3 major takeaways from an extravagant, maximalist Milan Fashion Week

The Glossy Podcast episode features Danny Parisi, Zofia Zviglinska, and Jill Manoff analyzing Milan Fashion Week through three distinct lenses that ultimately reinforce a common narrative: rejection of minimalism in favor of maximalism and customer engagement.

Jill Manoff introduces the 'Mathieu Blaise effect'—a trend of piled-on, layered styling that prioritizes unexpected color pairings, mixed prints, and rumpled, slightly askew presentations. She notes that stylists became the stars of Milan shows, with critics using words like 'imperfect' and 'rumpled' to describe the aesthetic. Key examples include Dolce & Gabbana's maximalist layering, Jill Sander's unexpected color combinations, and Marni's utility vest layered with sleeveless button-downs and ties. Manoff argues this approach serves multiple purposes: it allows brands to showcase more pieces when they have 60+ looks, creates joy and inspiration, and facilitates personal styling by giving viewers a 'playground' to mix and match elements. The reporters connect this to broader Fashion Month trends, noting that while New York favored monochromatic blocking and London had its own aesthetic, Milan's styling execution was particularly effective.

Danny Parisi focuses on maximalist footwear as a distinct theme, highlighting the departure from the quiet luxury era's subdued, minimalist shoes. Milan showcased bold, experimental footwear including Dolce & Gabbana's jewel-encrusted shoes, Margiela and Havillanos's six-layer rainbow flip-flops (runway exclusive, not for sale), Bottega Veneta's fishnet flats, Fendi's transparent mesh shoes, and Onitsuka Tiger's metallic kitten heels with brand patterns. The reporters discuss how these shoes combine comfort with distinctiveness without relying on logos. Notably, Onitsuka Tiger's first Milan Fashion Week show coincided with their new Milan store opening. The discussion reveals that while heels and stilettos returned prominently, traditional sneakers were less visible, suggesting a broader trend toward statement footwear.

Zofia Zviglinska presents the final theme: the customer becoming part of the show through immersive presentation formats. She highlights Gucci's fake store setup with window displays showing passersby, Moschino's approach of mixing runway models with hundreds of extras in ordinary clothes walking in opposite directions (immediately contextualizing how clothes might look in real life), and Prada's focus on the skirt as a familiar product anchor point with room for individual styling through wrapped designs, painted surfaces, and translucent fabrics. Zviglinska argues this reflects ongoing concerns about luxury's commercial viability and wearability. The reporters note that these formats address the perennial Fashion Month challenge of showing stylized clothes in ways that allow audiences to envision themselves wearing them. Jill adds that Prada's skirt exhibition sparked organic brand moments—attendees pulling out their own Prada skirts as tributes, a form of activation that brands typically pay hundreds of dollars to engineer.

The conversation reveals an overarching theme: Milan Fashion Week prioritized inspiration, commercial appeal, and customer inclusion over the quiet luxury minimalism that dominated recent seasons. All three reporters identify this shift as a strategic response to competitive pressures (referencing the inability to compete with brands like Uniqlo on quiet luxury) and a desire to give consumers multiple entry points and styling options rather than dictating a single aesthetic. The discussion touches on nostalgia cycles, particularly Roberto Cavalli's early-2000s references and Tom Ford-era Gucci citations, with some caution that these references might become overused. The episode concludes with acknowledgment that Milan's devotion to quality and established brand codes continues to differentiate it from other Fashion Month cities.