS27 show. They managed to design a collection that cohesively shares the brand’s codes while bringing fresh and innovative touches throughout the show. Creative Director Daniel Lee said, “Rather than imposing a uniform look, we wanted each person’s individuality to be pushed, accentuated, heightened.” This ethos was revealed through the looks, but it also speaks to a larger trend of individuality playing out in fashion, and it’s a reminder that when fashion speaks to the larger sea change in culture, it leaves a greater impression.
Burberry SS27
Erdem was stunning as usual giving meticulous gem work and belle-of-the-ball vibes, but I was surprised by the online reactions to Erdem. Erdem has been this beautiful and feminine with a strangely perfect mix of some casual element merged with great craftsmanship and overt glam. The online reactions made it appear like the label was doing something extraordinarily new — but it wasn’t. Again, Erdem has been that girl.
Erdem SS27
Prada continued with its minimalism combining stark and bold hues styled in ways that feel eschew or off-center. There were a multitude of knee-length skirts paired with bras or bralettes. But the real sensation was a skirt decked in crystal flowers singled out on Instagram by Hanan Besovic (better known as Idesservecouture) and Jose Criales-Unzueta at Vanity Fair. While a stunning piece, I think this says a lot about the over preservation happening at this house. It highlights how much Prada could use the second part of the equation that Burberry succeeded in accomplishing: freshness and innovation (while continuing to maintain codes). Maybe preserving the Prada look with more splashes of elegance, glamour and romanticism — like the skirt achieves — would do the trick for FW27.
Moschino gave a wonderful show featuring contemporary camp. Staying true to the brand, it was bold and playful. It was more grown up than I anticipated — but that’s not a bad thing! I really enjoyed seeing what Loris Messina and Simone Rizzo have been up to, and this seems to be a lovely new chapter.
Moschino SS27
Many of this season’s looks from Louise Trotter at Bottega Veneta were, well, blousy. The shimmering fringe skirts (and dress) were lovely, but the oversized looks could’ve benefited from considering the silhouette more. Other looks would’ve benefited from greater simplicity. But a leather journal with the label’s signature intreccato designs forming a newspaper “print” was one of the most exciting parts of this collection. And now, we can add to the list of newspaper-inspired designs in fashion.
Gucci continues to be a sad state of affairs under Demna for those of us who appreciate the history of the brand. The current Creative Director’s obsession with mockery of its clientele is a real issue. This portrayal of basic archetypes is becoming boring. The so-called sexy looks appear to be trying too hard — which is always the antithesis of sexy. The entire collection lacked cohesion with various looks appearing to be inspired by other major brands, including Ralph Lauren (Polo not Purple Label), Versace and some faint glimmers of Gucci. Similar to the McQueen show, there were nods to a previous era, but only an understanding of it from a superficial level (despite the year of brand research via archives that Demna claimed to do). Praise of either McGirr’s McQueen or Demna’s Gucci should be perceived as the equivalent of bestowing a participation trophy.
Ferragamo SS27
Ferragamo delivered the sensuality that Gucci was likely striving for and instead of revealing it through bare skin and fluffy fur, Maximilian Davis showcased it through leather, latex and an emphasis on the waistline. Transluscent latex coats, sheer skirts, monochromatic looks and shimmering pieces made for a captivating collection that was grown, sexy and luxurious.
J.Salinas brought originality and Peruvian folk artistry through his SS27 “El Ratablo” collection shown in Milan. The designer, Jorge Luis Salinas, worked with Peruvian artisans bringing exquisite craftsmanship, bold designs and a rich color palette (inspired by the vibrant Andes) to the runway. For fabrics, he utilized organza, Pima ultrafine cotton and locally-sourced alpaca. This show was filled with beautiful, flowy looks with petal-like elements reminiscent of the blossoming associated with spring. “My aim is for each garment to serve as a bridge between past and present; for tradition to engage in dialogue with contemporary design and, above all, for the world to discover the cultural richness of our land,” he shared. Salinas closed the show with four of the craftswomen who contributed to the collection.
Photography Soraya&Rodrigo | J.Salinas