Milan Fashion Week: How Tod’s, Gucci, Moschino & The Attico Made Personal Style the Focus

Day Four at Milan Fashion Week 2026 turned the past into a starting point rather than a destination. Across the Spring/Summer 2027 runways, designers revisited 1990s style, cultural craft and established house codes, reshaping each through a distinctly contemporary lens. Tod’s set that tone early, bringing its own take on the decade’s effortless glamour to the Milan runway.

That approach continued across the day, with designers drawing from different references while giving them sharply individual treatments.

Nostalgia And Modernity Fuse

Tod’s opened with Matteo Tamburini’s take on 1990s glamour, drawing references from Sade, Uma Thurman, Christy Turlington and Princess Diana.

The collection translated that mood through clean proportions, vivid colour and the house’s leather craftsmanship, with its signature Gommino dots appearing across shoes, bags, knitwear and leather pieces.

Institution by Galib Gassandoff turned cultural heritage into sculptural dressing, using the Azerbaijani kelaghayi scarf as a starting point. The square fabric was folded and draped into contemporary garments, set against structured tailoring, leather, padded forms and fluid georgette.

Sportmax approached the season from a practical angle, exploring clothing for rising temperatures through lightweight tailoring, silk organza, sheer layers and relaxed silhouettes.

Blumarine moved in a more dramatic direction under David Koma, whose ‘Cali Princess’ collection combined corsetry, tulle, feathers and transparent fabrics.

Glamour Takes Many Forms

Gucci shifted the mood with Demna’s second collection for the house. Presented inside a temporary Gucci boutique, the show brought together narrow tailoring, streetwear and recognisable accessories, giving established Gucci codes a more eclectic character.

Simon Cracker stripped away the polish with its DIY-driven ‘Via Francia’ collection. Handwritten phrases, painted boots, graffiti-style graphics and handmade headpieces gave the clothes an intentionally raw quality.

Elisabetta Franchi offered a more polished expression of femininity, working sleek silhouettes and glamorous details into its Spring/Summer 2027 wardrobe.

Luisa Spagnoli drew from the Italian garden, translating its geometry and colours into pencil and pareo skirts, satin and linen shirts, floral prints and stone-inspired embellishment.

Moschino brought the day closer to the street for Loris Messina and Simone Rizzo’s debut. Staged on a Milan parking-garage rooftop, the show placed models among hundreds of extras, while the clothes played with recognisable elements of everyday dressing.

The Attico closed the schedule with its own statement-driven approach, completing a day that moved freely between nostalgia, craftsmanship, experimentation and glamour.

Also Read: Milan Fashion Week SS27: Max Mara, Marni And Emporio Armani Take The Runway

Rather than pointing to one dominant look, the fourth day of the fashion week left room for personal style to shape how each collection was read and worn.