Fendi Spring/Summer 2027: Fur, Lingerie and the Baguette
– Fendi’s sensibility, revealed behind the mirrors
Fendi Spring 2027 grew more intriguing the more I went back through the photographs.
Fur trailing long from the shoulders, a small bralette beneath it, satin flowing on the diagonal along the body. Black clothes kept coming, yet the surface was different every time. In one look, bare skin was the brightest thing; in another, mint fur, the edge of lace or the sheen of a small bag registered first. The clothes felt rich without any big change in silhouette.
In the room, those differences seem to have been hard to read.
At the center of the show, held in Milan on September 23, 2026, stood a reflective box. The audience sat around it, and the models passed through overlapping, blurring images. Vogue’s Luke Leitch wrote that he had to concentrate just to make out the clothes, and that he missed the new phone-sized Baguette Chiuri had described. His review ended on the judgment that this was a collection to see again.
Beneath the stage’s strong impression were details too good to be buried. A collar and cuffs separated from a shirt, black lines tracing the edges of underwear, smooth surfaces set beside the grain of fur. Small devices that connect clothes from different genres.
If you remember the calm tailoring of Chiuri’s debut season, the change is clear. The ways of revealing the body have multiplied, and the edges of the clothes move more. Jackets and trousers still hold an important place, but as bare skin, sheen and rough textures enter between them, the same black takes on a different temperature.
What makes me curious is where the change comes from.
Is Chiuri pursuing a sharper sensibility?
Or have Fendi’s materials given her clothes a different feel?
A House That Has Drawn a Little Closer to Chiuri
Maria Grazia Chiuri’s move to Fendi was a return.
She joined Fendi in 1989 and worked on accessories, went on to Valentino and Dior, and came back in October 2025 as the house’s chief creative officer. She’d spent about nine years at Dior. Carrying a design language as familiar as her own name, she returned to where her career began.
Her first ready-to-wear show in February 2026 read as cautious for that reason. With black at the center, it organized tailoring, lace and practical separates. For anyone who had followed Chiuri for a long time, many scenes were familiar. Questions naturally followed: how much of her own taste she’d keep under a new house’s name, and where Fendi’s character would begin.
To understand this season, it also helps to remember the couture work in between. Since the debut, she’s spent time connecting Fendi’s materials and techniques to her own designs.
What looks different now is less the range of silhouettes than the way the clothes are combined.
A black jacket no longer needs a shirt buttoned all the way underneath, and fur sometimes falls in a narrow strip from the shoulder instead of forming the body of a coat. Even when lingerie shows, there’s no effort to restore full formality on top of it. Fastened less, left a little loose, different surfaces placed close together.
The fastest way to make a house recognizable is to repeat a familiar bag or logo. In this collection, that identity also comes through in the handling of materials: how much area fur should cover, where leather should interrupt soft fabric, what trace embellishment should leave as it moves. Chiuri’s attention seems to have moved inside the silhouette.
A Theater of Mirrors and Moving Bodies
The E. E. Cummings line on the invitation speaks of feeling your own body when it’s with another’s. The stage referenced Luciano Fabro’s Cubo di specchi, and Raffaella Carrà and Adriano Celentano’s television performance formed another backdrop. Poetry, art and popular music came together in one show.
These references share an interest in bodies that meet, reflect and move. The mirror makes the audience see themselves along with the clothes, and dance shows the clothes’ shape in motion.
Carrà herself is too significant to reduce to a 1970s reference. The bare midriffs, jumpsuits and dancing body of her performances showed that female sensuality doesn’t have to stay in a static pose. The small bralettes and deep necklines in this show read in that context too. They make you imagine the clothes on a moving body as well as on one standing still.
That sense carries into the shirts, jackets, vests and trousers shared by models of different genders. Fendi’s own description also emphasizes where masculinity and femininity meet beyond the conventions of the wardrobe. Remember this collection only for its women’s lingerie looks, and you miss the role played by loose tailoring and denim. Bodies that reveal and bodies that wrap coexist, and different ways of dressing sit in the same nighttime scene.
Still, the stage’s intention doesn’t solve the problem of clothes made hard to see. The reflections amplified the mood but made materials difficult to distinguish, and pulled the audience’s own image into view. There’s a clear tension in a house that emphasizes craftsmanship not showing its results clearly.
If the mirrors amplified the body’s movement, the corners of collars, the edges of bralettes and the side seams of shorts held the garments’ structure in focus. Unlike the blurring stage, the edges of the clothes were precisely resolved.
— white bib shirt, lace-trimmed bloomer shorts, leather collar and cuffs
Deconstruction That Starts with the First Look
The white top of the opening look is a bib shape, as if the front panel had been lifted off a shirt. A rounded hem dropping close to the waist, a long central tab, and narrow straps and buckles connecting the sides take apart the structure of a neat shirt.
From the front it’s a tidy white plane, but the sides are open. The way a shirt wraps the body has disappeared, leaving only the front that makes it recognizable as a shirt. Below sit black lace-trimmed shorts and a thin belt. Placing part of a formal shirt over bottoms close to underwear starts to unsettle the categories of dress.
The leather collar at the neck and the cuffs on both wrists are more direct still. Parts that should belong to a shirt have become independent accessories left on the body. The white front, black collar and black cuffs stay apart yet still summon a single shirt. Even with much of the upper body covered, the outfit never feels fully assembled.
Leather’s role shows here too. It adds a firm outline to the soft edges made by lace and thin fabric. With the neck and wrists interrupted in black, the eye has places to stop. They’re small, like jewelry, but take them away and the look’s attitude would change considerably.
That’s why the collars, cuffs and thin belts that return throughout the show matter. Not every look gets the same set, but the more skin shows or the softer the material, the more these firm pieces stand out. It’s one reason lingerie, folk-style vests and tailoring can alternate and still feel like one collection.
When Fur Turns from Coat into Line
In the early lingerie looks, the most Fendi element is the fur set beside the bralette.
In look 3, dark brown fur falls over a rose bralette and shorts. Beside the black dress of look 4 sits bright fur somewhere between yellow and green, and look 6’s pale mint set is framed by black outerwear and dark fur. Because the fur never covers the whole body, bare skin and thin fabric keep showing between.
A wide fur coat puts the body’s outline inside a new volume. These long, narrow fur pieces follow the body’s side lines and reveal other materials. The fur’s presence is strong but never stands in for the whole body. A thick material falling across a relatively small area finds a use different from a warm outer layer.
I especially like where fur meets the edge of satin. Satin reflects light broadly depending on how it folds; fur builds shadow between its dense fibers. With a smooth plane and a scattered surface close together, even a small bralette doesn’t look flat. Bare skin becomes another texture between the two.
Here the fur reads as a long, supple ornament. That proportion also makes the choice to put fur in a summer collection look a little different.
Not all the fur arrives as stoles either. It shifts in area, moving to wide collars, vest edges and the surface of short outerwear. In one look it sits beside lingerie; in another it sets the expression of a masculine jacket. One material takes on several roles within the collection.
There’s the context of Fendi’s making, too. AnOther pointed out that Chiuri has poured her attention into techniques like intarsia, which the house once used to create its signature graphic furs and now embeds in fabrics too. It’s a way of thinking that builds pattern into the surface itself by fitting pieces together. Placing an image on a material and making an image by combining materials produce different results up close.
In look 13’s long geometric silhouette, dark and light planes repeat in a diamond pattern. The contrast of the pattern and the grain of the surface register together.
Black That Won’t Let Pastels End Sweetly
Fendi’s palette this season is more varied than you’d expect: rose, mint, butter yellow, camel and brown, olive. Yet thinking back over the whole collection, the impression of black stays strong. Looks that place vivid color in small areas mix with looks that spread it wide, but black keeps returning to anchor the outfits.
Early on, color enters in divided parts: bralettes, shorts, strips of fur. In look 6, the role of black edging is especially clear. Black lines wrap the edges of the pale mint bralette, and dark lines and lace run along the shorts’ sides and hem. Crisp outlines are drawn inside the soft color.
The thin belt at the waist plays no small part in this look either. If the bralette and shorts ran in one uninterrupted color, the pajama impression could grow stronger; the belt’s pattern and metal buckle put a different texture in the middle. The roomy black outerwear then draws the combination out into a wardrobe for the outside world.
Later, in look 26’s rose outfit with bright fur, look 53’s beige tones and look 58’s olive dress, the area of color grows. Pastels here don’t serve only as small accents. Color that appeared in fragments early on takes over the broad planes of the clothes later, shifting the mood.
Leopard shows up at several scales in the same way. Its intensity changes with the fur collar, the outerwear or the long, falling garment it’s applied to. When a cool color like mint is placed beside it, the familiar glamour of an animal pattern gets a twist, and it’s less predictable than leopard paired only with brown.
What I liked was the spacing between colors. Rose and dark brown flow gently but differ in material; mint and black are far apart in value but linked by thin edging. Setting the colors of fur and lingerie slightly off from each other leaves the taste of the person who chose each piece.
Why Folk and Tailoring?
When the embellished vests of looks 31 and 32 appear, the mood shifts. Light braid moves in curves across a black ground, and fur texture lines the edges. Pattern and trim assert themselves on the surface more than in the lingerie looks before.
In look 32, the vest goes over a cream shirt and lace-trimmed shorts. The vocabulary of underwear seen earlier hasn’t vanished. But with a shirt and vest entering an upper body that had shown a lot of skin, the eye moves from skin to the surface of the clothes. Fur, too, moves from the long strip at the shoulder to the vest’s edge.
That connection is convincing. When it continues into the long, ornate outerwear and washed denim that follow, though, the collection’s interests widen considerably. The private mood of lingerie, folk ornament, military-style fastenings and loose denim all enter the same show. You can enjoy that richness, but there’s also room to feel the early focus loosen.
In the denim looks, what matters most is the waist and the front opening. Inside the dark outerwear of looks 38 and 39, light striped shirts show at an angle. The lines don’t align neatly, and the jeans have washed patches and ease. It’s the impression of clothes already broken in, mixed together.
Look 37 is a striped shirt running into matching trousers. The deeply opened chest, loose trousers and lightweight outer layer all relax in the same direction. It shows a lot of skin, but it’s a different sensuality from the bralette looks. The mood comes from how the shirt is unbuttoned and how far it’s left to hang.
Seen together, this stretch shows that the show’s bodies can’t be sorted into one gender or one way of revealing. Some bodies bring small underwear out into view; others move comfortably inside roomy clothes. Tailoring, too, moves closer to the body as the fronts open and the covered area shrinks.
The Flow of Silk and the Movement of Surface
This season, looks that fall long from the shoulders and neck catch the eye as much as looks that complete their shape by cinching the waist. Deep Vs, halter necklines and diagonal drapes repeat. As the point where a garment is supported changes, so do the lines left on the body.
A bralette makes a short horizontal line under the bust, but the outerwear and dresses over it open vertically. The two directions meet and divide the exposure. The same amount of skin reads differently when it’s shown in one wide stretch and when it appears through a long opening. The latter slowly draws the eye down along the body.
The cream and black of looks 47 and 48 create another kind of movement. The border where the color changes doesn’t end horizontally but splits into long, sharp points. Apart from the swing of the hem, the surface itself gains a downward direction. From a distance it recalls flames or long, stretched shadows.
In the densely embellished black looks, movement scatters into smaller units. Even when the body of the garment doesn’t swing much, its edges and trailing strands catch light differently. Many small movements arise within one large silhouette. The depth of the black comes from these differences in surface density as much as from the color itself.
The 1970s sensibility Chiuri explored feels most natural here. The visual effects left by dance and gesture carry into the garments’ edges. The long hem of a slip, thin fabric falling from the wrist and strands of fringe divide that work among them.
Bags and Shoes: Where Fendi Comes into Sharper Focus
In this show, the Baguette is both an object that displays a familiar logo and a small surface that gathers up the textures and ornament seen in the clothes.
Along with Baguettes reworked in fur, animal patterns, beads and fringe, the Peekaboo, the Mamma Baguette and small turn-lock clutches appear. Different as they are in size and structure, the bags share a rich treatment of surface. For anyone who found the fur or fringe a lot on the clothes, a bag brings that sensation down to a much smaller unit.
The red bag carried in the opening adds a small note of color between the white and black. The clothes’ color is restrained, but the accessories aren’t matched to neutrals. The bag’s scale-like surface and metal hardware stand out clearly beside the smooth white front panel.
Beside look 6’s mint set sits a reddish-brown bag. Rather than matching the underwear or the black outerwear, it stays in a different temperature. An outfit that might have felt a little cold with only mint, black and dark fur gets some warmth. A small mismatch enriches the whole impression.
The phone-sized Baguette makes particular sense with these outfits. These are looks that call for a small object handled lightly, close to the body. It also means something that roomy bags and small decorative ones were presented together. Not everyone who buys this collection needs the same size of bag, so there are several options between accessories that create a look’s mood and bags that carry everyday things.
At the feet, black socks work harder than you’d expect. Sheer socks rising near the knee, or mesh, cut the bralette-and-shorts outfits once more. It’s a different mood from the sleek sensuality of bare legs in sandals, adding a slightly uneven texture to light, private clothes.
Sandals with metal or sparkling details bring light to the lower half as well. Look only at the lace and fur up top and these looks seem soft, but take in the leather at the neck and wrists, the buckle at the waist and the ornament at the feet, and firm elements are spread across several points.
Leather collars and cuffs, belts and the ornament on sandals interrupt the flow of soft materials and tidy the looks’ outlines.
— Baguette reworked beaded fringe
Five Looks, Five Scenes
The five looks that stay with me longest each show tactility in a different way: soft color and rough fur, black planes and bright edging, lace and braid, sparkling ornament and transparent fabric. The differences between these combinations describe the season’s character concretely.
Look 3: Rose Satin and Brown Fur
Black lace follows the edges of a rose bralette and shorts. Because the top and bottom share the same color, they read as a set, but the small finishing edges stay in memory before the flat, even panels do. The bralette’s thin straps, the lace at the shorts’ hem and the slim belt at the waist draw lines around bare skin.
Beside it, the dark brown fur carries a strong presence despite its modest width. Unlike smooth satin, the fur’s outline is irregular. Light and shadow divide finely across it, giving the rose’s softness some depth.
I like the choice to create difference within the same warm family. Matching rose with pale fur would have been far sweeter. Here the dark brown sinks the color, and the leather cuffs and belt tidy the outfit. The delicacy of a lingerie set remains, but the woman wearing it doesn’t get trapped in an overly fragile image.
The black knee socks play into that impression too. The thighs are bare while the calves are covered by a dark veil. The exposure doesn’t run unbroken, so the eye pauses on each part of the body. The finished styling is far more complex than the bralette and shorts alone.
Look 4: Chartreuse on Either Side of Black
This look shows the distribution of color area most clearly. At its center is a long black dress, with chartreuse fur falling along both sides from the shoulders. Inside, a bralette mixing a pale color and black comes into view. The eye moves from the large black plane to the bright fur to the small underwear.
Because the bright fur doesn’t cover the front widely, the black vertical line stays alive. The volume of the fur and the flow of the open dress complement each other, in a balance you wouldn’t imagine from either material alone.
The opening at the chest also looks different from a simple deep V, because the bralette’s own lines sit inside it. The border between skin and garment doesn’t end in one stroke but breaks into small triangles. Thin straps and lace introduce a delicate scale within the broad black plane.
What decides this balance is the fur’s width. A narrow strip over the shoulders and chest emphasizes the black vertical; a wider one puts upper-body volume first. As beautifully as the strong color contrast reads, it’s a combination sensitive to small differences in area.
Look 32: A Gold-Braided Vest and Cream Shorts
A black vest is layered over a cream shirt and lace-trimmed shorts. The light braid on the front panel and the soft texture at the edges make the vest dense despite its size. Shorts that started out as underwear become part of a folk-style outfit here.
Even as the genre shifts, the material links remain. Lace stays at the hem, fur stays around the body, and black still frames the lighter colors. The choices that built the earlier lingerie looks return in different proportions.
The shirt matters a lot too. With a shirt in place of a bralette, the upper body is covered, but bare skin remains between the shorts and knee socks. Rather than rushing the mood toward full coverage, the look simply relocates the exposure. I also like seeing the lightness of the sleeves and the vest’s ornament at once.
The easiest piece to bring into a real wardrobe is, of course, the vest. Over a shirt, a thin knit or sleek trousers, its decorative character comes through fully. But with both a fur edge and braid, it can lose its focus if the surfaces of everything else get busy too. The cream ground in this look is what lets the ornament read clearly.
Look 62: Afterimages Inside a Black Surface
The dark jacket and top give way to embellished black trousers below. From a distance it’s close to a single black outfit, but look at the lower half and dense sparkle, open weaves and trailing strands mix together. A tidy black plane shifts to a different density partway down.
The movement in this look comes from the ornament and edges around the legs. Trailing strands reach beyond the leg’s outline, and through the open weave the darker layer inside overlaps. Because the lines never stop neatly, you picture the next step.
Keeping the upper body relatively quiet works well too. Had the jacket also been filled with strong pattern or fur, the whole figure would have read as a collection of ornaments. Here the large black plane above absorbs the complexity below. The look’s center of gravity sits low, but the eye doesn’t scatter.
It’s one of the looks that most directly recalls Carrà’s stage. An afterimage that might linger after the movement has stopped hangs at the ends of the ornament. The restraint of black and the glamour of performance costume meet in one outfit.
Look 70: A Thin Veil and a Firm Cuff
In the finale, a sheer layer flows diagonally over a bralette and black bottoms. Through the thin fabric falling from the shoulder around the arm, the lines of body and underwear show. It’s black, but differing degrees of transparency keep the whole figure from clumping into one dark mass.
The thin veil over the bralette makes you more aware of the underwear’s lines. Parts revealed directly and parts seen through one layer sit close together, so the eye moves back and forth between fabric and body.
— sheer black one-shoulder layer over lace bralette, leather cuffs
The cuff at the wrist briefly interrupts that flow. The firm leather that appeared with the white front panel in the opening remains, at the end, beside the most supple material. The first and last looks connect here without repeating the same shape.
The opening took a shirt apart and distributed it around the body; the finale layers the border between body and garment through thin fabric. Choices about what to keep and where to drape it tie the two looks together.
What Changes on the Wearer’s Body
Watching the runway, the first thought is how many clothes fall long. Roomy trousers, long outerwear and drapes that begin at the shoulder don’t force the waist and hips into a rigid frame. But even within long silhouettes, body and material meet in different ways.
Bias-cut slips and thin satin follow the body’s curves closely. Where there’s too little ease at the waist or hips, the fabric pulls on the diagonal and the sheen can highlight that spot. Clothes that flow well and clothes that fall away from the body aren’t the same thing.
Bralette-and-shorts sets raise questions of proportion as well as exposure. In low-waisted looks, the midriff and hips are widely exposed, and the lace hem of the shorts draws a horizontal line across the thigh. For anyone who’d rather not emphasize lower-body volume, the shorts’ length and width and the contrast of the hem trim matter. Adding long outerwear doesn’t remove that horizontal line inside.
With fur, position and width have to be considered together. Falling narrow and long, it makes a vertical line; flaring wide at the shoulders or piled thick over the chest, it enlarges the upper body. For shorter women or those with a short torso, where the hem ends matters too. A single long fur piece doesn’t have the same effect on everyone.
Knee socks are where taste divides more sharply. Because the dark plane ends below the knee, they visually divide the leg. They add a rough, playful note, but you can’t expect the same sense of length as bare legs. The choice depends on whether you want the runway attitude or a long, smooth everyday proportion.
The easiest way to bring this collection into daily life is to take only part of each combination. If a deeply opened slip is too much, the embellished vest can go over a shirt. If bralette exposure is hard but you love the contrast of mint and dark fur, you can carry that color pairing into a top with more coverage.
Loose trousers and a jacket worn open are appealing enough on their own. The season’s feeling doesn’t depend on pairing everything with lingerie. How far you open the front, what texture shows inside, how much of a color accent the bag provides: those alone can carry this collection’s attitude.
For spring and summer, the embellished vest and the bags are especially good starting points, since they add surface character without changing basic proportions much. For someone who loves the flow of drape, a long solid dress may last longer.
Criticism of the Mirrors, Judgment of the Clothes
Criticism of the stage was clear. AnOther felt that models appearing and disappearing in the reflections left reporters trying to study the clothes unsatisfied. The more a collection emphasizes surface and craft, the more understandable that frustration is.
There was criticism of the collection’s construction too. The Impression pointed out that the lingerie mood and the folk and military elements didn’t always come together, a question about how the clothes connect, separate from the mirrors’ visibility.
In fact, the early fur-and-underwear pairings make immediate sense, while the embellished vests and denim in the middle and the sheer evening looks later don’t all connect with the same strength. The repeated small leather accessories and fur create continuity, but the range of moods is wide. There’s a difference in temperature between the early focus and the expansion from the middle on.
I don’t think that range is entirely a weakness. Had the lingerie looks continued throughout, the theme would have been sharper, but the options for a real wardrobe would have narrowed. With denim and tailoring in the mix, there are more ways to wear this season. Still, the impression remains that Chiuri is finding her balance between widening the options and keeping the collection focused.
The strongest continuity comes from the details. Lace hems come back in different styling, fur moves from stole to trim, and collars and cuffs keep marking similar points on the body. From a distance it’s a show that mixes references from several eras; up close, you see the choice to carry the same materials across. Beneath the strong scenes the mirrors created were details binding different clothes into one person’s wardrobe, and even as the mood widened, materials and accessories kept a steady rhythm.
The Day After Prada: What Else a Bra Can Do
Set beside Prada, held the day before, it’s striking how differently the same item can work. Both shows put the bra on display as a top, but the clothes around it differed in character.
At Prada, the small top brought the skirt’s starting point into focus: the waistline and hips, the overlapping front, pleats spreading wide. Not every upper body was quiet, but the more the bra repeated, the easier it was to read the variations below. I saw that exposure as a choice to show the shape of the skirt.
At Fendi, the edge of the bralette, the fur beside it and the sheen of satin below all come in together. Rather than gathering on one particular garment, the eye moves among surfaces pressed close together. What happens between skin and lace, fur and leather, matters more.
If Prada’s bra made the variations below the waist readable, Fendi’s bralette brings the tactility around the body up close. With the same degree of exposure, Prada directs the eye to the garment’s outline; Fendi directs it to the relationship between materials. That difference is what makes the two collections interesting side by side.
You can spot a trend through the repetition of an item. But choosing the same item doesn’t mean designers are telling the same story. Sum up this Milan season’s bra as simply more exposure, and you leave out how each house built the clothes around it.
Fendi’s Materials Have Begun to Change Chiuri’s Clothes
Now we can return to the opening question. Whose personality came into sharper focus this season?
Lace and sheer fabrics, an interest in women’s cultural figures, and layering that lets the wearer control exposure are familiar in Chiuri’s work. There’s no reason for them to vanish just because she’s arrived at Fendi. A long-built taste is what gives a designer criteria for choosing a new house’s materials.
What changed this time is the tactility through which that taste is realized. The grain of fur now sits beside the same black lace, and leather collars and cuffs create firm borders. The bags repeat the clothes’ ornament at a small scale, and loose tailoring widens the private mood of lingerie. Chiuri’s familiar pieces have begun forming different relationships inside Fendi.
What makes the season persuasive is how Chiuri uses materials and methods Fendi has worked with for decades: reducing fur’s area to reveal skin and silk, dividing leather into small accessories to hold the edges of soft outfits. Its most distinctive features sit in the surfaces and edges, details that would stay recognizable even with the logo hidden.
This is clearly a more interesting season than the debut. The early lingerie and fur make a strong impression quickly, the folk and tailoring in the middle widen the wardrobe, and the flowing black at the end gathers those rich surfaces back into long silhouettes. The three stretches hold together to different degrees, but what Chiuri wants to develop at Fendi has come into much sharper focus.
This collection has plenty to remember even after it’s broken into separates. The embellished vest adds density to an ordinary shirt and trousers, and a small Baguette brings the textures of the clothes down to the size of a hand. On a thin dress, one leather cuff creates a different attitude. The width of the fur, the front of a shirt, the edge of lace, small ornaments trembling on black: those will be remembered longer than the mirrors. The mirrors made the show’s images, but the wish to see it again began with the clothes.
With this show, Chiuri moved beyond simply placing her own sensibility under the Fendi name, and the house’s materials began to change her clothes.
All images unless otherwise credited: Vogue Runway
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