All the notable fashion moments from Milan Fashion Week SS25

Did you think fashion was taking a breather after the success of New York and London Fashion weeks? Think again. Milan Fashion Week, from September 17 to 23 boasts 58 runway shows and three digital shows, some of the biggest fashion giants showcasing their Spring/Summer '25 collection, and a lot more. 

The schedule is filled with some of the heavy hitters in fashion, making this the most anticipated edition of the season. From Fendi and Prada to Gucci and Versace—not to forget Bottega Veneta and Dolce & Gabbana—no one does fashion quite like the Italians. Though traditionally focused on womenswear, a growing number of brands are unveiling unisex and co-ed collections. What was once a novelty has now become standard practice, with brands like Bottega Veneta and Ferragamo leading the charge under their current creative directors. They’ll be joined by Diesel, Jil Sander, Marni, MM6 Maison Margiela, and more. While Giorgio Armani has skipped MFW and decamped to New York, there is still plenty to look forward to. And with an extra day added to the schedule, there’s more room for emerging designers to shine. Andiamo, Milano!

Day 1

Fendi

Kim Jones’ Fendi SS25 showcase opened Milan Fashion Week. In preparation for the Maison’s centennial celebrations, the collection drew from the epoch Fendi was founded, bringing together the worlds of ready-to-wear and couture, the hand and machine-made, eveningwear, and daywear, in an elevation and celebration of the everyday. The opening look—an art deco sheer shirtdress paired with workwear boots—truly captured the essence of the collection. Reminiscent of the roaring 20s, tea dresses, soft suedes, dancer’s slippers, and baguettes were spotted aplenty. Transparencies, art deco embellishments, and retro silhouettes dominated the line-up as did a neutral palette. 

One thing is for sure—those Red Wing x Fendi collaboration boots will sell like candy. The Italian maison focused on movement, lightness, excellence, and ease with their ready-to-wear collection. Rife with dropped waists, elongated shapes, transparent organzas, and shimmering beading, the show notes cited the 1925 Paris Art Deco exhibition and the publication of F Scott Fitzgerald's The Great Gatsby.

Marni

Though Francesco Risso’s Marni show was over an hour late, it was certainly worth the wait. The collection evoked a surreal fantasy, models meandered around a dimly-lit room where attendees were seated throughout the space. From the darkness emerged look after look of pure fantasy—for which Risso is well-known. From Napoleonic hats and arty prints on stiff fabrics to capes and a big skirt that resembled puffy cardboard trim, it was a series of increasingly distorted and high-volume looks that mirrored the drama of the live piano tunes. The wearable garments were inspired by uniform dressing, from boyish shorts to slip dresses. The collection firmly cemented a new era for statement hats and drove home the power of accessories. Artful, exaggerated sailor-esque caps proved that the weirdness in fashion is still alive and well. No detail was missed—contrasting lapels, flared mermaid hems on floral dresses, and crumbled florals with dramatic necklines and hems dominated the looks. The models sported strappy sandals, and the co-ed collection included men with big hair and oversized aviators. 

Day 2

BOSS

BOSS hung up the corporate suit to head out-of-office with their new collection. It was all about relaxed silhouettes, breaking the conventional parameters of corporate attire. Staged at the Palazzo del Senato in Milan and presented under the theme “Out of Office”, the runway looks deconstructed a more formal dress code to create a clocked-out approach to an elevated lifestyle—allowing for a more balanced outlook on life. The courtyard of the palazzo was an oasis of calm: a landscape of relief in a city defined by its hustle and bustle. Alongside three-button suits, BOSS let loose deconstructed silk coats with shawl lapels, casual shirting with single pockets and concealed button pouches and tailored shorts that dipped below the knee grace the runway. For women, there were trench coats, blazers, dresses and skirts that prioritised free movement with dramatic draping—ideal for the free-spirited frolicking. The shift in theme is certainly a reset for the brand, and its debut was undoubtedly a hit. 

Roberto Cavalli

In the House’s first show since its founder passed away, Fausto Puglisi paid homage with seven iconic pieces from the archives. In true glamazonian style, these included three asymmetrical zebra dresses from fall 2000, a black leather and chiffon siren gown from fall 2003, and three feathered gowns from fall 2004– all sported by the original models. The new SS25 collection was inspired by Pugisi’s hometown, Messina, mixed with his love for all things drama, of course. The collection began with a series of white looks inspired by Messina’s houses, rope detailing evoking its seaside location. These were clothes to pack for holidays, with skin-baring cutouts, and short hems or high slits, often in pre-rumpled fabrics that won’t look worse for wear as temperatures rise. Then we witnessed a series of photo prints of electric sunsets and crashing waves—they graced slip dresses and pyjama sets all the way up to a goddess dress with a built-in cape. And the culmination of the collection was a trio of mermaid dresses that redeemed that oft-maligned red carpet silhouette; where so many special occasion dresses are uptight and stiff, these were stretchy. 

Etro

It was prints galore at Marco de Vincenzo’s Etro show in collaboration with Wolford. The creative director is hitting his stride at the brand, taming its exuberant textile legacy with tailoring. It was a captivating fusion of Etro's renowned prints and Wolford's iconic garment craftsmanship. The collection included bodysuits, jumpsuits, dresses, and more, showcasing Etro's signature paisley motifs on Wolford's fitted fabrics. It was particularly striking on the runway, where the pieces complement darker-toned looks, seamlessly integrating with Etro's bohemian style. The collection draws inspiration from the theme of discovery and embarks on a voyage where chance encounters become decisive.

Day 3

Prada

Miuccia Prada and Raf Simons aimed to present something more unpredictable and human with their new collection to change the algorithms that curate our realities. They shook up the idea of uniform dressing that has been a pillar for Prada, and that has dominated the wider fashion conversation of late. This SS25 collection urged us to wear everything! Jerseys, feathers, leopard print, tweed, and a polo shirt under a sheer dress, are a few examples of the eccentric styling on display. It was delightful to ping-pong from one idea to the next with remarkable ease. We witnessed clashing eras and sensibilities. The juxtaposition of colours was interesting; think violet with butter yellow or a silver dress paired with a bright yellow parka! Hats had holes, skirts had hooks, and dresses had mirrors. The collection was futuristic and fantastic, with hints of flirty. The shoes were the highlight, each pair was noteworthy and oh-so-chic. All your teenage dream pairs from the past are back in style—yes! even the SS2012 Brogues espadrilles were spotted on the runway!

MM6 Maison Margiela

 

Maison Margiela’s sub-label MM6 presented a statement-making SS25 collection on a bunker-like runway. The brand reinstated the deconstructive spirit that’s ever-present in the house’s DNA. It was almost ironic. On one side it referenced Margiela’s early vision with hallmarks like translucent textiles and intentional irregularity in construction, while on the other, the collection also pushed the brand’s affinity for neutrals to the max with titanium white being the dominating hue. Hyper-distressed denim was taken to extremes throughout the line (an ongoing theme in the Margiela universe). Pieces like ripped skinny “jeggings” and extra deep V-necklines which would feel dated elsewhere, were given a new life under MM6. It was evident that the label continues to push forth the dialogue of deconstruction and reproduction that the brand was founded on.

Moschino

 

It started with a white party for Moschino, with draped, flowing white dresses. The collection progressed to pink and orange prints and ended with blacks. Titled Collezione 2.0, the show aimed to bring like-minded individuals and shared identities together, interconnecting them with clothes. Adrian Appiolaza is rejuvenating the label. The creative director promoted fun at this runway show, evoking a carefree attitude for his second womenswear line, all whilst airing out his clean laundry in the Italian fashion capital. Biker jackets were styled as coats, biker hats as bags, and some models even carried teapots in their hands—the everyday ordinary was made to look extraordinary. Pearl accessories and long, long clutches stole our attention. Oversized T-shirt dresses sported “THINK” scriptures asking you to question life, while cropped motorcycle jackets and clasped leather skirts oozed rebellion. Appiolaza inserted elevated elegance with all-black looks, featuring pearled corsets, stamped dresses, and smiley face accessories to lift your mood. Finally, fringed gear drowned lettered gowns and lightweight maxi skirts complemented by leather briefcases and clear eyewear.

Emporio Armani

Giorgio Armani’s sense of time was both cyclical and linear. The collection offered soft fluids. He opened the show, called "Future Perfect", with two models in suits and ties, an accessory that peppered the collection. The symbolic image of the model in a men’s suit and tie epitomises how style remains coherent—changing so as to not change, capturing the essence of what’s gone, but equally an announcement of what’s to come. Ties played an important role, looking elegant yet provocative. There were soft jackets, wide trousers, long skirts, light dresses and plenty of outerwear (including trench coats and parkas). For evening-wear, there were shimmering gowns and white shirts paired with shiny trousers and loose black ties. The colour palette was dominated by beige, grey, sage and pink with bursts of blue and fuchsia. And at 90, the fashion veteran stepped out to take a bow at the end!

Day 4

Tod’s

 

Tod’s SS25 was titled ‘Artisanal Intelligence’. An artwork by Lorenzo Quinn of two hands gripping crossed leather bands, symbolising excellence and Italian craftsmanship, served as the background. The audience walked past tables of artisans constructing white driving shoes inside the showroom, following which the show opened with a crisp white look. The collection was easy and chic, free from gimmicks and heroing fine craft. Matteo Tamburini continues shaping his vision for Tod’s with a spectacular ability to match colours and use a variety of making techniques. Though it started with crisp cotton pairings, the looks were soon reproduced in a soft leather, intentionally fluid for the warmer months, while a leather overcoat was more sturdily vintage. Asymmetrical cuts and wraps gave the collection a touch of casual elegance. Looks were finished with barely there criss-cross sandals, the new Gommino in glove leather or a clog version. Naomi Campbell walked the ramp in an all white ensemble paired with a cream leather satchel. And the verdict is in: the Tod’s loafer is gonna be the season’s must-have.

Gucci

Sabato De Sarno started a new fashion cycle, a year after debuting his first Gucci collection. It was particularly focused on some of his self-described obsessions: tailoring, lingerie, leather and a 1960s silhouette. The colour palette was filled with deep reds, verdant greens, and some occasional blacks, whites, and even brat green! The simplest look was a white tank with Gucci-stripe piping paired with dark trousers with a hemline slit over sneakers, referencing menswear. And the most elaborate, Gucci-monogram overcoats dragged imperially on the runway, as lingerie peeked out of glossy, textured leather. Floral head scarves and big sun hats were used to finish the looks. The Horsebit boots were a hit, as were the Horsebit prints, and of course the Gucci Jackie was spotted multiple times.

Versace

Beethoven’s Fifth symphony signaled the start of the Versace runway show inside a courtyard of the medieval Sforza Castle, but as soon as the models hit the runway, the tempo shifted to contemporary house music. The SS25 collection was conservative (by Donatella’s standards, at least). We saw good girls mixing and matching satin pencil skirts, polos, and demure cardigans, easily tied together by a chic coat. The silhouette and the mod hairstyles suggested inspiration from the 1960s. The most daring ensembles comprised short-shorts with tights and platform heels, or a chiffon dress left open from the belly button to reveal a pair of patterned panties. Gigi Hadid walked in an off-shoulder floral midi dress and a metallic dress with a plunging cowl neck projected the most sensuality. The menswear was very much synonymous with the women’s looks: similar knits in a trio of colours, and floral prints as shirts and pajama suiting.

Day 5

Dolce and Gabbana

 

The collection encapsulates the essence of Italian beauty—sensuality, attitude, character showcasing dresses, and tailored jackets to enhance femininity. What we loved? The statement bras, sheer lingerie, shimmering dresses, and more! Styles were refined to blend iconic colours like black Sicily, red, white, and nude. The exquisite textures captivated the audience, while the intriguing interplay of layers and transparency was a powerful display of confidence. Trench coats and corsets were heroed too. And our favourite Material Girl—Madonna sat front row. In fact, her influence ran throughout the entire collection, particularly the platinum Like a Prayer-era wigs and the conical bra corsetry.

Diesel

 

Glenn Martens reminded us of Diesel’s roots at Spring/Summer 2025, in a collection that made denim the main character. Following the theme of denim as inspiration, the runway was littered with denim scraps (14,800kgs of it, to be precise). As the light came up on the fabric-filled scene, guests heard the reverberating sound of techno fill the space, joined by a distorted woman’s voice reading aloud a description of denim. The collection itself was denim-focused but not in the typically American workwear route that brands tend to take. Instead it was elevated denim in a way that felt characteristically Diesel, styled ready for the club and accessorised with piercing coloured contact lenses. Reimagining typical denim styles, Martens shredded jeans into shorts, leaving strips of fabric hung in tassles, distressed tailored denim suits with sporadic tears, revealed shag coats made completely out of raggedly cut denim, and tore up the necklines of dresses, revealing skin in a on-brand suggestive way.

Bottega Veneta

 

Bottega Veneta’s show was both playful and precise. Animal bean bag chairs flanked both sides of the runway, with A-listers seated in them, of course. Matthieu Blazy brought his sophisticated and timeless touch to the collection, with a hint of playfulness captivating the audience the moment the first model stepped out. The SS25 collection felt like it took a mesmerising and modern approach to classic silhouettes. The show started off with oversized suit separates, followed by knitwear like dresses with fringe headpieces and sweater vests, before taking a more casual turn with graphic tees and jeans. Plaid and a few other busy patterns covered a couple of pieces, but overall the theme was more solid. Sequin and silk made appearances in the final looks of the show. Models carried an array of bags, from classic woven leather to plastic sacks…

 

Feature image: Raindrop Media

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