MILAN, ITALY — In a sea of designers pushing to permeate traditionalist dressing into a wearer’s mainstream consciousness, Antonio Marras’ collections maintain momentum, producing offerings that mostly excel in form even if at times they fall somewhat short in function (key in: lineups that overflow with a slew of garb that’s part of the same retail category). But there’s always a bite of delight in the larger mix.
For Autumn/ Winter 2026, the house homed in on a selection of harmonious contrasts, chief among them weightless sage-green silk tunics emerging beneath veils of lace; or, for added structure, tailored jackets with masculine motifs that converse with black prints crossed by grey gold filaments. Marras’s generous shapes, in fact, often seem as if they were suspended somewhere in space.
The designer is at his strongest when he balances volumes: as a lover of fine details, within the lace pieces, there were hints of carmine red and burgundy traces, climbing roses placed against an ecrù background, adding elements to the romantic equation that the brand is well known for.
While his creative process requires a lot of technical prowess and sensitivity, the impact is holding momentum and sticks to being oddly ethereal. And it comes with a nod to the archive: jackets are crafted from fragments of forgotten garments, rediscovered, reassembled, and interlocked with embroidered roses all over.
Elsewhere, the house’s key focus was the Caragol bag, whose name epitomises the snail symbol. Its meaning? An extension of one’s dwelling to carry into the world, conceived in a palette that stretches from burgundy to teal, ivory and brown. One is loath to clip Marras’ wings with criticisms about comfort when she offers such a distinct point of view, but a few concessions of form and function will assure that the buzz remains firmly in place.
by Chidozie Obasi