MILAN — Amid complex times, many designers at Milan Fashion Week reclaimed the mood-boosting role of fashion, intended to spark optimism and joy.

Partywear showed range this week, with designers often channeling retro vibes, from rock ‘n’ roll bold aesthetics and midcentury va-va-voom to sophisticated old-school glam.

Here’s a roundup from the spring 2026 presentations in town.

Taller Marmo‘s Riccardo Audisio and Yago Goicoechea drew inspiration from three of the most legendary masquerade balls of the mid-20th century: Carlos de Beistegui’s Le Bal Oriental in 1951; Truman Capote’s Black and White Ball in 1966, and Marie-Hélène de Rothschild’s Surrealist Ball in 1972. The designers threw a party themselves, filling the ballroom at Palazzo Visconti di Modrone with a spiffy crowd of mannequins swilling Champagne, chatting at the dinner table and generally whooping it up.

The designers took the simplest of shapes — such as caftans and slipdresses — and glammed them up with chiffon, taffeta, metallic organza and fil coupé Lurex fabrics. They added ruffles, fringes and punchy colors, too, including cantaloupe and deep sea blue. The beauty of these dresses was in their simplicity, and functionality — they all looked like they could withstand a night on the town — and then some.

At Redemption, creative director Gabriele “Bebe” Moratti continued to prove the consistency of the rock ‘n’ roll vision he has always imbued into his 10-year-old brand, known for being loud in ‘80s volumes, ruffles, leather pieces and glitzy embellishments.

Corseted minidresses in fire red, sequined strapless gowns with daring side slits and velvet tuxedos were only three of the different takes Moratti offered to her muses ready to have some fun. Yet for spring 2026 he also proved that sometimes even an LBD can go a long way on the dancefloor, especially when served with a one-shoulder silhouette, a little side of draping and a metal buckle on the top. 

“The new collection celebrates beauty as power: sculpted silhouettes and sensual fluidity come together to embody a modern femininity that is bold, confident and alluring,” Moratti said.

Peserico‘s spring 2026 collection, dubbed “Aurea,” drew inspiration from nature as a symbol of regeneration. The neutral palette featured colors such as quartz sand beige, slate green, night blue and silver pearl. The luxurious fabrics used for this collection included crinkled chiffon crepe, faded-effect jacquard, laminated gazar and chiffon. These were complemented by a focus on craftsmanship seen in the embellished fabrics adorned with sequins, alternating with hand-embroidered frayed tulle and gauze. The inspired patterns, reminiscent of leaves or flowers, were rendered on linen and lamé knitwear.

Curiel unveiled his spring 2026 collection at his new flagship store “Casa Curiel Milano,” located in its atelier at 13 Via Montenapoleone. This new space now serves as a hybrid of a boutique, showroom, atelier and archive.

For the new collection “Notes on Air,” the brand showcased natural fabrics such as cotton, linen, silk and wool-silk blends in a palette ranging from dusty rose, moss green and muted khaki to yellow. The garments were designed to delicately follow the body’s movement with sculptural lines, featuring LBDs with white collars and short dresses in various shades. The collection also included flared midi skirts.

Gianluca Capannolo took a trip back to the ’80s with a bold palette of saturated primary colors — including marine blue, teal and dark tomato — and a sophisticated take on the lacy fabrics of the era.

There were short fluid dresses with dramatic draping across the front, liquid gowns with lingerie straps and caftan styles with a guipure lace print. The designer, known for his elegant shapes, also whipped up guipure lace trousers and miniskirts with matching tunic tops. It was stylish, straightforward and his customers will love it.

Federica Bonifaci may just have relieved bridesmaids from the headache of finding flattering occasionwear with matching shoulder coverings for their summer weddings.

Her spring collection offered flowing plissé strapless or cape-like frocks in a variety of zingy colors, from lime green and lilac to fiery red and bubblegum pink. Many came with matching tulle capes, some shrunken to cover just the arms, shoulders and neckline, others with billowing side trails.

Elsewhere — banking on the unwritten fashion rule that one can never have too many white shirts in their wardrobe — she turned her signature cape item into pristine poplin cotton versions, which would make a perfect layering piece for a morning ceremony paired with a fluid skirt.