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If there’s one theme emerging at Milan Fashion Week, it’s cocooning, hunkering down, covering yourself in cozy clothes. No one is mentioning the wars and political divisions that have torn the world apart, but it’s clear that if they aren’t at the forefront of designers’ minds, the drive for self-protection is an unconscious part of the zeitgeist. Here are some highlights from the mostly womenswear preview for fall-winter 2024-25 on Thursday, the second day of Milan Fashion Week:
Starry Nights at Emporio Armani
It was raining heavily outside. Inside the Emporio Armani showroom, models were enjoying a dusting of (fake) snow, some carrying umbrellas as they walked down the runway. Giorgio Armani said that he instructed the models to smile. “And it worked!” he told reporters after the runway show. The Emporio Armani collection for young dressers introduced a sense of fun, lightness, easy-to-wear day-to-day looks for women of all ages.
The jackets were soft, sometimes lined. A shearling coat opened up into a fun, cute shawl collar. The trousers casually gathered at the ankle. Polka-dotted poet blouses with berets offer a romantic, even bohemian air. A tulle skirt was paired with a sequin top for a vintage feel.
The stars gave the deep velvet look a dreamy look. The closing evening look, which included sheer tops and full skirts, glittered beneath the paper snow that had accumulated on the runway. Armani said, “I wanted to be consistent with myself, which means making clothes that are wearable.”
Max Mara defines the modern, spare silhouette
The silhouette is everything at Max Mara for the next cold season. Creative director Ian Griffiths’ mood board included silky teddies, Belle Epoque-inspired bowler coats and photographs of the French novelist Colette, whose spare style, the British designer said, inspired the collection’s simplicity.
Griffiths chose a palette of midnight blue, black and gray monochrome, the better to accentuate the rich silhouettes of the bomber jacket, trousers and skirt-like sweeping bowl coats defined by elegant blouses at the back, which are adorned with multicolored knots, triple- Tiers are extensive. Details at the back of short coats, kimono-inspired sleeves, soft pleated, wide-leg trousers and leg-baring woolen daytime rompers.
The essential accessory was a knitted waistband worn with a thin belt, defining the waist in any look. Evening wear, with a practicality that matched daytime, had a hint of deep crystal embellishment. The bag of the season was a no-nonsense cross-body with metal clasps. Griffiths said he returned to the “balloon, cocoon shape”, inspired by the 1910s and 1920s, which he first experimented with at the university in the mid-1980s.
“You can always fall back on something. If not next season, maybe in 40 years you can get back to it. And it’s going to be different every time,” Griffiths said backstage.
Tom Ford is redefining sexy
Peter Hawkins is single-handedly bringing skin-tight trousers and plunging necklines back to the top of the Tom Ford fashion house. In her second season as creative director, Hawkins continued to refine the brand’s sexy code. The tight-plunging look is as suitable for her as it is for him, accented by lariat gold chains. The co-ed collection began with dark form-fitting military coats with golden buttons that signified discipline and toughness. Downstairs, things got a little heated.
For her: Monochrome looks included fitted trousers with clingy cardigans open to the navel, sleek long jersey knit dresses and evening dresses made entirely of shimmering pearls. Tiered, ruffled dresses featured eye-catching slits. Of course, the look was completed with stilettos. Men’s wear was equally form-fitting, from chest-baring leather ensembles to dance floor-ready suits with a touch of shine. Never tie.
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