Milan Fashion Week September 20024 - Weird and beautiful!

At Giorgio Armani, a blown-up black-and-white portrait dominated the show space. It depicted a woman with neatly parted and sharply slicked-back hair, wearing a suit and tie, darkly glossed lips, and long lashes shadowing her cheekbones. The image by Tom Munro epitomized the gamine androgynous chic on which Armani built his empire. The photograph dates to a 2000 advertising campaign, serving as a reminder of the timeless appeal of this aesthetic. The models at the show wore neat blazers and supple trousers, gazing coolly at the audience over their sunglasses as they sauntered casually in their loafers. Clutch bags were carried casually in one hand, resembling a newspaper or a document folder. While there were occasional slip dresses or short skirts, the stars of an Armani show are always the suits.

At Gucci, Designer Sabato De Sarno introduced the new Gucci concept of "casual grandeur," which was showcased to a front-row audience that included Italian tennis player Jannik Sinner (wearing a polo shirt under a suit) and singer Debbie Harry (in a red leather jacket and matching loafers). The collection featured black and white maxi dresses with side slits and gold metal details that harked back to Tom Ford’s 1990s Gucci era. Silk headscarves and oversized sunglasses, paired with popped-collar knits and short skirts, channelled Jackie Kennedy Onassis on holiday in Capri. De Sarno mentioned being "obsessed" with creating a mood that was "accomplished and refined, but always with an irreverent attitude." Gucci's traditional flag colours of red, green, and white, as well as the classic poppy red, were replaced with a deep oxblood, which has become De Sarno’s signature colour. This season, the brand swapped out the traditional racing green for neon lime, which was radiant on lace party dresses and bold on a car coat trimmed with olive leather piping.

At Etro, the creative director Marco de Vicenzo achieved new creative freedom and cohesion while still working within Etro's recognizable brand identity. The collection had a darkly whimsical, soulful, and bohemian feel, with intricate prints and embroidery in beautiful contrasting colour combinations such as brown, orange and green.

At Max Mara, there was a slight architectural style with elegant tailoring. The show featured a sharp shoulder on a tailored, chocolate-brown coat, a dress with a one-shouldered neckline, and tightly cinched waists. Darts became design features, while creases were intentionally ironed in. The effect on the catwalk was beautifully simple, with lots of crisp white shirts, tailoring that exuded soft power, fluid slinky dresses, and the cozy camel coats that are the brand’s hero piece. The winning formula at Max Mara is clever clothes that look easy.