Milan Fashion Week Day 4: Minimalism Meets Gothic Romance and Sculptural Craftsmanship
Milan's fashion scene recently unveiled a compelling display of creativity on the fourth day of its womenswear ready-to-wear shows. A diverse lineup of established houses, burgeoning labels, and emerging talents converged to present a rich tapestry of feminine expression, promising an exciting spring/summer 2026. From Sportmax's vision of minimalist chic to Blumarine's romantic dark lady, and the sculptural artistry of Institution by Galib Gassanoff, the day highlighted the breadth and innovation within Italian fashion.
Sportmax commenced the day with a collection that masterfully balanced stark minimalism with an overarching sense of softness. The palette largely comprised monochromes, beginning with an ethereal blend of powdery, nude, and cream tones that beautifully captured light, before transitioning to impactful head-to-toe black ensembles. Silhouettes were elegantly elongated, sometimes exaggerated, as seen in baggy jeans that cascaded to coil around the ankles.
Precision was evident in the cutting of highly structured trench coats, sleeveless maxi coats, double jackets, and leather blousons. Crafted from crisp wools, sturdy gabardines, and supple leathers, these pieces maintained clean, straight lines down the body. Despite their structured nature, an impression of lightness and fluidity prevailed, amplified by the introduction of sheer fabrics. Satin silk flowed through long, fluid dresses, while organza transformed into T-shirts, trousers, and lightened jacket panels, often layered to create a subtle, ethereal depth. To enhance movement, garments were frequently layered or deconstructed, notably in long leather trench coats where the upper section detached into a Perfecto-bolero, echoing vintage shoulder capes that offered complete freedom of arm movement. The collection's rhythm was also accentuated by a multitude of gilt bells, worn as earrings, bracelets, and necklaces, creating a resonant chime.
Blumarine's collection showcased a woman of dualities, oscillating between romanticism and darkness, expressed through a wardrobe rich in contrasts between fluid designs and sharp tailoring, and soft versus deep hues. Creative director David Koma explained backstage, "I wanted to explore the idea of a Gothic romanticism transported into spring. Fragility and freedom clash with strength and power. It’s up to the audience to decide which of these two attitudes will prevail," though he concluded, "it’s the soft side that stands out more, supported by structure."
The collection's fluctuating forms and strategic use of transparencies gravitated towards a hyper-feminine, sensual aesthetic. Vaporous blouses, dresses, and capes were adorned with twirling ribbons and cascades of chiffon ruffles. Airy silks and chiffons were layered, sometimes gathered, smocked, or fringed, while black lace and guipure imbued the designs with a subtly sultry, boudoir-inspired allure. Large crosses crafted from sparkling stones, appearing as earrings or layered pendants, underscored this subversive streak.
The iconic butterfly, an emblematic motif of the Italian house, also made a vibrant appearance. Multitudes of colorful butterflies alighted as embroidery on a cardigan or a sheer, flesh-toned dress. Elsewhere, a butterfly encircled the bust on a white lace bra-top. Intriguingly, it occasionally morphed into a dragonfly and, upon closer inspection, even a spider. The duality inherent in the Blumarine woman was further highlighted by the pagoda sleeves of sinuous frock coats and peignoirs with long trains designed for eveningwear, evoking both the delicate beauty of butterfly wings and the mysterious allure of bat wings.
Azeri-born Georgian designer Galib Gassanoff, with his new brand Institution, presented one of Milan’s most compelling propositions, earning dedicated window displays at the exclusive Milanese boutique Antonia. Following a successful debut in February, Gassanoff coherently advanced his vision, introducing more commercially viable pieces for the upcoming season, which he plans to showcase in Paris at the Maison Pyramide showroom. For next summer, Gassanoff continues to draw inspiration from Azerbaijan's ancestral craftsmanship, particularly the braiding techniques traditionally used in carpet making. He ingeniously reinterpreted this process, substituting wool threads with reclaimed shoelaces to construct sculptural dresses and tops. He also incorporated reedmace (Typha latifolia), a marsh-dwelling plant woven by women in southern Azerbaijan, collaborating with these communities to braid a series of majestic, swirling gowns and a distinctive poncho.
Another key inspiration was the "chepken," a traditional coat featuring oversleeves. Gassanoff transformed this historical garment into a modern tailored jacket, distinctively nipped in and rounded at the sides. This curved silhouette subtly referenced Christian Dior’s famous Bar suit, but with a thoroughly modernized construction. Two long fabric panels elegantly fell from the shoulders like stoles, allowing arms to slip through freely. In an alternative design, the jacket was slit at the sides, and these two false sleeves folded over the front, tied around the chest, converting the piece into an elegant top.
A host of other ingenious ideas also captivated the audience. These included a top whose front was adorned with white wooden buttons sourced from the archives of historic button-maker Ascoli Bottoni; smock-like organza overlays, gracefully puffed out at belly height, encasing the silhouette in various colors; and substantial apron-like leather plastrons, fashioned from long shoelace straps or diverse braids, worn suspended from the neck.
