These shows were great, but today in general was amazing. These aren't even the main event. Dolce & Gabbana brought in Miranda Priestly who hasn't been spotted for over 20 years at a show. WILD. Then Louise Trotter debuted for Bottega Veneta with one hell of a collection. But before any of that even started Ferrari, Ferragama, and emerging designer Stella Jean who arguably was my favourite of these three, although the lesser known. See about Ferrari below... Ferrari - September 27 @9:30am Look 38 Ferrari started with a bang - literally. The show opened to a deep, pulsing bass line that felt like the soundtrack to a high-speed chase scene. Dramatic, cinematic, and slightly superhero like. Fitting, of course, for a brand with racing DNA. Models began strutting out in monochromatic creams and whites - chic, minimal, and impeccably tailored. This palette held strong until Look 20 (below), where things shifted dramatically. Acid-washed denim took over, reminiscent of Acne Studios but with Ferrari’s signature precision in tailoring. Jackets, trousers, bags, blazers - everything was razor-sharp. And the music shifted to a more slow, classical ballad, as if they were telling a story!  All my favourites - 2, 4, 10, 12, 14, 20, 23, 27, 34, 35, 36, 37, 38 , 41, 43  Watch the full show here - Look 20 was a transitional moment going from whites to denim: a simple white vest paired with a statement acid-wash denim skirt. The skirt’s standout features were collar-like shapes at the hip bone that sculpted the body beautifully, Ferrari-embossed hardware, and leather pocket detailing that felt both industrial and luxe. Soon after, red denim entered the chat - adding more bass again to the tune. A fiery update to the earlier acid wash, this version came lined in Ferrari’s iconic bright red. Braided cable knits also made an appearance in the same shades - in coordinated two-piece sets, grounding the collection in tactile texture. Then came the shift we were all waiting for: Ferrari Red in full force. Look 31 echoed the first trench but now in a sultry burgundy tone. The red theme intensified with sculptural dresses and finally peaked with my favourite look of the show. Look 38 (above)! WOW. It was a tomato-red skirt flowing right down to ankle length where the same shade matched on the heels, paired with a matching box bag clutched effortlessly at the side. But the showstopper? A perfectly tailored burgundy leather jacket that fitted so flawlessly it was almost offensive. I know I’ll never own anything that fits me that well. The final six looks turned up the glamour with mirror bead embellishments scattered across dresses, jackets, and trousers. Look 43 (above left) was a true standout - an entire suit covered in reflective beads. Someone in the front row probably saw themselves in it. The venue itself added to the drama: mirrored walls, stark white floors, and fashion legends in the crowd - including none other than Anna Wintour. Ferrari absolutely have proved themselves again this season, proving that speed isn’t the only thing they do well, they also are now masters of tailoring and bold, beautiful fashion.  Ferragamo  - September 27 @11:30am  Look 29 Under Maximilian Davis, Ferragamo continues its evolution - sleek tailoring, rich tones, and an identity rooted in understated power. From the moment the livestream started, one detail stood out immediately: the set. The runway was maze-like: circular, winding, and cleverly designed so guests were seated all around, catching glimpses from different angles. An unconventional layout for an unconventional show. Anok Yai opened in a strong, oversized black blazer and matching wide-leg trousers, accented with a silk scarf tied at the waist. It wrapped around multiple times before falling to the floor in dramatic, tasselled fringe. That fringe detail would go on to dominate the collection - appearing in scarf-belts, sleeves, and full-length trims. The vibe was mysterious. A soundtrack of minimal, moody beats paired perfectly with the models’ cool confidence as they walked in layered suiting, tailored coats, and bold accessories. But the standout footwear choice? Flip flops. A slightly jarring choice against the heavy tailoring, but perhaps a reminder that this is  Spring/Summer. Watch the full show here - Look 11 was a menswear favourite, a beige boxy suit worn shirtless, with a deep-cut blazer and another silk scarf belt, in a slightly darker tan. Shades of rust, brown, and gold began to trickle in from here. Look 28 featured a stunning kimono-style dress with panel work in greys, browns, and golds. Silk fringe dripped from each panel, transforming a mini into a floor-length maxi dress. Pure elegance. Then Look 29 - arguably the star. A full silk trench cinched with an exaggerated scarf-belt that melted into yet more fringe. It was soft, sophisticated, and impeccably made. All my favourites - 1, 3, 6, 8, 11, 15, 18, 20, 22, 26, 28, 29, 31, 32, 35,  40, 45, 48, 58, 62  The colour palette expanded gradually. From a black-heavy start, the show unfolded into muted tones of grey, navy, pink, rust, yellow, and soft golds. Pops of neon made surprise appearances, including Alex Consani in Look 14: a pleated, high-energy yellow two-piece. Yellow emerged again and again marking Ferragamo's shade for SS26. Amongst the refined tailoring were playful elements: oversized bangles, ties tucked into pockets, sheer mesh pieces (nipples out, unapologetically), and the occasional feather. The craftsmanship was impeccable, especially in the silk pieces, fringe-laden, feminine, but grounded in structure. The final looks shifted into high-shine territory with glossy black, latex-like textures. A bold close, though the final latex two-piece felt slightly off - perhaps due to harsh lighting or just a mismatch with the otherwise luxurious lineup. My final verdict is that Ferragamo knows exactly how to finesse elegance with an edge.  Stella Jean - September 27 @1:30pm  Look 25 Returning to the Milan schedule with her signature blend of Haitian-Italian heritage and ethical craftsmanship, spotlighting fashion as a vehicle for cultural storytelling. She did just that with a curated collection of just 25 looks, each one bringing the wow factor, nothing was repetitive, it was all remarkably unique and the craftsmanship was otherworldly!  Handpainted prints, embroidery, creativity, embellishments, colour work, everything had been perfected in this collection. It seamlessly blended her Haitian culture with her Italian culture, Stella has a remarkable eye and a very distinguishable trademark on her style. She is talented, bold and unwaveringly clever.  The craftsmanship was top tier from just Look 1, with a tailored two piece suit cinched at the waist with a handpainted and embellished display of a rural Haitian landscape, she always brings culture into her collections which I love! Look 2 (below) featured small embroideries of traditional Haitian ladies carrying produce in baskets on their head, and the model wore a basket style woven straw hat! - paying homage to her culture again! Look 8 was another beautiful one with a simplistic wide dress silhouette in a white shade with only one arm. The other was covered with a 3D crystal covered sleeve which I can only imagine would have been remarkably heavy! All my favourites: 2, 3, 8, 9, 11, 2, 14, 17, 18, 22, 23, 25 The closing look was absolutely breathtaking, it was all things elegant, sophisticated, fun, quirky all rolled into one! It was that vibe I mentioned the other day, “funky chic” She captured this vibe entirely throughout every single piece. But this Look 25 (above) audibly made me gasp, a white pair of flared trousers which practically floated off the skin. Which merged perfectly with a halter neck top which was connected to the trousers by a large multicoloured beaded fish! This fish was embellished with an exhaustive amount of beads, sequins, and even some patchwork to make it look as if it had its mouth open! If I bought that and wore it anywhere in Europe (Italy in particular) I know for a fact I would receive an unhealthy amount of compliments!  Her final wave to close the show was nothing short of poetic. She emerged in a look that perfectly encapsulated the spirit of the collection - a vibrant patterned skirt, a sharply striped tailored shirt, and the new season boots (which were seriously cool). But the real statement was in her hands: a simple white T-shirt reading, “Grazie Mr. Armani. Stella.”  A heartfelt tribute to the late Giorgio Armani, who passed earlier this month, it felt like a quiet promise - that his legacy will live on through her Italian-rooted work. A beautiful, emotional end to an already stunning collection. Too often, the big-name fashion houses overshadow emerging artists, however compared to some of the major fashion houses I’ve commented on this season so far this collection is far better in all regards, looks, feel, and craftsmanship. See the full collection here -  https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/stella-jean/slideshow/collection What's to come - I cannot believe today was the penultimate day of Milan Fashion Week! Well basically the final day, because tomotrow is fully booked off for Giorgio Armani's final farewell from fashion. These three shows today were just the morning warm-up, and yet they each brought something unforgettable: Ferrari's high-octane precision, Ferragamo’s effortless fringe, and Stella Jean's heartfelt cultural craftsmanship. And somehow, the most surreal moments were still to come - Miranda Priestly at Dolce & Gabbana? Louise Trotter debuting at Bottega? The day was full of historical and jaw dropping moments! With love, Mimi x

Look 62 Although absent from the official Milan Fashion Week runway schedule, Dario Vitale’s debut collection for Versace dropped last night in an intimate presentation, it marked a significant moment for the brand: the first collection following Donatella’s unexpected departure earlier this year. Her exit shocked the industry, and all eyes have been on Vitale to see what direction he’d take this iconic house in. Having spent over a decade at Miu Miu, his luxury credentials are undeniable, but Versace? I wasn’t 100% convinced.  Versace has needed a reset. The appointment of Vitale suggested change, a pivot from the hyper-glamorous Donatella era to something (perhaps) more considered. So when I opened Instagram after four hours of typing (and losing the will to live), only to see Versace had dropped their new collection without warning, I had mixed emotions. Elation, excitement… and rage. Because my fingers can’t keep up with Milan Fashion Week's relentless calendar! The vibe? Block colours, bold layering, and accessories galore. There were 75 looks in total - a serious debut statement. The layering was chaotic, with colours overlapping, clashing, and harmonising all at once. Accessories were classic Versace: chunky chains, singular oversized earrings, and a delightful disregard for subtlety. The styling was full throttle and I did love that, it was very 80s.  The venue for this intimate affair was so disturbingly Versace, it almost didn’t matter what the clothes looked like. Hosted at the historic Pinacoteca Ambrosiana in Milan, a museum dripping in marble statues, grand staircases, and full Renaissance vibes. No celebrities were invited, just the fashion industry’s inner circle and a cast of international models so meticulously curated it felt like a Vogue Italia fever dream. As for the runway route - the models had to descend a precariously long  staircase. Iconic, yes, but also a liability. Any asthmatics would've been out immediately, and the scattered rugs across the floor, marked with music notes and bold red lines. When the runway began the backdrop of muted marble and stone immediately allowed the collection’s explosive colour palette to take centre stage.  Look 1 The opening look is crucial. And honestly? I wasn’t sold. A red T-shirt peeked out beneath a blue vest, layered under a dark blue jacket, paired with bright green capri trousers and a brown leather handbag. Add one dramatic hoop earring, a dual-toned chain, and bejewelled mules, and you've got a lot going on. It was’t ugly but it wasn’t beautiful. It wasn’t screaming, “This is my opening look of my debut collection for Versace!”  For a debut collection, I wanted a punchier start. But things picked up quickly. Look 2 (above left) featured multicoloured jeans printed with about seven expressive faces in black lino print - a recurring motif throughout the collection. These artistic, face-covered pieces became signature moments, which I did love. That said, there were… clown trousers. Quite a few. Boxy, balloon-like shapes in loud stripes made appearances in multiple looks - from bold orange-yellow-green in Look 66 (below left) to equally exaggerated versions in Looks 63, 65, 67, 68, 69, and 70. The trousers were funny, but maybe not in the way Vitale intended. They clashed awkwardly with beautifully crafted tops, like a stunning beaded bra in Look 66 that deserved a less cartoonish pairing. Favourites - 2, 6, 7, 8, 11, 15, 18, 20, 21, 28, 32, 35, 45, 48, 49, 50, 57, 62, 64, 71, 73.  Look 73 (below left), which closed the show with subtle grandeur. It was the only look I felt truly resonated with classic Versace! A black and gold beaded bra top paired with a matching beaded skirt, refined, sexy, and so Versace. Of course colour had to come in as well so a red jumper was tied around the waist, and blue suede heels with ankle socks added an unexpected but welcome twist. What I admired most was the beading. In a collection bursting with chaos, the hand-crafted, laborious details stood out. Pieces that whispered “60 hours of work” instead of pieces that were so colourful my eyes hurt, gave the collection a layer of sincerity and craft that was much needed. Overall, the collection leaned hard into the 80s, as Vitale intended it to with high-waisted jeans, exposed branded underwear, slinky dresses, tailoring and power silhouettes. The mood was a modernised spin of Gianni’s legacy. In Vitale’s own words: “I wanted to go behind the clothing. What is the spirit of Versace, more than the clothes itself?” And while the spirit of Versace was certainly present - the sexiness, the colour, the showmanship, the collection didn’t quite land the knockout punch. It was colourful. It was playful. It had serious potential. But it lacked the razor-sharp cohesion you expect from a house like Versace. For a debut, though? It didn’t disappoint. It felt like Vitale testing the waters, figuring out how much Versace DNA he can splice with his own. It played things safe in some areas (a wise move if you want customers to actually buy the clothes), but took risks in others. It laid a foundation for him to discover and experiment with in future seasons.  With love,  Mimi x

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

How is it already the third full day of Milan Fashion Week! Crazy. Today is stacked with so many world famous fashion houses including Max Mara, Emporio Armani, Prada, Roberto Cavalli , Boss, and emerging designer Francesco Murano. By the time I woke up this morning both Max Mara and Boss had already done their collections so I had to catch up immediately! Starting with Max Mara below... Max Mara - September 25 @9:30am Max Mara served up a treat this morning! Wow. Ian Griffiths delivered 47 crazily beautiful and crafted Ready-to-Wear looks! The collection carried a cohesive and restrained neutral palette: beige, black, white, cream, and browns. It worked incredibly well. However some of the looks played with muted floral prints such as one kimono style coat (Look 9 - below) in a baby blue and white floral print which was beautiful.  All models wore a beehive-style hairdo with a black headband, and makeup was very natural; the focus was clearly on the clothes. Even the footwear was kept casual - sandals, mules and flip-flop vibes - perfect for Spring/Summer! Of course the accessories were also pretty minimal which helped translate the collection from day to night or night to day.  The clothes themselves were stunning. The first seven looks were office-wear-meets-brunch, with bespoke tailoring and accentuated silhouettes, there were puffed sleeves, cinched waists, and the classic elastic waistband shown throughout.  Look 4 Look 4 (left) stood out the most for me, a perfectly fitted beige suit I’d 100% wear to an office. Wide-leg trousers, a cinched blazer, and a black base layer peeking through the sleeves that gave it depth. The flip-flops helped downplay the look, along with a casual black bag. It was so beautifully crafted! Alex Consani (above) closed the show in a textured two-piece featuring a show-stopping (literally) skirt/trouser hybrid bottom and a cropped, cape-esque cardigan top. The waist was out, the figure on show, and an elasticated black waistband was placed on the stomach, perhaps to disrupt the silhouette and formalise the two pieces. It was event-ready but could easily be dressed down if separated.  The collection was very much Max Mara, simplistic and elevated basics done in such a unique and tasteful way. That's the only way I can describe it! Brilliant use of creative freedom, very much wishing each piece wasn’t in the thousands.    See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/max-mara/slideshow/collection Boss - September 25 @11:30am  65 looks by Marco Falcioni. This collection was superb. I’ve said that many times during Milan Fashion week, but if it deserves it it deserves it! The collection was classic, modern and elegant in such a way that I kept being surprised by how chic and smooth the collection was flowing. The menswear flowed seamlessly side by side with the womenswear. Both complimenting one another, if you saw a couple both step out in head to toe SS26 Boss you would think they were the coolest couple ever.  Boss’s SS26 was a masterclass in refined elegance, it was quiet luxury - with a bit of an edge. Under Marco Falcioni’s eye, the collection was a balance between polished tailoring and subtle surprise.  The fabrics were so luxurious with crisp cottons, lightweight wools, and softly draped silks which very much dominated. Some pieces carried a faint sheen, but nothing tacky; it was all a muted and understated affair. The fabrics were all layered, textures intertwined as smooth panels were juxtaposed with pleats or darts, the tailoring was so precise and calculated with unstructured shoulders and sleek seams that allowed for movement. Prints weren’t even visible, other than a few stripes, the few prints that appear feel as though they belong: quiet, elegant, barely there. It was the layering and accessorising that stole the show.  My favourite look was 100% Look 53 (below) which featured a washed lilac corset style top, sheen silk waist element as well as black and orange belt, and wide leg brown trousers. Paired with a recurring highlight of the show - a head scarf. Tied neatly at the side. It was absurdly elegant, I need this exact ensemble immediately!  Look 53 Most looks leaned solid or tone-on-tone, letting the styling and silhouette take the lead. The colour story is classic Boss: a well-curated neutrals palette. Black, ivory, beige, soft camel, touches of chalky white and light putty tones. Occasionally a deeper taupe or muted cocoa anchored a look, but nothing bright or overpowering. From first to last look, the collection feels wholly coherent. The consistency in palette, cut, and material means you could mix nearly any two pieces and they’d converse. The understated tailoring vocabulary, blazer, trouser, dress - the core pieces we all wear - Boss nailed the classics this season. It felt like the wardrobe of someone who knows how to live: work, dinner, travel, everything. SS26 Boss offers clothes you want to live in. It’s not flashy, but it’s never dull.  See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/hugo-boss/slideshow/collection Emporio Armani - September 25 @3pm Look 84 Following the recent passing of Giorgio Armani, many were left with complex emotions watching what marks his final direct influence on the fashion world. The Emporio Armani SS26 show debuted earlier today, while the Giorgio Armani runway is set to take place on Sunday 28th September at 7pm. The 85-look Emporio collection featured refined tailoring, flawless silhouettes, and unexpected pops of colour. Closing with embellished mini dresses and skirts in soft lilac and faded pale blue with monochromatic beading that was delicate, yet eye -catching. The collection was successfully aimed at appealing to the younger audience Emporio Armani speaks to. It was clever, fresh, and perfectly Spring / Summer.  I’ll be saving my full analysis until after the Giorgio Armani collection is released, as a way to honour his brilliant, creative mind one last time through both of his namesake labels. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/emporio-armani/slideshow/collection Francesco Murano  - September 25   @ 7pm  Murano is well known for his masterful knowledge of technical precision and his clever eye for elegance. He has dressed some amazingly impressive celebrities, including Beyoncé. I had complete faith he would bring exactly what he is good at this season, and that he did.  The entire 27 look collection remained exactly his niche, refined elegance, there was a miniscule colour palette including mainly white and black with a few neutral tones sprinkled in. Each piece was luxurious and oozed opulence. Every look was sophisticatedly sculpted and moved very fluidly as the models graced the runway. Every look held a clean silhouette, constructed in light, sheer materials with soft drapery which was occasionally offset with sharp tailoring in jackets or trousers. (Look 25 & 26) Monochrome hues dominated, with blacks, whites and muted neutrals underscored by subtle structure and volume shifts. The collection’s strength lay in contrast: between rigidity and flow, minimalism and detail, classic shapes and new forms. Overall, Murano delivered a refined, cohesive vision that felt thoughtful, wearable, and quietly confident - a promising step forward for his emerging name. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/francesco-murano/slideshow/collection Roberto Cavalli - September 25 @8pm  Look 27 I was excited to see what Fausto Puglisi had in store this season, and as a self-proclaimed gold girl, I’d now like to personally thank him for channelling my dreams into one hell of a collection. It was fiercely feminine, powerful, and unapologetically gold. The 40-look collection offered a wide variety of silhouettes, but each look shared three core elements: strong, eye-catching shapes, a tight and cohesive gold-toned palette, and an undeniable elegance. Roberto Cavalli has had such a powerful comeback since Puglisi stepped in as Creative Director. Models walked out onto a glitter-lined floor that stretched up the walls and across the entire catwalk - a setup that mirrored the central colour theme and instantly set the tone. A few of the looks used a material I’m personally not a fan of - that crinkled gold tin-foil looking fabric. It’s shiny and, more often than not, looks tacky.  That said, Look 4 worked surprisingly well: a long maxi dress with black lace detailing that gave the fabric some needed contrast and depth. But just a few looks later, Look 7 transported me right back to my usual dislike with a gold trench and jumpsuit combo that felt cheap and costume-y. Hated it. There were a handful of other “filler” looks, using that same solid gold fabric that just felt underdone. But when the gold hit, it really hit. If the garment - whether dress, trousers, belt, blazer, trench, blouse, necklace, or shoe, wasn’t entirely gold, it was threaded with gold, appliquéd in gold, beaded in gold, or accessorised in it. You get the gist. My favourite looks: 2, 4, 12, 13, 15, 16, 18, 19, 20, 21, 24, 25, 27, 28,  29, 33, 36, 39  Some silhouettes felt very 80s-inspired -  especially Look 27 (above), one of my absolute favourites. A striped gold floaty shirt, semi-tucked into flared trousers, cinched with a wide gold belt featuring a big buckle. The fabric had this stunning sheen that feels floaty and mysterious in the best way. It’s unique, luxurious, and dramatic. I’m obsessed (though I imagine silver lovers may feel differently). These floaty shirt-and-trouser combos were a staple of the collection - always belted, always fabulous. I also adored the gold-wash denim jeans in Look 15 (left) and their sister, Look 16: crisp white trousers detailed with a muted golden leopard print. The collection was impressively cohesive from start to finish. However craftsmanship really shone through with the gowns. My personal favourite? Look 28 (above!) A black sheer long-sleeve dress, completely covered in gold lace-style detailing. The gold strands dripping from the wrists were breathtaking. There’s panelling, a tie-up detail, an open back… it's my dream dress. Other honourable mentions go to Look 39, which featured heavy gold embellishment with silver branch-like accents, and Look 40,  a floaty, minimal champagne-tinted silk gown that closed the show with quiet glamour. I think you get the idea. As a gold girl, this collection spoke volumes to me. From the moment the show began, and as I scrolled through, realising no other colours were coming - I was speechless. Not many designers can pull off a fully monochromatic collection, and while there were a few misses, the majority was pure gold perfection. I want more. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/roberto-cavalli/slideshow/collection What's to come - What a day! Prada, Max Mara, Boss, Emporio Armani, Francesco Murano, and Roberto Cavalli all delivered standout collections, and that’s why they made it into this post. Prada even deserved its own blog post, which I highly recommend if you want a deep dive into Miuccia’s latest innovations with Raf Simons. I was genuinely impressed by today’s talent, and honestly a little overwhelmed trying to capture it all - but it was too good not to share! I hope you enjoyed the roundup and maybe even learned something new. Tomorrow promises a quieter schedule, with Blumarine and Tod’s catching my eye, so we can pace ourselves before the next big fashion wave hits on Saturday! With love, Mimi x

Look 29 Moschino, to me, has always been bold, theatrical, and unapologetically camp. They love to make headlines, though, admittedly, sometimes for the wrong reasons. It’s usually a gamble: the collection is either underwhelming or absolutely spectacular. And obviously, this season I was praying for the latter. Luckily, Moschino delivered. This 52-look collection was one of the campest, most iconic things I’ve ever seen from the brand and honestly, one of the most exciting shows of the entire SS26 season. There were pieces that had me gagged. Every look was wearable in its own weird, wonderful way -  though you'd definitely need to be ultra cool to pull off Look 21: a custom-painted, two-piece Moschino potato sack.  There were so many standout moments. A mirror skirt (Look 11 - below) which reflected the lights in every direction. Large arm cuffs (Looks 1 and 20) resembling robotic limbs. Look 13 - a trench coat with a massive, fluffy 3D spider attached to the front collar. Look 22 gave us studded suede bags, which I loved. And then, as if by some SS26 cosmic rule, Look 27 (below) brought the season’s honorary bright purple piece - it’s like every designer got the same dare to add one random purple piece! ABOVE - LOOKS (in order) 11, 27, 42 There was also some surprisingly beautiful tailoring. Ruffles were added to shirts in unconventional ways (Look 18), interesting cut-outs appeared throughout, and of course, the signature Moschino play on texture and material returned with coats made of fabric scraps (Look 23 - below) - the scraps hung down in neat layers of neutrals, creating a cohesive and almost elegant deconstructed vibe. This collection excelled in accessories - some of the most inventive I’ve seen all season. Look 14 featured a crown made out of twigs. Then came Look 29 (above): a gravity-defying tower of six differently shaped and patterned gift boxes balanced on the model’s head ( it made me feel anxious just looking at it) And if that wasn’t enough, Look 30 featured a hairpiece hand-crafted to look like a nest, complete with 3D-printed birds, held in place by visible wire. It was sculptural, surreal, and brilliant. The floral section - of course for Spring! Looks 31 to 34, were very elegant, 3D appliqué flowers swept the floor, trailing from pale pink dresses (right), suit sets, skirts, and even a dramatic black maxi dress. It was delicate but still distinctly Moschino. One of my personal favourites was the newspaper dress (Look 42 - above). It was covered in prints from various newspapers, tinted with soft yellow, pink and white hues. The model even carried a bundle of fabric “newspapers,” neatly folded in her hand, every detail served to complete the look and tell a full story. Smiley faces popped up too. Look 45 (above) featured a butter-yellow mohair mini dress with a bold black smiley face on the chest and a unique rolled hem - it was unusual, playful, and of course, camp. I also fell in love with the sheer, structured wire skirts in Looks 3 and 47, one in black and one in orange. Built with wire to hold their exaggerated silhouettes, they were totally sculptural. The orange skirt in particular (Look 3) stood out as it was paired with a large orange t-shirt, cleverly restructured into a fitted vest, with one of the armholes pressed flat across the model’s chest. It was confusing and genius at the same time. The final few looks continued to push boundaries. Looks 46–49 introduced a caricature vibe. Look 46 had a purple pixelated knit top and trousers, printed with graphic legs. Looks 47, 48, and 49 were crisp white tailored pieces adorned with black hand-drawn lines, giving a cartoonish, illustrated effect that made the garments pop in motion. But two of my absolute favourite looks were 38 and 39. They took the idea of “recycling” to a new level! Shirts with collars, striped tees, and random garments were flattened or pressed together to create a single sheet of fabric. Look 38 (left) was a full dress made of this patchwork technique, and Look 39 used the same concept in skirt form. It felt revolutionary. Honestly, don’t throw away your old clothes… just glue them into something fabulous. Duh. Then came the final three looks: 50, 51, and 52. All were beautifully pleated dresses -  a blue gown (Look 50), a minimal grey dress (Look 51), and a white version of the same pleated gown (Look 52). What made them so intriguing wasn’t the garments themselves but the accessories. The blue gown came with a blue sand bucket. The grey dress? Paired with a cooking pot. And the white one? A literal napkin. Simple pieces elevated by absurdly clever styling - leaving you confused but laughing. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/moschino/slideshow/collection Fashion doesn’t often excite me anymore. But this collection made me blush with pure excitement. It gave me hope for the future of fashion. It was camp, it was chaotic, it was clever. SS26 as a whole has felt like a miraculous recovery after years of industry mediocrity… and Moschino just added their name to my list! With love,  Mimi x

Miuccia & Rà Prada always brings all fashion icons together and this season, it felt like the ultimate midweek staple. Miuccia Prada and Raf Simons returned with yet another collection rooted in intellectual elegance. I was so excited for this one, especially after last year’s jaw dropping heels! In a pre-show interview with Interview Magazine  earlier in the month. Raf Simons reflected on the wider fashion calendar this season, packed with designer debuts and major switches. “Honestly, it's a special moment,” he said. “There are so many designer switches and hires … the September shows, it's going to be a bit of thunder and lightning. You just have to do your thing … and that’s what we do.” Miuccia added, “What I’m aiming to do is really push more of what we started saying in the men's collection. I feel a real twist in fashion.” They know full well they can do whatever and people will still take the time to watch because it's Prada! As kindly shown by @stylenotcom on Instagram, the invitation for this season was unreal: a grey hardback box that opened to reveal a small silver metal wallet embossed with the Prada logo. Inside: the invite. Chic and industrial. Setting the tone. And the invitees were of course the most famous faces, including Charli D’Amelio, Sadie Sink, BTS, and of course Anna Wintour - the buzz was in the air.  The venue set the mood immediately: a large, very industrial-like space with sky-high ceilings and concrete walls adorned with burnt orange-toned metal structures. Huge columns lined the centre of the room. Some walls had a clean, white, industrial finish - it felt utilitarian, almost sterile, but in the best way. And of course, the resin-covered orange floor. Very Prada . Watch the livestream of the show here: Or see the full collection here: https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/prada/slideshow/collection The show kicked off with bold utility-style jumpsuits: two twin looks in navy and bright blue, paired with slicked-back hair and gloves. Later came an olive green version, matching the factory-floor energy of the venue to perfection. It was a strong, cohesive start. Then came more colour, lace skirts with layered ruffles and textured finishes. Lime green made its debut in Look 7 (below), opening the floodgates for an array of vibrant tones. Yellows, blues, reds, greens. Hints of teal and even bubblegum pink. The colour combos were unexpected but worked surprisingly well. Take Look 18 (below): a boxy mint green dress with an embellished neckline, under which peeked orange ruffles. The contrast shouldn't  work… but it shocking did. ABOVE - LOOKS (in order) 7, 18, 40 Textures were everywhere. Cotton clashed with satin, silk met lace - but never messily. It felt deliberate, controlled, and visually exciting. Look 22 featured a boxy pink silk mini dress that caught the light with every step. Everything had a slight offbeat charm but remained totally wearable. The shoes? Kitten heels. On every model, which was understated but classically Prada with just basic black and white tones. Loved them. Loli Bahia (Look 33 - below) glided down the runway in a white jacket and orange-detailed skirt - another favourite. Honestly, the skirts were everything this season. From the tailoring to the texture play, they were standouts. We saw lace mixed with cotton, pleats paired with ruffles, and every combination felt fresh.  Another key detail? The silk gloves. They came in every shade: light blue (53), purple (7), mustard, yellow (18), champagne, pink (17), olive green - they kept reappearing across looks. This consistent accessory tied the whole collection together. Despite the range of styles, the colour palette bled beautifully from one look to the next. That sense of continuity made the show feel like one long sentence - particularly in the final walk around.  Favourite looks:  3, 8, 10, 11, 18, 21, 27, 33, 35, 37, 40, 43, 51. Every single one had something exciting going on. ABOVE - LOOKS (in order) 8, 33, 37 However, Look 37 (above) was a major standout. The skirt? Ethereal. Layers of fabric and texture all worked into one piece. A buttery yellow front panel with tiered ruffles, alongside a sheer black lace section, next to a pleated grey officewear-style panel. So many stories in one skirt, but it felt seamless. It was tied at the top with a black ribbon. Genius. This tiered-skirt technique appeared a few more times throughout the show and honestly? Obsessed. Look 8 (above) did it too with a black pleated panel, orange centre, and baby blue ruffles. The finale, when all 53 models circled the runway, was breathtaking. The collection flowed. It was wearable, but not boring. Elevated, but still rooted in reality. Raf and Miuccia struck that Prada balance: basic enough to be Ready-to-Wear, bold enough to be occasion wear. It was distinctly Prada - but with a fun, modern twist. It was colourful, clever and cohesive. Raf and Miuccia have done it again. And the applause as they stepped out at the end? Deserved. (Miuccia is so cute.) With love, Mimi x

Look 23 Now this was a Ready-to-Wear collection!!! Colourful, intriguing, bold, and unapologetically Fendi - the SS26 collection delivered 84 looks, each with its own distinct presence. And while I didn’t love every single one (I mean, how could you with 84?!), I was surprised by just how many I liked… and a few I outright adored. Even the filler pieces, there had to be some with such an expansive collection, were better than the standout looks in other shows this week. That’s saying something. Florals were given new life through clever cutouts: both lace-based and laser-cut flowers blooming from jackets, dresses, blazers, and coats. A standout example? Look 47, a yellow matching set crafted from sheer fabric, delicately outlined with intricate white floral cutouts. It felt precious, wearable, and entirely fresh. The range of textures and patterns added layers of visual interest throughout the show: sequins, sharp tailoring, bold colour moments (essentially a full rainbow!), and a clear admiration for craftsmanship. Yet, the palette was distributed so seamlessly across the 84 looks that it never once felt overwhelming. You could breathe, see the colours and even were left a bit surprised. My ultimate favourite? Look 23 (above). A woven-effect coat constructed from synthetic fur, bursting with a weave of colours - brown, red, pink, blue, yellow, navy, beige, all intertwined and woven between each other. Under, Over, Under, Over! This was paired with a matching oversized tote made of thick ribbons in the same palette. It was a visual feast, striking from afar, yet undoubtedly cosy and tactile up close. It looked like wearable joy, I can just imagine how warm that coat is!  Silvia didn’t shy away from surprise details either. The opening look, for example, featured a chocolate-brown shirt underneath a silky blazer-and-skirt duo with exposed button-lining detail stitched on the outside of the skirt! Not where it was meant to be inside! Blue asymmetrical heels grounded the look, along with an abstract multi-colour bag that pulled it all together. Deconstruction and weaving also made an appearance, as in Look 32, where a knit top appeared to be coming undone - but was in fact a perfectly constructed illusion. ABOVE - LOOKS (in order) 47, 32, 2 Fendi also dipped into the season’s growing polka dot obsession, giving it her own spin with raised black dots layered atop flat white printed ones - a textured twist on the classic motif. Trends were acknowledged, but always with a Fendi fingerprint. The runway itself was a visual extension of the collection: colour-blocked stairs in red, green, and pink leading to warm beige walls and a matching tricolour path. It set the tone for a show full of personality and poise - the runway was fit for supermodels, and of course it brought these too! Alex Consani and Amelia Gray were among the supermodels to strut this catwalk. Only the best for Fendi.  Tailoring was, of course, present and precise, offered in both restrained brown hues and more experimental blue tones, and even reds. Amid the sharper silhouettes were of course softer, flowing dresses like Look 7: a ruffled, pleated number with a cinched waist and a bold tomato-red strap, paired with a vibrant yellow statement bag. Fendi really didn’t hold back when it came to accessories this season and it helped the collection feel complete. Look 29 Speaking of tomato red - which I told you was coming, it exploded in Look 29 (left), which featured a fully monochromatic ensemble from head to toe. Jacket, shirt, trousers, shoes, rimmed glasses, and even a tiny wrist-hung handbag all in rich cherry tomato red. It was bold, it was delicious, and it was exactly what this season needed. Although the colours varied widely, we saw a consistent return to vivid blues, energetic reds, and sunny yellows, sometimes used as accents, other times in full, uninterrupted monochrome. It showcased just how versatile this collection was providing a look for literally everyone, catering to the masses while also being exclusively luxury. Now that’s an accomplishment!   Frédéric Sanchez, who worked on the show’s soundtrack, described it as a “psychedelic promenade”  and I think he nailed it. It was a sensory experience, full of movement, texture, rhythm and surprise.  About the Collection, Silvia Fendi herself said: “I like not to give a definition in words to the collection, because it’s made of so many different thoughts.” And that’s exactly what it felt like - a fluid tapestry of perspectives, textures, and moods. This didn’t create a singular vision, but many. And I think that’s the power of a collection like this: there’s no right or wrong interpretation. Just feeling. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/fendi#review With love, Mimi x

Um how are we already on day 3 (almost day 4) of Milan Fashion Week?!?! This is going by ridiculously fast. Today provided me with lots of hope, then fear, then hope again for the fashion industry. Starting off not so strong with Jil Sander by Simone Bellotti, in his Creative Director Debut... Jil Sander (Simone Bellotti)  - September 24 @10:30am  A fresh artistic direction for the minimalist house. Jil Sander is known for their modern minimalism and quiet luxury. Which we definitely got following today's display. I wrote yesterday in my notes, “Jil Sander - Predicting Boring.”  I must have superpowers because it was, indeed, boring. Appointed as Creative Director in March, this SS26 collection marked Simone Bellotti’s debut. You’d think he’d come in bold - but no. Instead, we got 61 looks that felt like quantity over quality. It was average, not eye-catching, and honestly quite shocking for a debut. Boring, basic, and very safe. Then again, in this economy, I can’t even blame him. He probably wants the buyers on board before showing us anything too creative. Maybe next season? There were a few highlights - Look 49 - below (my one and only favourite) for example, a boxy white dress (with pockets!) with strict and beautiful tailoring to create a very clean silhouette. I also liked the trio of Looks 34, 35, and 36: a pink mini, a blue skirt, and a white cap sleeve dress all made in a textured, feathery fabric that actually caught my eye. A rare moment of interest in an otherwise underwhelming display. The show even ended on a weak note, with more of the same cheap-looking materials. Is this Zara or Jil Sander? You can’t charge £2,500 for a coat that looks like it’s made from a bin bag. Combine that with a lineup of pale, lifeless-looking models, and the whole thing just felt a bit off. Look 49 Visually, it leaned into familiar Jil Sander codes: structured yet airy silhouettes, hidden slits, subtle cut-outs, and a very restrained colour palette. Although Royal blue and tomato red made a few bold appearances, alongside orange and pink. There was even a rogue purple leather look (19) that felt completely out of place. Lots of leathers, nylons, and mesh, in the form of tailored coats, blazers and even t-shirts. There was also lots of clean, simplistic layering between all of the colours on display, it was simplistic but quite elegant - A long red knit jumper with a cropped navy jumper on top - above (24)  - I can appreciate and get behind this idea! Overall there was just very minimal experimentation. Look 44 - a grey mini dress with a cut-out chest and matching bralette, tried something, but even that felt muted. It was tame. Predictable. And frankly, dull. But maybe that’s the point? Bellotti might’ve nailed the Jil Sander brief: minimal, controlled, disciplined - and entirely safe. It wasn’t horrible that's for sure, there were even a few pieces I stopped to appreciate while scouting the collection. It just wasn’t what I expected from a debut Creative collection. Average and definitely not news worthy.  See the full collection here - https://www.tag-walk.com/en/collection/woman/jil-sander/spring-summer-2026?city=milan Missoni - September 24 @4pm  Look 14 Missoni’s SS26 collection delivered 36 unapologetically bold looks that were, in every way, definitively  Missoni. Think sparkles, sequins, signature swirl patterns,  all infused with a distinctly playful energy. I saw a TikTok this morning that was claiming “funky chic”  as the new vibe of the year, and although this is a Spring/Summer '26 collection, it fully embraced that ethos - and I am 100% on board. The silhouettes celebrated the female form beautifully, every single model's legs were on full display, bold linears, French-style hats, and chunky, eye-catching accessories. Think oversized pendants, dangling chains, and statement shoes in vibrant pops of colour. One of my standout looks was Look 14 (right): a long, vertically striped shirt with puffed sleeves, shimmering in pastel blue, yellow and purple sequins. It danced between beach cover-up and dinner outfit , that magic balance of casual glamour Missoni does so well. Styled with bikini-style bottoms peeking out in coordinating blue, black and white stripes, the look was completed with a chunky gold chain necklace, matching bracelet, and two  bags: a sparkly striped tote (complete with a perfectly rolled towel in classic Missoni zigzag) and a smaller leather evening bag perched on top. It was playful, practical, and purposeful - offering so many avenues of real styling ideas for fashion buyers. That duality was consistent throughout: day-to-night, beach-to-bar. Every piece had a purpose. Each model who carried a bag carried two! One for the beach, one for the club. It painted the picture of a chic, busy woman doing it all. Beachclub-ready, towel in one hand, purse in the other. I adored it. The show fully leaned into Missoni’s DNA, from the riot of stripes (horizontal, vertical, zigzag, swirled, beaded, sequinned) to the cohesive seasonal styling. Finally, a runway where everyone looked like they were dressing for the same climate! The looks oozed spring-summer energy -  effortless but intentional, relaxed yet elevated. There wasn’t a single outfit I wouldn’t want packed in my suitcase for a European holiday. This was Missoni at its best: vibrant, confident, and fun. The stripes were doing the absolute most and I loved every second. Funky chic is here to stay, and Missoni just gave us the ultimate wardrobe to prove it. See the full collection here - https://www.tag-walk.com/en/collection/woman/missoni/spring-summer-2026?city=milan KNWLS  – September 24 @8pm  Look 20 KNWLS -  the design duo Charlotte Knowles and Alexandre Arsenault, have delivered once again, bringing their irreverent aesthetic from London to Milan this SS26 season. Their debut at Milan Fashion Week (their first show there) was a 37‑look collection that felt eclectic, daring, and totally in tune with who they are.  Nike made its presence known this season by collaborating directly with KNWLS, all the shoes were Nike, as well as many ticks that could be spotted throughout the collection! They slipped into the KNWLS narrative as underlays and accents. In Look 2 (below), a washed‑grey bodysuit layered beneath a custom dark green Nike tee paired seamlessly with a texture-rich utility corset, dropped waist and accentuated hips. Leggings throughout the show whispered the KNWLS DNA, but a Nike tick peeked at waistbands and matching sports bras, giving a clever fusion of sport and statement. My absolute favourite was Look 20 - above. Pale green leggings with cut-out details and flared ankles (yes, Nike ticks included) paired with a matching bra top. Over that: a neutral brown and beige jacket-and-skirt combo with ruched sleeves and a cinched waist. It felt like pilates-to-coffee dressing perfected. The mint and beige tones mixed in an unexpected but flattering way. If this wasn’t 100% going to cost thousands, I’d be trying to buy it now. Then there’s Look 23 (below) - a pale icy blue leather set with silver grommets at the ankles and rust-orange linear tracings down the trousers. The cropped corset is sculpted and bold, evoking a luxury‑yoga suit that’s sexy and precise. Edge came also via tailoring: Look 10 (right), a cropped black trench with a high collar and dramatic winged shoulders, was STUNNING. The silhouette felt iconic. They also delivered it in beige, but the black? Irresistible and chic.  Colour and pattern evolved across the collection: starting with neutrals and slipping into icy blue tones, soft pinks, and mint green accents. As well as a remarkable amount of plaid. Shapes were used in clever and playful ways: boxy cuts, robotic-like creations, balloon arms (Look 5 - right) some pieces were sculptural, others alien in form. The tailoring is bespoke, the imagery bold, the mood undeniably KNWLS. They struck that balance: sensuality + structure + exposed detail, while never losing precision. This show was exactly the vibe I wanted and expected, it was confident, cohesive, and extravagant. And of course, I’m already wanting at least half of it. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/charlotte-knowles#review What's to come - And just like that, Day 3 came and went. From Jil Sander’s beige-on-beige debut to Missoni’s sparkly beach bar fantasy and KNWLS’ Nike-infused badassery, it was a day of contrasts, confusion, and serious coveting. I'm both dreading and eagerly anticipating tomorrow! A day with so many show I'm going to have to ice my hands after from writing so much! From Max Mara, Boss, Prada, Emporio Armani, Moschino, and finishing it all off with Roberto Cavalli! Bring on Day 4. With love, Mimi x

Alex Consani as "La Bomba" Demna Gvasalia’s debut for Gucci is one of the most anticipated creative transitions of the season. And with a surprise drop of the look book for the collection coming out Monday, just 36 hours before the scheduled show time - Demna already had the entire fashion industry in a chokehold without even having to put on a show! I was eagerly anticipating Demna's take on Gucci, after such a brilliant decade leading Balenciaga. He set himself apart immediately with the gorgeous digital look book titled “ La Famiglia” , which translates to, you guessed it! “The Family.” It displayed 37 unique modern-day icons, from “It girl” to “La Star,” and rebranded all Gucci socials in the meantime. Each plaque was dedicated to a separate, unique model, which was again genius, including some supermodels, such as Lila Moss and Alex Consani. Some of the looks seemed to be direct nods to Tom Ford’s Gucci from the '90s, such as Lila Moss’ look (below) “Ragazza,” which featured a knee-high black boot similar to Gucci by Tom Ford AW 1998 . There was also a very nude look called “Ragazzo” - purely a black speedo-style pant on a rather muscular male model, directly mirroring Gucci by Tom Ford SS 1998 . Well done, Demna! Consani’s look (above) - labelled “La Bomba” (The Bomb) was an accurate description for such an iconic model. Her look has to be one of my favourites. Classic black stiletto with a gold heel, a tiger-print fur coat sweeping just to mini-skirt level, belted with a GG - gold chain at the hips, paired with a simplistic black baguette bag adorned with the classic green and red Gucci stripe. A lethal face card and dangling GG earrings also complimented the killer look. Captured by the incredible photographer Catherine Opie. She wore this same look in the short - film (shown above right) All the look book imagery was further elevated in individual frames for each look. This way of displaying a collection stands out so much more than a classic catwalk (Demna’s first debut runway for Gucci will be for AW26 in February) Which you can tell by how much talk it’s getting! Demna is bringing Gucci back from the dead, I was never impressed by Gucci over the past few decades, and that changes now. Demna says about his new vision, “It’s the mindset, it’s the Gucciness of Gucci”  ABOVE - Flora & Primadonna were both shown in the short - film The looks were bold, the direction was bolder. Each character represented a different vibe, era, and movement. The diversity in both style and personality was so on point. And although the actual designs weren’t otherworldly or ridiculously unique - this didn’t matter. The display and way of presenting each look made them relatable to the everyday person. 37 looks for 37 occasions! You can see the look being used for a different vibe because they literally tell you what vibe it is for! Each look felt uniquely Gucci and inherently familiar to the brand.  Invitation to the premier of "The Tiger" But it doesn’t stop there! The look book was accompanied by a live event to present the short film. The invitations for said event went beyond the task and featured new packaging for Gucci - out with the olive green box, and in with a sleek black one, looking very chic. Inside was an authentic Gucci crest from the 20th century, accompanied by a certificate of authenticity guaranteeing the legitimacy of said house crest! The film itself, labelled “ The Tiger” , created by Spike Jonze and Halina Reijn, debuted live at Milan Fashion Week last night. Featuring Demi Moore, Kiki Palmer, Kendall Jenner, Alex Consani, Edward Norton, Elliot Page, and Ed Harris, to name only a few. The event was attended by the models from the Gucci look book. As well as the stars of the short film, and other influential fashion figures - all of whom were wearing Demna’s new collection! The 35 minute short film is exactly what Gucci needs right now, it’s a total rebrand. Demna’s version of Gucci is both unique but also honours past eras for the fashion house, leaning into Tom Ford, Alessandro and even Frida! The short film had brilliant acting, great looks (ofc), made me laugh, squint and gave me some amazing quotes I will be adding to my day-to-day language. The framing, attitude, models gestures and the entire concept of the piece was reflective of the look book. Everything tied in masterfully, It was distinctly dystopian and thriller-esque as Demi Moore’s character slowly loses her mind.   The film is now streaming on all Gucci channels. Watch at link below! Below is a brief synopsis of the 35 minute short - or you can watch above! The Tiger takes a bold, dystopian turn, centring on Demi Moore as Barbara Gucci - Head of Gucci International, Chairman of California, and matriarch of a chaotic, high-functioning fashion dynasty. The plot follows Barbara as she gathers her eclectic children and a special guest (a journalist shadowing her every move) at the family home to celebrate her birthday. Beneath the sleek façade, she’s grappling with too much: maintaining Gucci’s legacy, managing public perception, and holding her family, and herself, together. The film opens with Barbara slipping into a surreal, lucid dream at her desk, screaming in a golden gown - an eerie prelude to the chaos that follows. She’s escorted to a lush garden, where models (including Alex Consani and Kendall Jenner) pose silently, awaiting her approval. Then we dive into the heart of the home, where a formal family dinner takes a turn: Barbara’s daughter accidentally spikes the wine with a mysterious serum, triggering a kaleidoscope of madness. One son hallucinates, another gives a wild, drug-fuelled speech. As things spiral, Barbara and the reporter retreat for a tense, philosophical exchange about how they perceive one another - during which she changes into multiple, jaw-dropping looks from the Gucci SS26 collection. Then her alien-obsessed son delivers the film’s core question: “What do you do if you're in a room with a tiger?” To which he later answers, “You love the tiger. And then the tiger will have that in it.” Moments later, the reporter freaks out, makes a passive-aggressive jab about Barbara’s leadership, and storms out. Barbara breaks. She screams. The birthday cake explodes. And the film crescendos into a symbolic burst of chaos. It ends with a haunting tableau of Barbara and her children, fractured but together - as she repeats the question that’s haunted her throughout: “How do you see me?” Towards her daughter. And in true Demna fashion, a post-credits scene shows her son seemingly abducted by a UFO. Every minute detail of this entire debut collection for Demna has been meticulously thought through and it shows. It is breathtaking and overwhelmingly genius. Demna is bringing so much more than design and creation. He has a vision for Gucci, and I am so filled with hope for it! This is fashion. This is art. This is cinema. With love,  Mimi x

Diesel. The iconic brand known for their wild shows and performative energy became the opening act for Milan Fashion Week this season, and it was the perfect pick! Diesel always sets a mischievous and unique tone to follow for the week and they have really set themselves apart from the crowd this year! They brought fashion to the public, it was the perfect opener to what is set to be an iconic MFW!  ICONIC! VERY DYSTOPIAN (image from Diesel instagram) This year Diesel have gone down an experimental and unique route to display their SS26 Collection. The idea was advertised through their instagram just a week ago. The Diesel Egg Hunt! Members of the public could “Register. Hunt. Win prizes.” as worded via their instagram. The Diesel SS26 Runway Collection features 55 full looks inside transparent, egg-shaped vessels. Meaning 55 models are trapped in eggs for the entire day - what a cool day at work! Diesel had a base camp set up, available to all who signed up for the hunt, at Piazza Beccaria, where live music, free drinks and entertainment was provided all day long. The Runway Show hit the streets of Milan - literally - in a city-wide Egg Hunt. Over 3000 “hunters” who had previously signed up via their exclusive link, roamed the streets of Milan from 7:30-11pm CET to find these looks and if they scanned the QR code on that egg first they could be in with a chance of winning prizes from Diesel!  The locations were very variable with eggs placed all around the city centre! From street corners, supermarket exteriors, basketball courts, public parks, under bridges, in doorways, by the river, in alleyways and even inside buildings! From jazz bars, to restaurants , and even inside shops. It was crazy! my fave look It is one hell of an idea and equally is making one hell of a statement. When brands take a fun and unique route to display their new ideas it makes it so much more memorable! Diesel has stayed very true to its disruptive spirit, taking fashion off the runway and onto the streets. It is uniquely Diesel and brings a fun and interactive aspect to the public! The actual collection itself featured "more treatments, experimentation, and more play." As quoted from their own description. There was satin denim in vibrant colours, tailored jackets with utility style pockets, knit dresses that were so distressed they barely held together and a lot of washed denim pieces. One of my favourite egg looks was a short bodysuit romper with sheer white top, cutouts at the hips. A statement necklace of course, and some floral shorts leading into satin denim jeans!  See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/diesel#review The entire ideology and actual result were very interlinked, Diesel is back with a new and exciting future. Very fresh, very fun, very Diesel.  With love,  Mimi x