Inside Dolce & Gabbana Spring 2027: Stravaganza Siciliana
Ruffled blouses, eyelet embroidery, sheer chiffon, crochet, a basket hooked over the arm.
These are clothes that have grown familiar again since Chemena Kamali’s Chloé. It’s now easy to call them bohemian on the strength of those materials alone. The harder part is reading the differences between collections that use the same ones.
Dolce & Gabbana Spring/Summer 2027 feels like a collection that asks about that difference.
Crochet skirts, white eyelet, floral chiffon and basket bags move through 81 looks. Pull out a few scenes, and you could say the bohemian current has reached Milan’s most Sicilian house.
Look at the whole show, though, and the center of gravity sits somewhere else.
A black lace bra shows at the chest of a pale floral dress, with gold chains layered at the neck. Black satin sits over a cream skirt. Crosses and colored stones, leopard and black socks keep holding the clothes in place. The fabric flows lightly, yet the outfits don’t come apart easily.
The official title is Stravaganza Siciliana.
It reads fairly as Sicilian extravagance. The name doesn’t promise restrained tradition, and the collection pulls out the family lace, the jewelry saved for going out, the underwear and the tailoring all at once.
What I read in this collection is a way of wearing inherited lace and embroidery again. White embroidered cloth kept for years, black lace for special occasions, materials that recall jewelry handed down through a family. Dolce & Gabbana mixes in short jackets, low-slung jeans and lingerie that reveals the body. Old craft finds a new place inside the way we dress now.
Summer Enters Last Season’s Black
At the center of Fall/Winter 2026 was a will to go back to origins. The house described the season as a return to an archaic Sicily: total black, shawls, crochet and clear references to tradition. My word for that season was “reinforcement.” While other houses explained themselves through new designers and new silhouettes, Dolce & Gabbana brought the codes it already had back out, in a deeper shade.
This spring, black and handwork stay. What’s changed is the inside and outside of the clothes. White embroidery emerges from under black jackets, and skin shows through lace. Cream and lilac, green and turquoise enter the black ground. As last season’s severity loosens, objects that have lived through different times in the same wardrobe start to appear side by side.
The scene that connects this shift is June’s menswear show, Vacanze Siciliane.
At the time, the brand drew the inspiration for its Sangallo embroidery and cutwork from traditional household linens. Curtains, tablecloths and decorative cloths moved onto shirts, trousers and pajamas. Some surfaces that looked woven were made in leather and suede. Moving domestic craft onto clothes for the outside world was already underway before this women’s show.
So reading this collection simply as following a trend Chloé started gets the chronology backward. The surfaces in fashion right now overlap with materials Dolce & Gabbana has used for a long time. What matters is what the house newly combined inside that overlap.
There was a change in management, too.
Stefano Gabbana’s resignation as chairman took effect in January 2026, and in April former Gucci CEO Stefano Cantino joined as co-CEO alongside Alfonso Dolce. Gabbana’s creative work continued. Changes in how the business is run and the authorship of the design need to be kept apart, and the language of this collection still belongs to the two founders.
Bohemian Travel, Folk Memory
The comparison with Chloé comes to mind whether you want it or not.
It’s especially hard to avoid in look 9’s pale floral dress or look 16’s long silhouette of layered ruffles. Thin fabric swaying with movement, a softly opened neckline, a shape that doesn’t pin the body firmly in place. The sensibility grouped today under “bohemian” is clearly here.
I don’t want to fix Chloé as lightness and Dolce & Gabbana as weight, though. What I’m comparing here is the impression these particular clothes make, rather than each brand’s whole idea of a woman. What sits above and below a dress matters more than how similar the dress looks.
At Dolce & Gabbana, chiffon touches black lace, and embroidered cotton meets a leopard jacket. Carrying a basket doesn’t settle an outfit into vacation clothes. Black sheer socks stay at the ankle, and jewel-like ornaments cling to the toes of the shoes. Rural handwork and urban adornment refuse to give way to each other.
Overlaid on this combination is the southern Italian culture of keeping lace and embroidery and passing them down.
In Italy, the embroidered bedding, household linens and lace garments prepared ahead of marriage formed part of the corredo, the trousseau. Carefully made cloth was both something to use and property a family kept and handed down. Domenico Dolce has tied lace and embroidered linens to this southern Italian corredo, describing old cloth worn as clothing as a way of carrying a piece of one’s own family history.
With that background in place, the pairing of white embroidery and black lace reads differently. A romantic material that returns every season picks up the memory of family and daily life. The folk sensibility running through this collection sits right there.
What remains is the tension between propriety and exposure. A black bra shows beneath white embroidery made with care. A tailored jacket and lingerie form a single look. Had the show ended at reverently preserving inherited cloth, it would have been far more demure.
A woman who wears tradition doesn’t stay politely inside it.
The Opening: White Embroidery from Under a Jacket
The first look shows this relationship most clearly.
A short black jacket carries thick trim, decorative buttons and small pockets. Below it, the layered edges of a white blouse appear. A black tie binding the neck and center front runs downward, and black ribbon repeats on the knee-length bottoms.
The bottoms take a puffed shape that recalls bloomers. Generous white cloth gathered near the hem leaves ease around the thighs. The embroidered holes, wavy edges and thin black ties show at different densities.
The jacket’s firm outline organizes this fullness from above. In turn, the white embroidery keeps the black jacket from turning too solemn. What matters in this look is that both garments keep their character, with neither winning out.
The lace-edged sheer socks at the ankle and the embellished pumps are hard to leave out, too. With bare feet and sandals, the outfit would have sat much closer to a resort. The black socks pull the embroidery away from resort dressing and back toward something more formal.
Silhouette: Puffed, Straight, Open at the Waist
Three different proportions repeat through this collection.
The first is volume made by gathering fabric. Look 1’s bloomer-like bottoms, look 16’s tiered ruffles and look 20’s loosely flowing floral dress belong to this current. All of them leave ease between body and cloth, but the volume forms differently. Cotton holds shape where it’s gathered, while chiffon flows along its tiers. Because of that difference, the same romantic ornament looks sculptural in one case and fluid in the other.
The second is the skirt that falls straight to around the knee. Look 30’s leopard, look 53’s cream craft surface and look 62’s multicolor tweed are the clearest examples. With a knit or camisole on top, the basic structure of the look is surprisingly simple: one top, one midi skirt. The materials supply the density instead.
These skirts anchor a long collection. However many ruffles and jewels appear, there’s an everyday garment shape to come back to. The house’s particular ornament gets much sharper in the looks that keep the upper body black and put pattern on the lower half.
The third is lingerie paired with low-slung denim. In looks 18, 37 and 77, exposure around the waist appears together with embellished jeans. Look 41, by contrast, joins lace to a denim skirt. Jeans and a skirt are different things, but both belong to the same impulse to blur the boundary between denim and underwear.
Structured tailoring hasn’t disappeared either. Look 58’s black jacket with a long sheer skirt and look 59’s waisted jacket set firm outlines in the middle of the show, though those outlines don’t control every look. Clothes that cinch the waist and clothes that let it go, short bottoms and long skirts, all fit inside one wardrobe this season.
Material: Making Holes, Filling Surfaces
From a distance, crochet, eyelet and lace are all surfaces that reveal skin.
Read closely, their roles differ. Eyelet decorates with holes and embroidery while keeping the base cloth. Because the plane of white cotton remains, the garment’s outline stays fairly crisp. Crochet builds the surface out of the stitch itself, so the net-like gaps and the thickness of the yarn show at once. Lace moves between bras, slips and blouses, adjusting how much of the body is revealed.
This collection puts those differences to use. In look 53, a loose black knit plays against the dense ornament of a cream skirt. Look 54’s full openwork look uses the same black yet creates a transparency entirely different from a jacket or satin. In look 64, colorful three-dimensional flowers rise from a black ground, turning a light slip shape into a garment with a rich surface.
On the other side are tweed and embellished denim. These materials fill rather than empty. Threads in different colors, sparkling ornament, embroidery and appliqué build up the surface. Look 14’s belted tweed suit, look 17’s pink jacket, look 61’s bright suit and look 62’s skirt each show a different density.
Tweed and embellished denim aren’t materials only this house uses. What’s Dolce & Gabbana is how they’re set beside other materials. Leopard goes under a tweed jacket, jeweled denim under a bow blouse. Classic cloth and exaggerated adornment remain side by side.
As a result, the presence of craft comes across without any explanation of hours spent. The surfaces aren’t flat and don’t end in a single texture. They make you want to look at the clothes up close.
Color: Glamour Allowed Only on a Black Ground
Black, cream and leopard anchor the collection.
Black is one of the colors and also the background that holds the others up. Look 9’s lilac florals are pale and soft, but the black lingerie at the neckline fixes the center. In look 32, a lilac-toned top meets a deep red skirt. Look 62’s green camisole also turns vivid against black lace. Even in the looks where color comes forward, a dark edge remains.
Another way to build glamour is to gather strong color into a small area. Look 43’s turquoise ornament and pale aqua bag, and look 53’s colored cuffs, work that way. Instead of turning a whole garment a new color, they light up points like the neck, the wrist or the edge of a jacket.
So this spring uses summery materials without washing out into pale color. There’s more color, but the shadow stays too. Black lingerie and socks are the devices that keep that shadow in place using the smallest area.
Accessories: Jewelry Stays on the Hand That Holds the Basket
In this collection, baskets and crosses enter the same look.
Look 9’s basket-style bag with blue trim, look 49’s light woven bag and look 53’s tidy basket feel relaxed if you look only at the material. But the gold jewelry, black lace and embellished shoes around them don’t leave that ease alone.
In look 53 especially, the basket’s firm outline plays against the soft surface of the clothes. The black inside the bag picks up the color of the camisole and cardigan, which is why a natural-toned bag doesn’t float apart from the look.
The small top-handle bags and pouches in other looks play the same role. The more complex the surface of the clothes, the clearer the outline of the object in the hand. In outfits layering print and lace, the bag becomes a firm shape that lets the eye pause for a moment.
Jewelry expresses this collection even more actively. Long chains and crosses, coin-shaped ornaments and colored stones gather at the neck and wrists. Where they overlap a neckline that shows a bra, the metal lines sit on bare skin like another layer of clothing. It reads less like decoration added to the dress at the end than like styling that accounted for the empty area from the start.
The recurring black socks stand out too, and within the same black, the loose knit, the thin sheer surface and the lace edge keep changing. Crochet, lingerie and tidy jackets pass through this small layer before they reach the shoes. What connects the differences among 81 looks doesn’t have to be a big item.
Sicilian Excess in Five Looks
Look 1: Embroidery Under a Neat Jacket
The first look’s strength is that it previews the clothes to come without feeling crowded. Within the limited colors of black and white, the jacket, the embroidery, the ribbon and the socks each play their part.
The black tie starts at the neck and runs down to the bottoms. It’s a simple way to link garments of different character through color and line. You can see how the design is assembled more clearly here than in the later, more heavily jeweled looks.
This look stays in memory because it sets heirloom-like white embroidery on equal footing with a short jacket of the present. The embroidery determines the volume and length of the look rather than serving as surface decoration, and it decides the overall proportion.
Look 9: The Moment Closest to Chloé
Lilac flowers sit on a peach ground, and ruffles run along the neckline and shoulders. The silhouette falling softly from under the bust summons the word “bohemian” more easily than anything else in the show.
The difference gathers at the center of the dress. Inside the open neckline is black lingerie, and gold necklaces and colored ornaments layer over it. The eye spreads outward with the light fabric’s movement, then stops again on the dark plane and the metal at the chest.
— lilac floral dress with blue-trimmed basket bag
The blue-trimmed bag isn’t matched to the pale dress’s temperature either. Different colors are connected through jewelry and accessories. Instead of unifying everything softly from head to toe, the look builds a few strong points.
Look 43: The Center of Excess
Turquoise ornament runs along the edges of a leopard jacket. Inside is a black bow blouse printed with small dots, and below, short leopard bottoms. A pale aqua bag, light gloves and black knee socks follow.
In this look, the white embroidery and light chiffon step back. Leopard, dots and stone ornament fill a single frame without diminishing one another. It’s the scene that responds most directly to the theme of Stravaganza.
— leopard jacket with turquoise ornament, black bow blouse
Turquoise and aqua connect the jacket to the bag in hand, and the black of the blouse and socks ties top and bottom together. The patterns are many, but the points where color repeats are clear.
Here is how this collection handles excess. Rather than removing ornaments one by one to find balance, it calls the same color and texture back from somewhere else.
Look 53: How to Wear Inherited Embroidery Today
A short openwork cardigan layers over a black camisole, with a cream midi skirt below. Black ties run between the skirt’s flowers, holes and edge ornament. There’s a basket in the hand and colored jewelry at the wrist.
This look stands out because it organizes complex materials into a combination of ordinary clothes. Cardigan, camisole, midi skirt. By form alone it’s a familiar outfit for going out, but read the surface and you see ornament that recalls domestic embroidery, lingerie and lavish jewelry together.
— black cardigan over camisole, cream embellished skirt, basket bag
The black on top is thin and sheer, yet it carries more visual weight. The cream below is bright but densely ornamented. Light and dark planes, loose and dense surfaces cross each other, and those two kinds of contrast make the look solid.
This is also the most convincing scene for moving craft into everyday clothes. Embroidered cloth that might have been saved for special days is worn under an ordinary cardigan. Setting old ornament inside familiar proportions turns a single skirt into something you could actually wear.
Look 81: The Body Between Lace and Flowers
In the final look, black lace and florals continue through a long silhouette. Short, flowing sleeves, a visible bra and briefs, florals spreading downward. The upper body shows the outline of skin and underwear, while the lower half keeps the movement of long fabric.
If the opening’s white embroidery built volume, the finale’s lace lets you see through to the body. Plenty of prints, denim and tweed came in between, but the beginning and the end both land on the relationship between skin and cloth.
What remains to the end is the sensuality of lace. The lines of bra and briefs show between intricate patterns, and black lingerie stays inside the romance of a long floral dress right to the finish. The image of inherited craft carries into clothes that reveal the body, which is how this house dresses its romantic clothes.
— black lace and floral sheer maxi dress
How Denim Calls Up the Past
One look still deserves separate attention: look 77.
The jeans under a black lace bralette empty large areas of denim along the legs and connect them with lace. It’s a more active intervention than putting ornament on top of trousers. As the sturdy cloth covers less skin, the material of lingerie becomes part of the jeans.
This look recalls the Dolce & Gabbana of the early 2000s: low-slung denim, a bare upper body, glittering belts and ornament. It’s more accurate to read it as the return of the relationship between denim and sensuality the house has long worked with than to call it a re-creation of a specific past look.
Look 37’s embellished jeans with a white T-shirt, look 63’s floral shirt with embellished denim and look 65’s dark embellished cardigan with jeans use the same material to different degrees. From the simplest T-shirt to wearing jewels and print together, the idea works at several levels of intensity.
This stretch reads as the commercial center of the collection, since a pair of jeans slips into an existing wardrobe more easily than a long sheer dress. Still, adding more kinds of ornament and deepening the design’s thinking aren’t the same thing. A look like 77, which changes the role of the material itself, lasts longer than denim that repeats while swapping flowers and stones.
What to Bring into a Real Wardrobe
The way to wear this collection doesn’t lie in reproducing every ornament at once.
Starting with looks where the roles of top and bottom are clear, look 53’s short cardigan and midi skirt and look 30’s black knit and leopard skirt are good starting points. They make it easy to decide whether to concentrate texture on the upper or lower body. Choose an embellished skirt and the top can stay simple; choose an embroidered blouse and you can tidy the surface of the bottoms.
The voluminous white bottoms need a different approach. The question is less whether they suit a particular body type than at what height the volume begins and ends. If a jacket’s hem covers the fullest part, top and bottom can read as one mass. You can end the jacket short, as in the opening, or wear it open to show where the bottoms’ shape begins.
Low-rise denim and bralettes can be brought in by adjusting how much is exposed. If you choose the jeans, add a longer camisole or an open shirt; if you choose the bralette, pair it with a high-waisted bottom. The contrast of lace and denim survives without reproducing the runway’s long stretch of bare skin.
A long sheer dress changes a great deal depending on what’s worn underneath. Contrasting underwear emphasizes the exposed structure, while a slip in a similar color makes the florals and the dress’s lines easier to see. Choosing to reduce exposure doesn’t erase the design.
The piece that looks most versatile is the midi skirt. Crochet or leopard, it keeps the memory of this collection even with a plain knit. You don’t have to wear the whole show to take in the house’s style.
81 Looks, Between Abundance and Repetition
In a way, this show’s weakness is how varied it is. At first the sheer number of looks seems like a strength. You can see how the same lace changes under a jacket, beside a pair of jeans and inside a long dress. Old embroidery, embellished denim and tidy tailoring cross one another, giving the impression of tastes from different eras piling up in one wardrobe.
Past the middle, though, variations that show new relationships mix with repetitions that only change the surface. Leopard comes back, followed by more florals and embellished denim. The options for individual products grow, but the collection starts to circle rather than develop.
That’s why I wish the edit had been shorter. With a few embellished denim and print variations removed, the black and white of the first look, the color clash of look 43, the material contrast of look 53 and the lace denim of look 77 would have answered one another more strongly.
The title “Sicilian extravagance” can explain a lot of ornament. It can’t justify every repetition. Excess, too, has moments of high density and moments when concentration slackens.
That doesn’t mean this collection’s value should be judged only by its timing relative to the wider bohemian trend. Eyelet and crochet belong to no one. The question this show has to answer is whether it gave us a reason to see those materials again here, beyond merely using materials already circulating elsewhere.
In looks 1 and 53, the reason is there. Jacket and embroidery, camisole and cream skirt meet and make each other’s character sharper. In look 77, the boundary between denim and lace itself shifts. In the looks where only the amount of ornament grows, by contrast, the old formula shows first.
Heirloom Craft, Dressed for 2027
What’s most convincing in Dolce & Gabbana Spring/Summer 2027 is the combinations themselves, more than any explicit claim to tradition.
Black lingerie under white embroidery, colored jewelry at the wrist holding a basket, turquoise ornament running over leopard. Each element belongs to the image of an old house, but within one look they create different times. Cloth that’s been kept and jeans worn now sit on the same body.
If last season redrew the house’s outline with black, shawls and crochet, this season widens the range of materials and combinations. Cream embroidery, floral chiffon and embellished denim come in, and they’re shown with their different characters left intact rather than tidied into the same kind of garment.
Some of the denim, in truth, is closer to a variation on a familiar product than to a new idea. Even so, the collection’s center comes through clearly.
Even within materials shared with today’s bohemian current, Dolce & Gabbana’s lingerie, jewelry and black shadow remain unmistakable.
In this collection, lace is a material that floats lightly and also a trace of taste kept for a long time. Dolce & Gabbana places that lace under a short jacket, inside the cut-out space of a pair of jeans and on bare skin.
In this show, inherited craft became clothing for the present.
All images unless otherwise credited: Vogue Runway
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