Robots Steal the Show at Vogue World Milan, Audience Unimpressed

Vogue World concluded its Milan edition this week with a lineup of robots, igniting discussions about the future of fashion as it prepares to land in San Francisco next year.

Vogue World, an annual showcase organized by the magazine, has reached its fifth year and serves as a blend of runway presentation, celebrity exhibition, and entertainment hour. Each year, it takes place in a different global city, having previously been held in New York, London, Paris, and Hollywood. This year’s Milan event was promoted as a celebration of Italian craftsmanship and “the human touch” amid technological advancements, making the subsequent events feel somewhat contradictory.

The Age of Intelligence: A Robotic Performance

During a segment called The Age of Intelligence, humanoid robots developed by the Chinese company Unitree made their entrance at the Galleria, moving to the tune of Gigi D’Agostino’s “L’Amour Toujours.” The robots gestured for applause, with one even performing a lasso trick, all while notably lacking clothing. The distressed expression of Valentino’s creative director, Alessandro Michele, quickly garnered attention online.

Fashion Takes a Backseat to Robotics

Curiously, no significant commentary has emerged regarding the actual fashion displayed at Vogue World Milan; instead, the spotlight has solely been on the robotic performers. These same robots have previously made headlines globally for their dance routines and for malfunctioning. Similar robotic acts have also appeared at London Fashion Week, which is currently taking place.

Vogue’s Tech Ties and Controversies

Earlier this year, Vogue stirred conversation by announcing that the next installment would be held in San Francisco, a city often considered lacking in style. This decision seems strategic, aligning with Anna Wintour’s growing relationship with the tech industry. Notably, this year’s Milan event received partial sponsorship from Meta Glasses, alongside backing from OpenAI.

This spectacle illustrates the extent to which technology operates within its own bubble, with many expressing dissatisfaction over the swift embrace of new technologies and Vogue’s affinity with the wealthy tech elite, particularly during a cost-of-living crisis. For some, the presence of robots on a fashion runway symbolizes a troubling trend in contemporary society.

“I’m frustrated by the celebrities who are applauding this event,” a tech founder shared with me via Instagram. “It’s disheartening. People are losing their jobs and livelihoods because of these technologies. They should stop endorsing it. What are these robots even showcasing? Headphones?”

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A fashion journalist, when queried about the robots and the upcoming Vogue World in San Francisco, simply replied with a “No.” Jason Johnson, the founder of Culture Impact Agency, highlighted that Vogue has attempted to forge connections with Silicon Valley for over a decade, recalling when Jony Ive co-hosted the Met Gala back in 2015. The appearance of dancing robots at Vogue World Milan seemed inevitable, just like the upcoming San Francisco event and the recent feature of Jeff Bezos and his wife, Lauren Sanchez, on the cover of Vogue while also co-hosting the 2026 Met Gala.

“Media outlets are discovering new revenue streams, and tech possesses that capital,” he explained. “Vogue carries the cultural weight and access that tech figures desire.” In the end, both parties benefit.

The Unnatural Fusion of Fashion and Technology

However, the manner in which Vogue is navigating this relationship feels somewhat forced.

Muna Ikedionwu, founder of MKEDI, a consultancy for early-stage startups, expressed that the most intriguing aspect of the robots is their failure to embody the true innovation and progress occurring in the realm of creative technology. “I’ve witnessed remarkable applications of engineering and AI influencing fashion, design, and art,” she explained, emphasizing that robots strutting down the runway merely scratch the surface of the ongoing evolution at the intersection of fashion and technology.

She cited the artist duo AA Murakami, responsible for Olympian Eileen Gu’s bubble dress at this year’s Met Gala. They are both fashion designers and engineers, noted Ikedionwu, recalling a presentation they delivered on creating an “everlasting bubble.” They are at the forefront of “ephemeral technology,” she remarked, which embraces the transient nature of art, humanity, and the human spirit.

When compared to such innovations, the robots indeed seem rather mundane. Whenever I ponder the fusion of fashion and technology, I think of the Spring 2024 Schiaparelli collection, which featured a robot baby adorned with Swarovski crystals and a dress created using vintage technologies like PC microchips. (I once jokingly threatened to wear that dress to Disrupt; see image above.)

Ikedionwu speculated whether this robotic display was an attempt to ease the public into the concept of merging technology and fashion, a convergence that has been quietly progressing for years. If that was the goal, it missed the mark. However, perhaps Vogue World is reserving its more captivating offerings for San Francisco.