This is Issue 35.

DONATELLA VERSACE STARTS AGAIN

Donatella Versace is beginning one of the most significant chapters of her career after stepping away from the creative leadership of Versace. In partnership with Revolve Group, the designer is developing a new independent brand expected to launch its first products in 2027. Rather than recreating Versace under another name, the project is being positioned as a broader fashion and beauty universe aimed at a new generation of consumers. The move gives Donatella an opportunity she has rarely had during her career: the freedom to build an identity from the beginning without carrying the responsibility of the house founded by her brother Gianni. After decades spent protecting and evolving one of fashion’s most recognizable brands, the question now becomes what Donatella Versace chooses to create when the name Versace is no longer the framework.

MOSCHINO - THE SUNNEI ERA BEGINS

Moschino entered a new creative era in Milan as Sunnei founders Loris Messina and Simone Rizzo presented their first collection as co-creative directors of the house. The appointment brings together two brands connected by an instinct for humor, experimentation and challenging the conventions of Italian fashion. Rather than attempting to erase Moschino’s eccentric history, Messina and Rizzo began exploring how its codes can function within their own contemporary visual language. The pairing feels particularly relevant for a house built on irony, because Sunnei developed its reputation by questioning the traditional fashion system itself. Their debut was also one of Milan Fashion Week’s most closely watched creative transitions, beginning the difficult process of transforming Moschino’s recognizable past into something capable of speaking to a new generation.

GUCCI - DEMNA FINDS HIS GUCCI

Demna’s second major ready-to-wear collection for Gucci offered a clearer picture of the house he is beginning to construct. For Spring 2027, the designer looked across different periods of Gucci rather than allowing a single era to define the collection, combining equestrian references, late 1980s and early 1990s codes, glamorous tailoring and elements associated with the Tom Ford years with his own instinct for disruption. Even the presentation blurred the relationship between fashion and commerce, transforming the environment into something resembling a Gucci store. Instead of treating the archive as a fixed identity, Demna appears to be using it as material that can be continuously rearranged. The result suggests that his Gucci will not be defined by one historical reference, but by the tension between the house’s many identities and his own contemporary perspective.

PRADA - THE SKIRT TAKES OVER

Miuccia Prada and Raf Simons reduced Spring 2027 to one of fashion’s most familiar garments and then used repetition to reconsider what it could become. Across all 63 looks, skirts formed the foundation of the collection, with conventional trousers and dresses removed from the equation. Rather than producing a single silhouette, Prada explored the garment through contrasting proportions, materials and styling, turning limitation into the central creative device of the show. The approach reflects a recurring idea within Prada: taking something apparently ordinary and making it feel strange through context rather than decoration. At a moment when collections are increasingly expected to generate instant visual spectacle, focusing so relentlessly on one everyday garment felt almost deliberately resistant. The skirt was not presented as a seasonal trend, but as a design problem with dozens of possible answers.