Milan Vogue Week S/S 2023: Fendi to Prada

by Editors Staff

After a subdued London Vogue Week S/S 2023 within the wake of the dying of Queen Elizabeth II, eyes flip to Milan, whereby a packed schedule is maybe the town’s busiest but. Spanning inventive director debuts (Ferragamo, Etro and Bally all welcome new designers this season), anniversary celebrations (Moncler celebrates a historic 70 years), and collections from each the town’s stalwarts and an energised rising technology of designers, it represents a return to type after a number of seasons of uncertainty since the outbreak of Covid-19 in 2020.

‘Curiosity within the Milano Vogue Week is rising on a regular basis, and that is mirrored within the number of the initiatives that we’re about to stage,’ says Carlo Capasa, president of the Digicam Nazionale della Moda Italiana (CNMI), which organises the occasion. ‘We’re conscious of the uncertainties that the worldwide social and financial scene presents, and it’s in these very instances that trend is summoned to offer a message of confidence and positivity.’

Right here, in an ongoing report, Wallpaper* studies from Milan Vogue Week S/S 2023, because it occurs. 

The most effective of Milan Vogue Week S/S 2023

Friday 23 September


‘Bouba/Kiki’ was the title given to Sportmax’s newest assortment, its identify in reference to a sequence of psychological experiments begun by Wolfgang Köhler in 1929 – and continued by numerous researchers since –  during which individuals had been requested to attribute phrases and sound to sure shapes (in a single, most individuals chosen the phrase ‘bouba’  for the curvier, rounder shapes, and ‘kiki’ for the sharper, spiker ones). It made for an eccentric, experimental providing – ‘an affirmation of otherness, proof against conformism, while on a steady quest for the intense,’ as Sportmax described – comprising juxtapositions of cloth and print with softly sculptural silhouettes. A riff on nostalgia got here in bustled skirts and nipped-waisted blazers, modernised in modern fabrications – like one flared skirt in excessive shine black, a vivid flash of lime inexperienced showing from its underside because the mannequin walked.


‘The Missoni language, spoken within the current tense, by a brand new creator,’ stated the Italian home of its newest chapter, helmed by new inventive Filippo Grazioli, who has beforehand held stints at Givenchy, Hermès, Maison Margiela and Burberry (he confirmed a males’s assortment for Missoni in a sequence of appointments in June; this marked his first runway present). The designer famous a need for lightness – a freshening up of the home codes and motifs – in a ‘sensual and joyful’ assortment, the place 90s-inspired abbreviated silhouettes and slick, body-conscious shapes met zig-zagging prints and vivid tones (a palette of yellow, magenta, cyan, and black and white, was impressed by CMYK, the graphic design color mannequin used for printing). ‘Vogue as an injection of cheerfulness and lightness of spirit; color and light-weight that entice a smile,’ Missoni described of Grazioli’s invigorating first outing, which seems set to instil the historic Italian home with new power.


The huge Pirelli Hangarbicocca – a former industrial plant for the tire producer, now a recent artwork establishment – supplied a dramatic backdrop for Tod’s newest assortment, seeing fashions weave their manner round Anselm Kiefer’s monumental concrete towers which populate the muse’s essential corridor (the work itself is titled ‘The Seven Heavenly Palaces’). Regardless of the dramatic environment, the gathering itself had a extra intimate really feel, riffs on what Walter Chiapponi describes as ‘important items and iconic clothes’ – archetypal womenswear filtered by way of the inventive director’s minimal, 90s-inflected lens. Concentrate on fabrication remained central – notably leather-based ‘which turns into virtually like cloth, tender to the hand and sensual on the physique’ – whereas an array of equipment, notably a ballet shoe melded with Tod’s signature Gomminno moccasin sole, accomplished the elegant proposition for subsequent season’s wardrobe. 

Thursday 22 September

Emporio Armani

A sense of eclecticism has permeated Giorgio Armani’s current collections at each his eponymous line and Emporio Armani, the latter exhibiting its S/S 2023 assortment on Friday afternoon on the home’s Teatro Armani present area. Titled ‘In Transit’, it melded usually disparate inspirations gleaned from travels world wide – from silhouette to floor embellishment – nodding in direction of their origins, however at all times refracted by way of the designer’s personal easy lens. As such, there have been numerous riffs on the relaxed blazer (unstructured, buttoned to the collar double-breasted), elegant outerwear (‘the tender precision of jackets and peacoats… liquid languor’), and components impressed by journey. It lent the gathering a carefree, liberated air: ‘one would possibly journey the world’s streets, or the creativeness, inside a room, so long as the thoughts is open and the spirit free.’


Picture courtesy of Prada

An unlimited rendering of a home in black paper – an inversion of the crisp white set which backdropped Prada’s menswear assortment in June – set an unsettling tone for Miuccia Prada and Raf Simons’ newest assortment, which they titled ‘Contact of Crude’. The mise-en-scène was a collaboration with filmmaker Nicolas Winding Refn; by way of cut-out home windows and tears within the paper performed a sequence of brief movies he had created for the event, every a play on the home (a girl eradicating her footwear, the underside of a mattress, the textures of carpet and sofas) – as if glimpsing one thing which shouldn’t be seen. ‘Though the collaboration is across the present, relatively than the gathering, we now have been impressed by the collaboration, by his perspective on Prada,’ stated Simons in a ready assertion. ‘There’s a mirror of cinema within the assortment, of witnessing fragments of a bigger entire. Completely different our bodies of labor, inside a single physique of labor – shifting between disparate type languages.’

Certainly, there was a cinematic really feel to the gathering itself – afterwards, a number of attendees talked about the potential inspiration of 1968 psychodrama Rosemary’s Child in each the clothes and ominous temper – which the home described as ‘a sequence of realities, reflections, refractions, observations’. The designers famous a sense of paradox within the assortment: ‘uncooked and the sensual, between delicacy and roughness, an emulsification of contrasts’, figuring within the clothes in archetypically ladylike clothes – a silk slip gown, a knitted two set, a nightgown – purposely torn throughout the hem, or embedded with creases, ‘like reminiscences of magnificence embedded in fabric’ (such moments additionally replicate the sensation of ‘crudeness’ referenced within the assortment’s title). Different clothes opposed a reductionist strategy to design and silhouette with moments of ornament; notably, a sequence of in any other case minimal knitwear adorned with cloth flowers. ‘Actuality interprets to humanity. It’s mirrored by way of a way of the hand, a contact of the crude, a rawness that evokes a fragility,’ learn the gathering notes.

Provides Miuccia Prada: ‘The garments are about simplicity, with no pointless complication. Politically, theoretically, aesthetically, we’re drawn to those notions many times. The thought of directness. But with this assortment it was mixed with the concept of ornament, magnificence, methods to embellish and embellish, however stay easy.’

Max Mara

Picture courtesy of Max Mara

In earlier seasons, Ian Griffiths has famous what he calls ‘Max Mara pantheon of sturdy girls’, figures from historical past, spanning mental and artistic realms, who encourage his feminist strategy to design. For the spring/summer time season, he headed on a journey to the south in France – and again in time – to the early twentieth century, when from April to September ‘bohemians flocked to the riviera’. Amongst them, revolutionary girls of the day Dora Maar, Dorothy Parker, Josephine Baker, Isadora Duncan and, notably for Griffiths, Renée Perle, who of the then-newfound Riviera type he says ‘no person wore it higher’ (wide-brimmed solar hats, languid sailor trousers, backless tank tops and the like). Right here, an imagined assembly between Perle and modernist architect Eileen Grey – maybe greatest recognized for her E-1027 villa in Roquebrune-Cap-Martin and ‘uniquely female tackle modernism’ – noticed Riviera-style hallmarks filtered by way of a clear, minimal lens for a recent tackle getaway put on. ‘Two girls with a shared imaginative and prescient of modernity stepping out onto the E-1037 terrace,’ learn the gathering notes. ‘Blinking within the morning’s mild, we see them increase their smiling faces to satisfy the glittering blue horizon.’


A continuation of their menswear present in June, Dean and Dan Caten regarded as soon as once more to the archetype of the surfer, a determine of freedom and escape which has proved a longtime inspiration for the Canadian designers (the pair famous backstage that they surf themselves). ‘The place the waves roll in, the daylight shimmers on a wardrobe that’s discovered its chill beachside,’ learn the accompanying notes, setting the scene for a carefree assortment the place an unabashed collage of color and print met a sense of lightness in clear and semi-sheer layers. A smattering of female gildings – sequins, ruffles, cut-outs paying homage to broderie anglaise – accomplished the gathering, which in its ethereal eclecticism felt like a contemporary shift in course for the Milanese stalwarts. 

Wednesday 21 September


‘It’s about continuity,’ Kim Jones stated of his S/S 2023 assortment, which regarded again to the flip of the millennium and forebear Karl Lagerfeld’s designs of the period, linking a thread between previous and current. It’s a time interval which has turn into acquainted territory for the designer of late; earlier this month in New York, he celebrated 25 years of the Fendi ‘Baguette’ purse – arguably essentially the most symbolic It-bag of the late Nineties and early 2000s – with a vibrant, star-studded runway present (such is the relative velocity of Kim Jones’ work, which spans over ten collections a 12 months, a few of these seems had been already being worn by the gathered viewers). ‘I’m interested by issues that Karl has completed, and seeing how we will develop them – each visually and technically’. 

Set to a euphoric rave-inspired soundtrack, these present Y2K fixations emerged in a set that the designer described as ‘colliding minimalist ease and pop-infused eclectism’. Of the previous, a sequence of stylish silk cargo pants, tabard-style shirts, easy ribbed knits and racer-back vests, of the latter, an enlivening palette, from bubblegum pink to vivid shades of inexperienced, lending the gathering a light-weight, playful air (as did the equipment – one necklace was adorned with a tiny miniature purse; one other purse was made to resemble a present wrapped in purple ribbon). Such oppositions at the moment are a trademark of Jones’ tenure, the designer noting that at Fendi he’s ‘continually desirous about practicality and luxurious’, of exploring ‘the notion of practical utility alongside femininity – as a result of the Fendi girls are sturdy girls, with full, busy lives’.

Del Core

Picture courtesy of Del Core

Regardless of being comparatively younger by Milanese requirements, Del Core – the eponymous 2020-founded label of Daniel Del Core, beforehand an in-house designer at Gucci – has nonetheless discovered a groove creating dressed-up clothes outlined by a steadfast give attention to craft (robes are sometimes festooned with sequins and floor embellishment, whereas his ‘Made in Italy’ credentials are on the centre of the label). Held in an industrial warehouse on Milan’s ​​Navigli canal, the starkness of the environment threw the gathering into aid: pinched-waist tailoring, diaphanous sheer robes, a November Rain-style uneven skirt, which descended into daring folds of yellow cloth. Del Core stated he was impressed by the concept of ‘liquidity’ – a ‘continually altering state’, the place ‘shapes stream effortlessly onto the physique’ and ‘colors mutate’. Working example: the gathering’s dramatic ultimate look, a vivid robe with a pannier waist, adorned with hundreds of sequins, which shimmered and shifted within the runway’s mild. 

No 21

Picture courtesy of No 21

The agonies and ecstasies of affection supplied the inspiration behind the most recent assortment from Alessandro Dell’Acqua at No 21, who hosted this season’s present towards the background of a beforehand industrial warehouse, hung for the event with glittering chandeliers. Titling the gathering ‘The Lovers’, Dell’Acqua famous he wished to encapsulate the swinging feelings one feels when in love, right here refracted by way of a sense of nostalgic glamour – two units, attire overlaid with lace, night gloves, crystal jewelry – albeit dishevelled, with clothes slipping off the shoulder or purposely scrunched (fashions’ our bodies and faces had been additionally spritzed with droplets of water to evoke rain, or tears). It was a sometimes commanding, and certainly cinematic, imaginative and prescient from veteran designer Dell’Acqua, who stays one of many highlights of the Milanese schedule. 

Supply: Wallpaper

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