At Milan Fashion Week, brands lean into what they do best
SINCE joining Fendi as artistic director of couture and womenswear, Kim Jones has mined the archives of the LVMH-owned label, each season exploring the brand codes in new ways. Autumn/winter 2024 was no exception, as he presented a modern albeit safe collection that blended Italian refinement with the laissezfaire of his English roots — “Roman chic”, as he called it backstage.
Looking at a sketch from the Fendi archives dating back to 1984, he was reminded of the rebellious mood of that period, from the New Romantics and the Blitz Kids, both glamorous and androgynous movements born out of the UK nightclub scene, to the style revolution brought to Paris by Japanese designers Rei Kawakubo of Comme des Garçons and Yohji Yamamoto.
A brief interruption by a Peta protester — the second gatecrasher this season after Coach in New York — didn’t detract from the show, which featured intricate homespun knits that hung nonchalantly off the shoulders; utilitarian denim dresses and jackets; and flowing tulle and organza dresses printed with Roman statutes or embroidered with dots. The largely neutral palette sometimes turned adventurous with pops of cobalt, caramel and moss green.
The touch of Silvia Venturini Fendi, artistic director of accessories and menswear, could be felt via Fendi’s new accessories, such as a soft satchel purse named Simply, a rounded shopper dubbed the Roll, and updated versions of the Peekaboo, Baguette and By The Way styles. Designed to be worn or grasped in multiple ways, versatility was a focal point, says Jones. There was a bit of humour too, in the form of Chupa Chups lollipop holders attached to bags or worn around models’ necks.
Clothes from the past can hold just as much — if not more — power today than before. In Milan, it was a prominent theme, as designers leaned into brands’ DNA and amplified their signatures. It offered a reminder that luxury should neither be quiet or loud (as it has been branded in recent seasons) — and the best designs are able to speak for themselves without logos or other tricks to stand out.
Such was the case at Max Mara, where creative director Ian Griffiths stuck to a predominantly muted colour scheme. It was unlike collections from seasons past, which were more colourful and skin baring at times. For AW24, the goal was to draw focus to the silhouettes and construction of the clothes, says Griffiths, who also drew inspiration from “sophisticated” and “sexually liberated” French author Colette, whose preference for spare and mannish clothing has inspired scores of other designers including Coco Chanel and Jean Paul Gaultier.
In several looks, he placed emphasis on the waist. Knits wrapped tightly around the model’s body and thin elegant belts were worn across long and oversized coats. In others, knit dresses and mini skirts were paired with black 100 denier tights, while wide trousers were worn with polo necks. It all could have easily been repetitive and dull, yet the subtle cool and meticulous fit of each look made it not so.
At Prada, co-creative directors Miuccia Prada and Raf Simons presented a commercially sound collection of feminine pieces such as prim knits and cardigans and dresses adorned with ribbons and flowers. That sweetness was tempered with moto leather jackets and offkilter skirt-suits, which had mismatched fronts and backs consisting of varying lengths and fabrics that might look unusual for the everyday but are sure to appease customers.
Not to be missed were the eccentric hats and styling of the bags, which were worn via wrist straps, as the models used their hands to clutch their clothes — a nod perhaps to Miuccia Prada’s signature pose. Backstage, she emphasised the role of history to inform — and define — modern clothing.
“Anything that we are comes from our past,” Prada said. “There is this discussion of nostalgia, but that’s not at all the truth. [We] look at history to learn something. Taking a piece from the past is not conservative. It’s liberating it from its cage.”
For Simons, the collection was an opportunity to convey an instinctive need for love, gentleness and encouragement that is crucial “more than ever at a time like this,” he said. “You cannot talk about beauty without going to the past. You cannot erase the history of beauty — [it] is what defines our ideas of beauty today. We always go back.”
A reflection on the past also took hold at Moschino, where new creative director Adrian Appiolaza presented his debut collection. Nods to founder Franco Moschino’s playful looks came via trompe-l’oeil tops, oversized trenches and shirts and dresses plastered with peace symbols and slogans. It was no small feat for the designer, who only began at the house a month ago. Editors noticed a dreamy feel to the show, which according to Appiolaza was unintended, even though the role has “been like a dream come true”.
Diesel prompted conversation around its ongoing democratisation of shows. The crown jewel in Renzo Rosso’s OTB Group’s portfolio was a 72-hour-long live stream that revealed the inner workings of the atelier in the run-up to the show. It also extended an invitation to a thousand fans across the world, who tuned in via Zoom and whose faces were broadcast on the backdrop of the catwalk, their reactions to each look visible in real time.
Denim continues to be at the core of creative director Glenn Martens’ offering. Jeans were distorted through multi-layering, whether coated, devoré or jacquard. Trenches, coats and trousers were also coated and cracked to give the appearance of weathered leather. “I like it when you don’t get things at first, that makes you look again,” says Martens.
Less prevalent was the D motif, which has been a major brand signifier in previous seasons, appearing on clothing and accessories, such as its top-selling 1DR bag, for which a dedicated store in Milan opened last June. Perhaps Martens is becoming more confident in his designs, which can certainly stand for themselves without leaning into logos.
High-octane glamour dominated the catwalk at Peter Hawkings’ Tom Ford, as well as on the front row, which included actors such as Uma Thurman and Eva Green. The collection’s silhouette was long and slim. Military coats and an array of exposing dresses for women alternated to elegant suits and tuxedos for men. It was very classic Tom Ford, although perhaps still a little too copy-and-paste. Despite that, it was well executed.
The depot of the historic Darsena trams provided a delightful venue for the Tod’s show, attended by global brand ambassador Xiao Zhan, who drew the biggest horde of screaming fans despite the pouring rain. New Tod’s creative director Matteo Tamburini wanted to create an effortless, off-duty vibe and presented seemingly classic separates, such as cotton poplin shirts or cashmere cardigans — but added a twist by layering each style respectively.
A new distinctive but subtle feature across Tod’s shoes is a metal band that Tamburini has introduced in place of a prominent logo, and extremely soft leather bags that can be worn, folded and carried in multiple ways. It’s the kind of versatility that luxury customers desire, says chief executive Diego Della Valle, who recently delisted the group from the Milan Stock Exchange. Logomania is out, he tells me, as young customers take greater interest in brands’ ethos and product quality.