Milan Fashion Week continues under the shadow of a Russian attack


MILAN — Milan Fashion Week continued on Thursday under the shadow of Russia’s invasion of Ukraine and possible economic repercussions as the West moves toward tougher sanctions.

The head of Italy’s fashion council says more than a billion euros in luxury exports to Russia could be at risk, even as Russian shoppers return to Milan for the first time since the pandemic thanks to a agreement negotiated with the government to recognize Sputnik V for business travellers.

“If things continue like this, there will be damage,” Carlo Capasa, president of Italy’s National Chamber of Fashion, told The Associated Press. “But now is not the time to even think about the economic damage, but rather the damage that man is doing to himself.”

Even if the catwalks didn’t reflect it, the invasion unfolded in the background as the fashion world made its rounds and the realization that once again, the world can change in a flash. Exactly two years ago, during February fashion week previews, the first locally transmitted case of the virus in the West was detected near Milan.

“We are coming out of the pandemic. I don’t want to think about a European war. I think we’ve had enough,” said Arianna Casadei, the third generation of a shoemaking family from Italy’s Emilia coast. Romagna.

Highlights from Thursday’s previews, mostly of womenswear, for upcoming fall and winter:


Make way for the Prada tank top as next winter’s new must-have as Miuccia Prada and Raf Simons mark the second year of their creative collaboration.

The simple white-label tank top grounds a collection that uses the sheers of evening wear as enduring daytime looks layered with practical tank tops and culottes, wrapped in masculine overcoats beautifully decorated with wispy faux fur and feather appliqués like armbands.

The skirt of the season is available in three levels, like confections, mixing leather, mesh, velvet and sheers, sometimes adorned with sequins and rhinestones. It all feels like upcycling and easily customizable looks.

The jackets also had feminine cutouts and were adorned with thick ornamental chains that draped, without enclosing. They were worn with sturdy pleated woolen skirts with a 1950s twist.

Simons said the collection echoes “groundbreaking moments in Prada’s history.”

“The collection is about the history of women, the history of people, not the history of fashion,” Prada said in notes.


Nothing says “Let Them Eat Cake” more than a runway show that showcases looks designed to look like furniture in a European palace from a century ago. The same was true of Jeremy Scott’s rich brocade and velvet collection for Moschino.

Scott amused himself by sending a model with the motto: “Gilt without Guilt”, and he made several boob jokes, at one point serving them on a silver platter, and was more than a little cheeky when he put a photo frames around the bare buttocks. But below the lampshade, candelabras and birdcage hats and beyond the grandfather clock robe, the collection included daytime suits in bright patterns that mimicked Oriental rugs, as well as a range of elegant office dresses with attractive piping and buttons.

There were also black evening wear, like the elegant dress with carved details around the bare neck worn with opera gloves by Bella Hadid.

In a final rush, Gigi Hadid twirled off the runway in a gold lamé gown with a tulle mermaid finish, gold ivy running down her arms like a statuette.

Scott took a final bow dressed as an astronaut, a nod to the opening music of a “Space Odyssey” but otherwise a headache.


In a sign that the pandemic is finally easing, Emporio Armani has opened up hundreds of seats at its two shows to employees after officials gave the go-ahead to allow full seats.

Giorgio Armani’s line for young dressers combines menswear and womenswear after the house postponed January’s menswear show due to a wave of the virus. The fusion provided a perfect complement, with geometric patterns running through both collections – in shades of gray for men contrasting with pink, coral, seafoam green, red and blue for women.

For her, there were ruffled skirts with structured jackets, soft velvet pants with bold silk blouses. The men wore slouchy jackets tied at the waist, with offset hats and easy-fitting trousers.


Loris Messina and Simone Rizzo literally had models race on an outdoor runway for their Sunnei, and in a tongue-in-cheek commentary on how fast the fashion world moves, asked guests to film them only in slow motion.

A fake authoritative female voice warned that they would check all Instagram posts for fraud. “We love creating a moment, bringing people into our world,” Rizzo said.

Rizzo said the pair had always envisioned a fast-moving runway and offered a collection that reflected that, including wide-legged pants and leggings, but also chunky, fuzzy knits and rubberized accessories that gave tell-tale signs. of movement.

“We were thinking about the kind of girl that’s living right now, still running around,” Rizzo said. But he also saw links to the larger global situation. “We were thinking about how we all run without thinking about what’s going on. Even what is happening in the world right now makes us realize that we really need to calm down.


Max Mara has come up with cold-weather garments for next winter that wrap dramatic silhouettes. Tight bodices give way to big fuzzy teddy bear skirts. Pants are wide-legged and cuffed, worn with fanny packs that double as muffs.

A geometric pattern ran through the collection, from relief patterns on the sock slippers to square quilting on the down jackets which offered a studied contrast with the ribbing on the knitwear. The house’s monochromes ranged from basic camel and black and white to flashes of red and yellow.

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