Chiuri’s Fendi: Fashion Comes Full Circle.
- 9 hours ago
- 5 min read
It was day two of Milan Fashion Week and Maria Grazia Chiuri’s big debut with Fendi had officially landed.
After nine years at Christian Dior, she stepped into the role of chief creative officer at Fendi, opening strong and focused. The Italian heritage label presented its Fall/Winter 2026 collection with 80 precisely tailored looks and the official motto: “Less I, more us.”
It was her idea of working for the show which was fashionably laid out on the runway. It wasn’t just about one designer’s vision, but a thread running through all five Fendi sisters and the brand’s legacy, stitching them all together. It was nostalgia with a stylish reminder: this house knows its history and is ready to wear it again, properly, and with purpose.
The whole idea of togetherness in Chiuri’s universe is about real friendships, real moments, and the way clothes quietly become part of those memories.
On the runway, the idea was quite evident in the sheer-inset blouses that practically belong at a long, chatty lunch. The floral shearling coats felt like they were made for slow walks and slower conversations. And that stole stamped “five sisters?” It was a tribute to the original Fendi sisters Paola, Anna, Franca, Carla, and Alda, who mentored her back in the ’80s and ’90s. At the same time, it was a wink to every ‘girl gang’ group chat out there.
The overall vibe of the show was soft power dressing. Feminine rendezvoused with masculine to create timeless silhouettes, everyday essentials and a coed lineup that quietly ditched the whole “his” and “hers” idea.
"I synthesized my vision for Fendi in this show. In the silhouette. In the shoes. For women and for men also - there will be some men in the show, too, absolutely, because we did the collections together." she enthused to Vogue backstage.
You could sense that she’s not trying to reinvent the house for the sake of it. She seemed more focused on carrying their legacy forward in a way that still feels recognizably Fendi. As she said in an interview backstage, “It’s about making the founders see themselves in the brand now.”
As for the clothes, it was a crowd-pleasing lineup. Not the kind that screams for attention, but the kind people actually want to wear. The designs were subtle and expertly tailored. Realistic and refined, they were classics that resonated with everyone in the room. And refreshingly, it skipped that heavy, over-the-top luxury. The pieces felt more grounded and wearable.
The strong visuals were a treat to all the aesthetic-loving eyes. Sheer lace gowns and silk slips floated down the runway, filling the room with a romantic, feminine vibe. But she didn’t let it get too sweet.
In came the fur-lined, animal-print vests that felt almost like armor. This brought in a tougher, more protective flare to the easy classics. And the crowd went wild! That push and pull carried on with deconstructed suiting and bold lapel necklaces. They were sharp, feminine, masculine, or honestly, a cool in-between.
Chiuri described the new Fendi dresses as pieces meant to move with real life, your moods and moments. This idea showed up in the outerwear too, especially the fur coats and stoles reworked from the house archive. She calls it “emotionally durable design,” which, in fashion terms, basically means pieces that you keep, not just wear once and forget.
There were a few curveballs in the mix: an army-green flight suit, folkloric fur-trimmed vests, even a worn-in motocross jacket in punchy yellow and black. Still, Chiuri stayed in her comfort zone where it counts: sharp tailored jackets, pleated skirts, rich wool coats, lace cocktail dresses, and those timeless panne velvet columns with a soft 1920s mood.
Fur popped up throughout the show in the form of tippets, collars and patchwork coats. But the house was quick to note it was all reworked from existing skins, not new ones. It was indeed very on-brand for a heritage house trying to balance legacy with modern sensibilities.
The details too had an insider charm. Tiny white leather collars worn like chokers felt like a quiet nod to Karl Lagerfeld, Fendi’s kingpin of fur and ready-to-wears. Meanwhile, the cross-strap jacket closures read like a subtle salute to Kim Jones, Fendi’s former womenswear designer and Chiuri’s counterpart.
The brand’s heritage got a playful spin too as the five founding Fendi sisters showed up on fuzzy intarsia football scarves. Chiuri also brought in young artist Sagg Napoli for slogan tees and scarves stamped with Italian phrases like “Rooted but not stuck” and “Loyal but not obedient.”
She kept her long-standing habit of collaborating with female artists by tapping the estate of Mirella Bentivoglio for jewelry and graphic tees, weaving an intellectual layer into the collection.
All in all, black dominated the color palette. You could see it as chic and polished, or simply smart and sellable. Either way, it worked. She also slipped in touches of denim, military, and soft bohemian codes, hinting that this version of Fendi isn’t about one woman’s strict vision, but a collective wardrobe that takes you places.
This was one of the major debuts of Milan Fashion Week and the venue was packed with A-listers. The full fashion power crowd including LVMH execs, celebrity faces, top buyers, and editors occupied the front row. They all watched in awe as Chiuri stepped back into a house she knows better than most.
Moreover, Chiuri’s show felt less like a debut and more like a full-circle moment. After 37 years in the industry, Chiuri is back to where it all started. You could feel the history in the room as she represented the house she joined in 1989 at just 24.
Accessories, though, were the real head turners. The Baguette bags were everywhere! Classic and very Fendi, they were embellished, richly textured, and styled like the ultimate finishing touch. From beaded versions to unexpected color clashes, the lineup felt fun without trying too hard. And that furry Baguette in black, purple, and orange? Total stop and stare.
She spent a decade here before working at Valentino where she shaped some of the brand’s most iconic hits, including the Baguette that basically became a pop-culture legend in “Sex and the City.” So naturally, the bags were a moment.
Maria Grazia Chiuri’s debut for the house has brought in pieces that will surely stick around, staying on the minds and wardrobes of people for many moons to come.
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