This Milan Fashion Week has certainly stood out from the others, perhaps for being a bit subdued.

The reason for this, in my opinion, is the absence of Giorgio Armani closing the event. Armani, with both his business and stylistic solidity, traditionally held the reins of Milan Fashion Week, always wrapping it up beautifully and, as a result, keeping journalists and buyers from all over the world in the Italian city.

Let’s get to the collections, those of Spring/Summer 2025 (available in stores from April/May 2025), which were presented during the week.

There was a common thread among all the brands except for Loro Piana, which has made minimalism its essence-namely the desire to bring an unprecedented sense of optimism to the runway: the sea and its hues at Roberto Cavalli, the Amazonian forests and butterflies at Gianvito Rossi, the exhilaration of the seventies at Tom Ford, and the Marche coastline at Santoni.

As for the shows, our fashion week kicked off with Gucci. Sabato De Sarno envisions his woman as cosmopolitan and contemporary, wrapped in oversized coats, tailored suits, and boots featuring the
horse-bit motif and the iconic Jackie bag: casual grandeur as he likes to call it. However, the real focus, beyond the brand’s now iconic colours such as the “Rosso ancora” and green, orange and white, was certainly the optimistic energy that permeated the collection, where sequins and intricate details took centre stage and “A” shaped silhouettes were there. The real star of the show however was the Gucci Bamboo which, introduced in 1947, was inserted in jewelry and bags while one-of-a-kind Gucci Bamboo reimagined by Japanese artists was an hommage of Gucci’s 60 years of presence in Japan.

At Versace, which showed in the stunning setting of Milan’s Castello Sforzesco, the optimism was present but delicate, like savouring a mint candy. The silhouettes were sleek but the pastel colours, intricate knitwear, and contrasts between stripes and multi-coloured wavy patterns were important
details that gave cohesion and solidity to the entire collection.

Bally, under Simone Belotti’s leadership, stepped out of its usual framework, evoking contrasting sensations. On one hand, there were floral and bucolic patterns; on the other, architectural constructions and exaggerated proportions made the overall aesthetic as interesting as it was bold.

Maximilian Davis at Salvatore Ferragamo transported his guests into the world of ballet. The entire
set of the show resembled stage curtains, and the models, like étoiles, strutted in shoes reminiscent
of ballet slippers, with straps climbing up their legs. The inspiration, though romantic, was reimagined through Davis’ contemporary lens, and it harks back to the first dance shoe designed by Salvatore Ferragamo in the 1930s. The clothes were tailored, and the silhouettes, though slim, had an echo of fluidity. The accessories were oversized, and the gold jewellery added character to Ferragamo’s étoile.

Domenico Dolce and Stefano Gabbana, meanwhile, finally reversed course, returning to what they do best: making women feel incredible. The entire collection was a tribute to Madonna-who attended the show and the beautiful friendship and mutual admiration between the brand and the pop diva. From my perspective, this was foreshadowed by the background music before the show, which, surprisingly, wasn’t the magnificent “Cavalleria Rusticana” by Gioachino Rossini but rather the hits by the singer.

Models in blonde wigs were reminiscent of the pop star. The micro bags made the whole ensemble absolutely captivating, while the sharply heeled but not chunky shoes emphasized this creative vision of sensuality, undeniably rooted in the brand’s DNA. The floral prints paired with corsets and black-and-white contrasts made the entire show a triumph of “Dolce&Gabbana-ness” that we all love.

Lastly, Bottega Veneta. Mathieu Blazy took inspiration from childhood for his collection. The seating at the show, reminiscent of the film E.T., was shaped like animals such as foxes, cats, roosters, etc. I was seated on a pouffe dog. And so, in this playful wunderkammer created by Blazy, models in impeccably tailored looks but with asymmetric pants or skirts, maxi skirts, and oversized jackets (like when you try them on as a child) walked the runway. The crumpled dresses and leather worked in every possible way and transformed into wigs, flowers, and bags of all sizes and shapes were a highlight. The most chic item of all? The woven leather violin case? Absolutely delightful.

Thus concluded this Milan Fashion Week, which generally saw the fashion houses bring a newfound joy of life and an unexpected lightheartedness to the runway.