Milan Fashion Week SS26: Rambaldi, Blumarine & TOD’s Runway Review

Day 4 absolutely delivered, with less designers than other days it felt quite quiet today actually. However the talent that did announce itself did not disappoint, with Blumarine, TOD's and master crochet designer Marco Rambaldi all providing talkable moments from todays affairs.

These are three collections that, while very different, each told a compelling story about modern fashion, texture, and craftsmanship. Starting with Marco Rambaldi...

Marco Rambaldi - September 26 @10:30am 

Marco Rambaldi’s Spring/Summer 2026 collection stayed true to his identity as a crochet

visionary, cementing his status as a designer celebrated for his unique take on feminine aesthetics. He is a master of merging craftsmanship and emotional storytelling, Rambaldi delivered a collection rooted in his signature crochet work, but elevated with structure, subtle tailoring, and modernity.

Crochet was the heart and soul of the show, from intricate knits to bold, architectural pieces. Vogue highlighted Rambaldi’s more restrained and sculptural direction this season, but the handmade elements remained central. The stunning pink asymmetrical crochet top in Look 28 was a clear standout for me, I would buy it. 

But the truly unforgettable piece was Look 33 - All-white, completely crocheted bridal gown with delicate textures and an embellished beaded bouquet, serving high romance with a twist of whimsy! The muted palette of soft blush, ivory, and charcoal, allowed the textures to take centre stage, with tailored lines and sheer layering adding depth. 

Rambaldi’s SS26 felt like a matured evolution: personal, poised, and still brimming with quiet sensuality. It was a love letter told through yarn -  a blend of softness and strength, restraint and beauty. 

See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/marco-rambaldi#review

Blumarine -  September 26 @11:30am 

Look 40

David Koma’s sophomore season post-Y2K revival continues to stir serious interest. Since his appointment as Creative Director back in July 2024, Blumarine has been on the rise - getting more iconic as time goes on. And this collection? Iconic, priceless, and classically Blumarine.

When I think of Blumarine, I think of animal prints, ruffles, and absurdly elevated femininity, reserved for only the most iconic souls. This collection provided exactly that: a clear vision, a unique aesthetic, and most importantly, a beautifully girly energy that made me want to ditch every outfit I own. This collection really proved that some men do love women and know exactly how we should be dressing. Let’s normalise showing up to the local pub in these looks.

There were 47 looks in total, and narrowing my favourites down to 28 felt borderline criminal - horrible stats, really, and clear proof that I can’t make up my mind. Here’s my exhaustive faves list:

Favourites: 1, 2, 4, 5, 8, 9, 10, 12, 13, 15, 16, 20, 23, 27, 29, 30, 31, 36, 37, 38, 39, 40, 42, 43, 44, 45, 46, 47

The show opened with a pink ruffle overload, setting the tone for the ultra-feminine fantasy ahead, and of course featured leopard print - it is Blumarine, after all. The pink animal print dresses (4) were genuinely breathtaking, and just a few looks later we were gifted a green version. Look 13 was a major standout, a green leopard print tulle skirt mini dress! I’m not usually a mini dress girl, but it was gorgeously tailored. Look 30 also rode this girly wave, with a simple white mini dress elevated by absurdly flared lace sleeves so elegant.

Between the pinks and greens, we had a Halloween-esque moment. Look 5 felt more Autumn/Winter with a black mesh blouse covered in butterflies, flies, moths and just bugs in general! Even the jeans played into this creepy-crawly aesthetic. I loved the spookiness, but not sure it screamed Spring/Summer.

ABOVE - LOOKS (in order) 4, 46, 42

Butterflies were a key motif. Look 42 (above) featured silk trousers and a matching cape paired with a tiny lace top, embroidered with a butterfly in a slightly darker beige, stunningly subtle but still striking. And Look 40 (above) was my ultimate favourite. A tiered ruffle skirt crafted from lace, tulle, and mesh, paired with a sheer long sleeve overlay smothered in 3D butterflies, sewn in different directions to give the illusion they were flying. It was genius!

The final seven looks? Every single one made my favourites list - oops - they just kept getting better. There were ruffles galore, ultra-feminine silhouettes, and a punky twist courtesy of layers of jewellery, mostly heavy crosses. Look 44 (below) featured a ridiculous metal dragonfly bra that covered nothing but looked incredible. Then came Look 46 (above): a cropped tailored blazer with floor-trailing ruffles spilling down the model’s back, paired with perfectly cut trousers and a jewel-heavy choker stacked with huge silver crosses.

Look 44

It was the ultimate mix of punk and elegance - powerful, cool, and hyper-feminine all at once. Look 47 mirrored this energy in a sheer ruffled gown and cape, draped over layered oversized cross chains. 

A tomato red gown (31) that could’ve been worn at Christmas or on a summer holiday. A fresh burst of colour also appeared in the nearly-nude mesh pieces (Looks 21 and 23), where embroidered butterflies modestly covered the models in just the right places. I have to say -  butterflies were everywhere this season, but I did get there first… my A-level collection was 100% butterfly themed!

This collection was everything I needed: girly, confident, dramatic, and divine. Koma’s Blumarine is shaping a new, more stable, powerful moment in the house's history. Embracing femininity and weaponising it. I loved every second. 

See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/blumarine/slideshow/collection

Tod’s - September 26 @2pm 

Look 40

Matteo Tamburini’s Spring/Summer 2026 collection for Tod’s was… fine, but nothing crazy. With 40 looks on the runway, there were definitely some cool moments, but overall it didn’t exactly sweep me off my feet, especially compared to some of the other Milan heavy-hitters this season. It was a solid collection and very on brand for Tod’s but is definitely not making my Top 10. 

Let’s start with the good stuff. Tod’s played to its strengths with leather, leather, and more leather which overall was done very well. The opening look featured a tan mini dress cut from boxy leather, with a 3D perforated matching bag. It was sharp, considered, and felt like a fresh Tod’s moment. Bags were actually a strong point across the board: slouchy, structured, and striped (lots of stripes this collection)

Speaking of leather, Look 26 was interesting, a burgundy leather jacket detailed with tonal leather appliqué. What could’ve been just another outerwear piece became quietly distinctive through its artisanal, almost handmade feel. 

The collection leaned into textures: smooth leathers, suede, snakeskin accents, and a particularly interesting use of laser-cut hole details. The styling also played with leather accessories in creative ways - think dangling leather straps worn like necklaces and scarves tied high on the neck.

The palette was very grounded with a few surprises: browns, black, white, grey, rust orange (yuck), lime green, burgundy, and pops of yellow and blue. Stripes were a huge motif throughout (usually bringing the pops of colour) from diagonal colour-block dresses to more classic headscarves. Look 14 (left) stood out with a bright orange wool jumper, micro shorts, and a diagonally striped bag, all tied together with an orange scarf-tied-around-the-neck.

That said, not everything landed. Look 6’s (above) head-to-toe multicoloured plaid was visually chaotic - a sensory overload. Some of the monochrome leather tailoring, while clean and well-cut, began to feel repetitive as the show went on. But the final four looks, redeemed the collection. They closed the show on a high note with a quad of asymmetrical dresses in bold diagonal stripe patterns.

Standouts included Look 40 (above) and Look 37, both breathtaking in silhouette, yet differentiated by their striking palettes. Look 40 was a timeless beauty, featuring moussy brown stripes sliced across a white and black base, with a sharp asymmetric hem. Look 37 offered a bolder take, replacing neutrals with lime green, black, brown, and grey for a more daring, modern twist. These final looks felt elevated, directional, and offered a glimpse into what

Tamburini can achieve when he fully embraces contemporary femininity with an edge! Overall, the collection delivered quiet luxury with texture play and subtle innovation - but lacked the energy or cohesion to really captivate. Tod’s is clearly continuing to reposition itself with clean silhouettes and artisan finishes, but next season, I'm hoping for a bit more. 

Favourite looks: 2, 3, 6, 8, 13, 14, 15, 17, 25, 26, 27, 30, 32, 34, 37, 38, 39, 40 

See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/tod-s/slideshow/collection

Whats to come

Versace just absolutely blindsided me by pulling a secretive runway presentation out very quietly. I will have to report on that first thing tomorrow, before the rampage of Day 5 Milan Fashion Week commences...

Including Ferrari and Ferragamo - both ones that I never expect too much from and am either left shocked or remain very unamused by the collections. As well as Haitian - Italian heritage designer Stella Jean who Is a really cool emerging designer. One to watch.

But the big dogs tomorrow, one of the ones I have been madly waiting for - Bottega Venetta by Louise Trotter!! One of the only women to be a part of the mass creative director switch of 2025. And of course the classic cult favourite of Milan Fashion Week - Dolce & Gabbana!!

There is lots to see tomorrow, I would recommend taking the day off.

With love,

Mimi x