Alberta Ferretti Spring Summer 2026 “Romanticism in Discretion” Story by RUNWAY MAGAZINE. Photo Courtesy: Alberta Ferretti.

For Spring Summer 2026, Lorenzo Serafini at Alberta Ferretti explored a vision of womanhood built not on spectacle, but on discretion. At a moment when visibility has become currency, his proposition felt almost radical: a wardrobe for a woman who declines to trade her privacy for attention, who gatekeeps her lifestyle not out of fear, but out of choice. Serafini framed this as a new form of romanticism — intimacy valued over exposure, self-possession over self-display.

The collection opened with fluid silhouettes that seemed to float rather than march. Capes cut in airy fabrics, languid caftans, and asymmetrical handkerchief hems moved with a quiet confidence. The intention was not to demand the gaze, but to suggest presence. Structure remained — subtle tailoring beneath loose drapes, disciplined cuts that anchored fluid volumes — but never tipped into rigidity. It was a dialogue between discipline and ease.

Color told the story with equal restraint. Whisper-light shades in cream, blush, and sand unfolded gradually into deeper earth tones, punctuated at times by navy and black. The finale introduced bold leopard motifs — a reminder that beneath discretion lies undeniable force. It was not a roar, but a knowing echo of it.

The clearest homage came in the pleated gowns that closed the show, echoing Mariano Fortuny’s technique while channelling the spirit of Tina Chow. Chow, remembered for her pared-back elegance and refusal of ornament, has long been one of Serafini’s touchstones. Here, she became the emblem of this collection: the woman who wears sophistication without needing to announce it.

Serafini also nodded to the idea of the hostess — not the society caricature of social climbing, but the woman who throws a gathering for the sheer pleasure of company. The ease of caftans, the lightness of chiffon, the floating hems all evoked this private ritual. Discretion here was not austerity; it was a kind of generosity, a refusal to make life performative.

What emerged was not a loud collection, nor one that sought to provoke through shock. Instead, it was a wardrobe of resistance against the tyranny of exposure — clothes for women who prefer to live on their own terms, without the need to narrate it. In that sense, Serafini reminded us that the most modern gesture is not visibility, but the right to opacity.

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