AGL Spring 2026 Ready-to-Wear
Genny Spring 2026 Ready-to-Wear
“It’s a sad time, I’m very afraid. At the same time, I love my job, my tailors, my team. I thought: let’s celebrate the Roberto Cavalli DNA in shades of gold.” Fausto Puglisi has the difficult job of nurturing one of the most hedonistic aesthetics in fashion in a moment when the world is flashing caution signs and many designers are in retreat.
But caution and Cavalli are two things that don’t go together, so gold it was. It came in myriad ways: in Karen Elson’s sunray pleats, a dress straight out of old Hollywood save for the up-to-date flat sandals it was paired with. On denim, the Cavalli signature done here in wild textures (these were not your basic blue jeans). And via the silk velvet dévoré that gave Puglisi’s slip dresses a touch-me dimensionality.
Cut-outs—on bodysuits and body-hugging cocktail dresses—meant there was plenty of skin on display. Elsewhere, tiger stripes were picked out in lavishes of sequins. All of this was true to the Cavalli of old; Puglisi understands the brand codes without question. What it lacked was some of Puglisi’s own firecracker spirit: the obsessions with Carrara marble or the frescoes of Pompeii that have made it more personal and surprising.
To keep the label fresh and relevant in the mid 2020s, decades after its Glamazon heyday, that human touch is necessary. Here’s hoping that Puglisi is allowed the opportunity to reconnect with his own inner wild child going forward.
For years now, designer Naeem Khan has been operating his atelier out of New York’s Garment District—a historic neighborhood that is slowly shrinking year by year. For his new spring lookbook, Khan wanted to pay homage to the spirit of the area, so he photographed his new assortment of formal evening attire in his own studio, among the mannequins and rolls of fabric. “The area is becoming more residential, and the whole charm of the garment industry is being taken away,” said Khan. “I wanted to celebrate it.”
While the season served as a tribute to his own Manhattan headquarters, the colors and finishes of his glamorous gowns were much more European-minded. Khan drew inspiration from the vibrant hues that he found during trips to Tuscany and Sicily this year. “The churches in Italy have all these beautiful colors,” he said. “I wanted it to be upbeat—with tons of colors and flowers.” The fusion of sugary pastels was, naturally, perfect for spring.
It’s no surprise that Khan centered on evening gowns, given that’s what his customers constantly ask for (and buy). There were frocks like a yellow strapless gown with a full skirt, embroidered with florals and three-dimensional petals. “They were all hand-stitched, one petal at a time,” said Khan. Long-sleeved column gowns, striped with rows of multicolor beads (very Studio 54), accentuated the form in flattering ways. “I drew them all on the body, and then accentuated the angles to give it more of an hourglass shape,” said the designer. Another beaded sleeveless dress featured a skirt that referenced the shape of Roman arches, another Italian touch.
Since Khan’s exquisite embroideries and embellishments often draw the focus, the designer made attempts to strip things back and offer something different, too. His breezy caftans, for one, offered a sense of simplicity—though he couldn’t resist trimming the neckline and sleeves with crystals. “I wanted a La Dolce Vita moment,” he said. For those looking for discrete, stealth-wealth staples, look elsewhere.
MM6 Maison Margiela Spring 2026 Ready-to-Wear
Prada Spring 2026 Ready-to-Wear
“I don’t see the point in constantly flipping things on their head,” said Alberto Caliri before today’s show, unfazed by the torrential monsoon that broke just as guests were arriving. “I’d rather slow down, land on a silhouette that works, and carry it forward as a foundation. I loved the knitwear and coats in the fall collection: start with a core, build around a clear idea. So why change?”
It’s an unhurried stance in an industry addicted to reinvention. But Caliri’s long tenure at Missoni grants him the poise and finesse to fine tune its codes without distorting their quintessential Missonism beyond recognition. It’s the sort of vantage point that, combined with his creative sensibility and anti-diva approach, most designers drafted in to shock-revive heritage brands (whether deceased, comatose, or simply decaying in obscurity) would kill for.
If fall was all about drastically abbreviated silhouettes and legs left bare, this season Caliri nudged the dial a notch further. He may sidestep the limelight, but conviction runs through every zigzag of the caperdoni patterns he has honed for decades. Beneath voluminous square-cut knitted blazers, swing-back trapeze tops, and poufy zippered blousons, he styled the entire swimwear line: one-piece suits, high-waisted bikinis, and trim swim briefs, all paired with masculine shirts tucked in and layered under textured cardigans, then spliced with waistcoats or cropped tops. At times they (barely) surfaced beneath lightweight parkas or slightly oversized pinstriped blazers. And because Caliri also happens to be a deft stylist, the layering took on a kind of virtuoso turn, without ever tipping into excess or ennui.
Many of the people Caliri knows keep a Missoni piece that once belonged to a grandfather, father, or boyfriend, a garment that somehow circles back and speaks to the present.“That’s why I love the idea of mixing,” he said. “A gray cashmere sweater with a shirt and a sly striped detail, your father’s trousers reinterpreted and made your own. It’s a continual play of references—not a rigid designer stamp, but a story that feels truer, less constructed.” He added that his collections are, in a way, the sum of meetings, impressions, and conversations. “I talk with you, an image sticks with me, I rework it, and something comes out of that. It’s an open, almost choral process—far more rewarding than solitary, self-referential design.”
Etro Spring 2026 Ready-to-Wear
Onitsuka Tiger Spring 2026 Ready-to-Wear
What do New York City’s mayoral frontrunner Zohran Mamdani and Diesel’s creative governor Glenn Martens have in common? They both love a scavenger hunt. Following last month’s “Zcavenger Hunt” that brought 2,000 followers out for Mamdani, Martens threw a similar event in Milan tonight—the Diesel Egg Hunt—that attracted more than 3,000 pre-registered participants.
Both men’s initiatives were designed to rally the public behind their relative causes. As Martens declared via his press release soapbox: “This is Diesel for the people, a collection discovered by the public at the same time as everyone else.” Everyone else was that shadowy fashion elite, the sinister cabal of editors, buyers and influencers that might typically expect to sit front row at a Diesel show and decree it a hit, miss or meh. Tonight, however, Martens left these illuminati in the dark.
Instead of showing his looks on a closed runway, he took them to the streets. Diesel dressed 55 models and installed them in 34 “eggs”— large, open-backed oval vitrines—which were then distributed at locations around Milan (with the support of the city’s mayor). As Martens explained in a pre-hunt briefing, each egg was labelled with a QR code. He added: “The first five people who find all of the eggs will win a full look of their choice from the collection, tailored for them. And the second five will win any Diesel denim look of their choice. And then the next ten get to choose an accessory. And for anyone who wants to be part of it without going on the hunt, we’ll be having a party in Piazza Beccaria where everyone can come together. There’ll be a free concert and drinks. Cute huh?”
And it actually was. Martens himself has quite enough runway on his plate over at Maison Margiela right now. Plus the schedules are heaving with so many shows that this one-season runway sabbatical made sense, at least on paper. In practice it’s too early to say, because at the time of writing the Diesel Egg Hunt is still going on.
Despite Martens’s democratic instinct, realpolitik demanded he play nice with Big Fashion. Which is why Vogue Runway and a few other powerful lobbyists were allowed to glimpse the collection immediately before Diesel’s eggs were hatched. The designer was especially proud of a newly developed fabrication that saw recycled poly-satin interwoven with denim, which was then distressed and treated to create iridescently surfaced dresses and biker-accented outerwear.
Womenswear bi-material jumpsuits seemed partially torn asunder at the crotch, but kept just barely in place by web-hemmed panels of knitwear. Floral dresses were embedded below layered manes of distressed chiffon at the shoulder. Tailoring was shaped in protective double-neoprene, and was sometimes patterned via a sort of x-ray process through which bleach applied through lining and construction left a rough outline stenciled on the surface of the garments.
The wildness of pattern, proportion and presentation reflected the brief Martens had shared with his design team: “the animal within.” This looked to be another effective campaign moment in the designer’s ongoing term as Diesel’s elected top dog.