Brioni shone the light on its sartorial expertise, further elevating it with the La Donna Atelier, the brand’s Su Misura project dedicated to women, offering personalization through a wide selection of fabrics, linings, buttons and monogrammed details.
Rome, where the brand was founded, remains a core inspiration, and this season, silks with a metallic effect added a luxurious shine to Brioni’s color palette, which included white, shades of blue and white and terracotta.
Standouts included a double-breasted jacket in a wool, silk and linen blend, worn over a cotton poplin shirt and wide-leg double-pleated trousers in Zefiro, a cashmere, silk and linen blend. There were striped drawstring pants with leather details that contributed to the fluidity and ease of the collections. An evening jacket in silk and silver-thread jacquard with a leaf motif; a double-breasted tuxedo in a wool and silk blend, and a wool barathea jacket with embroidery and crystal embellishments featuring a three-dimensional foliage motif telegraphed the skills of the Brioni tailors. The embroidery alone takes about 60 hours to be completed.
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Kiton presented its spring collection at its Via Sant’Andrea store in central Milan — but there was a reason for this choice. “This is going to become the brand’s first boutique entirely dedicated to womenswear,” Maria Giovanna Paone, in charge of the category at the luxury brand, proudly said, underscoring the increasing significance and growth of the division. As part of this retail change, a new menswear flagship will open soon in Milan’s Via Montenapoleone.
With this collection, Paone stayed true to her research into exceptional fabrics and the brand’s precision of sartorial construction. Double-breasted suits in elongated proportions in natural and earth tones were juxtaposed with extremely light and fluid long silk dresses, printed shirts and caftans embellished with brush stroke motifs, stripes or floral patterns. Feminine geometric openwork embroideries on powder-pink dresses and shorts and cashmere and silk knits reflected Kiton’s craftsmanship.
The America’s Cup next year will be held in Naples, where Kiton is based, and the brand introduced a capsule inspired by the storied sailing race, featuring navy blue and white vertical stripes and nautical motifs on tailored jackets, shirts and technical outerwear.
Between Milan’s notorious flamingos residing at Villa Invernizzi and trays of swan-shaped meringues, guests at Blazé Milano’s al fresco presentation had plenty to share on Instagram. Yet the brand’s spring 2027 collection didn’t take second place to the extravagant little details founders Corrada Rodriguez d’Acri, Delfina Pinardi and Maria Sole Torlonia added to their seasonal presentation.
Nodding to Truman Capote’s “Swans of Fifth Avenue,” the trio reimagined the wardrobe of high society through a modern lens and a whiff of the ’80s, envisioning suits, blazer jackets and dresses cut from silk jacquard and cotton canvas with slender silhouettes.
Marked by the brand’s signature Smiley pockets, highlights included the Pika blazer jacket with a slim fit and a nipped-in waist cut from a buttery viscose-silk blend; its crewneck vest version punctuated by loden buttons, and the Shamo bolero and Ares jacket, whose slouched shoulders and relaxed appeal were especially elegant in the Muma fabric blending rose and butter hues. They also introduced a red carpet capsule ranging from a long black gown to a tuxedo-style suit.
Ports 1961’s spring collection marked a departure from its recent past in many ways.
Unveiled inside the brand’s new headquarters in Milan with large-scale abstract art on display selected by the Palazzo Monti contemporary art center, it showcased an intellectual, more whimsical and colorful take on the brand’s codes, for example with a handsome butter yellow pantsuit with big flower brooches running down one side of the jacket.
More iterations on the ensemble included a looser blazer in sorbet pink over a crisp cotton full skirt and a mannish style worn with Bermuda shorts and bralette, as well a high-buttoning double breasted suit, in black or lilac, the outerwear shrunken just so and rid of the floral touch.
The arty sensibility spilled over onto bias-cut wrap frocks with graphic floral patterns and in a Marni-esque print of feathers on a boxy skirt set.
This was the first collection conceived by the design studio after the brand parted ways with design director Francesco Bartolini earlier this month. The label will now be positioned in the upper contemporary segment, with more accessible pricing.
There was a lightness and delicacy to Giada‘s spring collection, which was inspired by jasmine, and Cosimo de’ Medici’s love of the Renaissance bloom. Giada’s creative director Colangelo used the tiny white flower for jewelry, and for embellishment made with freshwater pearls.
The small, irregular pearls appeared around the armholes of a long and lean mesh dress, and as the delicate edging on a beautiful citron yellow flapper dress with sheer panels. Colangelo used clusters of pearls as statement earrings; a brooch at the neck of a collarless, boxy white jacket, and pendant on a necklace.
The collection overall was minimal and elegant, with subtle touches. Colangelo added bits of sheer fabric to the hem of a white tank dress and a black tank top, which was styled with a long, glossy pleated skirt. The designer also added sheer lace to a snazzy black dress with elbow-length pouf sleeves, and to a coffee-toned skirt and gown with a corset top.
At Eleventy, the womanly suit took many new directions, coming for example with a deconstructed shirt jacket, aptly called “Nuvola,” or “Cloud” in English, done in lightweight fabrics with tactile surfaces, brogued or flecked, and paired with pleated shorts.
Dressier iterations had belted, lapel-less jackets reminiscent of a kimono in keeping with the nomadic theme of the collection or replaced the blazer with puff-of-air bombers in airy bouclé knit. Even the tuxedo jacket was less formal, treated as a fluid and comfy throw-on-and-go staple for nights out.
As part of the celebrations for its 20th anniversary, a denim capsule collection that included bustier sundresses, double-breasted suits and cropped boleros in needle punched indigo twinned with the menswear range already presented last June.
The brand also introduced its first hero bag, “La Meneghina,” or “The Milanese” in English, in leather and canvas with an oversized fringed tassel developed in collaboration with accessories designer Stefano Galandrini.
Lightness was central at Peserico, where creative director Paola Gonella showed feminine pantsuits, fluid and belted in silk or in sablé and linen in a more structured and tailored style.
Jacquard, mesh and fil coupé raffia created dynamic three-dimensional effects, and a diaphanous oversize trenchcoat reflected Gonella’s fabric research. She revisited the denim vest, worn over a masculine shirt and roomy pants, with an innovative treatment on the material and punctuated the garment with large pockets, adding a utilitarian feel to the lineup.
At Seafarer, the urban sartorial wardrobe embraced the dichotomy between romance and power, with strong-shouldered blazers paired with mannish striped shirts or layered atop pleated blouses.
A high-buttoning, mud-colored suit was a standout, best exemplifying that juxtaposition. Underpinned by an asymmetrical, ankle-length lace slipdress, it featured zippers on the front to adjust styling and patch pockets — some of the many military inflections of the collection, also seen in the number of cargo pants, utilitarian jackets and cropped blazers recalling army uniforms.
In keeping with its denim heritage, the brand also teased Seafarer Cyan, a new hub for experimentation in new dyes, cuts and finishes for jeans.
