Antonio Marras introduced his Spring Summer 2026 collection with a clear focus on form and construction. Silhouettes included robes with cinematic references, men’s dressing gowns, masculine suits, pajama suits, peacoats, tailored jackets, and evening wear. Knitwear was worked to resemble embroidery, while embroidery itself was treated to evoke watercolor. The same fabrics appeared in both men’s and women’s looks, interpreted differently through cut and detail.
The palette combined soft pastels with deeper tones. Lilac, pink, and powder were set against chocolate, plum, copper, and bronze, with ecru, cream, sand, and dust softening the contrasts. Fabrics included jacquard, damask, lace, denim, leather, and faux fur, developed with embroidery, patchwork, pleats, draping, moulages, and inlays. Patterns ranged from checks and stripes to polka dots, chevrons, pinstripes, geometric motifs, and florals.
Literary references provided a frame for Marras’s vision. The collection imagined D.H. Lawrence, author of Sea and Sardinia, traveling with Frieda von Richthofen, joined by Katherine Mansfield and the Bloomsbury Group. Marras pictured them together in Alghero, recasting the town as a place of discovery and belonging.
Sardinia remained central to the presentation. Marras included original regional costumes without reinterpretation, stressing their value as cultural heritage and noting that beauty belongs to everyone. The shepherd Giuseppe Ignazio Loi, remembered for refusing to sell his land to a multinational company and portrayed in Riccardo Milani’s film E la vita va così, was referenced as a symbol of resistance and attachment to roots.
The Mediterranean context added another dimension. Marras described Sardinia as a crossroads of civilizations, shaped by exchanges between East and West. Ideas of métissage and cultural cross-pollination reinforced the notion of dialogue between influences, expressed through fabrics, cuts, and construction.
