To kick off Milan Fashion Week, Gucci presented a unique lookbook rather than a conventional runway show. Featuring photographs by Catherine Opie, the collection showcased 37 distinct characters, all styled in designs drawn from the Gucci archives. Among these figures, dubbed ‘La Famiglia,’ were ‘Milanesa’ – depicted in a knee-length fur, gold chain belt, and crocodile-print bag – and ‘Sciura’ (pronounced shoo-rah), a local term for Milanese women often associated with a bold, bourgeois sense of style.
These iconic Milanese women have long served as muses for countless fashion collections and countless imitations, frequently utilized in brand marketing. But what do these archetypes truly represent? Are the ‘Sciura’ still a vibrant presence in Milan? And how does one truly embody the style of a ‘Milanesa’ in contemporary times?
Carla Sozzani, founder of the renowned Milanese concept store 10 Corso Como, recalls a time in the 1980s when a Milanese woman’s style was instantly recognizable by her signature ‘uniform.’ This classic ensemble might have included a luxurious camel cashmere coat, a matching twin set, and a string of pearls.
When J.J. Martin, the creative force behind the La Double J label, first arrived in Milan from New York over two decades ago, she observed a distinct uniform among local women. It typically featured a perfectly crisp men’s button-down shirt paired with a voluminous Prada skirt, exquisite handmade sunglasses, a chic, logo-free handbag from brands like Valextra, and elegant kitten heels.
And often, she adds, this impeccably dressed woman would be gracefully riding a bicycle, notably without a helmet.
While the fundamental elements of the ‘Milanesa’ starter pack are widely understood, their underlying style philosophy holds a deeper subtlety. Nina Yashar, a gallerist whose family immigrated to Milan from Iran in 1963, explains, ‘Milanese style is characterized by effortless refinement – knowing what to omit as much as what to include. It’s grounded in quality, discretion, and a personal story, never ostentatious.’
The ‘Sciure,’ however, represent a distinct subgroup of Milanese women, typically older and possessing a more discerning, perhaps even snobbish, approach to fashion. According to Ms. Yashar, they are known for wearing white trousers in winter, furs from early autumn through late spring, and even donning pearls and meticulously polished pumps for a trip to the grocery store, often with a chauffeur at the ready. Their hair, she notes, is always ‘impeccably coifed,’ and they might be accompanied by a perfectly groomed bassotto, or dachshund.
As Ms. Sozzani points out, ‘It’s a very small city. People are acutely aware of what others think.’
An Instagram account, @sciuraglam, boasts over 400,000 followers by showcasing candid photos of these ‘sciure’ in their natural habitat. Ironically, this account became a popular reference during last year’s ‘mob wife aesthetic’ trend, despite the fact that an authentic sciura would never knowingly embrace a fleeting social media-driven fashion.
Alessia Algani, who founded Shop the Story, a Milanese vintage boutique specializing in pieces from chic local women with collections rich in Prada, Romeo Gigli, and Alberta Ferretti, describes ‘sciura’ as ‘an attitude.’ She explains, ‘It’s about acquiring items for yourself and not letting them dominate you. Your clothes should serve you, not the other way around.’
Through her work as a vintage buyer, Ms. Algani observes the meticulous care Milanese women, including the sciure, devote to their clothing and accessories. ‘They hold their cobbler, seamstress, and laundry services in high regard,’ she notes.
Jenny Walton, an American artist and influencer who moved to Milan in 2021, finds this dressing philosophy deeply inspiring. She believes that in an era of fleeting, ‘one-click’ trends, people are increasingly seeking more enduring styles. ‘The sciura embodies the opposite of this,’ Walton explains, ‘having meticulously built her wardrobe over a lifetime. You simply can’t sway her; if you suggest she wear lime green, she won’t.’
While ‘sciura’ can be a term of endearment or admiration for some, others perceive it as diminutive or outdated. Nicoletta Santoro, a Milanese-born fashion stylist and creative director, views the term as suggesting a rigid, closed-minded adherence to tradition. She prefers ‘la signora Milanese,’ which she considers ‘elevating, because it implies cultural openness.’
Ms. Santoro credits her grandmother, Costanza Dell’Orto Zineroni Casati, with teaching her the true meaning of dressing like a ‘signora Milanese.’ Her grandmother valued ‘sobriety, elegance, and refinement,’ prioritizing impeccable tailoring, high-quality fabrics, and a palette of muted colors. She was also a loyal client of the legendary designer Biki.
Elvira Leonardi Bouyeure, famously known as Biki (or ‘Bicchi’), is credited by Ms. Santoro with defining Milanese women’s style throughout the 1950s. Renowned for dressing opera stars like Maria Callas and other performers at La Scala, Biki’s boutique on Via Monte Napoleone was a fashion landmark. She herself was frequently pictured wearing pearls or a silk scarf, adorned with elegant earrings and a distinctive headpiece.
However, Ms. Santoro observes that it was Miuccia Prada who truly ‘stretched’ and modernized the classic Biki aesthetic. ‘Miuccia is a Milanese designer who has skillfully evolved the Milanese look, incorporating the diverse psychological complexities women face,’ she explains. ‘Her collections invariably feature something subtly provocative.’
Pia Zanardi, a young Milan-based designer, is actively pushing the boundaries of Milanese style with her label, Yali. ‘While I deeply respect the principles of Italian tailoring, I always aim to add a touch of imperfection, something a bit messy,’ she states. ‘I believe a twist is essential; otherwise, the style risks becoming predictable.’
While strolling through Milan, Ms. Zanardi sported a natural pearl necklace, a relaxed bright pink sweater, jeans, and athletic sneakers. With a shrug, she remarked, ‘Sometimes I wake up feeling like a sciura, other times I want to embody a video gamer.’ This illustrates that the modern ‘Milanesa’ is multifaceted and, like Pia who hails from Parma, may not even be a native Milanese.
In the wake of Giorgio Armani’s passing and a season marked by unprecedented changes at Italy’s most prestigious fashion houses – including Gucci, Jil Sander, Bottega Veneta, and Versace – Milanese style finds itself in a state of evolution, opening the door for its classic archetypes to be reinvented with fresh perspectives.
Michelle Ngonmo, founder of the Afro Fashion Association and a long-time resident of Milan, asserts that ‘Milanese style has undeniably evolved.’ She adds, ‘While it certainly remains rooted in tradition, it now embraces a more international and multicultural perspective, a shift clearly visible in Demna’s latest collection.’
Ms. Ngonmo’s initial reaction to the ‘La Famiglia’ lookbook was a blend of ‘excitement and respect.’ She described it as both ‘bold and theatrical,’ yet simultaneously ‘deeply grounded in Gucci’s legacy, which itself is intertwined with Milanese and broader Italian heritage.’
She concluded, ‘It’s a powerful statement. Milanese style simply cannot remain stagnant.’