A runway that looked back
On September 23 in Milan, Maria Grazia Chiuri staged Fendi’s Spring 2027 show around a mirrored box inspired by Luciano Fabro’s Cubo di specchi. Models, clothes and spectators appeared in repeated reflections. The device was glamorous, but also gently unsettling: it refused to let the audience remain outside the image.
The soundtrack followed the same layered logic. Adriano Celentano’s invented-language hit “Prisencolinensinainciusol” met Raffaella Carrà’s “Rumore,” turning the show into a collage of Italian pop memory. Chiuri treated fashion as a language and memory as something that can be mixed like tracks by a DJ, rather than arranged into one immaculate thesis.
Glam rock, lace and a phone-sized Baguette
The clothes pushed Fendi’s disciplined silhouette toward a harder, more decadent register. Black dresses were cut open with metal-ringed apertures; beaded and fur fringes animated the surface; an Afghan-coat idea was reconstructed in geometric Fendi patterns. Lace-edged silk shorts, bralettes, leopard and striped shirts opening low at the chest added intimacy and friction. The house’s Baguette also appeared in a new scale designed to carry little more than a phone.
The collection’s real proposition was not a single “it” item, but a way of seeing. From Budapest, that feels especially relevant: distinctive fashion does not always need to shout. It can become more persuasive by arranging heritage, the body and personal memory with greater precision.
Source: Vogue Runway, September 23, 2026.
