Italian fashion took center stage this season, with leading designers emphasizing innovation, heritage, and individual expression across a range of collections presented in Milan.

At Prada, creative directors Miuccia Prada and Raf Simons chose to focus their summer collection exclusively on skirts, presenting 63 variations as a study in form and symbolism. Prada, speaking during a preview, highlighted the skirt’s versatility and significance, noting its historical associations with female empowerment and personal freedom. The collection featured a mix of bold block colors—red, yellow, and green—embellished with practical details such as black industrial Velcro straps that could adjust fit and reveal varying amounts of skin. Fabrics ranged from waxy ciré matt material often used in sportswear to delicate ribbons applied to white skirts, creating a contrast of innocence and audacity. Most designs were knee-length, a silhouette Prada described as a “frame” to hold ideas and contradictions, unlike dresses or trousers. The collection emphasized the skirt as a medium for both comfort and self-expression.

Diesel designer Glenn Martens, marking his final show after six years with the brand, opted for a minimalist runway set up with tall metal bleachers flanking a single catwalk. This simplicity gave way to a striking live performance when 200 members of Marseille’s artist collective (LA)Horde joined the audience to dance provocatively, accompanied by an intensifying soundtrack culminating in a sensual rendition of Donna Summer’s "Love to Love You Baby." The clothing itself reflected hybrid creations—denim treated to appear like leather, layered tops merging elements of sweaters and shirts, and lightweight outerwear printed with images of bulkier winter clothes. Orchid motifs referenced Diesel’s new fragrance, Only Desire, underscoring themes of carnality throughout the show. Martens received a standing ovation, underscoring his successful reinvention of the brand’s identity.

Fendi’s presentation took a different approach, enclosing models within mirrored glass boxes inspired by Luciano Fabro’s Mirror Cube performance art. This setup limited visibility but aimed to create an introspective experience for the audience. The collection featured sensual elements such as lace lingerie paired with fur boas and fishnet stockings, slip dresses in floral lace revealing undergarments, and touches of animal print. Fendi remains one of the few luxury brands continuing to incorporate fur, now increasingly sourced with an upcycling ethos. The setting was notable for its effort to balance avant-garde presentation with the practical challenges of showcasing the garments.

Jil Sander’s fall/winter collection, designed by Lucie and Luke Meier, drew on the brand’s legacy of minimalism and uniform-inspired pieces, updated with increased movement and subtle complexity. The show began with structured office-ready looks—such as buttoned leather dresses and neatly tucked shirts—and then transitioned into more relaxed styles featuring wrinkles, draped folds, and voluminous sleeves that narrowed at the waist. Splashes of pastel and vibrant colors like cobalt blue and red punctuated the otherwise monochrome palette. The collection reflected the Meiers’ commitment to marrying functionality with refined aesthetic.

At Marni, creative director Meryll Rogge looked to both the brand’s archival styles and her own contemporary influences for her second collection. The designs echoed Marni’s late 1990s and early 2000s heritage through straightforward skirts and dresses accented with oversized sequins, buttons, oval cut-outs, and chunky belts. Prints and textures clashed intentionally, including striped capris paired with zebra prints, and layered looks mixing knitwear with technical fabrics. The color scheme featured signature 1970s tones—orange, brown, green—while footwear combined sandals and heels with quirky socks. Rogge also introduced her distinctive touches, such as zip-up gilets, halter-style knit tops, and shift dresses with built-in bras. She emphasized her goal to carve out her own path rather than replicate the work of Marni’s founder, Consuelo Castiglioni.

Together, these collections illustrate the breadth of Italian fashion today—blending tradition with experimentation, commercial appeal with artistic expression, and sustainability efforts with sensory spectacle.