Milano–Cortina 2026 Winter Olympics
- Valentino Spadoni
- Feb 11
- 4 min read
Updated: Apr 17
MILO & TINA The Milano–Cortina 2026 Winter Olympics have just kicked off—and among all the sports, one truly stands out: sofa-side criticism!
As we all know, big events always split public opinion.It’s perfectly normal to disagree about the opening ceremony, a particular guest, the choreography, the costumes, and so on…
But I think it’s hard to find anything negative to say about the work done on the mascots—and we should be proud of it!
They are Milo and Tina—two stoats (ermine), whose names echo Milano and Cortina, respectively. Tina, the white stoat, represents the Olympic Games. Milo, the brown one, represents the Paralympic Games (in fact, he’s missing a leg, but he successfully makes up for it with the help of his tail).
They were born out of a national competition, won by students from a school in Taverna, Calabria.
They were later joined by a set of supporting characters: a team called The Flo, made up of little snowdrop flowers, created by the runner-up finalists.
The concept was then handed over and further developed by professionals, though their names—or the studio behind the work—have not been disclosed. Some of you may remember that the mascots’ designs were unveiled live during the Sanremo Festival 2024.
I’m almost moved by just how well this has been done.So let me jump straight to the positives:
They have a soft, dynamic shape; the design works in both colorways and remains recognizable even as a silhouette—and we already know that’s one of the key traits of a great mascot.
They’re likable without being overly cute or kawaii, which fits a sporting event perfectly.
I love that the design feels almost classic—almost, because the outlines are nicely bold. You can immediately sense the influence of traditional U.S. animation.
To me, that’s always a winning choice and a reliable one in terms of visual impact.
The drawing doesn’t mimic products from other cultures, yet it instantly signals to the audience that the event sits firmly within the Western visual world.
The little flowers are distilled in a slightly more modern way, which is a sensible decision—especially to enhance their small scale.
The proportions are beautifully balanced.
Their bodies adapt well to any pose, with a soft, harmonious line.
The pastel colors are calming yet lively. Even the backgrounds haven’t been overlooked: you can see the use of grainy brushes, and I absolutely love that the surrounding snow—as well as the shadows—leans into violet and pale sky-blue tones.
All of this points to a level of professionalism that feels fully in step with the times.
On the official Olympics website, there’s a series of beautifully made animations showing Milo and Tina taking part in the different sports featured at the Games.
I invite you to check out the dedicated page by clicking here: https://www.olympics.com/en/milano-cortina-2026/brand/mascots
Even the full-body costume versions—the mascots with performers inside—are really well done. Nothing feels “off” compared to the original design in a way that makes you think, “Okay, it’s them, you can tell… but they look like a cheap knockoff.”
The plush toys were entrusted to Trudi—and I don’t think anything more needs to be said about the quality.
They’re given as gifts to the athletes, which I think is such a lovely idea.
For everyone else, they’re available for purchase on the official website here:
I do have to admit two negative notes:
The mascots didn’t appear during the opening ceremony at San Siro—unless I missed it, in which case please correct me. I would have had them dance or parade alongside the athletes as they entered; but in any case, in a three-hour event, they could have carved out at least a small moment for them.
They don’t show up during the live broadcasts of the competitions either—except as athlete souvenirs. Personally, I feel the need for someone to explain the sports to me so I can enjoy them more, and they would be a perfect vehicle for that, through dedicated on-screen graphics.
Ultimately, both issues come down to an inability—or a lack of courage—to fully leverage the mascots. They appear in ads and side campaigns, but it’s almost as if they’re created out of tradition, while at the same time there’s a fear they might make the event feel less “serious”—when it should really be synonymous with joy and energy.
Aside from that, for once Italy hasn’t stood out for half measures and mediocrity.
On the contrary, they’ve put together a truly complete, well-crafted package—one that even includes a dedicated logo, and it’s genuinely very charming!
I hope this will inspire future events—and any company or institution considering creating a mascot.
This case should teach us that we often end up with disappointing projects, both public and private, simply because they’re tackled on the cheap.
To be clear: launching a school competition to come up with the concept for Milo and Tina was an excellent initiative—and it was equally inspired to then entrust the development to industry professionals.
The added value that mascots can bring shouldn’t be underestimated.
And let me remind you: years later, the very first thing we tend to remember about an Olympics is its mascot.
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