For years, the jeans occupied a central place in the wardrobe. It was necessary to find the perfect wash, the cut sufficiently roomy without being too loose, the white jeans capable of illuminating a silhouette, the straight model to be worn with absolutely everything. Then came the pants. Flexible, tailored, often masculine, with darts and this apparently simple construction that has transformed tailoring into a true contemporary uniform. And while the wardrobe seemed to have found its balance between denim and tailored pants, something changed: skirts began to inspire desire again. Not necessarily the most basic ones. On the contrary. Recently, it is especially the particular skirts that are attracting attention: colorful, embroidered, printed, decorated, sometimes even slightly strange. These pieces capable, on their own, of doing almost all the work of a silhouette. The Vogue favorites The atypical skirt seems today to take the place long occupied by the pants: that of the piece around which an entire silhouette can be built. In recent years, the tailored pants have experienced a true consecration. Roomy, fluid, often grey or beige, it has established itself as one of the pillars of the contemporary wardrobe, worn by this minimalism that has made blazers, masculine shirts, fine knits and these apparently anonymous but perfectly cut pieces desirable. A search for simplicity? This trend is beginning to change direction. The black pants, more fitted and inspired by the 1990s, are gradually returning to the forefront, while a much more ornamental movement is taking shape in parallel. Because even though fashion continues to celebrate minimalism and the search for simplicity, the skirt is precisely becoming the space where the opposite is done. A little "pazzerella," to use an expression dear to the Italian style: this dose of fantasy that one simply allows oneself for the pleasure. It is therefore neither the perfectly tailored black midi skirt nor the sensuous jersey skirt, possibly worn slightly low on the hips. It is about atypical, original skirts, designed to be looked at but especially to tell something about the person who wears them. An attitude deeply linked to contemporary Italian style and that famous sprezzatura, which allows one to associate an obviously exceptional piece with perfectly ordinary elements without ever giving the impression of being dressed for a particular occasion. A spectacular skirt, a simple knit, a pair of shoes that one has owned for years. And that's it. Francesca Faccani, a writer at Vogue Italia, recently confessed to being literally obsessed with skirts and continuing to search for new ones, almost tired of the most classic pants. There is no question of abandoning them (the nuance is important) but when it comes to choosing an outfit for an evening or an event, the pants are no longer necessarily the first reflex. And perhaps that is where the real change lies: skirts are becoming the new pants because they have once again become easy to wear. From the Tommy Hilfiger collection to the scary creatures in corset by Thom Browne. The art skirt Corinne Corci, for example, recently attracted all attention with a vintage Prada leather skirt covered in small mirrors, worn at the opening cocktail of Cinemoda. Chiara Mastroianni did not fail to notice it. From there, the rest of the silhouette could almost disappear. This year has also seen the explosion of the portrait skirts, these skirt-paintings on which appear faces and portraits, like the one worn by Alexa Chung. Difficult to confine within a precise definition, they precisely draw their interest from this ambiguity: halfway between clothing and image. The skirt as an infinite playground according to Prada. The idea of making the skirt a territory for experimentation is not new. Miuccia Prada has often mentioned the particular freedom that this piece offers to play, divert, and experiment. It is enough to look at the Prada archives to understand the richness of this approach: skirts covered with small mirrors, metal piercings, or maxi buckles, printed with lips, games of transparency and layering capable of creating the illusion of a miniskirt where there was none. The Prada skirt has always functioned as an artist's canvas: a seemingly simple surface on which a few interventions are enough to completely change the reading of a silhouette. This idea returns with particular strength in the Prada spring-summer 2027 collection, where the runway becomes a particularly joyful variation around the theme of the skirt. Here, the piece is no longer only designed: it seems almost entrusted to the person who wears it, as if it still had to be completed by her gesture. Velcro closures allow it to be worn higher or lower on the hips, while contemporary interpretations of the kilt and layering games overturn traditional clothing hierarchies. The under-skirt, usually intended to remain hidden, comes to the surface and is worn over more structured materials. Even the label ends up on the outside. Inside and outside, on top and underneath, precious and daily: the rules suddenly seem much less important.