Bows! Hats! Feathers! Prada Goes All in on Details at Milan Fashion Week
We’re almost through fashion month, which means a five-day stop in the Italian fashion capital of Milan. Get your cappuccinos ready, because there’s a lot to cover. From Prada, to Fendi, to Gucci, to Adrian Appiolaza’s debut collection at Moschino, the short but sweet Italian trip promises to deliver more trend-defining fashion.
Bottega Veneta
Matthieu Blazy of Bottega Veneta took it back to basics (kind of) this season. The ombré background on the runway and ceramic cacti that dotted the space gave a desert air to the show, which symbolized a return to simplicity amid the ruins of a fire. This was expressed through a streamlined palette of neutral greens, grays, tans, and blacks on sumptuously simple coats, power-shouldered knits, cotton shirts layered on themselves, and elegantly draped color block dresses. The wow factor came through in flayed leather coats and feathered dresses, which he calls “flower dresses,” symbolizing life amidst the ruins. In our humble opinion, Blazy was smart to scale back and hone in on cut and form this season.—Kevin LeBlanc, fashion associate
Bottega Veneta
Bottega Veneta
Feben Supported by Dolce & Gabbana
As the fifth installment of Supported by Dolce & Gabbana, Ethiopian designer Feben presented her fall/winter 2024 collection in Milan, full of vibrant energy and fun textures. Crushed velvet was smocked, puffers were quilted, and striped dresses were met with an explosion of tassels at the bottom. Audiences could particularly feel the D&G influence in the tiger striped fabrics and the curve-hugging dresses. Suits with exaggerated shoulders and nipped waists were met with beaded chaps, proving the collection can be technical and sophisticated while still maintaining the brand’s fun, youthful allure.—Madison Rexroat, fashion & accessories assistant
Feben Supported by Dolce & Gabbana
Feben Supported by Dolce & Gabbana
Bally
Simon Bellotti of Bally gave a solid case for the continuation of “quiet luxury” this season, with gentle, impressively made clothes that let the heroes of the show shine: the leather goods. After all, Bally is first and foremost a heritage footwear brand; the studded flats and flat thigh-high boots were right in step with trends of the season. The sweeping hems of shortened jackets and simple, effective trousers paired with grommeted leather skirts and fair-isle knit sets were easy to imagine oneself in, and the simple bowler bag silhouette was enhanced by padlocks. Overall, a silent shout that is both instantly covetable and timeless. —Kevin LeBlanc, fashion associate
Bally
Bally
Missoni
Irina Shayk, ELLE’s November cover star, took to the runway for Missoni’s showcase, wherein stripes served as the print of the season. No look felt wasted or half-baked, particularly with close attention paid to colors, textures and intentional layering. High necklines and full-length outerwear dominated the silhouettes. Best of all, every ensemble looked geniunely comfortable, making this collection a fashion week unicorn.—Meg Donohue, associate fashion commerce editor
Missoni
Missoni
Dolce&Gabbana
This season, Dolce & Gabbana honed in on the tuxedo, an Italian classic that counters with the hot D&G woman we all know. The show was all black with hints of shearlings, rhinestones, and gold lamé pants and robes. The boudoir met the boardroom, with tux vests and lingerie sets commingling. Lace acted as a counterfoil to the stricture of the blazers and pants, done in silk and wool, and shrouded the face for the ultimate seductive styling trick. —Kevin LeBlanc, fashion associate
Dolce&Gabbana
Dolce&Gabbana
Ferragamo
Ferragamo
Maximilan Davis of Ferragamo looked to the 1920s, a period of both great liberation and secrecy, for a collection that studied freedom and suppression, decadence and simplicity. Boiled wool coats with lowered waistlines were sturdy and splayed at the neck, ensconcing the face, which were countered with barely-there slips (an emerging trend in Milan) with flounces of feathers on shoulders, feet, and hemlines. Impressive styling by Lotta Volkova gave a mysterious aura to the show, with excellent footwear like thigh-high boots (another Milan staple this season) and bags not overcrowding any one look. The flouncy transparent dresses with upturned waistlines were a dream to watch move, and the refined color palette of army green, mustard yellow, burgundy, and black allowed Davis’ craftsmanship and re-envisioning of 20s flapper dresses in delicate silks and flashy palettes to remain modern. —Kevin LeBlanc, fashion associate
Ferragamo
Ferragamo
Ferrari
Ferrari’s strong fall collection focused in on the dynamic body shape, accentuating the waist with strong tailoring, sweeping full skirts, and cropped transparent pieces that reflected and bounced. Although the styling is a bit heavy-handed on some of the looks, others excel in their simplicity, like Irina Shayk in a black bodysuit and sweeping floor-length grey coat, plus a killer finale dress in metallic silk that is the couture oil spill of our dreams. —Kevin LeBlanc, fashion associate
Ferrari
Ferrari
Versace
For her fall/winter 2024 collection, Donatella Versace explores the dichotomy of the “good girl with a wild soul.” In terms of clothes, that means prim, tailored pieces with a decidedly punk flair—all with the sex appeal that comes with the Versace name. According to this show, where models donned tweed jackets and leather pants accessorized with chain belts and leather gloves, the Versace woman is strong, tough, confident, and powerful. Sounds like my kind of woman.—Dale Arden Chong, senior fashion commerce editor
Versace
Versace
Sunnei
Sunnei is a true unicorn of Milan: a smaller business with a following that knows how to have fun. Their presentations have veered into voyeurism and even concert-esque, but this season the runway was a bit more straightforward, as were the clothes. The excellent stripes they're known for were translated into cut-out looks that, when unfolded, were actual carpets. Elsewhere, cozy knits were rendered in cowl-neck cardigan coats and jellyfish-like scarves, and great grey basics appeared in matching wool sets and suede pants. The accessories continued to wow, with studded mini bags and simple yet proportionally odd black shoes completing the look.—Kevin LeBlanc, fashion associate
Sunnei
Sunnei
Marni
To create something new, one must strike boldly in a new direction. Francesco Risso of Marni set out to do just that, with a literal carte blanche of a show space paper-machéd in white, a laboratory of new ideas. His silhouettes were the main focus this season, with 50s full skirts and shortened shearling jackets that looked like blobs in the best way. Chocolate brown and ivory played with leopard prints and navies; the finale sequence of hand-painted looks in babydoll dresses and sweeping cocoon coats alike were elegant in form, yet looked like they were fingerpainted. The innocent and the austere, all in one, sublimely done. —Kevin LeBlanc, fashion associate
Marni
Marni
Gucci
Gucci is making real clothes for an increasingly harried fashion landscape. Creative director Sabato de Sarno expanded slightly on the new world he started with his first show last season, bringing fall-ready jackets that were nipped in with matching shorts, or voluminous and worn sans bottoms and with excellent flat boots. Slip dresses were grommeted or embellished with paillettes, or otherwise left alone with velvety detailed necklines. Chokers and sunnies rounded out pretty much every look in a monochromatic fashion. The platform horse bit loafer got a facelift with a slight heel added; I can see several people I know falling in love with the stunning crystal slingback in cornflower blue. —Kevin LeBlanc, fashion associate
Gucci
Gucci
Blumarine
Blumarine’s runway took a surprisingly muted, wearable turn for the season. Y2K references or indie sleaze allusions were markedly absent. In their place, the collection featured a dusty floral print, nude and neutral hues, and the ever unremarkable combo of jeans and sweaters. Sheath skirts and dresses of various lengths could be easily translated for a working woman’s wardrobe. Accessories were understated with an emphasis on gloves and sunglasses. There were significantly fewer see-through fabrics than I’ve come to expect from Blumarine, and the pops of leopard print were the only bold element to be found.—Meg Donohue, associate fashion commerce editor
Blumarine
Blumarine
Tod's
Tod's has new a creative director in Matteo Tamburini, who leaned into the very Italian-ness of Tod's with a safe first collection of oversized trench coats in light tans and dark teals, with very masculine over-lengthened pants over clean boots. The styling was a bit Americana and didn't jibe with the accessories, like the smartly fringed Gommino loafer in red that was a true highlight. The new bag was shiny, and styled either crunched up under the model's arms or in their hand, a smart move that brings the bag to life. The knits were intruging, with double cardigans and draped thin wools adding a layer of wearability. The standout pieces were the leather jackets and coats, smartly cut and within Tod's wheelhouse. —Kevin LeBlanc, fashion associate
Tod's
Tod's
Tom Ford
At Tom Ford’s fall/winter 2024 showing, the brand’s typical ‘70s-style got a refreshing update. While the silhouettes were still there — read: three-piece suits, streamlined gowns, big furs — the collection felt modern with more neutral tones and shades of purple. There was undoubtedly an emphasis on coats, from bold furs to belted leather trench coats to buttoned-up peacoats, but underneath those cold-weather essentials, the brand wants wearers to be anything but buttoned-up. transparent sparkly dresses, net and cutout catsuits and ultra-mini dresses and shorts livened up the collection. After all, winter parties are mostly indoors anyway.—Madison Rexroat, fashion & accessories assistant
Tom Ford
Tom Ford
La DoubleJ
La DoubleJ’s fall/winter 2024 presentation was a celebration of the Renaissance with bold, elaborate patterns and jewel tone shades. The clothes are designed to easily take wearers from everyday errands to autumnal occasions, with classic matching suit sets but also slit gowns and head-to-toe patterns. From rich velvet to patterns with constellations, florals, and mystical symbols, this collection aims to bring old-world opulence to your fall wardrobe.—Madison Rexroat, fashion & accessories assistant
La DoubleJ
La DoubleJ
Moschino
The latest Moschino collection is all about that certain brand of cool that can’t be emulated. To force it is to ruin it; it has to come naturally, and effortlessly. Seemingly haphazard dressing has been a theme this fashion month, yet it still felt fresh and fun on the house’s runway. There were dramatic hats made of newspaper, bags full of groceries, big and bright yellow smiley faces, and countless garments worn in ways other than their original purpose. Proportions were also played with dramatically, including knee-length tops over floor-length skirts and trailing dress shirts over micro shorts. The takeaway: Wear what you like, how you like it. To hell with norms.—Meg Donohue, associate fashion commerce editor
Moschino
Moschino
Prada
Make no mistake about it—bows are here to stay. Just ask Raf Simons and Miuccia Prada, who sent several bow-festooned looks down the runway in Milan. Elsewhere, the silhouette of the season, the skirt suit, was done the Prada way, with a silk panel connecting the backs of all the blazers and skirts. Fur-lined transparent shift dresses juxtaposed hard-riding boots and futuristic heels. Colorful velvet hats and feathered, sequined, and ombré-d handbags abounded, with a quirky styling trick of a massive belt used to hold the bag’s handle. The finale run of dresses were made out of Prada’s signature nylon, but couture-ified with the stricture of a formal dress. She’s a working woman, but damn if she doesn’t like to have a little fun, too.—Kevin LeBlanc, fashion associate
Prada
Prada
Genny
Genny
Genny’s latest collection used the color palette and divine feminine force of Georgia O’Keeffe’s as inspiration, with jade greens, soft pinks, and dark reds all commingling. The lightness of silk and sequined looks countered the considerable outerwear and knits, with an emphasis on the waist, bringing the look in. The overall feeling was one that was hot yet cozy, striking the ultimate balance between cocooning and butterflying. —Kevin LeBlanc, fashion associate
Genny
Max Mara
Max Mara turned the dial down this season for an effective showing of staples that the brand is known for. Shades of navy, tan, grey, and black made their way through a white show space, with elongated shoulders on coats, sweeping waistlines on wool skirts, and simple accessories driving home the timelessness of the steadfast brand. It also goes to show the robustness of their business that it was a clothing-forward runway, not over-styled with merchandise like some Milanese shows. —Kevin LeBlanc, fashion associate
Max Mara
Max Mara
Roberto Cavalli
Fausto Puglisi swapped Roberto Cavalli’s famed animal prints out for marbled ones and made it feel extremely on-brand. The designer didn’t adhere to a singular texture, color, or silhouette. Black leather and lace were followed by baroque-printed velvet, plunging mesh, and even denim. Hues ranged from deep greens and loud golds to the aforementioned black-and-white marble print, which was something of a passion project for Puglisi. Extreme looks followed unexpectedly subtle ones—like a full-length printed puffer, with a simple white skirt suit closely behind. Cavalli’s iconic use of animal prints was honored with accessories like crocodile bags and snakeskin boots, proving Puglisi is capable of leading the brand to a new age while maintaining its original vision of Italian luxury.—Meg Donohue, associate fashion commerce editor
Roberto Cavalli
Roberto Cavalli
No. 21
No. 21’s fall/winter 2024 showing was creative director Alessandro Dell’Acqua’s answer to any mention of the “quite luxury” or “mob wife” trends. The collection, which started off in all-black silhouettes and ended with an array of mixed prints and bold cuts, was an attempt to do away with the clichés that come along with categorizing certain fashion eras. Miniskirts were mixed with maximalist prints, sweaters with sheers, leopard with leopard. Sure, pieces can be worn separately, but Dell’Acqua boldly proposed (and answered) the question: why not wear it all? For a collection breaking the conventions of “bourgeois chic” and steering towards anarchy, the clothes themselves were unapologetically Italian, thanks to the quality construction and subtle modesty, with just a hint of sex appeal.—Madison Rexroat, fashion & accessories assistant
No. 21
No. 21
Etro
Etro’s latest from creative director Marco de Vincenzo was muted and rich, with a color palette of burgundies, dark yellows, and jewel tones countered by bright teal and brocaded gold. It was refreshing to see both men’s and women’s looks on the runway, as the tailored pieces for the ladies juxtaposed with the casualness of the men’s silhouettes. There were a lot of great ideas, some better than others, with the skirt suits and sweeping frilly transparent maxi dresses, all in signature Etro jacquard, as the clear winners.—Kevin LeBlanc, fashion associate
Etro
Etro
Del Core
According to Del Core’s recent showing, clothing can be art and armor combined. In a runway show illustrating the evolutions and layers one’s clothes can signify, Del Core showed a beautifully chic array of all that a woman’s wardrobe can be. Edgy zippered bodices, oversized fuzzy balaclavas, and flowing transparent dresses were clear motifs in the collection, exploring the ways women wear clothes both as protection and expression. Exquisitely draped dresses and suiting gave the range an almost ancient Roman or Grecian feel, making it intellectual, but with exaggerated proportions and pops of colors that made it undeniably fun, reflecting yet another dichotomy of women’s fashion.—Madison Rexroat, fashion & accessories assistant
Del Core
Del Core
Fendi
Fendi kicked off the week’s festivities with a sumptuous show where London met Rome. The ’80s power dressing sensibilities of the English capital merged with the Italian powerhouse’s sense of savoir faire for a decadent display of outerwear, transparent blouses and skirts with Roman statues printed on them, and fun-loving dotted transparent pieces. Chunky gold jewelry and riding boots grounded the proceedings. The total effect was rather dark, with oxblood, hunter green, and tans leading the way, along with a freshness that comes from Kim Jones’ ability to blend both cultural and global influences seamlessly.—Kevin LeBlanc, fashion associate
Fendi
Fendi
Diesel
Glenn Martens proves time and time again he is a master of manipulation and craft, and also probing the concept of a fashion show in 2024. His signature riffs on denim have taken him through a woman’s wardrobe, this time creating more tattered and tousled dresses in surprising floral-effect prints, and faux fur that is—you guessed it—made out of denim. While the Diesel runways have become rather lengthy, this time the true spectacle was the livestream of the Diesel studio leading up to the show, and the venue itself, which was filled with screens of a massive Zoom stream of thousands of online guests watching live. Screens of viewers watching the audience, and vice versa, while all watching the runway...all I know is that Guy Debord would’ve had a field day with the meta-ness of it all.—Kevin LeBlanc, fashion associate
Diesel
Diesel
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