Our digital review of Milan fashion week has just gone live, and in it we uncover which trends, prints and designers got the public talking most. Milan gave us two directions: one, the minimalist route, functional and clean with a stark palette, square cuts and acres of pure white. The second option played into the hands of those who serve their fashion with a pinch of fun. Maximalism in the form of big floral prints, clashing of textures and heavy embellishment allowed Milan to flaunt it’s craftiest wares. It was the retro vein of this outré offer which really won the consumers over; it came top of the most-talked about themes thanks to investment from Prada, Moschino and Dolce & Gabbana.
The designer causing the biggest buzz comes as no surprise – Gucci has done it again, despite presenting a radically different collection to last season’s winner, with their rainbow-hued revamped 70s-luxe. That’s the thing about Milan, its genius is measured and reliable, a reassuring presence on the fashion month calendar. The second and third places held too for Prada and Versace; the former a trend creator, whose new directions send ripples across the industry, and the latter a powerhouse in supplying their loyal fans with what they love best.
Milan has been criticised for burying its head in heritage, while ignoring the digital dawn. This season saw change afoot, with Versace launching their ‘digital flagship’, upping their e-commerce offering and tapping into that trend of direct to consumer. Going live as MFW kicked off, items from the entire range of Versace’s collection are available in a brand-saturated site. And Donatella is behind it: “Online shopping has never been so sexy and fun.” Very Versace. Armani, too, took a digital leap, becoming the first brand to collaborate with Spotify. Their official account allows users to access a branded playlist. Giorgio’s ‘Eccentrico’ static exhibition this week doesn’t have us fooled. He’s no eccentric, he’s a businessman with a good grasp of where this game is headed.
Katie Smith
