by Sarah Keyrouz
  • 6 minute read
  • March 25, 2024
From Milan to Paris – Villa 88’s fashion week reporter takes us through her favourite shows

My head is full of colours, emotions and new trends for the coming seasons. That’s because I’m back from two weeks of Milan and Paris fashion weeks.

Looking back over the fashion filled two weeks, I’m left feeling inspired, here’s everything I saw…

Milan Fashion Week 2024

Milan day one: Fendi, Delcore, Etro


I Landed in Milan and ran to catch the Fendi show. Here, Kim Jones gave us London in Milan,
Mixing London nonchalance with Roman freedom, juxtaposing the utilitarian with extravagant and the simple with the theatrical. Shearlings and leather contrasted with tulle and organza, while the colour pallette had a very autumnal theme with camel, maroon, denim, grass green and olive green hues being featured.

Next stop was Delcore with his Lissom collection, which showcased wrapped fabrics and cashmere in
earthy tones and shades of green and grey.

The first day came to an end with Etro‘s act which saw models showcasing light layers, enveloping shapes, and solid coats and jackets to protect travellers on their contemporary Homeric journey. Creative director Marco De Vicenzo explored humanity through fabrics and textures using earthy and deep autumn colors with mixed patterns.

Milan day two: Max Mara, Genny, Prada, Emporio Armani, Moschino


Max Mara opened day two in Milan with a nod to Belle époque elegance, subtle glamour, poetry and self-expression. Beautiful and practical chic grey and navy blue coats that everyone can picture themselves wearing during the cold season, were paraded down the catwalk.

Next up was Genny. Her collection captured the essence of the feminine personality through colour and a harmonious play of forms, texture, and materials that have a couture touch. knitwear and sequins, and showcasing strong colors going from burgundy to scarlet red.

The well-awaited Prada show created a scenography that reflected the contradiction between our indoor existence and our innate connection to the outdoors.

Miuccia Prada and Raf Simons embedded fashion with fragments of histories, in an exploration of notions of beauty, of a contemporary world formed by memories. The looks were inspired by the past but refashioned to fit in the present. Purple and pink were the main colours, along with black and grey.

The back of some of the looks were intriguing, colour blocking created with the shoes added a fresh take and of course, the hats were creatively noteworthy.

Moving to Emporio Armani’s show, the collection represented a tribute to a luminous night sky, quilted with stars and ruled by a shining moon. The dark colours were an invitation to play with textures: high shine waxed fabrics, washed and mat wools, plus three dimensionality of textured jacquards and multi-coloured faux fur knit. The catwalk ended with snow that made the mood so romantic.

Ending the second day with Moschino Collezione 0 by Adrian Appiolaza who paid homage to
the House of Moschino and its founder Franco Moschino. This collection was founded in
tailoring and craft, but also in gestures and ideology. Ironic and iconic, evocations of Franco
Moschino’s universe form a spine of inspiration, archive items not repeated but revisited,
reassessed and rejuvenated. At this collection’s heart, is a reflection of Moschino’s soul. Playfulness, irreverence and above all joy.

Milan day three: Tods


The third day in Milan saw the Tods show taking place in an industrial setting in the middle of the historic Darsena train station — a symbol of the energy that animates the city of Milan. The collection was designed by Creative Director Matteo Tamburini to illustrate the duality between urban life and leisure, formal and informal, tradition and innovation.

Milan day four: Dolce and Gabbana, Bally, Bottega Veneta

Bottega Veneta

The Dolce and Gabbana Tuxedo collection was an ode to femininity seamed in velvet and lace, mesh and chiffon. The most prominent color in this collection was black with different cuts and fabrics.

Next was Bally show, with beautiful wintery fabrics and deep autumn tones (burgundy, dark
olive, navy blue and black).

Ending Milan fashion week was Bottega Veneta’s Monumentalism of the Everyday, where
Matthieu Blazy focused on embracing the negative space. Embellishments were kept to the minimum as to utilise a purposeful plainness at times, inspired by the roots of Bottega Veneta. Silhouettes from different eras and seasons were combined to create something distinctly current. The materials echoed this process. Heated, molded, boiled and shredded, wool bouclés, cashmere and fil coupés become practical, resilient and flame-like.

The colours of night dominated the palette, together with those of fire: carbon black, burnt orange, burgundy, olive, ash grey, red and white.

Paris Fashion Week 2024

Paris Day one: Chloé, Rabanne, Schiaparelli


Then I took a flight to Paris, starting the shows with Chloé where creative director Chemena Kamali is returning home for a new beginning. The boho inspired collection was all about natural femininity, effortlessness and freedom.

Rabanne’s show explored inner and outer layers with a mix of patterns. Here, the everyday was remixed with texture and rhythm.

Ending the day, Schiaparelli created a collection that was wearable for the everyday, not just the rare, precious moments of life when only couture will do. Denims, suits and Trompe l’Oeil dresses were the highlights of this collection.

Paris day two: Loewe


Loewe took us to the Garden of Eden and it was by far one of the house’s best shows to date. The garments explored ideas of tailoring and couture and the bespoke and the prerogative.

The runway saw a faultless jackets with flowing slacks, neckties on sculptural short dresses and straight cuts with draping. Prints with material quality were used to create illusions of other materials, or represent checks that melt. Tartans are also rendered in mille feuille sliced chiffon gaining further 3D materiality.

The show space was conceived as a maze or possibly an art gallery, bathed in three shades of green.

Paris day three: Hermès, Elie Saab


The next day started with Hermès, who recreated a rainy day in Paris at their indoor venue, with a collection created by Nadège Vanhée. Leather was a large focus and urban styling putting a spin on resilient materials. The main colors of this collection were hues of red (vibrant red, burgundy, maroon), black, nudes and a beautiful butter yellow.

Elie Saab’s Melodies of Graceland pulsated through the city streets. Modish feminine silhouettes shimmied onto the scene with subtly exaggerated volumes, elaborated materials and ornate details.

Paris day four: Valentino


Valentino’s Le Noir was, as one might guess, had a focus on black. In fact, all 63 looks were tainted in black. Pierpaolo Piccioli has always considered colour a powerful channel of immediate and direct communication.

For Valentino Le Noir Fall/Winter 2024-25 collection, Pierpaolo reconsidered Valentino through the lens of black with a discovery of an entire spectrum of shades, infinitely nuanced, within one. A colour of the everyday, black was used to recontextualise the signifiers of Valentino — rosettes, ruffles, embroideries and lace.

Paris day five: Miu Miu, Louis Vuitton

Louis Vuitton

The last day of Paris Fashion Week started with Miu Miu who took us to Palais d’Lèna which was punctuated by video installations created by the Belgian-American artist Cécile B. Evans.

From childhood to adulthood, Miuccia Prada drew inspiration from the span of people’s lives, shifting clothing to reflect the development of character, both personal and universal.

Louis Vuitton ended the week in the beautiful Cour Carrée du Louvre where Nicolas Ghesquiere marked his 10th anniversary at the maison. The set had a futuristic chandelier and glasshouse designed by renowned artist Philippe Parreno in collaboration with production designer James Chinlund.

The collection captured the essence of contemporary femininity, Nicolas Ghesquiere crafted avant-garde ensembles and striking silhouettes that echoed the Maison’s trunk-making heritage.

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