words by MAREK BARTEK

PRONOUNCE 

Founded in 2016 by Yushan Li and Jun Zhou, the Fall 2024 was the brand’s debut at Milan Fashion Week. The primary inspiration for this season’s collection came from the story of Zhuangzi’s Butterfly: a Taoist thinker Zhuangzi fell asleep one day and dreamt he was a butterfly. After waking up he was not sure if he was a human dreaming of being a butterfly or the other way around. This story manifested in the collection by designers visualizing insect flight traces onto the individual garments. These ornaments are applied using textile appliqués and three dimensional velvet ropes. As Yushan and Jun mentioned, “the butterfly is not a symbol of anything romantic, rather just the personification of their fascination with its traces.” 

all images PRONOUNCE via vogue.com

With environmentally friendly solutions in mind, this collection came to life using scrap fabrics from previous collections and textiles that were found in the studios. Due to this, looks like the Mao suit had to be reinvented in terms of silhouettes and decorations. Sometimes the elements fell into place perfectly, other times it was simply not possible, that’s when Li and Zhou played with contrasting colors.  Except for the trace decorations, the butterfly motif itself found its way into the closing looks. Butterfly metallic plates were applied onto a coat and tailor suit. 

Chatting with the show stylist Lisa Jarvis, I found out she was equally inspired by the butterfly story and organized the looks to visually follow the lifecycle of the butterfly. Looks connected not only metaphorically but also visually as the colors of monochrome looks gradually changed. Tucked jackets into trousers were a strategic maneuver to maximize the opportunity to showcase the details of the looks.

STUART WEITZMAN

Located at Piazza San Babila, a busy shopping area, Stuart Weitzman’s presentation was nothing short of mesmerizing. The collection divided into resort, daywear and evening wear, worked perfectly both as separate categories but also as a whole piece together. 

The resort was light and casual. White soles perfectly complemented the suede in pastel colors. With ‘there’s something for everyone’ mentality, models of sneakers and loafers were offered in both low and ankle height. 

The leather daywear followed a darker color scheme of blacks and browns. Shiny, matte or suede, the trend of mixing materials didn’t miss footwear. Whether it was shiny loafers with a layer of suede or Chelsea boots with fleece back to ensure they’re comfortable to put on, seeing this interpretation was really refreshing. The new lighter than air loafers, literally flowed above water. Thanks to the new technology, the platform sole, which normally presents the majority of the weight, was redesigned, making the shoes light as a feather.  

The evening wear came in either classic masterfully crafted loafers and oxfords or with a twist. Whether it was Swarovski embellished ankle boots, loafers with leopard print, its twin with added sparkles and covered in shiny protection or loafers on higher heels, it was all an absolute eye candy, proving that men’s footwear can be equally innovative and interesting. 

PRADA

Working 9 to 5, the venue was truly something else. Seated on the office chairs, we all floated on the glass panels one meter over a meadow with streams. Even though the wilderness lied beneath us, the clearly defined paths of the runway, blue panel dividers and industrial lightning worked as a direct opposite. 

As both Miuccia and Raf pointed out that these days there are topics we just can’t avoid — like the topic of the environment. Since many of us are insulated from it, we seek it. Often at least in the form of screensaver on our laptops, all this still takes place in the human made world. 

all images PRADA via vogue.com

The collection was extremely wearable and defined. The looks fell into three categories: “the businessman, the working man and the thinking man” (as described by Mr. Simons). Most looks included a tie, Prada staple that turned into an actual fashion trend. Every single look, though, included headwear. It was either in the form of textured swimming caps (another long-term Prada classic) paired with google-like glasses with side panels, fisherman cap or tight balaclavas, which were actually just extensions of the knitwear.

Typical Prada silhouettes were enriched by contrast shirts, leaving the collar and cuffs white. A wide repertoire of outerwear included everything from raincoats, tweed chore jackets, classic overcoats all the way to naval coats with golden buttons coming in either cracked leather or blue nylon version. 

Leather shoes varied among classic oxfords, leather sandals and leather slippers, which were inspired by what Simons wears when he walks his dog in the morning. 

When it comes to accessories, Prada and Simons didn’t stop at ties, headwear and eyewear. Belts came in composed out of  triangular leather sections, and the same pattern was applied for contrast bag handles. It is quite apparent that Miuccia and Raf had quite some fun incorporating accessories into garments. As above mentioned balaclava-sweater situation, the ‘nothing’s what it seems’ unfolded further. What appeared to be a classic looking Prada belt with a buckle on the side was actually a leather waistband. Without any possibility to open the trousers in the front, a side zip served as an easy fix. Belt-like motifs expanded into bags, too. The bigger nylon totes with belt-like leather details had also a smaller full-on leather version. Nylon messenger bags were secured with a leather belt around the waist creating a double-belted effect on some looks. 

FEAR OF GOD 

After last season’s show that took place in California, an independent luxury label came to Europe for Milan’s Fashion Week for the first time. Jerry Lorenzo who founded Fear of God in 2013 gave us a good reasoning for this rather shocking change of venue. While the brand is American at its core, the hand-made craftsmanship is European, Italian to be precise. The presentation took place at Zona Tortona, a fashion area where, according to Lorenzo, 80% of the collection is completed, with 90% being made in Italy. To underline this transatlantic bond, Fear of God recently signed a lease for a more permanent studio space in Tortona. 

all images FEAR OF GOD via vogue.com

Named “American Symphony”, this collection presents itself as a fresh take following up on April’s show at Hollywood Bowl. The reintroduction of Japanese denim is one of them. Lorenzo has a great eye for creating fashion that is peculiarly timeless. Devoid of logos, the architectural, yet relaxed designs could be worn both in the future or in the past. Sculptural tailoring that was achieved by using bonded knit fabrics and iconic shearlings and faux fur coats seamlessly connect with the more casual part of the collection in terms of denim, fringy detailing and oversized knits with deep V necks. 

Lorenzo’s inspiration was never really a secret. Forming his identity in the 80s and 90s, there is a clear aesthetic connection between Lorenzo’s work and 1980’s Armani. Armani’s radical neutrality, wider volumes, and beautiful image-making seem to have had an impact on Lorenzo’s work. As he often jokes, he often feels like he never left that period. “Everything from shape and proportion to music at that time was just… something magical,” he added. 

OUR LEGACY

Christopher Nying of Our Legacy is someone with a great ability to notice everyday things and via creative process, transform them into complex fashion concepts and collections. Inspired by his newfound passion for cooking, he hosted a meal for friends and colleagues in Milan, referencing his fall collection named ‘Feast’.

A narrative that started with the 2019 Chambre Séparée collection evolved into a more “common people” dinner in an industrial space with plastic chairs. Inspired by the 1972 photography book Paare by Beate and Heinz Rose, who shot couples in West Germany against white wall, Nying opted for presenting the collection on the models of various ages posing in front of the white wall. 

all images OUR LEGACY via vogue.com

The attention to detail shines throughout the whole presentation. Nylon jacket and coat weaved in a way the fabric looks like wool, leather tops, corsets, shirts with curtain lace layer beneath the fabric, separates that are perfect for layering, chef’s jacket and pieces with artificial stains mimicking what it looks like when someone cleans their hands into clothes when cooking. Christopher gave us things that feel homey and familiar. 

Special mention needs to go to denim. The technique of using heat to apply rubber on the tears in denim to conceal them turned into an unexpectedly interesting design. Besides the rubber technique, Christopher also played with screen printing on denim, particularly printing denim texture on white denim. Since no dying process is necessary, it’s not only innovative but also a sustainable approach to denim design. 

Accessories play a huge role in the collection. According to Nying, they can have a transformative power. By removing or adding formal elements like ties, glasses or gloves, one can alter their identity. A wide repertoire of accessories follows the idea of all things familiar, as well. Plastic bread clips are recreated into silver pendants, tie clips into hair clips, lace lining from Swedish pantry is made into rings and bracelets. Among great footwear, a pair of heels which purposefully look one size too big is just a cherry on the top.

TOD’S

As per usual, the presentation of Tod’s took place at Villa Necchi Campiglio, a modernist jewel designed by the in-house studio. 

While Matteo Tamburini, a new creative director, prepares for his womenswear debut in February, this season’s menswear focused on researching new fabrics and treatments that can further improve the quality of both ready-to-wear and accessories. 

all images TOD’S via vogue.com

Set up as an island in the middle of the tent, we were invited to walk around and explore both sides of the display. While on one side, we could admire Tod’s collection of shoes placed on the wooden shoe models, the other side unveiled the menswear collection. Staged almost as a still-life, models sat on iconic pieces of contemporary design, wrapped in pieces of leather, cashmere and wool — same materials used for the collection. The smoothness of the garments was apparent just by looking at them, creating the feeling of relaxed luxury. 

As a part of the innovations, the collection introduced  Pashmy.  Cut into a classic round-shaped bomber, it is a waterproof suede with a feel as soft as a pashmina. What seemed as a denim zippered biker was actually a soft wool jacket, small leather strings were applied on a ribbed jumper, a slightly boxy double cashmere camel blazer came together by using an artisanal technique. 

JW ANDRESON 

There’s a first time for everything. Inspired by one of his favorite movies ‘Eyes Wide Shut’, designer Jonathan Anderson admitted he had never created anything about the movie, and added: “This is also the sexiest we’ve ever gone—as far as I can go.”

Of course, the inspiration and creative process went deeper than just “liking the movie.” After all, it’s JW Anderson we are talking about. Intrigued by the idea of bringing someone from the background to the foreground, Anderson got in touch with Christiane Kubrick. Widowed right before the film’s controversial release in 1999, she became the core muse for the collection.  Christiane, who at some point made a choice to give up acting, was still very much present in the work of her late husband. Loving and supportive of her choice Stanley Kubrik used to add her paintings of their life into the set of his movies, including ‘A Clockwork Orange’ or ‘Eyes Wide Shut’. 

all images JW ANDERSON via vogue.com

Christiane’s work manifested in the collection as two triptychs of long knit dresses, and other pieces featuring a painting of their family cat, a pot plant with a barcode still attached or a car interior. 

As Anderson mentioned, the collection was truly sexy. Playfully decadent, imaginative and suggestive, each look embodied the designer’s interpretation of the bourgeois feel from the movie. Color red came into the spotlight, fulfilling all its psychological connotations and implications. The power play of red was most visible on the long velvet jacket for men or a knit set. Among women’s versions presenting the same character were a velvet jumpsuit with one asymmetrically cut leg bridging evening and sleepwear. 

The theme of a sinful lavish party continued to unfold throughout the whole show. Honorary mentions go to the silk dresses in red and black with trailing glove sleeves, bibbed shirts with sleeve cuts and cropped leather trench coats. Jonathan’s love for shorts came into fruition in the form of rib knit shorts. Sometimes paired with matching cardigans, the garments were hemmed with tubular satin finishing. Falling for the no trousers trend, almost all looks included tights over underwear. And while applying this to women’s styling was nothing special, repeating this in men’s was truly a genius move. 

Leather bags came mainly in smaller sizes, among them a trapezoid shaped ones shining through. Bigger bags followed the mixing material trend with a good example of leather and suede tote. A true standout, however, was a textile tote with a leather lining and a cat painting print. Though the selection of accessories focused primarily on bags, some looks were enriched by a velvet poinsettia brooch either in red of black; a smart detail following the suit of corrupt romanticism. 

Shoe wear could be put into three categories. Loafers mules with tassels — either flat or on a kitten heel switched among homey suede shearling flat winter ankle boots and stilettos. Giving us a perfect evening heel, Anderson’s stilettos were in full red velvet or with patches of black leather; with red tassels attached to the back of some of them. 

In a truly breathtaking way, this collection was Jonathan’s way of saying that fashion can and should be admired not only by its wearers but also onlookers.