At Milan fashion week, gentle luxury

When did the Milanese sky turn yellow? Since the start of 2024, the economic and industrial capital of Italy has continued to exceed the authorized standards for fine particles. Anti-pollution measures – traffic restrictions, calls to turn down the heating, a ban on spreading slurry in surrounding fields – were put in place from February 20. This date coincided with the start of the fall-winter 2024-2025 women’s fashion week, which nevertheless continued its course until February 26, with its procession of cars and its fifty-six parades. Although often disconnected from current events, the season was successful and Italian houses shone in what they do best: creating an elegant and wearable wardrobe.

“Discreet luxury”, big trend from last season, is back. Not necessarily synonymous with boredom, it can even be a breeding ground for development, like at Fendi. Since his arrival in the Roman house in 2020, the Englishman Kim Jones (also at the helm at Dior Men) has fumbled, seeking to shake up the luxurious classicism of the label with a futuristic touch, without, until now, succeeding in go beyond the impression of glossy chic. This season, he took inspiration from the Fendi archives from 1984: “The sketches reminded me of London at that time when the New Romantics, workwear and aristocratic styles mixed, when British subcultures had a global influence. »

Freed from his avant-garde tendencies, Kim Jones delivers his most convincing collection. And unfolds an impeccable wardrobe, based on turtlenecks and suit pants, wool dresses and long coats, with just the right amount of difference for this classic wardrobe to take on a fashion dimension: the shirts are worn behind -in front but perfectly fitted, the dismantled sweaters swirl around the bust, the play of color (a touch of azure, a zest of turmeric) spice up the most demure silhouettes. The show was barely disturbed by the arrival of two animal rights activists – Fendi being one of the few houses that has not given up on real fur – who managed to make their way to the podium before be taken out by security agents.

At Max Mara, activists are also present, brandishing a sign “Go fur free” in front of the entrance to the parade, but do not infiltrate the Palazzo del Ghiaccio, a magnificent Art Nouveau building which was the largest indoor ice rink in the world when it was inaugurated in 1923. Inside, we discover an ode to sobriety luxurious, in a more refined version than Fendi but just as successful. The main inspiration for the collection is the writer Colette, whose literary prowess designer Ian Griffiths admires, but also the “sensual side, boudoir”.

The result is monochrome silhouettes in midnight blue, black or smoky gray, cut from silky flannels or knitted from soft cashmere. The length of the dresses and coats that skim the floor contrasts with the rounded shapes (broad, soft shoulders, volume in the back, kimono sleeves). From the peacoat to the slit skirt, from the double-breasted jacket to the high-waisted pants, all the facts of the fashion equation are known, but the result seduces thanks to the rigorous work on the shapes. “In fashion, we tend not to be so interested in silhouette anymore; It’s a shame because it’s as important as the colors”rightly notes Ian Griffiths.

Shawls and capes

It was also the Roaring Twenties that inspired Maximilian Davis at Ferragamo: “At that time, we used clothing as a way to celebrate freedom”, motto of the designer, who signs here one of his best collections, with very refined monochrome silhouettes. A sienna pantsuit, an olive draped polo dress, a purple turtleneck dress in fluid silk, a black dress made of huge sequins shiny like oil… the looks explore different registers, but have in common the clarity of shapes and the sumptuousness of the materials. “In the 1920s, people recreated a space of freedom in speakeasies. They took refuge there and only discovered their outfit once they were sheltered”comments Maximilian Davis, who transposed this idea through shawls or capes covering the shoulders, “as a form of protection”.

Protective clothing also constitutes the backbone of the Jil Sander fashion show. “The decor, the fabrics, the shapes: everything converges towards the idea of ​​the cocoon, the envelope, explain Luke and Lucie Meier. It is not a reaction to anything in particular, but rather an obvious fact that has become apparent to us. » The parade takes place in an oval space, lined with a pale green plush fabric, punctuated by cobalt blue speakers broadcasting the performance of American musician Mk. gee. What outfits to evolve in this padded universe? Those of futuristic infantes, evoking as much a painting by Diego Velazquez as a science fiction film. The fabrics coat the bodies, the velvet unfolds through a soft jumpsuit; the silk springs from the shoulders and stretches into a wide cape on the back. Wool suits with rounded shapes give the impression of being filled with air, quilted leather coats seem designed to absorb shock. A large silver brooch stapled to the collar of a jacket, metal fringes embedded in the back, furry shoes and shiny bonnets complete these striking and very attractive silhouettes.

No surprise on the side of Armani, which demonstrates exceptional stylistic consistency. For the Giorgio Armani line, the eponymous designer wants to convey a “message of grace and hope linked to the energy of nature” and flowers in particular, which “hatch even in the depths of winter.” In this rather dark wardrobe, they bring light, deployed in sequins to make a black dress sparkle, like an ornamental brooch to close a draped dress, embroidered along a strap covering a bare shoulder, blooming in fuchsia prints on a silk blouse…

For his more casual Emporio Armani line, the 89-year-old designer imagined a night sky dotted with stars and bathed in the light of the Moon. The result is a palette of Northern Lights (black, shades of mauve, ultraviolet, jade and gray) which allows him to play with textures: shiny silks, washed and matte wools, textured jacquards and faux knits. fur. The shapes are ample and enveloping, pants appear under the puffy dresses, even in the evening outfits where sparkling stardust made of rhinestones covers these comfortable clothes.

“Smoking”: the title of the Dolce & Gabbana fashion show sets the tone. “It’s the ultimate symbol of pure style, Domenico Dolce and Stefano Gabbana are on fire. By working on the tuxedo, we can offer women a wardrobe free of trends and which gives them self-confidence. » Thus the duo offers an almost entirely black collection, mixing the classic elements of the evening suit (the shiny lapel of the jacket, the silk belt, the satin band along the pants) with the sexy-chic DNA of the house (visible lingerie, opulent fur, veil and fascinator, stiletto heels). A chain mail top or an iridescent skirt embroidered with rhinestones bring a little light to this collection which celebrates a mature and elegant woman, sometimes embodied by fifty-year-old models such as Eva Herzigova or Naomi Campbell. Dolce & Gabbana seems to have permanently turned the page on youthism, like a whole part of Italian fashion which really flourishes in the wardrobe of the gave.