It may be home to the world’s most powerful luxury brands, but the Italian fashion capital delivered with its showmanship this season. From Robbie Williams popping up at Emporio Armani’s runway to Rita Ora stealing the spotlight at Philipp Plein to Michael Nyman conducting a live score at Missoni, Milan Fashion Week was nothing less than entertaining.

In an industry that is being stretched between creativity and commerce, we are satiated by commerciality and accessibility more than we are with craft or innovation. While inventing new silhouettes may seem like an impossible feat, it’s important that fashion doesn’t lose its artistic spark in lieu of wearability. This season in Milan, designers have found a new appetite for fashion-forward dressing without losing marketability.

Max Mara sent out a confident new wave of their signature camel staples while Salvatore Ferragamo opted for a co-ed collection that rode in on the tide of paired down beige. Fendi also gravitated towards nudes, proposing a “functional clothing” collection – nothing for an occasion, just for everyday dressing. Other brands followed suit in this non-confrontational nature, from designer of the moment Stella Tennant, to Italian favourites Etro and Missoni. Even Prada put the brakes on the avant-garde, trying to find a middle ground between conservatism and complete liberation.

Just before the Michael Kors acquisition was announced, Versace approached this trend of relatability by hiring a cast of supermodels that spanned ages, backgrounds, and sizes.

Overall, the season was a celebration, a spectacle to place excitement on shows that moved towards a minimalistic climate of bourgeois dressing. Because while fashion might want to fit into functionality, we’re always expecting something exciting.

 

 

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