MILAN (AP) — Gucci creative director Demna moved beyond the strict archetypes of his debut collection and fixed his gaze on the fashion house’s luxe heritage for his all-important second collection, previewed Friday during Milan Fashion Week.
The runway was transformed into a luxury Gucci boutique, where Cardi B, wrapped in white faux fur, and Donatella Versace, wearing a stole from Demna’s first Gucci collection, sat on cushioned sofas. Brand ambassador Jannik Sinner took a seat beside Vogue’s Anna Wintour.
Models broadcast nonchalance as they strolled through the boutique, casting their eyes over jewelry cases, shelves of handbags and racks of ready-to-wear.
At a moment when the luxury business is struggling, the setting made the commercial imperative unusually explicit: These were clothes intended not merely to project an image, but to move from rack to wardrobe. And the runway offered flexible propositions for eager consumers.
“Gucci is about luxury that wants to be seen,” Demna wrote in show notes.
A bold silhouette made the first pitch, before the details became apparent. Men’s suits had exaggeratedly broad shoulders, while pagoda shoulders shaped women’s jackets and dresses. Collars were turned up, adding to the attitude. The styling remained Italian: cropped pants and elongated loafers with no socks for him, a cinched trench coat over a blouse and skirt for her.
References to Alessandro Michele’s eccentricity and Tom Ford’s sexualized silhouettes were less stark than in Demna’s debut. Instead of asking customers to embody one of his sharply drawn Italian “famiglia” archetypes, the collection proposes borrowing elements without becoming captive to them.
Layering made those identities harder to pin down. Low-slung trousers held precariously in place by three belts suggested the swagger of a maranza, or troublemaking urban youth. But a bourgeois tartan skirt of an impeccably groomed Milanese woman was destabilized by a leather bomber worn over a plaid shirt and finished with an oversized necklace.
The collection’s strongest looks had undoubted commercial appeal: A double-breasted navy peacoat paired with high-heeled equestrian boots — with spurs for a Demna flourish — and a rugby shirt with Gucci stripes for him layered under an Oxford shirt and Gucci logo jacket.
Moschino puts fashion back on the street.
At Moschino, Loris Messina and Simone Rizzo brought the cult credibility they built at Sunnei to their debut as creative directors, taking up founder Franco Moschino’s legacy of intellectual wit.
Their debut show was set on the top floor of a parking garage overlooking the 2026 Olympic ice hockey venue just as the setting sun created a pinkish sky in the background.
The runway was flanked by hundreds of people in their own clothes walking in the opposite direction throughout the show, creating a stream of personal styles that situated the collection among everyday wardrobes.
The house’s irony remained, but it felt less dependent on quirk and gimmick than in recent iterations. Grass fringe punctured the preciousness of luxury, while cartoonish graphics functioned more as art than as characters or caricatures.
Still, humor came through the clothes themselves: exaggerated side bustles brought Marie Antoinette proportions to skirts worn like denim, while padding turned the enhanced backside to suggest a female ideal. It was still recognizably Moschino, but the joke didn’t overwhelm the clothes.
Fans who look to Moschino for novelty bags shaped like milk cartons or cooking pots may be disappointed by the pared-down aesthetic. The bag of the season was a very practical, large bucket bag and the only nod to novelty was a bag shaped like a cat that perched on a model's shoulder.
The designers said they are forging a modern version of the fashion house that isn't stuck in previous decades.
“We want Moschino to become a cultural loudspeaker again,” Rizzo said. “We have the same urgency in terms of creativity and breaking walls, but it's 2026.”
