Moschino enters a new chapter in Milan. For Spring/Summer 2027, Loris Messina and Simone Rizzo make their debut as co-creative directors, bringing the experimental instinct they developed as founders of Sunnei into one of Italy’s most irreverent fashion houses. It is the only major creative-director runway debut on Milan Fashion Week’s September 2026 calendar.
For the menswear, however, the most interesting thing is that Messina and Rizzo don’t appear interested in producing a greatest-hits version of Moschino.
Before the show, the designers explained that they had been studying why Franco Moschino’s work made sense rather than simply reproducing his familiar motifs. Their intention, they said, was to preserve his spirit and way of thinking while imagining a Moschino for the future.
Looking at the men’s clothes, that philosophy becomes surprisingly clear.
Moschino Gets Dressed for Real Life
The new Moschino man looks as though he has assembled his wardrobe instinctively—and occasionally incorrectly.
There are T-shirts, shorts, straight trousers, lightweight jackets, oversized bags, polos, tanks and uncomplicated leather shoes. Individually, many of these are ordinary wardrobe components. The Moschino trick comes from how everything is combined.
A star-covered sleeveless top extends beyond a red underlayer and meets loose brown trousers. Elsewhere, a psychedelic multicolored top is layered over an olive tank and paired with enormous black trousers and two brightly colored bags. A white “GOOD LUCK” T-shirt appears with lean green trousers, making the slogan feel almost casually incidental rather than like traditional logo merchandise.
That everyday quality gives the collection its charm. Moschino’s humor is still present, but Messina and Rizzo have lowered the volume.
Layering Is the New Punchline
The strongest idea running through the menswear is layering.
Shirts protrude below jackets. Tanks are stacked together. A green plaid shirt escapes underneath a cropped dark jacket. Checks collide with other checks. Hemlines deliberately refuse to align.
One particularly effective look combines a yellow-and-black checked jacket with a longer pink plaid shirt and olive trousers. Another puts a traditional checked shirt beneath black outerwear while a bright yellow bag interrupts the entire composition.
These combinations flirt with bad taste without actually surrendering to it.
That distinction matters at Moschino.
Franco Moschino built much of his language around disrupting the conventions of supposedly “correct” dressing. Messina and Rizzo seem to be translating that attitude for a generation accustomed to styling clothes through instinct, vintage discoveries and unexpected combinations rather than rigid head-to-toe looks.
Color Without Fear
Then the collection suddenly explodes.
A fitted psychedelic shirt and matching trousers become one of the most visually immediate menswear propositions in the lineup. Swirling orange, turquoise, red and blue transform the body into a moving graphic.
Elsewhere there is electric blue outerwear, acidic yellow, orange, green and flashes of pink.
But those colors are surrounded by brown, black, cream, olive and white, preventing the collection from becoming a nonstop exercise in novelty.
The contrast is important: normal clothes and abnormal combinations.
That may ultimately be one of Messina and Rizzo’s most useful ways into Moschino.
The Moschino Man Loosens Up
Silhouette also moves between extremes.
There are enormous trousers that nearly swallow the shoe alongside narrow pants, short shorts and knee-length Bermuda silhouettes. A pale blue long-sleeved top with crisp white shorts is almost aggressively straightforward. A blue V-neck T-shirt worn with dark green shorts is similarly simple.
Then comes a loosely crocheted, semi-sheer tank extending down the body over mustard trousers—a more sensual proposition that brings texture and exposure into an otherwise pragmatic wardrobe.
The white sleeveless look is another standout. A clean, almost architectural top meets white trousers decorated with small colorful interventions along the sides. From a distance it reads as minimalism; up close, Moschino starts interfering with it.
That push and pull works throughout the collection.
And Look at the Bags
Accessories are impossible to ignore.
Huge leather totes are carried almost like everyday shopping bags. Bright red, blue, green, yellow, pink, black and white bags repeatedly cut across the clothes, sometimes appearing deliberately disproportionate to the wearer.
They aren’t merely accessories here. They become part of the styling grammar.
The result makes the men look less like immaculate runway mannequins and more like people moving through Milan carrying their lives with them.
From Sunnei to Moschino
Messina and Rizzo founded Sunnei in Milan, initially establishing it as a menswear project before developing a broader universe around the label. Their appointment at Moschino followed Adrian Appiolaza’s departure in June 2026.
That background makes the menswear in this debut particularly worth watching.
There are traces of the designers’ established interest in proportion, styling, color and the mundane objects of everyday life, but this doesn’t simply look like Sunnei transplanted into Moschino.
Instead, they appear to understand something fundamental about the house: Moschino doesn’t necessarily need crazy clothes. It needs an idea that makes ordinary clothes feel slightly crazy.
And Spring 2027 repeatedly finds that tension.
A New Moschino Man
For menswear, this debut feels more like an opening argument than a finished manifesto.
Messina and Rizzo offer a Moschino man who can wear a plain white T-shirt one minute and psychedelic trousers the next; who mixes checks without worrying whether they technically match; who wears enormous bags, tiny shorts, crochet tanks and exaggerated trousers with the same nonchalance.
The wit hasn’t disappeared.
It has moved into the styling, proportions, clashes and contradictions.
After decades in which Moschino became synonymous with immediately recognizable visual jokes, Spring 2027 proposes something subtler: perhaps the joke doesn’t always have to be printed across your chest.
Sometimes it’s simply in the way you got dressed.
