Milan Fashion Week SS 2027

The beauty industry is rediscovering authenticity and imperfection

Gucci. (Reuters)

5' min read

Translated by AI
Versione italiana

5' min read

Translated by AI
Versione italiana

Fashion is once again speaking to people, rather than to an abstract ideal of perfection. On the catwalks of the Spring/Summer 2027 Milan Fashion Week, which has just come to a close, women and men of different ages took to the catwalk, alongside older models, non-binary people, faces marked by the passage of time, and a diverse range of bodies and identities. From Gucci to Prada, from Taller Marmo to Vivetta, the presence of people in their 50s and 60s did not seem merely a casting choice, but a sign of a deeper shift: beauty no longer necessarily equates with youth, smooth skin or the absence of imperfections; it is part of an identity waiting to be told. ‘The central theme is authenticity: the risk of extreme perfectionism is that it produces artificial faces, all looking the same,’ says Michele Magnani, Senior Global Make-up Artist for MAC Cosmetics. ‘A flaw can also be a distinctive feature of a person and can become an asset. The face is like a sort of map of our experience: a face carries with it what we have lived through – the pain, the joy, the experiences accumulated over the years.’ And this is where Anna Magnani’s thoughts on wrinkles earned over time come back into play: not necessarily something to be erased, but a part of oneself to be cherished. “And this is also reflected in this season’s beauty trends: increasingly natural-looking skin, less-manicured eyebrows, and hair left free to express its own texture. Make-up alternates between a near-absence of make-up and highly individual touches – an expressive look featuring graphic eyeliner, glitter and coral-red lipsticks.”

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The complexion looks even more natural than in previous seasons. The base is there, but it must almost disappear: no heavy coverage, no obvious layers. The aim is a perfected yet translucent complexion, through which the skin’s texture and the face’s individual features remain visible. This is a trend embraced by Alberta Ferretti, where the make-up is practically invisible. The skin is moisturised, with a healthy bronzed effect and a blush that mimics a sun-kissed glow. At Prada, the complexion is natural and soft-matt, with subtle blush and barely-there brick-pink lips. A very clean-cut look from Ferragamo, with an even complexion, natural eyebrows and very few graphic elements. At Etro, the make-up remains delicate but plays on the golden tones of sunset, so it isn’t completely ‘nude’: it introduces light and colour without becoming heavy-handed. The natural look takes on a more sensual edge at Roberto Cavalli, where make-up artist Yadim Carranza for Kiko Milano has created a luminous, dewy complexion, with strategic highlights and a pink blush, for a fresh, radiant and sophisticated effect. The complexion is very clean at Dolce&Gabbana, whilst at Dhruv Kapoor it takes on a glowing, super-natural and hydrated look, achieved using minimal amounts of MAC Cosmetics’ Studio Radiance Tint Stick.

I beauty look dalle sfilate di Milano per la PE 2027

Photogallery18 foto

Blush or no blush? Between rosy cheeks and visible freckles

Blush seems to be moving in two opposite directions. On the one hand, it is becoming lighter until it almost disappears, making way for more subtle contouring techniques that create a lifting effect; on the other, it is making a comeback as a natural flush – ‘boyfriend blush’ – applied to mimic the effect of the sun and movement. Max Mara, whose make-up was created by Lisa Butler and Maurizio Calabrò for NARS, brought the 1950s back to the catwalk, but without any nostalgia. The complexion is fresh and clean, yet the face is enhanced by ‘boyfriend blush’. A very pronounced blush was spotted at THE ATTICO, a nod to nightlife, the 1980s and the club kids of the 1990s. Make-up artist Inge Grognard, working for Missoni, applied a very realistic burgundy blush to the cheeks and the bridge of the nose, as if it were a sun-kissed flush. Backstage, the models’ natural freckles were not covered up; on the contrary, they were highlighted and, in some cases, even recreated to accentuate the effect of authentic, minimally made-up skin. The same happened at New York Fashion Week SS 2027: at Cult Gaia, some models walked the catwalk with artificially recreated freckles to accentuate the effect of natural skin.

Eyes take centre stage, bold lips: make-up is daring again

In the first fashion show curated by Silvana Armani for Giorgio Armani, the eyes take centre stage. Make-up artist Hiromi Hueda created a very delicate and radiant sculpted look, enhanced by black smoky eyes that extend outwards, illuminated by a touch of gold at the centre of the eyelid. At Luisa Beccaria, the use of shades that do not immediately bring summer to mind was particularly interesting. Michele Magnani used copper-green, aquamarine, teal and dusty, translucent blues, which he describes as ‘a sigh of art’. At Marco Rambaldi, the eye look is decidedly more structured: on one side, powdery white eyeshadow with very defined mascara, creating a ‘spider lashes’ effect; on the other, graphic eyeliner in shades of black, brown and burgundy, reinterpreting the cut crease. There was a red accent on the eyelids at Fendi, whilst at Sportmax some models sported a blue eyeshadow with a glossy finish, others a graphic eyeliner with a punk edge. THE ATTICO’s eye looks were spectacular: black smoky eyes, coloured eyeshadows, glitter, crystals and jewellery; in some looks, the glitter even spread to the face and lips. Antonio Marras is always theatrical: velvety ruby-red lips, eyes adorned with cream eyeshadows, gold leaf and glitter, culminating in a veritable couture mask applied to the face. Lips were defined by a very vibrant geranium-coloured lipstick at Zifei Wang. For Ferragamo, burgundy lips lend the face a retro and sophisticated, almost cinematic touch. At Diesel, the concept of ‘worn’ make-up is taken to the extreme: smudged red lipstick, as if after a wild night out.

Hairstyling: no rules, freedom of movement

Hair styling has largely moved away from the idea of perfectly tamed hair. Natural textures, movement, volume and a calculated imperfection dominate the catwalk, with looks that appear to have been created almost effortlessly. At Prada, Miuccia Prada and Raf Simons have once again entrusted the hair to Guido Palau, who has created freer, textured short styles and backcombed, tousled, almost dry looks, interspersed with a few wet-look details. The same sense of freedom is evident at Missoni, where Damien Boissinot enhances natural texture with soft waves, very low ponytails and strands left to frame the face, as if tousled by the wind. At Roberto Cavalli, the same hairstylist emphasises sensuality and volume with central backcombing and undone waves. For Moschino, hair stylist Paolo Soffiatti, together with the Wella Professionals Team led by Orazio Anelli, opts for soft, wavy lengths, slightly tousled updos and simple ponytails, even with the hair tie left visible. At Vivetta, however, Matteo Pasinato and the Wella Professionals team propose two styles: retro 1990s ponytails and short, boyish cuts, styled mainly with the hands to preserve natural movement and texture. Max Mara has chosen Odile Gilbert, who presents wavy hair, small, almost improvised-looking updos and low ponytails, whilst at Etro, curls and waves are loosened with the hands and brushed to achieve a light, soft look. James Pecis’s work for Antonio Marras is more theatrical, featuring bouffant updos, backcombed styles, short fringes and tousled bobs. THE ATTICO, with Jawara Wauchope, on the other hand, offers a multitude of looks: from ‘just-woken-up’ styles to androgynous pixie cuts, from wet-look bobs to Hollywood waves deliberately left slightly tousled. At Diesel, the wet look prevails, with slicked-back, almost sweaty hair; Sportmax interprets the same trend in a glossier key, alternating between minimalist updos and loose, curly textures.

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