All about Milan Fashion Week Spring 2022

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by brownfashionagal

Fendi: The collection began with a series of all-white looks focused on clean tailoring and thoughtful styling. Looks made in collaboration with Antonio Lopez seemed to be a collaboration for the sake of it, Doesn’t do justice to Lopez. While yes it was a step up from Kim’s previous collection there still is a long way to go. Satin suits, impeccable trenches and fur coats were the best part of this collection

Alberta Ferretti: Why this wasn’t Ferretti’s best collection it was respectable; inspired by butterflies the colors grew from neutrals to vivid turquoise, purple and greens. There were some gorgeous airy woven minidresses along with more earthly powerful textures. Evening wear was subtle 00s Versace. The refined tailoring that we saw in recent collections was missing it’s a shame because Ferretti did that quite well.

Jil Sander: While this collection had some nice pieces, usual neat tailoring, pretty knits but quite a forgettable collection. While the silhouettes were mostly unflattering the styling seems rather forced( too many elements clashed with the minimalism Jill Sander boasts of). Crochet looks looked too out of place and the finale looks were too ‘reminiscent’ of Chickankari kurtas famous from Lucknow.

Versace: Well, the Versace hot streak has broken, this collection was not it. Heavy on celebrity runway appearances the collection was either all-black looks or neon flashlight colors. The only decent look was Imaan Hammam’s blue vinyl dress though that might be more about her fabulous walk. Colorful chainmail, low-hung skirts, neon La Greca were some overdone elements here. The collection seemed to be inspired by Versace hits (maybe Versace counterfeit?).

Roberto Cavalli: Heavy on animal prints and motifs this was Fausto Puglisi’s first runway collection. The very subtle references to Cavalli’s previous work were finely done with updated cleaner structured silhouettes. This new Cavalli has a lot of potential, Puglisi just needs to find the right audience for it. Because as much I like this collection the overall aesthetic is slightly veering towards the Phillip Plein territory. Black cutout dresses were all the rage here along with animal print blazers and trenches.

Max Mara: Influenced by summer in the 1950s this collection was all Max Mara. Pretty yellows, bright oranges along with basic neutrals came together to create an elegant lineup of clothes in simple shapes. Known for its luxurious outerwear this spring collection didn’t have much to offer but ironically that was the beauty of it.

Etro: This was an attempt to modernize the Etro DNA but doing that is quite a challenge for a house that seems to have built a brand on the blurred lines of cultural appropriation. Not to say the collection didn’t feature some pretty dresses inspired by 90s slick silhouettes and 70s mystique. Instead of hanging onto the apparently iconic paisley print which originated around the mid-1500s Persia was popularized in the 18th-19th century in Europe by the East India Company (point to note the print was discovered by Etro in India in 1981). Let’s move on from that, shall we?

Blumarine: The way the silhouettes and styles have continued from the previous seasons is smart, relatable and cohesive. Though I do feel that the brand is relying too heavily on the early 2000s style. With the speed at which trend cycles are moving, I’m not sure how sustainable this creative model would be. Though Blumarine has a rather relaxed aesthetic and they can gradually switch it up but to base numerous collections on a possibly fleeting aesthetic seems like a thoughtless decision. Ruffled cardigans and super short shorts were quite cute; butterfly tops, sheer embroidered gowns, cargo tracksuits, embellished logo belts, tiny skirts were just some 00s elements present here. Not to say that the clothes weren’t pretty but the lack of body types and sizes in this collection points to the assumption that they are marketing to a very specific market. Blumarine is a social media favorite but let’s see how long that lasts.

Salvatore Ferragamo: This collection did seem quite directionless; a stark contrast to Guillaume Meilland’s rather exalted clothes seen previously. The setback here was the styling which resulted in an overall mismatch and messy lineup. The collection was influenced by 60s- 70s cinema, well I didn’t see it the bohemian look was lost. While the collection did have some neatly crafted pieces overall I could take it or leave it.

Annakiki: Named ‘Quasar’ (Quasar is the name of an active galactic nucleus powered by a black hole.) This collection is signature Annakiki; Futuristic elements Integrated with 3D silhouettes. A ninja star-like motif present throughout aims to define the collection using appliques, cutouts and prints. Liquid metal fabrics were also a new element this time. A wide range of silhouettes offers diversity in choice ( sadly not much diversity on the runway). The collection aims to create an environment of an alien/ earthling visiting from the future however this was a rather toned-down version of the concept.

MSGM: ” I don’t do sexy,” he declared. “This collection is frisky, yes. But sexy? No.” Massimo Giorgetti told Vogue. Well, it was a show with sexy clothes inspired by picnics and the 80s this collection was all bright acid colors, animated prints and simple shapes. Pieces with Enlarged gingham, floral maxis, tiny tops were the most persuasive items.

Sportmax: Minimal sporty plus cottagecore was the main theme here; mild corsetry, faded florals, tulle, irregular ruching, ribbon tie-ups were some additions that made the collection softness and romanticism. There were big blazers baggy pants and multiple utilitarian elements that added some edge to the clothes. Clothes not for everyone but clothes that make one think.

Marni: Based on the themes of unity and uniqueness, all the Marni guests were dressed by the brand in upcycled pieces from previous shows, each lock was hand-painted. The most important thing about the show was the unapologetic diversity which simply is rare. Clothes were heavy on stripes initially gradually moved to daisies and soon a surprising blend of the two motifs. It was the rawness and emotion and simplicity of this collection that made it stand out. Clothes were deeply drenched in reality, it was unreal.

Emilio Pucci: No matter how hard I try I can’t make a case for this Pucci collection, 70s swimwear was the primary influence in this collection. Tunics, minidresses, bandeau tops, sheer dresses, micro shorts, retro miniskirts were the hits here, While the signature Pucci prints were dearly missed, the colors here were a bit more simple yet forgettable.

Prada: Raf and Mrs. Prada’s first runway show held simultaneously in two cities Milan and Shanghai, call it overkill. Exploring the concepts of seduction the show notes read ‘ seduction through reduction’. Corset boning on raw-edged tops with graphic prints, delicate bra cups on knitwear, pieces of luxurious silk disguising as trains attached to silk mini skirts, dresses that didn’t look conventionally elegant but exuded a confident sex appeal due to this more comfortable baggy silhouette – the idea was explored wonderfully. The silk miniskirts were gorgeous and the leather jackets were delicious. The juxtaposition of Simons and Prada never blended more perfectly.

Missoni: Missoni simply decided to put heritage and history on hold for bikinis; strongly targeting the younger generation or simply capitalizing on sex. In an array of micro bikinis and dangerous cutouts, the hottest looks were the maxi dresses (a multicolor body-hugging knitted-sequined one). Even though some dresses were rather sexy this Missoni collection was everything but Missoni.