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The Attico Spring 2026 Ready-to-Wear
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.”
When a new designer takes over at the helm of a major fashion house (as is the case nearly everywhere this fashion month, with spring 2026 marking over 15 anticipated debuts), the expectation is that they’ll overhaul the work of their predecessor and put forth a collection that’s completely and totally their own. But the first few glimpses of Simone Bellotti’s Jil Sander debut are already revealing a different story. The Italian designer, formerly of Bally, took a much more democratic approach, marrying his own sensibilities with those of the label to create one harmonious blend of the two.
In its first few social media posts unveiling the collection, the brand described it as “a tightly edited expression of contrasts,” and it was, indeed, bursting with a sense of joy and optimism that’s so often lacking in today’s minimalist designs. While the looks were largely restrained, consisting of high-neck tailored jackets, knee-length skirts, and solid-colored knits, the color combinations were vivid and electric, offering a fresh vision that pierced through the loud maximalism we’ve seen elsewhere so far this season.
Here, discover everything to know about the Jil Sander spring 2026 show during Milan Fashion Week and designer Simone Bellotti’s debut collection.
The runway, which was staged at the historic Piazza Castello in Milan, returned to the brand headquarters for the first time since 2017. It’s a decisive move for Bellotti’s debut and one that undoubtedly signals his plans to return to core house codes and honor both his own Italian heritage and that of the label.
(Image credit: Victor VIRGILE/Gamma-Rapho via Getty Images)
Vivid primary colors and not-too-sweet pastels were layered and combined to have the most harmonious effect. Come spring, we’ll all be wearing more color, and these are the specific color combinations we’ll be looking to emulate: cherry red and ultramarine blue; purplish navy and the faintest butter yellow; avocado green and strawberry milk pink.
(Image credit: Jil Sander)
(Image credit: Jil Sander)
(Image credit: Jil Sander)
(Image credit: Jil Sander)
While at Bally, Simone Bellotti earned a loyal fanbase of fashion insiders who were specifically drawn to his footwear. It was really good, especially the elevated boat shoes that our editors sent many Slack messages about. Luckily for our closets (but not our credit cards), Bellotti’s has brought that same energy to Jil Sander. This collection featured a tight edit of flat shoes like soft leather Wallabees, minimalistic derby shoes, and square-toe oxfords that I already know will be sellouts come spring.
(Image credit: Launchmetrics Spotlight/Jil Sander)
(Image credit: Launchmetrics Spotlight/Jil Sander)
(Image credit: Launchmetrics Spotlight/Jil Sander)
Bellotti perfected his signature restrained yet architectural tailoring at Bally, and the designer has arrived at his new job with his résumé to show for it. This collection was defined by suiting silhouettes that were equally restrained but still highly interesting, like jackets with curved sleeves and dramatic hourglass waistlines or dresses with chest cutouts paired with matching bralettes. While many of his peers are leaning into loud maximalism, Bellotti understands the power in pieces that don’t have to speak up to be heard.
(Image credit: Jil Sander)
(Image credit: Jil Sander)
(Image credit: Jil Sander)
(Image credit: Jil Sander)
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