Milan Fashion Week A/W 2025 highlights: Prada to Giorgio Armani

Following a quiet week in London, Milan Fashion Week arrived in a state of flux: with two of its biggest houses, Gucci and Fendi, without creative directors (the latter for its womenswear collections, with Silvia Venturini Fendi still heading up menswear and accessories), there was the feeling of an in-between season as its major players reorientate themselves in the hunt for new creative leads. That said, Fendi had plenty to celebrate – 100 years, in fact – which it marked with a blockbuster co-ed show on Wednesday evening (26 February) designed by Silvia Venturini Fendi (afterwards, seats were pushed back for a party). Meanwhile, Gucci, who opened proceedings on Tuesday afternoon (25 February), also hosted a co-ed show, which took place on an enormous mirrored runway in the shape of the house’s Aldo Gucci-designed interlocking-G logo – a perennial symbol of Italian luxury.

Elsewhere, the city’s powerhouses Dolce & Gabbana, Emporio Armani, Ferragamo, Dolce & Gabbana and Prada each showed their latest collections (at the latter, Miuccia Prada and Raf Simons presented a collection of ‘raw glamour’ amid a scaffold-and-carpet construction introduced at the house’s A/W 2025 menswear show earlier this year). Finally at Missoni, a new era awaits as Alberto Caliri – a longtime fixture of the Italian knitwear house – stepped into the spotlight as creative director on Friday evening (28 February).

Here, Wallpaper* fashion features editor Jack Moss – with additional reporting by Orla Brennan – unpacks the best of Milan Fashion Week A/W 2025.

Giorgio Armani

A change in location this season saw Giorgio Armani swap the intimate showspace in his headquarters on Via Borgonuovo for the larger Tadao Ando-designed Armani/Teatro in south-west Milan, where the designer usually presents his Emporio Armani collections (as he did earlier this week). Inside, seating was evocative of restaurant booths or a particularly luxurious airport lounge, like that at the special show the house held in New York last year to celebrate the eponymous designer’s 90th birthday.

This latest collection, for A/W 2025, was described by Mr Armani as a return to his roots, ‘a reaffirmation of an authentic style that evolves, drawing on itself, while remaining firmly anchored in reality’. As such, it centred on louche silhouettes inflected with moments of glamour – including a particularly sparkling closing act, whereby diaphanous gowns and floating layers of tulle were adorned with thousands of light-catching crystals. Meanwhile continuing what has been a defining trend of Milan so far, ‘fur’ coats and stoles were actually crafted from specially manipulated shearling. Colours, Mr Armani elucidated backstage, were drawn from nature, a typically seductive palette of earthy, ‘volcanic’ hues and those evoking crystals and minerals, from quartz blue to emerald.

Afterwards, guests were ushered into another room for a ‘light lunch’ of sashimi, saffron risotto and champagne – another flourish of Armani-esque glamour and Italian hospitality. JM

Dolce & Gabbana

Dolce & Gabbana’s latest show played out in two halves – the first, introduced with a short film starring the model Vittoria Ceretti in London, was inspired by the off-duty uniforms of Domenico Dolce and Stefano Gabbana’s favourite contemporary models (among them Ceretti, but also Mona Tougaard and Irina Shayk, the latter two who appeared in the show). The pair said it was about an ‘approach to dressing’ defined not by a ‘singular item’ but the way pieces are combined together, like a shearling trimmed parka over a negligee, knee-high-socks and boots, or a pair of slouchy cargo pants with a lace top and enormous furry bag. The second part was an expression of Dolce & Gabbana’s high-octane eveningwear, here largely comprising super-abbreviated mini dresses adorned with crystals and feathers, though still instilled with what the designers called a ‘cool girl’ attitude (several of the looks were worn with chunky leather boots, albeit adorned with gobstopper gems). As if to prove the collection’s real world appeal, models strode out of the building onto a special runway on the Viale Piave, where DJ Victoria De Angelis – a member of Maneskin – was crafting the booming soundtrack, which continued to reverberate streets away. JM

Ferragamo

The work of Pina Bausch and the Tanztheater – the German expressionist dance movement which began in the 1920s but found new international renown under Bausch in the 1970s – has proved fertile ground for fashion designers. Yesterday’s Ferragamo show saw creative director Maximilian Davis look towards Tanztheater’s ‘unbound expression’ and ‘liberated choreography’ for an A/W 2025 collection staged on a runway sprinkled with thousands of red rose petals (the visual impact was similar to that of Tanztheater Wuppertal Pina Bausch’s productions, whereby an otherwise sparse stage might sprout with flowers, or be transformed into a vast pits of dust of mud).

In looking towards the medium of dance, it was a continuation of his S/S 2025 collection, which was inspired by ballet, though here that lightness had been replaced by a rawer sensuality – a nod towards Tanztheater’s experimental roots in Weimar Germany. Retaining the sharply defined wardrobe of his tenure so far (crisp tailoring and overcoats remain a highlight), Davis found new expression in sultry flourishes, from featherweight sheer knits to adornments of feathers, tassels, fur-like shearling and 3D flowers, while a visceral red ran throughout. ‘The twenties were a moment of freedom, of people rebelling and creating spaces for themselves,’ Davis explained of the liberated collection. ‘[I wanted] to create a sense of discomfort in the expected.’ JM

Versace

This season’s Versace show arrived with questions about the future of the Italian house: Capri Holdings, the company which currently owns Versace, is looking to sell, with parties from Renzo Rosso’s Only The Brave (owner of Diesel, Maison Margiela and Marni, among others) to the Prada Group expressing interest (Miuccia Prada said the deal was ‘on everyone’s table’ backstage at her own show earlier this week).

Despite the intrigue, the show – which took place on a marathon-length runway at a working tram depot – saw Donatella Versace remain steadfast in her vision of sensually charged glamour, drilling into house codes through the collection’s melange of colourful, baroque-inspired prints (one inspiration was Gianni Versace’s A/W 1997 collection, his last before his death). ‘Be yourself. Believe in yourself. Break the rules,’ said Donatella Versace of the collection’s mood, noting that the men’s and women’s collection ‘affirms the house’s eternal ethos’.

She noted an inspiration from Versace homeware – a series of duvet-like dresses and jackets appeared like the model had grabbed a set of Versace bedsheets for modesty – while studded black leather and distressed jeans provided a punky counterpoint to the all-out drama elsewhere. Tailoring swerved from nipped-waist to broad-shouldered and oversized, while looks in chainmail (one worn by Romeo Beckham) were an expression of the Versace vernacular. A trio of flared-waist mini dresses provided the show’s final tableau, as a smiling Donatella Versace took her place next to the models for her finale bow. Will it be her last? It’s hard to imagine Versace – or indeed fashion – without Donatella. JM

Tod’s

The model, musician and former French first lady Carla Bruni provided a surprising opening act at Tod’s, the star of a static artwork by Chicago-based artist Nelly Agassi. Stitched into a metres-long patchwork leather gown and brandishing an enormous gold needle, the slightly surreal tableau – which saw Bruni erected at its centre for over half an hour as guests trailed in – was titled ‘Artisanal Intelligence’, a nod to the house’s roots in craftsmanship. If aesthetically it didn’t have a whole lot to do with Matteo Tamburini’s third collection – a contemporary imagining of the Italian wardrobe – the idea of craft ran throughout, particularly in the collection’s textures, from buttery leather, suede and shearling to lightweight wool knits, fuzzy alpaca, and woven fabrics left purposely frayed at the edges. Other pieces had a uniform precision (crisp poplin shirts, pressed trousers, button-up cardigans) and felt fresh – it was the best iteration of Tod’s, a house which has occasionally struggled to find its fashion identity, in some time. JM

Missoni

After a number of seasons whereby Missoni has struggled to find its identity, Alberto Caliri – a veteran designer of the house who has been there three decades – stepped back into the spotlight with an astute collection which returned to the knitwear house’s roots. ‘The feeling was not one of radical change, but rather of return,’ he told Wallpaper* prior to the show, which comprised a series of layered-up looks which drew inspiration from the ‘instinctive and free’ vision of Ottavio and Rosita Missoni, the house founders. Knitwear, of course, was a focus, with silhouettes tending towards the enveloping – a series of oversized cardigans with enormous ribbed collars were a highlight – while patterns, a longtime hallmark of Missoni, largely centred on a melange of checks befitting the collection’s outdoorsy mood (a play on the Wellington boot was one of this season’s footwear offerings). Though it was the shimmering knits which came towards the end of the show which impressed: slouchy bell-sleeved cardigans, jackets dotted with crystal sparkle, and a play on the tuxedo in a lurex-like knit captured a mood of insouciant glamour. It was a great start. JM

READ: Alberto Caliri’s new vision for Missoni: ‘It’s about getting back to an essence’

Sportmax

Sportmax’s latest show took place in the light-filled Rotonda della Besana on Friday morning, introducing a collection of new focus for the label, which is the younger, more trend-driven offshoot of the Max Mara family. Led by an anonymous design team, the ideas-driven collections have tended towards the experimental, though here there was something more stripped-back, offering a highly desirable line-up of real-world clothing (albeit with satisfying flourishes of innovation and strangeness). The collection notes described it as one of ‘hyper-reinvention – where the ordinary become extraordinary,’ inspired by ‘the artisans, designers, colleagues, mothers and friends who infuse Sportmax’s intellectual design language with realistic intention’. Tassels were a feature – in extra-long lengths they transformed the silhouette of handbags and gloves – while clever faux fur jackets had been cut to give the illusion of crocodile skin. A series of dresses, meanwhile, were cleverly crafted to appear like a single roll of fabric had been wrapped around the body. JM

Giuseppe Di Morabito

Born in the mountains of Calabria, southern Italy, Giuseppe di Morabito grew up seeing nuns weave lace on looms – the art of tombolo – and local tailors craft beautiful custom suits for the village’s men. He founded his namesake brand with a respect for these traditions while drawing inspiration from the masterpieces of Caravaggio and Canova, whose frescoed ceilings and sculptures he pored over in Rome before studying at Istituto Marangoni in Milan. Informing a wardrobe of Italian glitz – corsetry, tailoring, and opulent evening gowns, his bread and butter – Di Morabito’s taste for the classics made the set of his A/W 2025 show all the more surprising. A cyborg positioned in the centre of the room introduced his latest collection with a surreal speech about technology and human life, after which model du jour Amelia Gray opened the show in a crinkly black bustier and matching scrunched leather trousers. Looking to ideas of armour through the ages, a series of high-voltage looks then followed. Silver breastplates sat atop shirting, and severe suiting cinched waists with hidden corsetry and mini crinolines. Heavy wool trenches and voluminous faux fur overcoats came in shades of deep brown and taupe, while head-to-toe glittering looks referenced the burlesque attire of the 1920s for women and the streetwear shapes of the 2000s for men. The designer dubbed the display ‘artisanal intelligence’ after the show. OB

Prada

Unfolding in the same scaffolding structure as the house’s menswear show earlier this year, Miuccia Prada and Raf Simons titled their latest womenswear collection ‘Raw Glamour’. ‘Glamour was something we were attracted to, instinctively, and its connection to femininity,’ said Mrs Prada. ‘We asked ourselves – what is feminine? What is feminine beauty? What is femininity today? It is a constant questioning, an examining of femininity – what does it mean?’ These questions are foundational to Prada, a house which has long interrogated notions of conventional beauty. This season, though, there was new urgency: ‘It is not my job to be political but when you open a newspaper – oh my God!’ Mrs Prada exclaimed backstage post-show. ‘Our job is to think about what clothes a woman can wear, about what kind of femininity makes sense in this moment.’

What followed was a collection which, like the pair’s previous menswear and womenswear outings, was driven by their instinctual attraction to ideas rather than more defined thematics. After the menswear show last month, Mrs Prada cited ‘a liberating instinct… it’s the season of artificial intelligence, and this is our move again towards humanity. Towards instinct, passion and romance.’ This collection followed a similar track: Simons said that the collection began with the pair thinking about constriction, how women’s fashion has been defined by garments like the corset which are designed to narrow and reshape the body. So here they blew up 1960s-style dresses and sliced them raw at the hemline, their narrowed waist expanded into roomy proportions (other pyjama-like shorts were pinched and gathered at the waist, as if wearing something several sizes too big). Meanwhile suggestions of nostalgic glamour – like the fur coat or handbag – were here subverted, the former with protrusions of faux fur around the neckline, or reimagined through trompe l’oeil prints. A feeling of dishevelment ran throughout – not least the hair, which had been teased and ruffled, as if at the end of a long evening (or, indeed, rolling out of bed).

It felt like a provocation from the designers, a welcome jolt of dissonance in a fashion month which has largely skirted conversations of the tumultuous political backdrop on which these collections unfold. Here was their own pitch for liberation, though not without an undercurrent of danger (there was a kind of violence to the way garments were chopped and sliced). ‘Within feminine beauty, when you think of its archetypes, there is lots of restriction of the body – here, it is free,’ said Simons. ‘And ideas can be liberated also. In turn, we didn’t want to limit ourselves, with a narrative or a theme. We like to take a risk – we like to try to create something different.’ JM

Max Mara

For his latest outing at Max Mara, British designer Ian Griffiths transported attendees from Milan’s Palazzo del Ghiaccio to the Brontë sisters’ windswept Yorkshire moors – albeit in the elegant, reduced style which has become his signature at the Reggio-Emilia founded house. It was by no means period attire: instead, Griffiths imagined a contemporary protagonist craving the tempestuous passions of Jane Eyre or Catherine Earnshaw, ‘sleek, self-assured and elegant… but she cannot contain her passions forever. She craves romance, deep and dramatic.’

As such, the collection teetered between strictness and romance, whether fuzzy overcoats cinched at the waist with double leather belts, cloak-like knitwear, or a tendency towards the full-length silhouette, like a series of woollen skirts and coats which grazed the ankle (the latter also suggesting protection against the elements). Meanwhile, knitted wool tops were structured to evoke a Victorian corset or bodice, though without boning or structure they retained the feeling of ease which is synonymous with Griffiths’ work.

Textures, meanwhile, felt a return to the designer’s British roots (he was born in Windsor, Berkshire, before moving to London to study at the Royal College of Art), with worsted wools and tweeds adding satisfying tactility and weight. JM

Emporio Armani

Giorgio Armani titled his latest collection for Emporio Armani ‘All In’, a reference to the way in which he can use the label as a space for experimentation and play (a spritely finale bow showed the 90-year-old designer was in no danger of resting on his laurels). Playing cards were an influence, he said, becoming a motif on outerwear or abstracted into details like enormous heart-shaped pockets on a red velvet suit. But ‘All In’ also referred to the vast breadth of garments which fall under the Emporio Armani umbrella; since its founding in 1981, it has continually sought to create a comprehensive wardrobe for the demands of its customer, whether town or country, ski slope or beach. Here, he impressed through textural interest – rich layers of velvet and silk jacquards met shaggy yeti furs, tailoring wools and lustrous organza – while silhouettes drew inspiration from louche, fluid tailoring which interrelated masculine and feminine in typical Armani style. Meanwhile a closing section of looks in black saw Mr Armani explore new expressions of eveningwear: notably, a crinoline skirt dotted with buttons which closed the show – proof of the designer’s desire to continue to drive the label forward. ‘Dressing is always about taking risks,’ he said. JM

MM6 Maison Margiela

In one of the cosier setups at Milan Fashion Week so far, rows of sofas and armchairs draped in white sheets set the scene for MM6 Maison Margiela’s A/W 2025 show last night. The collection followed the anonymous fashion collective’s Pitti Uomo display in Florence this January – its first menswear-only presentation in the 30 years since Martin Margiela founded the diffusion line in 1997 – which paid tribute to the elusive Belgian designer’s strongest mens silhouettes through the decades. Last night’s show, however, took a more theatrical turn. Emerging from a circular spotlight, models stalked through the endless rows of couches, exuding a seductive energy in futuristic sunglasses, leather opera gloves, and pointed vinyl knee-high boots. Expressed in an earthy palette of deep browns, muddy greys, stark white and plenty of black, the collection itself twisted tropes of glamour into something more subversive. Dramatic cuts and exaggerated proportions saw overcoats and polos padded like duvets, sharply structured jackets paired with sultry leather mini skirts, and sheer shirting layered under lustrous black suits. As ever, Margiela’s deconstructed legacy was evident in the details – exposed silk panels on the backs of masculine wool coats, crushed organza second-skin dresses unraveling at the seams, and everyday staples pushed into sharp, dramatic new territories. OB

Fendi

Late last year, it was announced that Kim Jones was leaving his position as creative director of Fendi’s womenswear and haute couture collections. His replacement is yet to be announced, though the house’s current state of flux was not going to halt celebrations of Fendi’s 100th year in business (it was founded in 1925 by Edoardo and Adele Fendi in Rome).

Hosted at the house’s newly renovated Via Solari HQ – the runway showspace at its centre now nearly double in size – it was down to Silvia Venturini Fendi, granddaughter of the house’s founders, to design this season’s co-ed collection (prior to Jones’ departure she was in charge of menswear and accessories). Beginning with her twin grandchildren pulling open two vast doors – reminiscent of those on Via Borgognona in Rome, where the Fendi sisters had their atelier – the collection which followed signalled a return to the Cinecittà glamour long synonymous with the label, modelled by a cast of perennial Fendi muses, from Penelope Tree to Katen Elson. ‘Fur’ coats and stoles ran throughout (in a clever illusory trick, they were actually patchworked or intarsia shearling designed to recall fox, mink or sable), while hourglass silhouettes conjured a nostalgic elegance. Meanwhile moments of embellishment – from crystal and paillette embroidery to chantilly lace and plissé taffeta – reflected the evening’s celebratory mood (after the show ended, a stream of waiters with trays of champagne circulated to toast the occasion).

‘This show is so important to me,’ she told Wallpaper* after the show. ‘It is a flashback and a fast forward. It is about five generations of Fendis, from my grandparents’ historic store and atelier to my grandsons opening the doors to the show – a look to the future.’ JM

READ: Fendi celebrates 100 years with an all-out runway show at its new Milan HQ

Marni

In preparation for this season, Francesco Risso spent a month with the Nigerian artists Olaolu Slawn and Soldier Boyfriend in a ‘residency’ he dubbed ‘The Pink Sun’. Having met in London, Risso said that his collaboration with the artists – which culminated not just with the collection but a selection of artworks which decorated the showspace at Marni’s Milan HQ – was ‘never a decision, it was a pull, an inevitability’, citing a ‘shared language built on instinct, on movement, on rebellion’.

Taking place in a surreal recreation of a Milanese café (complete with Martini vermouth spritzes and bar tables daubed with swirls of grey paint), the show itself was about the moment when a work is taken out of the studio and into ‘the salon’, where the spoils of the creative process are put on show. As the show began – soundtracked with a live performance by longtime collaborator Dev Hynes – models emerged from a slice in an enormous white canvas at the end of the runway, slinking between the room’s tables and chairs as if navigating a nightclub or bar. Their clothing continued the liberated, instinctual mood of the S/S 2025 collection in dresses made from a bold patchwork of fabric, brightly coloured faux fur stoles and fuzzy striped knits, with 3D flowers and winged sunglasses serving as playful adornment.

It made for perhaps Milan Fashion Week’s highlight thus far, a testament to Risso’s desire to seek the ultimate self-expression through clothing. ‘We make, design, conceive, we fantasise, we romanticise, we push it to the maximum,’ he told Simon Chilvers in the March 2025 issue of Wallpaper*. ‘Making clothes is like making emotions. That is actually how Marni exists, to allow people to express themselves easily, and incredibly, and loudly.’ JM

READ: Inside the unexpected collaboration between Marni’s Francesco Risso and artists Slawn and Soldier

Jil Sander

For some months, rumours have swirled that Lucie and Luke Meier, the wife-and-husband duo who have been co-creative directors of Jil Sander since 2017, were set to exit the Italy-based house. Yesterday evening, the departure was confirmed by OTB – the luxury goods conglomerate which owns the label – meaning that their A/W 2025 runway show, which took place that morning, would be their last. ‘A bright metaphor for love,’ they coined the collection, which unfolded in a series of cocooning corridors clad with vast black curtains. From this near-pitch-black darkness emerged the Meiers’ glimmering figures: dresses and skirts were adorned with gleaming black tassels, shirts with rows of iridescent paillettes, while shoes and leggings were studded with silver metal – an expression at once of delicacy and protect. In the collection’s focus on texture, it was a continuum of the Meiers’ vision for the house, which was founded by its namesake in Germany in 1968. Wanting to instil the rigorous minimalism synonymous with Jil Sander with a poetic sensuality, tactility has long been at the heart of their collections – with this latest outing, they once again created garments that begged to be touched. Meanwhile a striking series of pieces featured a degradé print which saw a delicate floral print fade away into black – or perhaps, more hopefully, the other way round. ‘[This is] a collection which turns darkness – the hues that seem to soak our times – into light, into the brilliance they invite us to capture,’ they said, via the collection notes. That evening, they hosted a party to celebrate the last eight years alongside longtime musical collaborator Benji B. It was titled ‘It’s All Love’. JM

READ: Lucie and Luke Meier exit Jil Sander

Diesel

It's been a bittersweet 2025 for Glenn Martens so far. In January, it was announced he would make the career-defining move to Maison Margiela, succeeding John Galliano in the dream appointment as the house’s new creative director. But one man can only do so much, and a few weeks later the news came that Martens’ mainstay Y/Project would shut its doors after 11 years of singular, chopped-and-screwed design.

Yesterday, at Diesel in Milan – where Martens has held the title of creative director since 2020 – it was, however, business as usual. Guests were invited down to a cavernous warehouse space, where gargantuan figurative sculptures covered in graffiti set the scene for a full-throttle runway that pushed Diesel’s Y-2K language to extremes. Unveiled to a thumping soundtrack, models with painted hair and clown-like smiles became spray-paint caricatures, adorned in looks that shredded heritage fabrics like tweed, herringbone and (faux) fur. The designer described the vibe as ‘Coco Chanel goes to Balmoral and gets trashed on sherry with The Queen.’

As usual, sex simmered throughout the collection. It was there in impossibly short skirts and the waistlines slung so low that bums peeked out; the strange kinky sheen given to denim and the coils of chest hair printed on rubbery T-shirts. The show exemplified Martens’ mastery in taking that which we know so well – from the prim formality of tweed to the pair of jeans you sling on every day – and ripping up all that makes it familiar to offer up something provocative, playful and completely new. Martens never holds back – let’s hope that’s true of his anticipated Maison Margiela debut in September, too. OB

Gucci

It is 50 years since Aldo Gucci – son of house founder Guccio Gucci – designed the house’s interlocking G emblem, based on his father’s initials. Yesterday afternoon (25 February), the symbol was blown up in size, becoming a vast mirrored runway for the house’s ‘unified’ A/W 2025 collection, which combined womenswear and menswear in a single show (in clever theatrics, depending on which size of the double-G you were on, you saw the men’s collection then the women’s, or vice versa).

It marked the first show since the departure of creative director Sabato De Sarno earlier this year, meaning the collection was conceived by the in-house ‘design office’ and served as something of an in-between collection while the house confirms De Sarno’s replacement. As such, the return to the symbol – a perennial motif that has survived through Gucci’s various iterations, from the era of Tom Ford to Alessandro Michele – had a steadying quality, with the collection notes speaking of a return to Gucci’s ‘foundational’ values. Namely, a mood of insouciant Italian elegance and ‘sprezzatura’, ‘stylised and sumptuous, character-driven and individually adaptable, and here, they are brought together once more’.

It lent the collection a retro, 1970s-inflected glamour: for women, chubby faux-fur coats over lace slip dresses, colourful bejewelled tights and leggings, and ladylike flourishes, from headscarves to leather gloves, while the menswear riffed on classic tailoring in a range of hues and textures, from wipe-clean overcoats to a fluffy mohair button-up. Given that this is a house in flux, it made for a desirable and largely cohesive outing, infused with a feeling of dynamism that sometimes felt missing during De Sarno’s tenure. At the end, the ‘design office’ came out for a shy final bow – how long they will remain collectively at the helm remains to be seen. JM

No. 21

This season, Alessandro Dell’Acqua said his latest collection for No. 21 began with a ‘rereading’ of three memorable Sofia Coppola films: Lost in Translation, The Virgin Suicides and Marie Antoinette. The first, he said, inspired the collection’s plays on the little black dress that provided the show’s opening act (here refigured as a micro-mini or with two black bows on the chest); the second, clashes of girlish lightness and heavier men’s fabrics; the third, playful pastel hues and delicate embellishments that adorned the collection’s closing looks. The bow was a motif throughout – one also evoked in Coppola’s work – whether expanded into an enormous twist on a skirt, or as ribbon-like leather bows on the collection’s high-heeled pumps (‘It’s an element able to create the allure of surprise,’ he said). With No. 21 always a quiet highlight of Milan Fashion Week – it feels as if Dell’Acqua’s vision gains more clarity season on season – Coppola provided a fitting counterpart to the designer’s vision of womanhood: both evoke the overtly feminine to subversive effect. Perhaps a collaboration is on the cards. JM

Stay tuned for more from Milan Fashion Week A/W 2025.