Everything that happened at Milan Fashion Week

What?

100 years of Fendi distilled into a singular proposition of Italian craft that whispered – rather than flounced – its wrought and toiled credentials.

What went down?

After a more directional offering last season, where style cues came from subcultural figureheads such as Princess Julia and Judy Blame, artistic director Kim Jones gave himself a tighter brief for SS25, girding his loins for Fendi’s centenary. Paying homage to the house’s Roman beginnings with palazzo embroidery and flashier touches – intricate jewels dotted along tulle and ballet pink socks – Kim’s offering had coolness and poise, a stark relief from the chaos of London. In a way, its the collection’s wearability was also modest, dialled-up with blink-or-you’ll-miss-it finesse.

A mocha tunic that hung from the shoulders with a calculated, just-rolled-out-of-bed ease was a case in point, neatly yoked across the midriff. It came paired with a tasselled Peekaboo bag, which, in spite of Jones otherwise eschewing trendy tropes, chimed with the jangly keyring fad – albeit with a beaded micro Baguette and salmon-hued pom-pom in lieu of novelty acrylic trinkets. Throughout, Kim aligned his palette with Silvia Venturini Fendi’s’s menswear collection from June, leaning into Fendi teal, cement and buttermilk that have become bywords for luxury fashion.

What was that sound?

The dulcet tones of Silvia Venturini Fendi and her mother Anna Fendi, overlaid with tinkling piano. Scored by Jones’ long-time collaborator Max Richter, the soundtrack offered a moving insight into Fendi’s lore as Anna and Silvia discussed the FF matriarch Adele Fendi, their mother and grandmother, respectively.

Who was there?

Heartthrob Arón Piper, London legend Raye, Jade Thirlwall and South Korean Fendi poster girl Song Hye Kyo.

In two words?

Understated opulence.

What?

Creative director Alessandro Dell’Acqua transported show-goers to the 1960s.

What was the mood?

An amalgamation of eveningwear and outerwear, the collection was a nod to couture glamour with splashes of casual attire – parkas, anoraks, lingerie, you name it – thrown in for good measure. Sort of like if black tie ball attendees and Arctic natives hosted a fashion show.

Masculine jackets accompanied full-blown sequin skirts, quilted boxy jackets had striped scarves slung across them, and blouses were tucked into figure-hugging skirts with exaggerated pearl necklaces to compliment. Gold-coated A‑line dresses and suits leaned into the trendsetting decade that served as inspiration.

What was the music like?

The vibes were immaculate. Primal Scream’s ageless, trip-hop tune Trainspotting kicked things off, and the playlist later tailed off into Born Slippy by Underworld before finishing on the energetic Love Is A Battlefield. Top-notch.

The standout piece?

The gold and green sequin dresses with dainty backless straps will be a hit next summer.

In a word?

Nostalgic.

What?

Pivoting away from the athleisure aesthetic that ensured everyone from Hailey Bieber to Addison Rae were in the brand’s bumblebee yellow trainers last year, the brand instead settled on a minimalist approach with a muted colour palette.

What were the clothes like?

Lace-adorned slip dresses, dainty bras peeking through waistcoats and slouchy trousers teamed with collegiate loafers. As the collection closed, large spiked shinty jerseys popped up on the runway with pale-blue asymmetric skirts, ankle socks and Mary Jane heels. Then, unexpectedly, the collection shifted direction: in came an entire camel-coloured section comprising twisted tops, body-sculpting skirts and bandeau dresses. There wasn’t a piece Kim Kardashian wouldn’t be seen in.

Were there any trainers?

No. But don’t feel discouraged. There were glossy dress shoes and loafers that will have you relegating your Onitsuka Mexico 66s to the back of your closet (for summer, at least).

In two words?

Preppy and unpredictable.

What?

A merger of C‑suite attire and weekend wardrobes, designed for a high-flying clientele – new and old money alike.

Where?

Inside Milan’s Palazzo del Senato, an ornate cloistered courtyard you might recognise from Samuel Ross’ Kohler activation held during Milan Design Week.

What went down?

Well, Boss is the luxury wing of the Hugo Boss family and, as such, the show was especially attuned to the contemporary CEO’s needs. Rather than leaning into the typically bolshy tailoring and austere womenswear that’s held fort at the label for some time, senior vice president of creative direction Marco Falcioni leant into softer silhouettes for men, hero-ing shirt-polo hybrids – primed with stiff collars – and three-button blazers in hardy canvas. The latter was replicated for the women, albeit with a nipped waist, pleated along the flanks. Another standout was the mac, which arrived in red-orange leather, or what appeared to be cooler bonded cottons in navy. A must for Thursday evenings in the city.

The sartorial takeaway?

While dress-down Fridays are increasingly rare in the new corporate workplace, there are still plenty of men and women who prefer a proper suit over the gilet-slacks-On-Clouds that now defines the billionaire class. Just look at the German label’s growth trajectory – onwards and upwards.

The models?

All the faces du jour: Alex Consani, Colin Jones and Paloma Elsesser served corporate baddie.

What?

A maturation of Marco De Vincenzo’s vision for Casa Etro.

The vibe?

It’s easy to forget that Marco’s first collection at Etro – until then creatively led by the Etro bloodline – was just two years ago. Where his first outings went hell for leather with a spicier take on what had long been the bastion of Italian boho-bourgeois dressing, this collection felt like his most balanced, centred with house natives such as paisley floor-grazers and silk frocks hemmed with broderie. The palette, earthy and baroque, was archetypically Etro, with oxblood, ochre, tangerine and moss green leathers, netted skirts and bell-bottoms. In this vein of balance, silhouettes were approachable, swaddling the midriff and legs with wrapped or sequinned skirts, while opting for jacquard sheer vests or cropped knits on the upper.

Naturally, the label’s storied textiles stole the show. It makes sense for Marco to harmonise his aesthetic with Old World Etro, not least when ​“boho-chic” is the current buzzword amongst fashionistas. More broadly, his tenure has also put paid to industry-wide assumptions that a new creative director should bed themselves seamlessly into the house or completely reset it, often within a tiny, ROI-tracked timeline. By giving him space and trust, the Etro dynasty has successfully breathed new life into a label without alienating the well-heeled clientele who buy its holiday kaftans season after season.

So, a good business insight for creative directors and hawk-eyed CEOs?

Give it time.

Who were the stars of the runway?

Alex Consani and Colin Jones.

Again?

The ascent of this duo knows no bounds! While continuing to hold fort among the more directional, floor-stomping shows, they’ve now conquered the old guard, too.

What?

The logical successor to Brat summer, soundtracked by Charli xcx herself.

Some context, please…

Creative director Giuliano Calza is at something of a crossroads in his career. In February, Vogue Business reported his label as worth €25 million, with continued growth in the pipeline. We won’t bog you down with stats, but it’s promising stuff given he launched the brand during 2016’s streetwear boom, with a label wholly attuned to that market. Since then, he’s evolved his vision to something a little more expensive and it’s paying off.

So, what went down?

Giuliano delivered a messy, club-ready proposition, balanced with luxe silhouettes and fabrics, from flocked trousers to a strappy a‑line skirt in that green. Where once cartoons and all things kawaii punctuated GDCS collections, this season he took a subtler approach, using Hello Kitty cutouts as breast cups or dotting a knitted camisole vest with crocheted Angry Bird pasties.

Besides these frolics, the brand once known as ​“God Can’t Destroy Streetwear” (now ​“Giuliano Calza Design Studio”) used this outing as an exercise in high-octane eveningwear, finishing silky canary yellow dresses – all-out gowns or scrunched-up, micro peplums – with straps that either plunged in V formation or clung just so on the shoulder. Elsewhere, menswear took shape in boxy satin double-breasted dinner jackets, finished with contrasting lightly flared bottoms and a tasselled scarf. This change in tune was also reflected in his recent switch of stylist. Up until the AW24 collection, entitled ​“Toys for Adults”, fashion’s cutest stylist Anna Trevelyan had been his go-to. Now, he’s working with legendary old-guard French fashion editor Carine Roitfeld, a tell-tale sign of his aesthetic elevation.

In a few words?

The brainchild of Brat and demure.

What?

Adrian Appiolaza’s sophomore collection was a shouty blend of punk typography and OG Moschino motifs.

The story so far?

Adrian joined Moschino at a tricky time. King of kitsch Jeremy Scott had finished a decade-long tenure and Italian designer Davide Renne was set to take the reins until his sudden death last year. Still, Adrian’s first collection was one of reverence, quite tactfully paying homage to the house’s founder, Franco Moschino.

So, what’s the latest?

For this second outing, Adrian spread his wings a little further, serving up zesty slogan prints designed in collaboration with i‑D founder Terry Jones and a melange of some very on-brand trompe l’oeil: biro drawings of a sailor scarf, Olive Oyl and even the sketch of trench coat. Elsewhere, camp played out in bed-linen dresses – knotted on the breast or hung and folded under a boob tube – as well as a swing-tag, price-stickered LBD and stilettos. Notably, the collection featured archival Judy Blame adornments, styled by Alastair McKimm, a student of that very Buffalo movement. Entitled ​“A Piece of Sheet”, the pun-laden collection was again influenced by Franco’s archives, peppered with polka dots, smileys, evening gloves and an over-egged take on Chanel’s costume jewellery. Overall, though, it felt fresher, offering double-sided shift dresses (one black and austere, the other floral and vibrant) alongside caricatured accessories, lady-like overcoats and scrimp laced, inside-out T‑shirts.

The must-cop piece?

The Moschino bathroom clutch, as modelled by Alex Consani.

In three words?

Tacky but tasteful.

What?

Miuccia Prada and Raf Simons shifted the tone from the base-thumping, techno-thrumming house party they introduced for men’s SS25. In its place: a collection replete with details that harked back to archive Prada, fanciful footwear and dynamic accessories.

Where?

Inside the Deposito at Fondazione Prada, a space that hosts cultural projects ranging from contemporary art to dance.

What was the show like?

Seats were draped with a pale blue glossy material and the atmosphere was serene – save for the teenage girls screaming outside awaiting their favourite K‑Pop stars’ arrival. As darkness descended and the lights came up, the first look to appear on the catwalk was a ditsy, floral dress with obscure sleeves as though made from bendy straws. What came next was nothing short of exhilarating: a dress saturated with silver loops, bonkers bug sunnies that even Balenciaga couldn’t compete with, carabiner skirts and bandeau tops with pockets.

What made the collection even more special was the nod to archive pieces. Two-tone T‑bar style platform heels were showcased, initially revealed in Prada’s 2012 collection, while audacious eyelet skirts paid homage to mirrored iterations from the SS99 show. Anoraks over ball gowns are unequivocally a thing of the future, and Miuccia and Raf did it oh so well: layered over a silver sequin dress was a buttery-yellow parka – with straw visors thrown in for good measure. Then: a black feather dress accompanied by an orange parka; wispy skirts with flimsy overlays flowed down the catwalk like a gust of wind. A red and blue sweater with a built-in collar, in addition to a trompe l’oeil belt on suit trousers, completed the vision, while nodding to hero pieces from the brand’s men’s SS25 collection.

Tell us about the accessories!

It was a scintillating show for all the above reasons, but the accessories in particular reminded us of how fashion shows can conjure up such visceral emotions. The footwear was gasp-worthy, featuring Mary Janes with Prada motifs and small white circle detailing. Loafers with a curled-over tongue? Why not? Kitten heels with a sharp point at the back, with detailing on the front that blossoms open? How could we resist?

If you thought they’d stop there, you’re wrong. An elongated bag in apple-green and electric blue is already a talking point on X, and a leopard print colourway is the perfect plus one for summer jaunts.

What are people saying?

Amanda Murray, aka @londongirlinnyc, summed it up from across the pond. ​“For the first time in a while, I felt Miuccia. Strongest Prada collection in some time,” she wrote on her Instagram stories. ​“The nod to nostalgia with the fall 2012 shoes was special, a stinging reminder of a time when we had it all.”

What will everyone be wearing?

The eyelet and carabiner skirts, as well as one of the many versatile shoes. Expect the multi-coloured heels to be in every street style pic next summer.

What?

A chic second collection from the house’s new arrival, creative director Matteo Tamburini.

The vibe?

While we hate to bring up a worn-out trend, this was undoubtedly what ​“quiet luxury” once referred to – albeit with a little more creative finesse than some of the stuffier, old-school labels. Following on from the brand’s ex head Walter Chiapponi, Matteo has distinguished a lightness that was sometimes missing in Walter’s collections. Indeed, SS25 read like an exercise in subtraction. Simplified T‑shirts in polar white or medical blue were gashed along the neckline, cut neatly on the arms, adjoined by easy, front-pocketed drawstring trews and padded-sole leather sandals. The outerwear came in cool beige and cream, conservatively seamed and shaped in a roomy, semi-structured, semi-slouchy fit. This was a tight, near-faultless edit, defined by draped trenches, pleated leathers and hip-hugging blazers. Its most directional pieces – the curtain ring skirt and dress – were still resolutely elegant, mirrored by ring-buckled Gomminos on foot.

Why would a house once renowned for its impeccable driving loafers want to up their sartorial ante? Easy. The rise of brands such as Bottega, which went from more traditional leather goods to high fashion, has proven enticing for the suits. High-net-worth types – we’re talking Hampstead lawyers, fiery gallerists and mysterious socialites down from the Cotswolds – should watch closely. Those slice-sleeve leather vests and reversible plaids are perhaps the next big thing amongst Old Hermès and Celine acolytes.

We’re calling it…

Stealth wealth 3.0.

Really?

Absolutely. Phoebe Philo has more than The Row to worry about now.

The standout piece?

The rolled – as opposed to pressed – lapel biker jacket in white wouldn’t look out of place in a Notting Hill walk-in wardrobe. Here’s hoping Tod’s keep most of their production in-house (a rarity these days), as leathers like that are few and far between.

What?

The aircon was cranked up to the max in anticipation of a sizzling MM6 collection – and things sure got sweaty.

Where?

MM6 brought the fashion pack to La Pelota Jai Alai, a location at the apex of Milan’s fashion hub.

What was the collection like?

Consisting of white, silver and black hues, you might initially expect this to be a demure collection. But it was the total opposite: models were clad in sparkling designs, hot pants in lieu of trousers and cowboy boots were a mainstay.

The bass-heavy soundtrack of Avec Le Temps by Berlin-based techno DJ Lucinee felt apt as distressed jeans, big belts, models in plastic dresses that mimicked a windswept damsel in distress, and belted leather dresses careened down the catwalk.

Gold suits accelerated the eye candy and club-ready visors further emphasised the messaging: MM6 wants you outside this summer, no excuses.

In between the V‑cut sweaters and the fluidity of men’s and womenswear, though, was an underlying, sobering message printed on garments that revived the original AIDS slogan first seen on MM6 T‑shirts during the AW94 show. Maison Martin Margiela launched and designed the simple yet vital garment, and it’s still just as powerful today.

Who was at the show?

Love Lies collaborators Normani and Khalid had a sweet reunion at the show.

What?

A deceivingly pared-back offering underpinned by offbeat silhouettes and sartorial sleight of hand.

Where?

A 16^th century cloistered monastery – apt for the collection’s sober sensibility.

What was it like?

Just two seasons into his tenure at the Swiss house, ex Gucci designer Simone Bellotti has successfully developed a distinct language, leaning into crafty twists that take an otherwise traditional look into something more directional. This season, his signature curve-shoulder tailoring held fort, arriving in fine leathers and peplummed iterations that, thanks to the bizarro silhouettes, demanded closer inspection. In one particular instance, Simone did away with the sleeves altogether, presenting a meticulously cut vest that rolled ever so slightly across the shoulder while gathering across the midriff – all achieved with minimal seams and pressing.

Elsewhere, these uncanny glitches appeared as an egg shell-esque dress and skirt tops, tiered above easy pencil silhouettes in chintz or choc leathers. The latter choices nodded to – rather than lifted from – his days working under Frida Giannini’s Gucci, while the studded Mary Janes spoke more to his subdued Alessandro Michele-isms, a history that no doubt informed his appointment.

After all, Bally is another one of the more historically lifestyle-associated luxury imprints that, since the early 2000s, has toiled to define its perspective beyond leather goods. Where before the label skewed itself towards overly Gucci-fied touches or sometimes over-relied on its minimalist credentials, this season was a promising mission statement for what’s to follow.

And that is?

Sinister chic, with a touch of third-wave mod.

What?

A Madge-tastic ode to the queen of pop.

Where?

Domenico Dolce and Stefano Gabbana brought the fash-pack back to the former Metropol cinema in central Milan.

Was Madonna actually there?

Obviously. The long-time Dolce & Gabbana ambassador sat front row, wearing a black veil and pearled golden crown. Post show, D and G gave her a kiss on each hand – gloved, of course.

Some context…

This was not Madonna’s first D&G rodeo. Domenico and Stefano designed the costumes for her majesty’s fourth tour, The Girlie Show, in 1993 and had her front the Steven Klein campaigns of early 2010 – just two of many collaborations across the decades.

What was the collection like?

Heavy with lingerie, the show, titled ​“Italian Beauty”, homed in on the superstar’s renowned looks, referencing her ​’90s curls and headband, plus plenty of lacey, silky designs. Every model wore her crucifix earrings – an ​’80s favourite, here given a gold-heavy rococo twist – while bustiers and collared sheers came with pointed breasts in a nod to the infamous Jean-Paul Gaultier conical bra.

Why Madonna? Why not! On the heels of her legacy Celebration Tour, the Italian-American remains an icon across generations, having redefined her sound and look umpteen times, all while sticking to an overarching, sexy, coquettish and often Catholic-coded sense of style. Which is, duh, hyper-attuned to the very lifeblood of Dolce & Gabbana – another indelible part of pop culture that started life in the ​’80s and has increasingly focused on crystallising its story.

This honing of a grand narrative was felt in nipped-waist tuxedos, floral shifts and corsetry, as well as ornate broderie, bra jacquards and seamed blazer flanks – prim but sensual. Together, the offering lent itself to Madonna’s style codes, be it unclipped suspenders, intentional undie flashing or the ribbon-laced backs. Subplots in the show, such as the ballet-pump-pink flapper dress and patent iced-latte mac, served more prudish customers, while pom-pom arm adornments and eye-wateringly cute, ribbon-font stilettos kept it girly. The satin slips, peaked on the breasts and panelled across the mid, spoke to D&G’s long standing penchant for snatched waists. Come on, vogue!

The takeaway?

Material girls are here to stay.

What?

Sabato De Sarno brought to life a smorgasbord of Jackie Kennedy archetypes, bamboo bags and the Swinging Sixties. The show invite was a calendar designed by artist Enzo Mari in 1967.

What about the clothes?

Sabato is a designer who doesn’t do things by halves. Subtlety is a word seldom used in his realm, and Gucci’s summer collection reinforced this. The first look sent down the runway was a boxy, Harrington-style jacket and matching trousers, easing showgoers into what was to come.

More modest flesh-baring dresses and rompers came bounding down the runway, until an explosion of divine, burgundy leather trenches, flat Gucci monogrammed boots, illustrated headscarves and leather biker gloves hit the catwalk. Feminine silhouettes tussled with a legion of tough accessories, ranging from the crowd-pleasing 1947 Gucci Bamboo bag to the new Gucci Go bag.

Attendees zeroed in on a whisper of a lace dress, horsebit boots bedecked in crystals that hit just below the knee, a forest-green tasseled jacket, and a silver mirrored jack and skirt set – which also came as a dress for those committed to a particularly unruly night out.

A‑line skirts and chartreuse macs offered a brief reprieve from the partywear, while paying homage to the 1960s. Elsewhere, wide-brim hats and modish suits were ubiquitous. What a serve.

Who was there?

There was an utterly jam-packed A‑list front row: Dakota Johnson and Daisy Edgar-Jones had a chin-wag about each other’s sunglasses, Solange turned up looking as chic as ever, and Gabbriette wore a green suit that further fuelled the Brat agenda. It was a moment that cemented Gucci as that girl forever more.

What did you hear?

Mykki Blanco and Kelsey Lu’s French Lessons soundtracked the show, before the ultra-upbeat Non Voglio Mica La Luna by Fiordaliso closed, with a clearly elated Sabato belting out the lyrics as he walked out after the finale.

In five words?

Coastal style meets 1960s grandeur.

What?

A gothic take on late-noughties celebrity culture, shot in real-time by indie-sleaze photographer Cobrasnake.

What was the vibe?

The show, entitled Black Carpet, unfolded like your typical paparazzi-laden film premiere, save for the red carpet and pre-rehearsed celeb interviews. Here, the rug was charcoal black, with models performing for foaming fans, dropping in on selfies and dragging their skinny-jeaned, skinny-belted, tattooed boyfriends along for the ride. A performance of sorts, the proceedings were opened by Jazzelle Zanaughtti, who arrived in a chauffeur-driven Merc, before strutting towards the flashes in a frilly-sleeved, plunge-neckline mini-dress, complete with a victoriana train. From here, designer Alessandra Marchi continued her Whitby Fair-meets-Taylor-Momsen glamour, following up with diamanté-dusted tarmac skinnies and lace-lashed blouses in ivory.

Less coquette and more damsel in a dress, the looks were spliced with typical gala tuxedos, oversized to the nth degree and paired with cutesy, bow-dangled socks. Aged petticoats flounced from a black sheer gown, succeeded by a scanty bustier set, finished with tassels in lieu of suspenders and teamed with a shaggy coat worn as if half-dressed. In another instance, floppy, white sleeves, frilled across the décolletage adjoined a corset-shorts hybrid, together pushing the case for a darker approach to Hollywood dressing.

Elsewhere, gartered spats were paired with off-the-shoulder minis, primed with yet more lace scrimps. As for the guys, they came clad in tighter renditions of the womenswear: a floppy proto-queerbaiting ruffled shirt, a cropped dinner jacket, or a nostalgic band tee and pointed Chelsea boots, complete with a wallet chain. Very Camden heyday.

In a few words?

Spooky season makes a tabloid splash.

What?

Donatella Versace channelled the vibrancy of the storied house’s ​’90s designs for a collection that evoked optimism and playfulness.

Where?

Inside the picturesque Sforza Castle, a 15^th century building that now houses exhibitions – and fashion shows. The castle’s stunning courtyard housed a winding, stone runway, which was illuminated by curved light that appeared to be engraved into the ground.

Tell us about the clothes…

After the crowd took to their seats, a model in a squiggly polo T‑shirt, a contrasting brown and yellow floral midi skirt and black platforms swaggered out, followed by a succession of models iin equally jazzy tops, skirts which molded to the hips and V‑neck cardigans. Menswear was just as audacious, commandeered by patterned trouser sets, ochre leather jackets and sweater vests.

It was a glimpse into the uniform Donatella would have you shimmy into in an alternative universe, where she wasn’t a prolific designer carrying the weight of a luxury legacy house.

A pounding techno track was the perfect opener for the next phase of the SS25 º let’s call it Club Versace. Svelte models with heavy mascara-coated lashes and a slick of lipstick worked in tandem with cheeky, slinky dresses, heels resembling champagne flutes, not to mention a tiled sleeveless gold dress and corset. An ankle-skimming, strapless floral yellow and lavender number paired with a transparent clutch closed the show.

What did Donatella wear?

As captivating as ever, the 69 year old came teetering out on vertiginous black boots and a red shift dress. Colour has always been integral to the designer’s aesthetic and, naturally, it didn’t end on the catwalk.

Who walked the show?

Gigi Hadid made her first Milan Fashion Week appearance, much to the delight of the crowd, swiftly followed by Iris Law and Anok Yai.

Who was there?

Channing Tatum, the face of the brand’s Eros fragrance campaign, made an entrance minutes before the show was due to start, looking suave in an all-black suit. Normani, Nava Mau and Tinashe, familiar faces on the fashion circuit this season, were in attendance too.

What?

A collection dedicated to the everyday person and their inner child – with an utterly stupendous wardrobe.

Who was at the show?

The brand’s trusted campaign stars Kendall Jenner, Jacob Elordi and A$AP Rocky were some of the first guests to be ushered into the venue, along with Michelle Yeoh, Yara Shahidi, Ebon Moss-Bachrach and Imane Khelif.

That sounds fun!

Well, when you’re that good, all the heavyweights turn up. And what a moment it was. The collection was rife with whimsy. To start: guests sat on animal bean bags inspired by the Zanotta Sacco chair, first designed in 1968. Eschewing the typical bench or stool setup, creative director Matthieu Blazy opted for 15 different types of animal bean bags, each one individually assigned to the 60 people present.

Once the hysteria surrounding Jacob Elordi’s bunny seat allocation died down (the jokes write themselves), a hushed silence took over the space. Then out came a model in a dusty-grey skirt suit, wielding flowers. Undetectable to the human eye at first glance, initially they looked like a standard bunch of flowers you might pick up from an upscale florist. But Blazy doesn’t do things by halves. Turns out, they were actually crochet bouquets. To be inside Blazy’s mind, eh?

Animals were a focal point in the collection and miniature bunny ears were seen detailed on belts, which were present on the leather collar invites guests received days prior. Details were enlarged for the fun of it, from shirt collars to suit lapels. Models clutched yet more bouquets and shopping bags.

And still, there was even more to marvel at, as immaculate tailoring that was slightly askew sat amongst slip dresses and audacious wigs. A slouchy jacket with a woven leather collar was paired with jeans, and a flannel shirt – an integral part of the Bottega DNA now – was cinched at the waist for optimum impact. Gold-rendered frog brooches and bags with decorative flowers that looked to be overspilling also joined the rambunctious accessories.

In one word?

Boisterous.