Some thoughts & notes on MFW FW24
This MFW there seemed to be significant overlaps between collections which led to the whole thing feeling a little - I hate to say it, but - flat. That is not to say that the collections weren’t noteworthy, but there just wasn’t enough variation between them.
There was a considerable dedication to outerwear and heavy knitwear, alongside a very earthy-centric colour palette. While this is not unexpected, given that it was a Fall/Winter season, en-masse it did leave a sense that something was dragging.
Maybe it was the aforementioned colour palette - a lot of grey and (I’ll just say it) olive greens. Or the repeated iterations of the ‘every day’ references. Eventually, and for whatever reason(s), the Italian fashion week seemed to lose its usual lustre. There were only so many ways of injecting colour, or playing with unexpected textures and layers, before this lost its originality. Even if it was our favourite Prada green and pink.
Or, maybe, it was that almost every show featured some form of ironic, light-hearted fashion accessory - mostly some form of a feathered or shearling shoe - which weakens the irony somewhat.
There have been a lot of comments about how the state of the world can cause designers to play it safe, which is the most likely explanation. FT Fashion nailed it when they reported:
“This year, designers and CEOs share one common goal: getting cautious shoppers to buy luxury amid persistent inflation and economic uncertainty… they’re more interested in wardrobe classics over flashy showpieces…The problem is that when everyone designs with the same logic in mind, it results in repetition.”
This being said, there was still a lot of wonderful fashion to celebrate:
Prada - Miuccia Prada & Raf Simons
The Prada FW24 collection started with a surprise: bows. Many of them, on an otherwise simple black dress. The bow-adorned dress was then reiterated in a baby pink and later purple. For me, I prefer the way Prada cleverly incorporates suggestions of femininity within smart lines and elegant cuts, but bows can still be charming.
The first several looks were almost mundane, had they not been tailored to perfection. The deep greys and boardroom tailoring gave an almost war-time feel, yet this was only on the front. The backs of many looks, or beneath the oversized blazers, opened up to reveal delightful shimmers of silk slips.
Roll necks were treated to mini collars and several of-the-moment bags were embellished, or came with additional arm straps so that they were held in a more historically ladylike way. Bows continued to feature as embellishment throughout as we were treated to the understatedly weird, yet always wonderful, Prada world.
Moschino - Adrian Appiolaza
I was pleasantly surprised by Adrian Appiolaza’s Moschino debut, even if it was in unfortunate circumstances. The collection was still typically playful but not obnoxiously so. Enlarged polka dots, smiley faces and bold slogans were featured, but they did not take over the overall aesthetic of what felt like a less brazen take on a Moschino show.
The layering was original, proportions were experimented with, denim was relaxed and jackets oversized. Prints were ostentatiously presented, deliberately clashing or paired, both worked. The collection did not feel overly casual, but there was a laid-back appeal in the newness that felt refreshing.
Tom Ford - Peter Hawkings
While the comments of Peter Hawking’s references to 90s Tom Ford at Gucci were unrefutable at points, the collection was far more than a tribute. Starting with eight strong, particularly modest, military-style outerwear designs, the show then opened up to 70s glory.
Deep v-necks, luminous metallic dinner jackets and bootcut legs accessorised with vintage sunglasses and shimmering gold jewellery. Fur coats, scintillating gemstone dresses and perfectly fitting leather pieces oozed glamour and demonstrated the nonchalant confidence of the Tom Ford customer.
Marni - Francesco Risso
The Marni FW24 collection felt like a return to authentic fashion design, as opposed to feeding commercial targets. The show started with several strong black looks, though they were more sculptures with enlarged shapes contrasting boldly against the white-plastered cave setting.
The avant-garde leanings of Francesco Risso’s designs flourished as the collection explored multiple shapes and sizes. Again, texture and contrast played a big part.
Streamlined leather suits, with matching gloves, were perfection in ice-whites and pastels; flared hems were exaggerated whether thigh-high or ankle length, which gave an almost space-age feel. Styled fur came in voluminous spheres, or spheres with spikes, or left beautifully glossy.
Jil Sander - Luke & Lucy Meier
While Jil Sander is so often synonymous with minimalism, the FW24 collection was one of the boldest in Milan.
Voluminous silhouettes and striking colours were presented on a pistachio green backdrop featuring larger-than-life gramophones, as yet another strong case was made for dressing up outerwear.
Coats were dramatic: oversized quilted gowns, capes, eye-catching faux fur and shearling, as well as iconically exaggerated puffer coats, strutted down the catwalk. Accessories came in the form of wig-bags (/bag-wigs?), furry shoes and sporadic chainmail fringing, all of which felt somewhat outlandish, but not entirely wrong.
Core Jil Sander remained in essence, particularly in the crispness of the mens’ suits and in the structural details of the womenswear. Knitwear featured overamplified detailing or blown-up lace, both of which were paired perfectly with matching or complimentary skirt or trouser styles.
Ferragamo - Maximilian Davis
The colour palette of the Ferragamo FW24 collection was particularly earthy, with lots of moss (though some would say olive) greens and deep browns, exaggerated by the fact that the majority of looks were monochromatic. This could almost have felt a little too muted had the interjections of expertly cut leather and contrasting textures not lifted it. There were also deliberate pops of deep burgundy and ‘Ferragamo’ red throughout, with one bright yellow maxi dress to finish.
Heavy knitwear and coats often created strong lines over, or between, fluttering sheer dresses or embellished fringed skirts. This, and the precision so much of the fabric was cut with, prevented the collection from becoming too monotonous.
Eveningwear came in multiple styles, though all maintained a level of sultriness. Materials were elegantly draped or flatteringly bandaged to showcase a feminine allure. One particularly interesting mini dress was created out of what seemed to be 3D scales, though this seemed to have been a standalone feature.
Several longer gowns were elevated with sheer skirts and fringing was incorporated across multiple looks which added an energising lightness.
Bottega Veneta - Matthieu Blazy
Where there felt to be a significant repetition throughout Milan’s shows, the Bottega Veneta FW24 collection reinvigorated the emerging trends, as opposed to repeating them.
Yes outerwear, experimental layering, contrasting textures, and feminine silhouettes were prominent in this collection, as with so many others. Yet the styling, cuts and details made them pop, refreshingly so. Plus, one could argue many of these trends have been inspired by New Bottega in the first place.
Monochrome looks were not reserved only for the more subdued colours. Lighter browns, yellows and blues were particularly enjoyable. There was, of course, olive green, but it was as one-third of a tri-coloured dress, or came paired with a delightful buttery-yellow hooded V-neck/cardigan/overcoat situation.
Embellishments were withdrawn and there was a focus on the silhouette. Cocooned coats, asymmetric hems and necklines, and fabrics that bounced so sensationally down the runway replaced the need for it.
Fendi - Kim Jones
FW24 Fendi felt more casual than past collections, perhaps it was that it was more day-to-day functional; less sleek? Layering, fits, materials and lengths were gently experimented with which may have contributed to this. Hemlines were asymmetrical while knitwear was deliberately deconstructed and bodies were left undone and untucked.
There were tunics over trousers and tailored shorts paired with knee-high riding boots which felt utilitarian and functional, especially when compared with the playful polka dots and bursts of colour.
Yet there were still strong strokes of iconic Fendi in the way the tailoring empowered the feminine silhouettes without ever becoming too effeminate. The use of leather had a strong part to play in finely balancing this. Thigh-high boots were elegant in high-sheen blacks and olive green, the skirts were A-line, midi cuts while coats were sumptuously soft and buttery, yet often oversized.
Others to note:
Altuzarra - Lots of fun with frills, ladylike dressing and tailoring - often together.
Tod’s - Very similar colour palette to other shows but trench coats were well styled and several strong looks. Bags were exemplary.
Blumarine - Fun and light. Lots of yellow, florals and leopard print.
Bally - Similar nods to trends with fur embellishments, leather, thigh-high boots and long, dark coats, but done very well.
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