Runway Shows

Fall 2024 Milan Fashion Week: the best runway looks from the shows

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Because runway looks still matter…


Miuccia, Raf, and Prada’s most extraordinary DETAILS. In the Miuccia Prada profile in the March issue of this magazine, her co-creative director Raf Simons talks about their design process. “Anything can be a starting point, he said, “whether we love it or hate it or think it’s silly or funny or sad or stupid or political.” This season, their starting point was, of all things, the bow.
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BOTTEGA VENETA FW24: After last season’s round-the-world trip, Bottega Veneta’s Matthieu Blazy was backstage tonight talking about the everyday: “It started by looking at the news; in the world we live in, what can we do?” he asked. “The initial idea was to reduce [the collection] to almost the function [of clothes]—only reduce not to the minimum, but to a maximum. I was interested in making a monument out of the everyday.”
Though these were clothes to wear to the office, or out to dinner, or late at night when you walk your dog, thanks to their unique volumes, there was nothing workaday about them.
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FERRAGAMO FW24: Four runway shows in, Maximilian Davis is stepping forward as he seeks to crystallize his ready-to-wear identity for Italy’s greatest luxury footwear marque. For fall, he returned again to the house’s founding decade as a starting point, saying in his release: “The 1920s used clothing as a way to celebrate freedom. And that expression of freedom is something that resonates with me, my heritage, and with Ferragamo.”
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MOSCHINO FW24: Adrian Appiolaza was named creative director of Moschino three weeks and two days ago. His arrival is tinged with sadness. Davide Renne, his predecessor in the role, died suddenly not long after beginning the job. It’s delicate, taking over in a situation like this; Appiolaza did so by committing himself to Franco Moschino’s legacy.
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ETRO FW24: Etro’s show venue was bathed in dark light, from which emerged a series of huge, slightly disquieting effigies of masks inspired by Greek tragedies. The collection was called Act. Was Marco De Vincenzo perhaps considering a career U-turn into the performing arts? “Not yet,” he joked. “It’s that in my role as Etro’s creative director, I feel torn between authorship and interpretation. It’s a constant struggle that sometimes takes an emotional toll, yet it’s deeply generative. The masks are a symbolic manifestation of this inner turmoil.”
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GCDS FW24: A more introspective version of pop-infused fashion: That’s what Giuliano Calza proposed in his fall 2024 collection for GCDS, called Toys for Adults. Despite what the title may suggest, there were no sexual references at all; quite the opposite. Calza remembered when, during childhood, he asked his father, who was traveling for business, to bring him “something beautiful.” This nostalgic feeling made him think about other experiences he had when he was really young, like being mesmerized by horror movies, although terrified. These two elements, research of beauty and nostalgia, were the pillars on which this fall collection was based.
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No. 21 FALL 2024: Alessandro Dell’Acqua rummaged in his archive of vintage fashion magazines and found himself drawn to the glamorous looks from Italian couturiers of the 1980s —Pino Lancetti, Andrea Odicini, Sorelle Fontana, Mila Schön, a congregation now fallen into oblivion that at that time catered to the jet set and the well-heeled. He wasn’t driven by nostalgia though, rather by a desire for subversion. “I just followed an impulse to dismantle those bon-ton clichés”, he said. The collection was called Anarchic Glamour.
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