Milan women's fashion/4

Gucci, pragmatism marks Demna's new direction

Crystals, sensual lines and archive inspirations for the collection that aims to relaunch the Kering group brand. Tod's reaffirms its bond with craftsmanship

by Angelo Flaccavento

28 February 2026

3' min read

Translated by AI

Versione italiana

3' min read

Translated by AI

Versione italiana

Clothes or concepts? This is the age-old problem today. At their best, concepts should inform the design of things and then disappear, but at present they are mainly used as a narrative or mystifying device, to give meaning to what is instead banal. In Milan, however, one also continues to work pragmatically, on things, with a concreteness that can appear disarming, or at the limit annihilating, without too many concepts.

Gucci, la collezione per l’AI 26-27
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So does Demna, who exactly one year after being appointed creative director of Gucci finally makes his debut on the catwalk with an intentionally ecumenical proposal. Plurality is the watchword: an accumulation of clothing objects distilled into shapes so sedimented in the collective imagination as to appear undesigned - certainly not by an author. Indeed, one could speak of a cunning merchandising operation, with an insistence on the idea that sex, or the promise of it - clothes glued on, muscles darting under spandex, asses peeping out of plunging necklines - sells, and is the true saviour of business.

History, after all, confirms the goodness of this assumption. In any case, Demna's is a polarising debut, so perfect for these divisive times that abhor whispers and lukewarmness. Also perfect for this time of single-mindedness. On the one hand, there is a very clear vision of what the Italian character of the brand can export to the world, on the other, there is the idea that this must coincide with or be limited to the perimeter of tacky, albeit touching on ideas of pomposity but, deo gratias, not aristocracy.

Of course, more could have been expected from Demna, at least in terms of design acceleration, but the shops can now be flooded with easy, thoughtless things, and that is all well and good.

Tod’s, la collezione per l’AI 26-27
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Change of tone. At Tod's, Matteo Tamburini works around the body, protecting and revealing at the same time, maximising constructive wisdom and work on materials, but minimising the wow effect. Basically eschewing easy sensationalism in favour of that which brings one closer, which seduces (literally: which leads one to oneself). A recurring theme this season is dialogue - confrontation, opposition, fusion - between the established and socially shared codes of the masculine and the feminine.

Tamburini tackles it by mixing loose coats wrapped around the body, like an embrace and fastened by small belts, and sensational inlaid leather scarf dresses, light yet textured; large parkas and long knit dresses. It goes against the grain, and that is why it pleases.

Dynamism is the keyword at Sportmax, translated into light and floating garments, traversed by long slits or put together leaving various seams open, which can then be worn in multiple ways, depending on the need. It is an abstraction, of course, but an effective one. Marco Rambaldi works on the idea of the classic, maintaining the rebellious, intimist and vernacular tone that characterises him. His is dining-room sedition, but heartfelt and authentic.

Moschino, la collezione per l’AI 26-27
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Adrian Appiolaza, from Moschino, attempts, with good reason, to free himself from the fetters of mannerisms to make a foray into Argentinean memories and experience that belong to him, but he does so without any real sense of direction, with a penchant for quotationism that is both his strength and his weakness.

The pragmatic day ends on a high, lyrical and sober note: the sculptural feminine and the pastoral masculine of Galib Gassanoff for Institution, rooted in the Georgian culture of this singular and talented author capable of treating heavy materials and architectural forms with thoughtful and touching lightness. The evidence makes Gassanoff one of the few hopes in the Milanese scene, which is somewhat asphyxiated at the moment.