Adrian Appiolaza, now in his third season leading Moschino, is proving to be quite the fashion historian. He’s not just reviving Franco Moschino’s legacy for today’s crowd—he’s offering up a full-on crash course in the tastemakers and trends of decades gone by. His show felt like a tour through various fashion subcultures, each detail meticulously curated by someone who clearly has a deep love for the archives.
To the upbeat remix of *Everything is Romantic* by Charli XCX herself (yes, she made it *just* for the show), Giuliano Calza unveiled his Spring 2025 collection, “Flowers of the Concrete.” And where did this all go down? At the Italian stock exchange, right in front of the infamous “L.O.V.E.” sculpture by Maurizio Cattelan—the one with the giant middle finger.
Max Mara’s Spring 2025 Ready-to-Wear collection, showcased at Milan Fashion Week, was a fusion of fashion and science, with creative director Ian Griffiths drawing inspiration from the Apple TV+ series *Lessons in Chemistry* and trailblazing women in science like Hypatia, the 4th-century philosopher and mathematician.
Puglisi's been steering the Cavalli ship for over three-and-a-half years now, and wow, has he put his stamp on it. It’s still one of the bolder, louder voices in Milan, sure—but it’s a lot more dialed back compared to the founder’s wild, in-your-face era. Puglisi has worked hard to find that sweet spot between Cavalli’s signature flash and everyday wearability. And yes, those seven jaw-dropping event dresses are going to make headlines (as they were clearly meant to).
Lucie and Luke Meier took Jil Sander down a darker, more intense path this season, a reflection, they said, of the world’s current state. It feels like we're in an era where only the tough make it through—so seeing fashion embrace prettiness might seem a bit offbeat. Last season, the Meiers leaned into softness with their swaddled silhouettes and feminine touches, but this time, the mood shifted, adapting to the tougher reality outside our windows.
At Etro’s show, the runway was lined with these massive cast-iron and concrete agaves, all in full bloom—a pretty striking nod to a plant that flowers only once before dying off. It’s a bit poetic, right?
The Marni show unfolded in the brand’s headquarters, an expansive and minimalist space bathed in moody, dark red lighting. Unlike the usual chaos of fashion week, there were no throngs of screaming fans vying for a glimpse of celebrities. Instead, a maze of seemingly random chairs surrounded three sleek black grand pianos, creating a disorienting yet intimate atmosphere.
We began with airy drop-waist dresses, adorned with Art Deco motifs and pearl-trimmed botanical reliefs. While there were some fringed hems, these weren’t retro flapper pieces. Instead, Jones pared down the shapes and modernized the necklines, giving them a '90s slip dress vibe or even a touch of sportswear influence.
This collection took a deliberate step away from the whimsical touches we’ve come to expect—gone were the duck hats and hot water bottles, replaced by a sharper focus on practical, marketable pieces. The iconic Burberry trench coat elements—storm flaps, epaulettes, shoulder vents, Napoleon collars, and belts—were cleverly reimagined across various garments, from open-backed dresses to twinsets dotted with poppers, and cropped jackets with feathered collars.
The Marques'Almeida Spring 2025 Ready-to-Wear collection took a bold dive into the past, pulling from 17th and 18th-century influences and reworking them with a modern twist. Unveiled at London Fashion Week, Marta Marques and Paulo Almeida looked to Baroque art and Dutch paintings, weaving this historical richness into the fabrics and details that made the collection stand out.
