Kate Moss closes Gucci’s Nineties comeback at Milan Fashion Week
The supermodel, who famously walked in Tom Ford’s debut Gucci collection in 1995, returned to the runway as part of a cast heavy with star power.
Presented in a darkened room with models emerging from a doorway casting a stark light to create the runway, the collection felt dramatic from the outset.
Autumn/winter 2026 was a clear homage to Tom Ford’s sultry mid-Nineties vision for the brand.
Ford’s 1995 show – memorable for its satin shirts unbuttoned to the navel, velvet hip-huggers and unabashed sex appeal without revealing flesh – marked the moment Gucci reasserted itself as the creme de la creme of luxury labels.
Slinky satin skirts skimmed the hips, straight-leg trousers sat low on the waist and deep V-neck shirts exposed the torso.
Latex and leather injected the grunge edge of the 1990s, reinforcing the collection’s overt sensuality.
Sheer embellishments – another trend dominating fashion month – appeared across eveningwear, offering glimpses of skin beneath crystal detailing.
Feather trims, seen across multiple runways this season, edged gowns and hems, creating movement among the drama.
Menswear also played with codes of exposure and vulnerability. Barefoot male models walked in loose two pieces, creating an undone intimacy that contrasted with the high-gloss womenswear.
Gucci’s history has been defined by seismic creative shifts. Founded in Florence in 1921 as a luggage company, the brand rose to international prominence under Aldo Gucci before suffering from over-licensing and family disputes in the 1980s.
Subsequent creative directors – from Frida Giannini’s rock-inflected romance to Alessandro Michele’s bohemian maximalism – each left their mark.
Now, with Demna – formerly of Balenciaga – newly installed at the helm, AW26 suggests a return to overt sensuality reworked for a contemporary audience.
As Moss completed her closing walk, clutch in hand, the room rose to its feet in a standing ovation – a rare accolade during a season defined by reserved admiration.
It seems Gucci’s message was that the Nineties are not merely back; they are reclaimed and reasserted and, judging by the reception, people are more than ready for it.