Giorgio Armani, who had canceled two events in Milan in January due to surging Covid-19 cases, held shows for both Emporia Armani and his eponymous brand. The latter event on Sunday was the only major show to pay tribute to Ukraine, with the designer sending models down a silent runway as "a sign of respect towards the people involved in the unfolding tragedy," he explained on Instagram.
Elsewhere, however, the lack of visible solidarity -- or any acknowledgment of Russia's invasion, which began a day after shows got underway -- was perhaps the week's biggest shortcoming. In its happy bubble, Milan felt a little tone-deaf considering the realities unfolding in Eastern Europe.
Below are more takeaways from the week-long fashion bonanza.
With all the usual mainstays holding court, including Prada, Fend, Mos chino, Armani, Versace, and Dolce & Gabbana, Milan was back with its pre-Covid luster. The ambitious line-up (there were 67 physical shows scheduled) provided a mix of styles, themes, and aesthetics.
Fend opened the week with a chic display of tweed and chiffon -- plus Bella Hadid as the show lead and a bevy of influencers sitting front row. It was a collection of contrasts and archival references (creative director Kim Jones drew inspiration from the brand's Spring-Summer 1986 and Fall-Winter 2000 designs), as well as "It" bags to accompany the looks.
The contrast was also the watchword for Prada, where Ref Simon and Murcia Prada cleverly mixed the classics -- from white tanks to aviator jackets -- with showstopping tailored coats and delicately embroidered skirts.
At Max Mara, the brand's signature teddy bear coat was reinvented as huge skirts, dresses, and track shorts and then presented alongside floor-length puffer jackets and balaclavas in a street style-meets-alpine slopes kind of way. It was a versatile, highly wearable mix that worked.
Set designs were as thought-out as the clothes at many of this season's shows.
Real-life Dolce & Gabbana models walked against a virtual backdrop of neon skyscrapers, scantily clad digital avatars, and D&G graffiti. Diesel had giant inflatable dolls, dressed of course in the brand's clothes, lining a red-hot runway in provocative poses. Jail Sanders opted for replicas of ancient Greek statues placed at the center of her set, while Donatello Versace chose a reflective runway with movable side panels, creating a game of optical illusions.
And then there was Gucci, which welcomed guests into the ultimate triple setup: a giant room with a black-and-white checkered floor and mirrored walls lit up with violet lights.
The award for the most interesting format, though, should probably go to the relatively young brand Sunni. Doing away with the traditional catwalk, the label held its show en Plan air, in the outskirts of Milan, holding what co-founders Simone Rizzo and Loris Messina described as a "performance within the performance." Models came running, not walking, along a wall of an industrial building, as the audience -- facing them perched on metal benches -- was invited to watch the show in slow motion on their phones. And then there was Gucci, which welcomed guests into the ultimate triple setup: a giant room with a black-and-white checkered floor and mirrored walls lit up with violet lights.
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