Fiorucci’s Autumn Winter 2026 presentation unfolded in the Lancaster Room at Somerset House like a memory you are certain you’ve lived, even if you haven’t. The space was dressed as a hyper‑saturated apartment, with teal carpet, dalmatian‑print sofas, chandeliers dropping low over the models, and a cinematic living room caught somewhere between Studio 54 and a dream sequence. It was the perfect set for “Memorie”, a collection that, as the notes insist, is not about nostalgia but about the future imagined so intensely it already feels remembered.
Francesca Murri leans into Fiorucci’s mythos without simply replaying the greatest hits. The angels are there, of course, but softened into almost subliminal presences: printed like sepia frescoes across a slinky column dress, or hovering as delicate embroideries on knitwear rather than plastered across chests. Graphic lips appear as scattered kisses on oversized knits, the brand’s pop iconography re‑cast as private jokes passed between wearers. Signature dalmatian spots prowl across tailoring and floor‑length dresses, punctuating a palette of lipstick reds, mint greens and powdery whites – all the house codes, just turned down half a notch so they catch you a second later rather than shouting on impact.
The presentation format emphasised character over look‑number. There is the languid host in a long black coat and wide, puddling jeans, crowned with a delicate, lace mask that reads more ritual than masquerade. Nearby, a boy in immaculate cream – sweater, double‑buttoned trousers, loafers – wears a clouded veil over his eyes, as if the memory he’s inhabiting is slightly out of focus. Masks, created in collaboration with Italian artist Francesco Casarotto of Agglomerati, recur throughout the room; they are not there to conceal but to sharpen each persona, giving physical form to the dreamlike figures that drift through the collection’s narrative.
On the womenswear side, Murri plays a deft game of contrast. A black mini‑dress with a prim white collar and cuffs is grounded in Fiorucci’s love of youthful tailoring, but electric red tights and pointed boots jolt it firmly into the now. A sheer slip embroidered with tiny, scattered motifs is styled with glossy thigh‑high boots and candy‑coloured gloves, lace suddenly feeling less boudoir and more nightlife. Elsewhere, a long denim skirt anchors a lace‑trimmed knit, while a stretch column printed with cherubs and wings feels like a fresco stretched into ready‑to‑wear – devotional but with a knowing smirk. The fringed pieces, white strands falling to the floor over flashes of red, underline the house’s belief that movement is as important as cut; every step turns the wearer into a live interference pattern.
Menswear slips easily into this cast of characters rather than standing apart. Slouchy mohair and wool knits sit with tailored trousers and easy denim, argyle motifs appearing like half‑remembered preppy uniforms, their geometry blurred and reimagined. A simple cream sweater over wide, high‑waisted trousers is disrupted only by a pair of polished buttons at the waistband, a tiny, almost cartoonish detail that instantly reads Fiorucci. This is the collection’s quiet strength: it understands that for a brand this visually iconic, even a small tweak in proportion or placement can carry the same charge as a head‑to‑toe print.
“Memorie” positions Fiorucci not as a relic of a specific era but as a mood that can be continually re‑projected. In the Lancaster Room, angels, lips, lace and spots are less logo and more atmosphere, drifting through both men’s and womenswear like recurring motifs in a film you keep rewatching. The collection honours what people already love about Fiorucci, then asks a more interesting question: what happens if those memories are allowed to evolve? Here, the answer is a wardrobe that feels familiar at first glance and quietly, cleverly new the longer you stay in the room.
