JIL SANDER
A Jil Sander catwalk is a fashion editor’s kind of show. For the rest of the day, all we seemed to hear was some variation of: “Urgh, I want to wear it now.” And we get why. In only his second womenswear collection for the house, Simone Bellotti is already making a rather convincing case for the classic Jil Sander wardrobe.

Starting with the house’s famously rigorous uniform, Simone slowly messed with its perfection. Tailoring twisted around the body, knits were crumpled, geometric bags softened and collapsed, while pale dresses gathered and ballooned into wonderfully strange proportions. It was precise without feeling pristine, clothes that were interesting enough to warrant a second look, but not so complicated you couldn’t imagine actually wearing them.

Perhaps that’s where all the fashion-editor yearning comes from. These aren’t clothes and accessories that cry out for attention; the pleasure is in knowing the smarts that went into them. And, perhaps more importantly, knowing that those who know will know too.

INSTITUTION BY GALIB GASSANOFF
Institution has become one of our favourite shows as the seasons have gone on. Galib Gassanoff’s work is technically impressive, romantic in both its design and ambition and, perhaps most excitingly, has shown us something increasingly rare in fashion: something new.

This season, that ambition was met with a new lightness. Galib looked to the traditional Azerbaijani kelaghayi, folding, draping and stitching the square silk scarves into garments without losing their original form. As models walked, layers of fine silk flew behind them, bringing a softness and movement to the sculptural construction that has become central to his work. Jackets transformed into capes, backs revealed flashes of skin and raw edges were deliberately left unfinished.

For a designer who only founded Institution in 2024, there is already a remarkably defined language at play. 

MARCO RAMBALDI
Milan has never felt skinnier, whiter or younger than it has this season. Thank God, then, for Marco Rambaldi. Casting has long been an integral part of his world, and for SS27 he once again looked to his own plural, queer community to populate it, a welcome reminder that clothes can become infinitely more interesting when shown on different kinds of bodies.

This season, Marco looked to the home as a place of refuge, intimacy and chosen family. Vintage crochet crept across denim, floral wallpaper became prints on mesh and satin, while twinsets, slip dresses and cardigans had the familiar feeling of clothes pulled from wardrobes rather than pristine showroom rails. There was something purposefully lived-in about it all.

Rambaldi has always understood that the people wearing his clothes are as important as the clothes themselves. In a Milan season that has at times presented a rather narrow idea of who fashion is for, his world felt all the more necessary.

J.SALINAS
Amongst Milan’s big, glitzy names, sometimes the most exciting thing is stumbling across something you weren’t expecting. This season, that was J.SALINAS, the label of Peruvian designer Jorge Luis Salinas.

For SS27, the brand looked homeward, taking inspiration from the Retablo, traditional Andean boxes filled with miniature scenes depicting religious, communal and everyday life. That sense of something intricate and handmade translated into clothes that begged for a closer look. Sheer organza and ultra-fine Pima cotton were layered with hand-worked crochet, embroidery and weaving, much of it created in collaboration with women artisans preserving techniques passed through generations.

Yet for all that craft, nothing felt weighed down by tradition. Short dresses, capes and XXL bags came alive in almost confectionery shades of pistachio, turquoise, coral and lilac. In a week dominated by fashion’s biggest machines, there was something rather lovely about being reminded just how exciting a discovery can be

MOSCHINO 
If anyone was going to understand the theatre of Moschino, it was Loris Messina and Simone Rizzo. The Sunnei founders have become something of fashion week’s resident jesters, known for concept shows that reliably find their way onto our feeds. For their Moschino debut, they brought that same spirit to a Milanese rooftop.

Some 450 people, cast largely from their community, walked against the models in their own clothes (no stylist required) meaning Vivienne Westwood bags and On running gear mingled freely with the collection. It made for a brilliant spectacle, although one that occasionally distracted from what was actually a very strong introduction to Moschino.

There was wearable merch stamped with “GOOD LUCK”, but also sculptural skirts, raffia-fringed trouser hems and plenty of wit. Their manifesto promised to “reignite Moschino without imitating it”, and that feels like the important bit. The duo understand that Moschino should be fun; thankfully, they seem equally interested in the clothes.