Milan Fashion Week Was Haunted
In (mostly) a good way.
When The Cut sent me to Milan in 2018 to cover Fashion Week for the first time, I’m not exaggerating when I say that it changed my life. Being there made me feel—in a totally unbiased way—that I’d found a city designed specifically for the pleasure and amusement of Emilia Petrarca.
At the time, most Fashion People I knew dismissed Milan. “Oh, it just has really amazing restaurants, stores, and interiors,” they’d say. Nothing special. Like??? Basta. Of course, Milan has its flaws. But as someone who’s only ever dropped in for 4-to-5 days at a time, I think it’s a near-perfect city to visit, and one that I prefer over most others. I love that everyone dresses up to go out to dinner. I love that every Uber driver is kind of sexy and wears a suit. I love that there’s not really any pressure to go to a museum, except one that’s a gorgeous house with a really cool green couch. And, of course, I love that in Milan, shopping is religion. It’s church and state—and stores.
The last time I was in Milan to cover Fashion Week, it was February of 2020. So, you know what happened next. It’s the part of my job that I miss the most, (besides the people), and so every time I see the shows happening there, my heart aches and my stomach grumbles a little. It’s also having something of a renaissance, with so many new designers now at the helm of big Italian brands. That said, I’m enjoying watching the shows from the comfort of my couch, and not having to churn out a coherent opinion about them when I’m jet lagged and have a red wine headache.
It wasn’t until this weekend that I was finally able to sit and watch Prada—a brand that I didn’t fully become obsessed with until I started going to Milan—and I have to say, I was a little nervous. From what I saw on Instagram, some of it looked breathtaking, but some of it looked… serious.
For context, in February of 2020, in the midst of everyone freaking out about COVID, it was announced that Raf Simons was joining the house to be co-creative director alongside Miuccia Prada. This was totally unheard of in fashion—two massive, massive brains under one roof. Creatives don’t normally share the spotlight like that. So every season since, it’s been a fun game: Was it more Raf than Miuccia? The tension makes it interesting. And my god, compared to what else is out there, we need clothes that aren’t so obvious. But my heart will always be with Miuccia.
Molto rispetto for Raf—what he’s done before and what he’s doing now at Prada—but he’s just a little too serious for me, and I think he’s so deep in the art of designing, he sometimes misses they ways that these clothes might actually fit into a woman or person’s life. The extra-long sleeves in this collection, for example, feel like a Raf thing, and extra-long sleeves happen to drive me crazy!!! I get that it’s about the look. With the proportion of the short-shorts, (would wear), it makes sense, visually. Sure. But in real life, you just look silly and it’s annoying, I think!
The fringe in this collection as well: too fussy and heavy for me, although, I like the idea of a treating a fringe belt as a piece of jewelry, like a waist necklace. In general, Raf seems to be taking brand in a more couture direction, which is cool and probably good for business.
Beyond my personal gripes about extra-long sleeves and fringe, there was so much else in this collection to be swept up by. Set to the “Vertigo” soundtrack—a movie that I’m embarrassed to admit I only saw for the first time this summer, when I realized that not all Hitchcock movies are scary—the way it balanced lightness and ease with a more sinister power and mystery was thrilling. Killer romance!
Sheer scarves thrown over models’ shoulders added a sense of carefree femininity, and offered a soft contrast to those sharper, more masculine, extra-long shirts and blazers. But the real stars of the show were the organza and gazar dresses that floated down the runway like ghosts. I recommend watching them in motion.
Last but certainly not least, I love this creepy little bag!!! According to the show notes, it’s a reinterpretation of one designed by Mario Prada, Miuccia’s grandfather, in 1913. Apparently, he was a big traveler, and would bring precious little “curiosities,” like this strange mythological figurehead, back to Milan and make special pieces out of them. He called them oggetti di lusso, or objects of luxury.
What a nice nod to the past. It was particularly poignant, given the fact that this was reportedly design director Fabio Zambernardi’s last show for Prada (and soon Miu Miu, which shows in Paris). Fabio was Miuccia’s right hand for almost thirty years. It makes me nervous that he’s leaving—a big hit for Team Miuccia—but this bag is proof that a creative talent can haunt a house long after they’re gone.
Gucci Pulled a Celine
Italians hate change, and there has been a lot of it in Milan lately. Gucci has a new designer and a new look. Gone are the days of Alessandro Michele’s eclectic librarians and show notes that quote Foucault. Designer Sabato De Sarno is here to give you straight-up luxury to a T. It reminded me of Hedi Slimane’s debut at Celine. Not as polarizing, but the collection provoked a lot of strong reactions because it seemed pretty boring on the surface.
I was disappointed by what Hedi put out at first, but you know what brand I’m spending the most money on after Prada? Celine. I really believe that its $900 jeans will solve all my problems because they’re the perfect wash and cut, and I can’t find a dupe that feels even close. (Trust me, I’m trying.) I’m not saying that the commercial viability of a collection is what makes it good. Not at all. Usually, when a lot of people are buying something, it’s bad. But I’m buying Celine because I think it’s making the sharpest clothes, shoes, and bags out there—and because wearing it makes me feel like a bitchy bourgeoisie French woman. I wonder if Gucci looked at what Celine was doing and wanted a piece of it, too. (Hedi doubled sales.) The question is if Sabato can offer a compelling identity in addition to sharp products, which I don’t think he has yet.
Tom Ford Cloned Himself
Tom Ford normally shows in New York, but for Peter Hawkings’ debut as creative director, (another turnover), the brand came to Milan. Because Peter worked alongside Tom for 25 years, he just gave all the brand’s hits a good Facetune. I wasn’t bothered by the fact that there wasn’t really anything new to see, mostly because I don’t want or expect anything else from Tom Ford. I’ll take these Halston-inspired pieces forever.
Ferragamo
A palette of black, white, green, and red? Sign me up.
I like where Maximilian Davis is taking the brand, but let this also be a reminder that ‘Ferragamo shoes’ are a sleeper hit search on The RealReal. Instead of spending all that money on those trendy old lady heels by the Row, try these, or these, or these, or these, instead. An old lady literally wore them.
Bottega Veneta
Fun to look at, but a lot of it just seemed really cumbersome to me. ¯\_(ツ)_/¯
NEXT TIME: In honor of Paris Fashion Week, I’m going to share a conspiracy theory with you that I’ve been cooking up all year.