THEto Milan Fashion Week Autumn-Winter 2026-2027 doesn’t slow down: day 4 has also come to an end, with one of the most talked about debuts of the season and a continuous alternation of old and new generations in comparison. On February 27th it opened with Tod’s, followed by Marco Rambaldi, Sportmax, Blumarine and then the highly anticipated show of Demna for Gucciwhich brought the greatest top models of the moment to the catwalk. A day that oscillated between rupture and confirmationbetween the clamor of the great debut and the solidity of the names that build Fashion Week year after year.
The new Gucci, but also Tod’s, Sportmax, Elisabetta Franchi and many others: here everything we will bring with us from the fourth day of MFW 2026 2027.
Tod’s, luxury changes its skin
For the Autumn-Winter 2026 2027 collection, Tod’s chooses to start from the origin: the gesture of doing. The collection imagined by Matteo Tamburini is built around a concrete celebration of manufacturing Italian, with artisans at work live to reiterate that the real show is expertise. On the catwalk, leather dominates the scene. Saddlery, surgical stitching, manual finishes interact with soft volumes and slimmer silhouettes, between rethought trench coats, tailored peacoats and antique calfskin bomber jackets.
A look from the Tod’s show.
The wardrobe is stratified intelligently: shortened sleeves that reveal cuffsscarves framing collars, thin belts personalized with metal letters. Pashmy, a very light and silky leather, summarizes the idea of functional, never shouty luxury. Even the accessories speak the same language: moccasins with rounded toes, metallic Gommino details, iconic bags reinterpreted with a contemporary spirit. Tradition and modernity holding hands.
A new uniform for Sportmax
If Sportmax were a woman, what would her uniform be? The most experimental brand of the Max Mara group has tried to answer this question by answering with an exercise in style. The double (the maison’s signature double wool fabric) becomes a laboratory of shapes, especially around the neck: detachable collars, overlays, suede inserts combined with leather. The layerable vests with origami collars introduce an idea of concrete modularity, while wide bomber jackets they are combined with light and asymmetrical skirts that change the pace of the look. Tailoring remains the heart, but is lightened by targeted deconstructions and cut-outs that rewrite the silhouette.
Sportmax Autumn-Winter 2026 2027.
The neutral palette of black and white is interrupted by cerulean blue accents (already the absolute color trend of FW 26/27) e flame orange, often rely on accessories such as colored clutches, coral pumps and printed leather earrings.
The new Sportmax uniform? A wardrobe that eliminates the superfluousworks on transformability and thinks of women as a figure always in transit.
The baroque diva according to Blumarine
The Blumarine diva doesn’t ask for permission. It is mythological, theatrical, crossed by contrasts: sweetness and ferocity, fragility and power. David Koma in his second attempt looks at the photographic legacy of the Maison and ideally return to Venicebetween baroque suggestions and cinematic sensuality, building a collection that thrives on calibrated excesses.
The Blumarine fashion show by David Koma.
The rose, an identity emblem, blooms everywhere: printed in red and black, embroidered in silver on Chantilly lace, sculpted in pleated rosettes on golden mini dresses, until it transforms into a three-dimensional application on vinyl and chiffon. Romanticism is tinged with dark with fringed ruffles, light crinolines and cardigans crossed by petal threads. In the end the Harlequin motifgoat hair coats, butterfly corsets and the jewel-harnesses tell the story a femininity that is both ornament and armor.
The new Gucci, inspired by the wearer
It was the most anticipated debut of the season. And this Gucci by Demnaat its first real fashion show after the preliminary presentations, it’s exactly what we expected. Demna enters the Gucciness without pretending to forget who he is. The aesthetic is his: high-sounding, dystopian, urban. But it is filtered through the Maison’s archive, studied in depth and re-proposed in an updated way. Archetypes can be recognized on the catwalk: the femme fatale, the Nineties manager, the club kid, the nerd, the intellectual, the it-girl. It is a collection that speaks to people, because it is inspired by people. The press release also declares it: a “constellation of archetypes” designed for those who already embrace Gucci and for those who want to identify with it.
THE 90s outfits they become sharp again, i seamless minidress in hosiery fabric open the show with a clear gesture. THE leggings they blend with the trousers, the micro jackets in leather they tighten the body, i trench coat they cross offices and bars without changing register. AND a pragmatic wardrobeadmittedly so. “Desirable and authentic objects,” writes Demnawithout “pseudo-intellectual justifications”.
Kate Moss closes the Gucci fashion show.
The most obvious quote? Tom Ford. Of all Gucci’s lives, it is the one that resurfaces with greatest intensity. The G-string dress (long dress with logoed thong) returns at the end, shimmering, on the bare back of an iconic one Kate Moss. With her a stellar cast: Karlie Kloss, Emily Ratajkowski, Elsa Hosk, Mariacarla Boscano and many of the other cult models of the moment.
And despite the monumentality of the location inspired by Florence and Demna’s approach to Botticelli, on the catwalk everything appears extremely modern, at times even camp. The first chapter was written like this: a basis, an initial vocabulary, to tell increasingly complex and detailed stories in the future.
Elisabetta Franchi travels into the future past
It is a journey through time that also inspires Elisabetta Franchi as she imagines herself a woman from the Victorian era to which, however, he does not attribute nostalgia, but a strength from times gone by. The discipline of the silhouette is the starting point: wool coats and jackets build architectural bodicesthe waist is tightened by internal corsetry and shiny vinyl bustier that create clear hourglasses, sometimes sculptural thanks to metallic feathers as if supported. And in fact, structure is always accompanied by lightness.
The gray suit according to Elisabetta Franchi.
Georgette and tulle open up in ruffles and asymmetries, blouses with side slits move like petals, combined with very high-waisted trousers or more tapered lines. Victorian black-on-black embroidery they blend with the construction of the garments, while crystals and rebrodé lace ignite a controlled sensuality. Just like the Victorian woman, the brand also makes an evolution on the catwalk. The iconic sequins and certain identity codes of the past leave more and more space for a more calibrated elegance, for work on structure and styling that makes the message more credible and contemporary. Today the Elisabetta Franchi woman is not looking (only) for the wow effect, but for clothes that tell a story.
Moschino: roots of style
Since being appointed creative director two years ago, Adrian Appiolaza builds Moschino as an emotional archive: This season brings it in Argentina, his homeland, transforming the catwalk into an autobiographical story populated by Evita, tangoers, gauchos, fans and bourgeois ladies. The churros-shaped bagsthe grandmother’s telephone, the graphic references to the filete porteño: the intention is affectionate, very intimate.
The finale of the Moschino FW 26/27 fashion show.
Tench And coats large coexist with clothes that evoke the fluidity of tangoflounced skirts and fabrics that suggest movement. The volumes play with wide skirts, full-leg trousers and details that recall Argentine popular culture. The iconography also takes shape in materials and accents: trompe-l’œil and graphic references they live alongside recognizable tailoring cuts, while garments in warm and earthy tones are intertwined with bolder inserts.
There is no shortage of symbolic elements reinterpreted in an elegant way: the prints and textures recall traditional motifsbut merge with a range that looks to today, creating garments that tell a story without sacrificing portability. In this dialogue between myth and fashion, Moschino confirms its own ability to combine heart and formwithout forgetting the playful identity that has always been its signature.
From GCDS to Institution by Galib Gassanoff
To close the day, a quick but necessary look at the other items on the calendar. Among the most interesting emerging names, Institution by Galib Gassanoff pushes further on experimentation: oval silhouettes, rounded volumes and exasperated, textile manipulations that remain his distinctive trait. Alongside the material research, more eccentric gestures emerge: from the “carpet” skirt to the fringed dress, which amplify a vision balanced between construction and theatricality.
GCDS celebrates its 10th anniversary.
The proposal is more chromatic and immediate Sa Su Phibright bracket of day 4 of MFW. The brand works on wardrobe basics – shirts, coats, trousers, jackets – but deviates them with unexpected proportions: egg-shaped trousers, intense yellow skirts with a tapered line, strapless wool tops. We continue to the notes of Ornella Vanoni, with Marco Rambaldi who signs a collection that intertwines Pasolini and Fantozzi, sacred and grotesque, sabotaging the bourgeois uniform with minimal but radical interventions. As internal constructions revealed, matryoshka twinsets and crochet garments enlarged to become contemporary relics.
And last but not least GCDS, which celebrates ten years with a manifesto show titled What’s in my bag?. College mood, bodysuits with exaggerated hips, visible stitching, Hello Kitty and revisited slogans: Giuliano Calza stages a declared best ofbetween amarcord 2016 and more structured constructions. A world of toys for adultsconscious and self-deprecating, which celebrates its archive while looking to the next decade.
