Milan Fashion Week: Autumn/Winter 2013

From experimental London to luxurious Milan, where labels sell sex and power. Gucci was the first major show on day one, its show cementing the dark mood and trend for animal skin seen in New York and London. Allen Jones, an artist known for his erotic sculptures, inspired body-conscious shapes with scooped necklines, sharp shoulders and womanly hips. The fetish inspiration spread to the fabrics- glistening black python skin, cobweb-like lace, fishnet tights, leather fitted like latex and blood red pony skin. Frida Giannini gave the collection her signature touch of 1970's glamour with seductive silks, colourful feather embellishment and jacquards of exotic ferns, all combining to keep things out of dangerous dominatrix territory. 

Sex and scandal was followed by romance at Alberta Ferretti, which is hardly a surprise from the label. The opening monochrome looks of feminine lace, velvet trims, chiffon frills and high necklines had Edwardian and Victorian airs, with an injection of purple, blue, orange and green half way through doing little to liven the mood. A dull blue plaid was particularly confusing, embroidered with a traditional floral pattern. Ferretti said she aimed to produce a collection that captured her signature style but unfortunately that wasn't enough and left us with a show that could only be described as uninspired.

Alessandro Dell'Acqua created a more modern take on femininity for his label No.21, mixing ladylike with masculine, roughed up by the inspiration of nineties grunge. Kurt's favourite of a flannel shirt opened the show, beneath a cashmere sweater paired wit a metallic sequin skirt, slashed high on the thigh. A shearling coat, another rock favourite, came covered in foil, sharpened up by a crisp white shirt and tailored trousers. But the attraction of the show wasn't just the styling, each piece was desirable in its own way, with plenty of interesting details- classic shirts came with neat pockets decorated with tassel trims, socks bore Swarovski crystals, a camel coat closed with unusual closures. It was a fresh take on the much-loved clash of masculine and feminine, and evidence that while Dell'Acqua may have lost the rights to his eponymous label, he hasn't lost his stellar touch.

In contrast, over at Max Mara, styling was the reason for dramatic effect, with the label's classic camel coats piled on for maximum impact. There's is something comforting about an oversized winter coat, big enough to wrap round oneself in the cold nights, but the size of much of the outerwear was bulky rather than the more fashion term 'voluminous'. The label's other mainstay of knitwear was similarly oversized and unfitted, sweaters long like the skirts finishing below the knee, less fashion forward than the baggy trousers that became desirable in satins and silks for evening. 

Fendi also returned to its heritage, with no less than 41 looks using fur, harking back to the origins of its 'FF' logo, meaning 'Fun Fur', that would make more than just PETA sick to their stomachs. Day two continued with Antonio Marras and Luisa Beccaria presenting old-fashioned collections that adhered to Milan's reputation for lacking young blood, leaving it to Miuccia Prada to revive our senses. The austerity of her Japanese-inspired Spring collection was replaced with a collection of depth, with the Prada woman returning to sentiment, her emotion matched to that of a Hitchcock heroine- something the 1940's silhouette matched. The womanly figures, checks, tweeds, delicate beading, and use of scarlet might have been proper on another catwalk, but open bodices, ragged hems, wet hair and stained lips painted a picture of a damsel in distress. It was a collection of many elements, apt for a designer that has made making ugly pretty an art.

Moschino's talent is taking the fun and frivolous and using sarcasm and wit to present alternative classics. Rossella Jardini began the third day of fashion week with a collection inspired by American socialite An Boefey Taylor, especially her love of horse riding and skiing. So the obvious Scottish references of tartan were surprising to say the least. Gold emblems emblazoned many of the outfits, with most models wearing helmets, platformed hiking boots or gold medals. Moschino's frivolity can often be taken for tacky, its strength lying in its most subtle references, which were unfortunately few and far between this season.

Sportmax, like its older sister Max Mara, showed a collection focused on outerwear, albeit with more intelligent design details. There was a long purple wool coat with unusual raglan sleeves, a contrast under-collar of fuzzy grey mohair, and a chest piece like a storm patch of a traditional trench. Mohair knits in graphic black and white patterns were modern, as were trouser suits with younger biker jackets in cobalt blue, with collarless or upright collars modernising other outerwear. Simple shapes appliqued with strips of eel skin failed to hit the mark, as did two later looks of quilted leather, while the skirt suits in striped and grid textures (above) were more original offerings. 

Versace ended the day with an over the top, punk-inspired show, offering the perfect contrast to Tomas Maier's understated collection for Bottega Veneta that began Milan's fourth day. In comparison to other Italian designers, Maier's version of sexy is an understated one, and some of the clothes he presented required a confidence that in itself is attractive. Take for instance a coat of scarlet wool that wrapped to the back in couture folds, cut into points to create a new type of statement shoulder and arched at the back to lengthen the torso. The artful drape and folds gave an allure to wools and silk that was more effortless than the furs and skins of the other Milan shows, yet it unfortunately faltered when overworked in some of the silk pieces. 

A surprise triumph was seen at Trussardi, where Umit Benan took the house's leather legacy and gave it a cool edge by fusing it with his expertise in menswear. Leather was used just like any other fabric, in a shift dress cinched with a knotted belt of the same material, as a top paired with an otherwise prim pleated skirt and topped with a nonchalant biker. Nonchalance was the attitude of Benan's girl, who borrowed from the boys- throwing her other half's oversized coat over baggy tartan trousers and her own leopard blazer, toughening it up with steel-toed loafers and a doctors bag almost too big to be tucked beneath her arm. The cool classics in luxe materials were a modern take on the brand's identity that is now comparable to brands of the moment like Celine and The Row. 

Another brand returning to its roots, but in a much more literal way, is Jil Sander, with the reappointment of the designer of its creation. Her collection for spring was minimalist to the core and perhaps too much of a reminder of her previous position at Uniqlo, but her Fall collection was a much less timid affair. The winter fabrics were richer in weight and colour, offering wool, fur, pony skin, gold foil, in a palette dominated by black but including grey, navy, primrose, tangerine, aubergine and teal. This show also had a grace and elegance the previous one lacked, with Sander using curved darts exposed on the outside of garments that looked like her own idea of drape, following the curved lines of her semi-fitted shapes.

The fifth day in Milan began with an unexpected change of direction at Marni, with Consuelo Castiglioni stripping back the brand's signature embellishments, unusual colours and kooky prints to create a much more austere collection. Boxy shapes were made in masculine fabrics like wools and tweeds, the austerity only broken by the fur that trimmed almost every look- something that showed that this pared-back look was nothing to do with our sobering times. Save for the skins, there were some strong pieces, especially the accessories- leather backpacks and loafers toed with metallic leather are sure to be hits. A print of painted trees was one of the few hints of the brand's past playfulness, with no sign of their plastic jewellery that has become so popular.

Armani Prive had a night of success at the Oscars, expertly dressing Naomi Watts and Jessica Chastain in glittering gowns to much praise. The Emporio Armani show was not quite so successful, presenting a collection of 77 looks entitled Kajal, or kohl- something used to create shades for make up- rather fitting for the vast array of colours the show included. Shapes were rather Japanese and reminiscent of Paul Poiret's Oriental-inspired designs of the 1910's. Tulip skirts, turbans, red lips, wide obi belts and dropped waists went with the theme, many bizarrely created in pastels, when one would expect jewel tones from the Orient. It was this juxtaposition that made already nostalgic clothing unwearable, or at least old lady off the catwalk.

The boys at Dolce & Gabbana seemed to have more spring in their step, perhaps rejuvenated from connecting with religion, the inspiration of their fall collection. Much like their Sicilian adventure for Spring, the show was dominated by dresses, beginning with those completely covered in elaborate beading in religious iconography taken from the mosaics of the Cathedral of Mondreale in Sicily. Sombre outfits of grey flannel and houndstooth followed (perhaps a nod to the nuns), then came virginal white lace, then a shock of colour in the form of scarlet women, before returning to the more literal beaded motifs. The amount of detail was admirable- mosaics spread to bags while roses crept up heels and platforms, as were the more subtle details like flared sleeves like the robes of priests. Like all their shows, it wasn't one for everyone's taste, but it sure was entertaining.

Missoni has had enough drama of late, what with the disappearance of designer Vittori a month ago, so it was no surprise that its most recent collection was restrained and unfortunately, unremarkable. And so, on to the last show of day five, Salvatore Ferragamo. Straight shapes, boxy bags, white leather, funnel collars and feline eyes nodded to the sixties, the nineties creeping in with the pinstripe tailoring towards the end. The combination of black and navy was chic, with shiny fabrics giving the collection a sleek edge, but frankly, overall, it was nothing we haven't seen before.

The final day of Milan Fashion Week had a schedule of just five shows in total, the overlap with the first day in Paris promising a lack of press and buyers. The Giorgio Armani show picked up where Emporio left off, albeit in a more sombre grey colour palette. Federico Piaggi and Stefano Citron at Gianfranco Ferre offered more experimentation, cutting fabric into architectural folds for outerwear and complicated drape for evening wear. Creativity was pushed to far at times when it became unflattering, however the colour palette of navy, black, white and nude allowed them to push boundaries in shape. The collection would have benefited from losing the giant croc belts that cinched most looks, for many veered too far into the 80's, though judging by the shows so far, they could be on to something.