For the Sake of Glamour
Words by Lynn Mathuthu
Image credits Prada
My friends always ask me, “What is glamorous to you?” & without fail, I always respond, “the ability to move without convention. In Milan, my eyes feasted, not only because it is considered the most romantic city in the world, but also because fashion, with a capital F, took center stage once more. After a lull period of ‘quiet luxury’, brands are now subscribing to true glamour, rejecting boring codes of conventionality & digging into their archives to find their origins. It all began on September 24th with the timeless Loro Piana.
A thunderstorm had just swept over Milan, and I was fortunate enough to be spared from the elements as I sought refuge in the incredible Palazzo Citterio, home to the Loro Piana Spring/Summer 2026 Presentation. Upon arriving, my eyes were immediately drawn to the gardens, picturesque patio umbrellas shielding guests from the remnants of the unforgiving weather. The lawns & hedges were manicured to perfection, extending as far as the eye could see, leaving one with the impression that what lay inside would be extraordinary.
The Citterio Museum is an 18th-century Milanese mansion, housing an impressive collection of 19th- and 20th-century art. Inside, a collection of modern and contemporary works featured masterpieces by notable artists, including Umberto Boccioni, Carlo Carrà, Giorgio Morandi, Amedeo Modigliani, and Pablo Picasso. Somehow, the Picasso's hanging on the wall did not distract my eyes from the SS26 collection focusing on colour and maintaining the distinct Loro Piana silhouette. Mannequins were adorned with baby blue cashmere & linen sweaters, suede jackets, and unmissable hats, giving the Loro Piana silhouette an editorial flair.
The menswear looks were particularly impressive, pleated & flared trousers with handsewn lilac beanies paired with flannel prints. The women's looks were styled to perfection, ruffled skirts under trousers, painterly prints on scarves that turned to snoods, and tonal combinations spliced through jackets and loosely fitted collared shirts.
As aforementioned, the classic Loro Piana silhouette was the focal point; however, one could not forgo the editorial nature of the oversized hats made from cashmere, ribbons, suedes and other masterfully crafted fibres. Further elevating the dialogue between now and then were the new bags and leather goods, seamlessly integrated into the overall flow, neatly displayed on hand-picked Italian vintage furniture from the last century, made from walnut and lacquered wood.
In a harmonious dialogue between space & art, Loro Piana displayed its mastery not only in colour but in fabric. The presentation fostered a smooth dialogue between what Loro Piana is known for and what its future holds. What better place to do so than in a Palazzo surrounded by some of the most revered works by artists who have stood the test of time?
I sauntered to my next appointment, feeling like an Andre Leon Talley dupe with far less experience but the same eagerness to learn. The previously soaked, barren streets of Milan started to glisten as the grey skies lifted, welcoming in a new sun, much like what was happening at Gucci. Gucci has entered a new era with creative director Sabato De Sarno being replaced by the ‘king of Balenciaga, Demna Gvasalia. I sprinted to the Palazzo Mezzanote, immediately noticing the giant bronze Gucci logo towering over the square. For a short time, Demna Gvasalia welcomed guests into his world, debuting a strong collection featuring an incredible lineup of guests, including Demi Moore, Ed Harris, Alex Consani, Elliot Page, and Keke Palmer.
The collection was not afraid to be glamorous. Glamour that is usually reserved for the Sciura Milanese woman, recognisable by her red lipstick, sharp nails, and fur-trimmed coat. This was an irreverent display of high fashion that engages the brand's rich history with the modern woman's silhouette & dress sense.
The new Gucci is enticing, it’s sexy, and not afraid to pay homage to Frida Giannini, Alessandro Michele, Tom Ford, and Sabato De Sarno. Demna Gvasalia looks to the future and recognises that in order to see how far you have come, you must look back.
The next day, my alarm rang at 7am. My Max Mara invitation came in the form of an ivory place card with my name written in cursive font. The venue was a white auditorium, overflowing with fashion elites, agents, and editors. The collection, titled Rococo Modern, was just that, with extravagant volume and tulle. A rigorously detailed trench coat features an intricately folded corona at the shoulders, like the unfurling leaves of a gilded acanthus or the plumage of a fabulous bird. Models like Alex Consani and Angelina Kendall graced the runway with belted waists a la Carrie Bradshaw. The classic Max Mara silhouette was present, however, modern, chic, unapologetically glamorous.
Image credits Max Mara
I then moseyed over to a show I could not fathom ever receiving an invitation to, A silver placard, the size of a matchbox, engraved with my seat number and name, PRADA, SS26 Womenswear. I anxiously planned my journey to the Fondazione Prada via the Metro, wanting to arrive an hour before the show to soak it all in. My approach to fashion has always been to subvert expectations, something Miuccia Prada has been doing since the brand's launch. As the show attendees strolled in, I spotted a blonde man with slicked-back hair wearing a silver dress that gently caressed the floor. I complimented his outfit and he replied, “I love your shirt, the double layering is something I wish I could pull off.” That man turned out to be Bryan Boy.
The venue space was coated in a shiny orange, constantly polished by incredibly chic Prada boys until the very last second. I took my seat, witnessed Lotta Volkova interacting with her surroundings, Anna Wintour said hello to Edward Enniful, and Kerry Washington was guided to her seat. Then the ‘Moments in Love’ remix by the Art of Noise was the backdrop to the first look.
The show began with classic Prada looks, utilitarian boiler suits in navy & pink. However, what followed would discombobulate the senses, leaving even the most loyal Prada enthusiasts confused, and that was exactly the intention. Fabrics clashed, skirts had volume where volume does not belong, colours were mismatched & textures intertwined in ways that did not immediately please the eye. On the surface, some looks featured a classic blazer & skirt combination, the expected womenswear look; however, upon closer inspection, the skirts contained ruffled pleats at the back with pink taffeta and navy blue strewn out.
Image credits Prada
The Prada woman contains multitudes & her sense of uniform is rejecting the sense of uniform. Much like the brand, the pieces had an inherent flexibility, an ability to adapt, transform instantly, all while reacting to the surroundings. Miuccia Prada and Raf Simons understand that stagnancy is a killer & evolving requires consistent attention & critique of one's surroundings.
Lastly, in the name of glamour, shoes. I am an expert in the field, having almost lived the Carrie Bradshaw quote “I spent $40,000 on shoes and I have no place to live”. Jimmy Choo held its SS26 women's presentation titled “future feminine” on the famous Corso Venezia. The presentation showcased soft pastels, timeless pieces that are unmistakably feminine. Shoes were engulfed with ginormous flowers, almost welcoming guests into a secret footwear garden. Much like the rest of Milan, Jimmy Choo was celebrating the old, the new, the real, and the surreal.
And just like that, it was the most glamorous Milan Fashion Week.