Dario Vitale unveiled his debut collection for the house of Versace on Friday night, and it turned to be a love letter to Gianni Versace and the founder’s earliest ideas.
Versace Spring/Summer 2026 collection in Milan – Courtesy
Presented among oil paintings, ancient statues and medieval furniture inside the beautiful but rarely visited Pinacoteca Ambrosiana in central Milan, like the museum the collection came across as an example of “pop historicism,” to use Vitali’s words.
A museum Vitale made his own, scattering vintage Versace clothes throughout the space, in between chairs, couches, a well-used dog basket and a huge bed – with his own sheets – taking pride of place in one grand gallery.
The house had indicated beforehand to editors that the event would be more like a presentation, but in the end, it was a fully-fledged runway display.
Versace Spring/Summer 2026 collection in Milan – Courtesy
The show also marked the first since Prada had acquired control the house Versace this spring for $1.25 billion. But there was no sign of Vitale’s ex-boss 76-year-old Miuccia Prada at the show. Vitale had previously been Miuccia’s right-hand man at Miu Miu, helping to make that label into the hottest in contemporary fashion. Another lady missing from the debut was 70-year-old Donatella Versace, who helmed the house for three decades, after her brother’s tragic death in 1987.
And one could not help noticing, quite dramatically, that the mood and the cast – a mix of professional models and street casting – looked two decades younger than recent Versace shows. And the models looked like they suddenly were having a busy sex life, showing plenty of skin, and marching with great swagger. Several sexy dresses seemed to almost fall apart at the back, revealing lots of flesh, and underwear.
“My concept of sex in this context is not the tactile act it’s more the idea or its smell. It’s the souvenir the day after,” smiled 42-year-old Vitale.
Versace Spring/Summer 2026 collection in Milan 2026 – Courtesy
His silhouette was very much his own: mega high-waisted pants; and short-but-wide jackets cut with power shoulders or exaggerated curves. He showed some great new leather jackets: rock dandy looks for the men, steamy seductress for the women, often cut with vertical strips to add punch.
Like the furniture Dario installed in the museum, the clothes harked back to ’70s and Gianni’s happy days in ’80s Miami. With bright South Beach colors like lime green, pomegranate or ultraviolet. Looser, forgiving forms in tailoring; and multiple very short shorts for men, recalling the body beautiful bluster of early Versace.
“My mother was a faithful client of Versace, so I knew Gianni’s work since I was a baby. I wanted to search for the feeling of the company, going behind the clothes to find another layer,” smiled the diminutive Vitale, who sports a matinee idol moustache, and dressed in a beige leather and oversized black pants.
“I think Versace belongs to everyone in popular culture,” continued Vitale, who was born in Naples, before moving to study at Instituto Marangoni in Milan, and working for Dsquared2 and Bottega Veneta, before joining Miu Miu in 2010.
Versace Spring/Summer 2026 collection in Milan 2026 – Courtesy
Founder Gianni was also legendary for his use of bold prints, frequently mining the mythology of Magna Graecia from his native Calabria. But there was little of that in Vitale’s prints. Even if there were several stone Medusa heads – Versace’s most famous symbol – in the museum, one found none of them in Dario’s designs. In fact, Vitale’s prints featuring women’s heads were all rather ambiguous, was that Marilyn Monroe, or Bianca Jagger in shorts skirts or jeans? On second thoughts, not.
Though pre-show, Vitale had sent guests a charming letter quoting Keats, one of whose most famous poems is “Ode to a Grecian Vase”.
All told, this was an impressive Versace debut by Vitale, clearly designed with plenty of ideas, chutzpah and tailoring talent. Perhaps not a home run, but a winning display.
Post-show, he maintained the house’s tradition of being generous hosts, with a fete inside famed Milanese restaurant Peck. Though there was a curious subdued air about the soirée. Perhaps due to the absence of any member of the Bertelli clan that owns Prada, or its CEO Andrea Guerra, one heard several people musing that Vitale’s future Versace might be a short one.
Then again, those of us who have visited Keats grave in Rome will recall his epitaph. “Here lies one whose name was writ on water,” the poet’s final comment on the fleeting nature of life, and fame.
Testoni hails from Bologna, Italy, but in 2022 the luxury footwear and accessories maker came under the umbrella of Chinese group Viva China, which controls the Li Ning brand (which has just shown at Milan Men’s Fashion Week) and the British brand Clarks, having previously been acquired by Hong Kong-based Sitoy Group in 2018. The Emilia-based label, founded in 1929 and specialising in men’s footwear, has since placed greater emphasis on womenswear and, following a rebrand from a.testoni to Testoni 1929, in 2025 opened a 200 square-metre flagship on Via Manzoni in Milan.
Testoni, “Bracciano” moccasin, AW 2026/27
The Milan boutique is part of the brand’s relaunch plan. In the same vein, the company has taken on a larger showroom to support retail and wholesale activities, at Via Sant’Andrea 21, where the presentation of the Autumn-Winter 2026/27 collection was held. “We currently operate 30 single-brand stores; we have just opened a new one in Taipei,” Philip Yau, CEO of Testoni, tells FashionNetwork.com. “They are located mostly in Asia- in China, Japan, South Korea and, indeed, Taipei. But after focusing on the Far East, we now want to look more to Europe, with Italy as a starting point, and then move on to the US.”
“We had a presence in America in the past, but we had closed the business there. Now we will reopen that market, where we were selling 10 million shoes every year. We have a large distribution centre in Hanover, near Philadelphia. Retailers such as Macy’s and Nordstrom, with whom we have established contacts, can help us successfully resume business in that market,” continues Yau, who is also aiming for “operational, logistics, marketing and other synergies with the brands Clarks and Li Ning and with the group’s market reach.” “Asia remains a strong base for us at Viva China, where we own many companies,” he says.
Testoni, “Moena” laser-cut sneaker, AW 2026/27
There are around 60 multi-brand stores that sell Testoni, making distribution highly selective at the top end. “Testoni has always been a more retail-oriented brand, but we are working to expand into wholesale as well, which we believe can be a strong driver of growth,” adds Testoni’s general manager, Enzo Vaccari. “So wholesale expansions are planned, especially in the US and other overseas markets. Nor are we neglecting e-commerce, which is quite small at present. It can do much more; we will work on it by leveraging the synergies we can establish with Clarks’ platform.”
Autumn-Winter 2026/27 has seen an increase in men’s styles and focuses on the Testoni brand’s core offer: loafers, moccasins, clean lines, no eccentricities, underscoring its craftsmanship. “In three years we will celebrate our 100th anniversary, so we have a very rich archive that could certainly form the basis of a museum,” Vaccari adds. “It is one of our dreams, because in our archive there are original products from the 1940s through the 1950s and 1960s, and we have all the original designs by Marisa Testoni, the daughter of Amedeo Testoni, the founder. At the moment, these materials are kept in Piazza XX Settembre, near the Montagnola in Bologna, but we are working to rethink the space and reorganise everything properly. We wanted Bologna to be the focal point of this project, because it is the city where we were born, where the company’s history lies.”
Testoni, AW 2026/27
Testoni also makes handbags, another line that has expanded in terms of styles, while men still account for 70% of revenue and production. “However, we are trying to achieve a better balance between the collections: we need to develop more bags dedicated to women,” Yau notes.
From a financial standpoint, the official 2025 year-end has yet to be finalised, so Philip Yau does not intend to disclose Testoni’s annual turnover, which nonetheless grew in the single digits. The leading markets are China, Taiwan and Hong Kong combined- Greater China- accounting for 40%, followed by Japan. “But the US is and will be a key market for Testoni and for the entire Viva China group, as is the Middle East, not only through wholesale distribution but also via retail openings currently under consideration,” explains Enzo Vaccari. “In America we have just returned; we want to find a major retailer, like Macy’s, which has more than 300 doors. In the meantime, there will be consolidation of retail in Asia, where we are looking at other markets, such as Singapore and Malaysia, which we would like to enter within a couple of years, depending on the opportunities that arise.”
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Add designer to Jaden Smith’s considerable list of professions- along with actor, singer, and rapper- after the Californian creator dreamed up an impressive Dadaist display for his debut at Christian Louboutin.
Jaden Smith’s take on the world of Christian Louboutin – FashionNetwork.com
Evoking a whole plethora of influences from Greek mythology and the Great Paris Exhibitions to Dadaism and the great movement for Civil Rights, in an elaborate set in a disused warehouse in Montparnasse. Mount Parnassus, you will recall, was the home to nine muses in arts and sciences.
Two fine works of footwear even had Greek names: The Plato Loafer, a 2017 model with Swisscheese like holes, which Smith updates with the new Neo CL signature on a steel silver coin. And the Asclepius Sling- named after the ancient god of medicine- with the same emblematic coin detail and metallic hardware on the backstrap.
“I brought my personal interest on Greek mythology in as I thought it would resonate with people, as humans at the end of the day are all very similar. I’m combining my perspective of being an African American designer, linked to my more Dadaist thinking into the heritage of a French maison,” explained courteous 27-year-old.
Mythology meets luxury – FashionNetwork.com
Close by stood a Nam June Paik worthy mound of TVs, with video showing images of Martin Luther King’s 1963 March on Washington, The Sphinx, and clips from Dadaist filmmaker Hans Richter.
“That art piece is about the overdose of information we experience. This revolution that we are in the midst of right now. And the fact that information is being thrown at us all the time. And the psychological effects of looking at 10 screens at the one time. While also drawing correlations between my ancestry and Christian’s ancestry, and the history of art,” said Smith, attired in a giant gangster jeans, an oversized parka and pearl encrusted beanie.
Another installation was a broken temple with fluted columns on which were perched Jaden’s new bags. Notably a series of humungous backpacks and biker satchels, some with a dozen exterior zippered pockets with gold lettering reading- coins, pills, keys, tools, phone, documents, phones, and chargers. Alongside a surrealist tote finished like a bucket of overflowing paint and a Dadaist style back made in a black and white photo of an urban madding crowd.
Creator Jaden Smith – FashionNetwork.com
The whole space was dubbed Christian Louboutin Men’s Exhibition, as a small group of models bathed, inevitably, in red light, circulated wearing the new footwear and bags. Large red fabric rolls made into benches allowed one to enjoy a large video montage, including Jaden as a Wagnerian hero posed in front of gothic castles. Which is where we spotted founder Christian Louboutin, in a video stirring a large vat of red paint, before symbolically handing over a paintbrush to Jaden.
“It’s about craftmanship, extreme luxury, and highest level of design. That’s what Christian Louboutin is all about,” said Smith, describing the brand’s DNA.
Eyebrows were raised when Christian appointed Jaden to the position of creative director, as Parisian designers with two decades long CVs gritted their teeth that an untrained talent got such a coveted position. However, judging by this display, Jaden Smith has the chops, talent, and grace to be very effective in this role.
One suspects the gods of style and time are probably rather pleased.
To coincide with Milan Fashion Week, the S|STYLE 2025- Denim Lab is setting up at Fondazione Sozzani for an edition devoted to the future of sustainable denim and water management in the textile industry. Led by the S|STYLE Sustainable Style platform, founded in 2020 by independent journalist and curator Giorgia Cantarini, this initiative forms part of an ongoing programme of research and experimentation into responsible innovations applied to contemporary fashion.
Designers brought together for the S|STYLE 2025 – Denim Lab project – Denim Lab
The exhibition, open to the public on September 27 and 28, features a site-specific art installation by Mariano Franzetti, crafted from recycled and regenerative denim. Conceived as an immersive experience, it brings fashion design, technological innovation and artistic expression into dialogue.
Water: a central issue in fashion sustainability
Developed in collaboration with Kering‘s Material Innovation Lab (MIL), the Denim Lab brings together a selection of young international designers invited to create a denim look using low-impact materials and processes. They benefit from technical support and access to textiles developed with innovative technologies aimed at significantly reducing water consumption, chemical use, and the carbon footprint of denim production.
This edition places water at its core, an essential issue for a fabric whose production has traditionally demanded substantial volumes of water, from cotton cultivation through to dyeing and finishing. Denim therefore serves as an emblematic testing ground, both familiar and closely associated with the environmental challenges facing the fashion industry.
Outfit created for the Denim Lab by designer Gisèle Ntsama, one of the participants – Maison Gisèle
The fabrics were developed by PureDenim Srl, a specialist in low-impact dyeing techniques, while treatments and finishes were applied by Tonello Srl, a recognised leader in sustainable washing and finishing technologies. The selected designers, from Europe, Asia, and Africa, each offer a distinctive interpretation of denim, blending formal exploration, textile innovation and reflection on the contemporary uses of clothing.