Milano and New York women collections details in the biggest existing size

Archaeology and innovation. Nature and culture. Geography and disorder. Dream and action. The summer universe in Milan was a free, multiform space. Ideas circulated spontaneously and freely, up and down the catwalk axis. Visual suggestions, cultural, intellectual and material explorations shone through. There was no hierarchy. Connections, links and hybrids were created. Literature, history, geography. But also anthropology, tradition, spirituality and sport. Human disciplines were interwoven like magnetic filigrees. Associations and references abounded. New forms and textile experimentations were discovered. Emotional resonance was pursued. Garments, prints and embroideries were texts to be read and deciphered, hieroglyphs to be worn.
Contemporary Mythologies. About legends, creatures of other worlds. The human voice was mixed with the sound of the woods, fern branches, candid and cruel bridal bouquets. Sirens and Medusas emerged from the water, dressed in iridescent organza. Olympian goddesses and girls in marble broke out from the rigour of temples, came to the runway and walked freely and anarchically towards new days.
A never-ending succession of desert and metropolitan landscapes. They travelled up the meridians from North to South. Nomadic women, from the desert and Marrakesh, from California, women of martial arts and the family, Mediterranean women, women covered in light tunics, kaftans, lurex and lamé. In search of pure light, the Midday Hours. The instant devoid of any shadows. The heat, rising from the earth, invades everything. Fabrics. Winds. Tides.
Skin. Movements. Charm and shorts. Elegance discovered a sporty attitude. An Athletic Poetry took to the runway in soft tones with a sporty, sophisticated appeal. Cycling shorts were confidently worn under evening dresses. The fashion show was a mixture of competition and dreams, an invitation to blend technical details with impalpable materials. To experiment with forms and dare with combinations. To play with multiplicity. Mix. Draw new maps. Create new orientations. Join the opposites. Tradition and research. Archaeology and innovation. Nature and culture. Geography and disorder. Dream and action. 

Garments: tunics, kaftans, djellaba, sleek dresses, fluid bed jackets, slip dresses, charleston dresses, midi length skirts, pencil skirts, cycling shorts, bra tops, bodysuits, tops, jumpsuits, dungarees, parkas, windproof jackets, trenches.
Materials: organza, chiffon, silk, faille, taffeta, gazar, cady, duchesse, lace, macramé, lurex, lamé, metal mesh, nylon, multiprene, elastane, PVC, Lycra, scuba fabric, fake ostrich skin, python, pony skin, leather, hide, suede, denim, linen, hemp, cotton, raffia, mohair, chenille, cashmere.
Details: draping, gathers, asymmetry, destructured, patchwork, transparencies, V necklines, splits, shaped cuffs, pockets, plissé, ruffles, frills, ribbons, bows, zips, bungee cords, crystals, studs, buckles, shells, pearls, collage prints, blotches of paint, tie-dye, dappled, paisley, pop, optical, polka dots.
Colours: white, stone, ivory, pistachio, antique blue, pale pink, lilac, powder pink, pearl, periwinkle, cobalt, coral, emerald, electric blue, fuchsia, lime green, forest green, dark brown, orange, rust, hazelnut, mustard, olive.

New York has not yet lost its power as the American fashion capital. The Big Apple is a little like superheroes; they may go out of style for a while but will soon be back stronger than ever. In this round of shows, instead of the usual talk of a crisis, of designers showing elsewhere, and the creative vacuum filled by the ephemeral tastes of Millennials and Centennials, there were many positive signs coming from an array of sources. Firstly, like the proverbial return of the prodigal son, Proenza Schouler and Rodarte came back to New York after two years in Paris, revealing that “home is always home”. And they demonstrated it with collections that expressed a sort of style turning-point, especially for Hernandez and McCollough, who used ‘real’ materials like denim and canvas and wiped the surfaces clean of all complex details and textures. These collections were ideal for real women who want to be comfortable in their clothes. More faithful to their creed, the Mulleavy sisters at Rodarte stuffed their collection with romanticism and decadence, immersing it in a fairy-tale dimension featuring clouds of tulle, crocheted lace, flounces and frills. These two excellent returns accompanied another comeback, that of Escada, the German brand, which returned to the runway after seasons of presentations to celebrate 40 years in business. Big in the ’80s, the brand dipped back into the decade to pull out bright colours, gloss and reworked tailoring, while Marc Jacobs celebrated pure Eighties maximalism in a show that confirmed the designer as the (ex-)enfant terrible and prodigal son of fashion in America and beyond. Another German brand, Boss, said goodbye to Jason Wu and entrusted its latest collection to an in-house team led by Ingo Wilts, who added a sporty touch and a sense of lightness to California dreaming long fluid dresses. Many other designers also gave an idea of ease to their looks, perhaps a sign of the general mood in New York, which could be summed up as ‘take it easy’, after all, if you can make it there, you’ll make it anywhere! Oscar de la Renta’s relaxed exoticism included fringes, ethnic motifs, patchwork and bright colours, while Tory Burch took a casual, fluid approach to escaping the Manhattan skyscrapers for old Europe with airy tunics and a penchant for ivory and sandy tints. All things exotic also fascinated 3.1 Phillip Lim, which added North African influences to its signature layering with cassocks, skirts and striped and fringed dresses, while Michael Kors, joining his colleagues’ desire for escape, headed to Bali and embraced the seaside atmosphere with florals, bright colours and headpieces of various types, provided they were comfortable and casual. So, in the end, New York can still be proud both of its designers and the aura it transmitted in a week in which, between big debuts and returns, one brand reaffirmed itself as the king and father of American fashion: Ralph Lauren marked 50 years of refined sportswear with a show-party of celebrities and iconic outfits that celebrated Made in USA.

Garments:   trenches, extra-long overcoats, blazers (often destructured), trouser suits, long fluid dresses (also worn over loose trousers), slip dresses, tunics/kaftans, cropped tops, masculine shirts, sweatshirts, knitwear, cycling shorts, visible lingerie, flat sandals, Teva sandals, fisherman’s hats, bandanas/neck scarves, turbans, micro-bags, handbags, chain jewellery.
Materials: denim, lace, leather, cotton, silk, laminated fabrics, nylon, PVC.
Details: sportswear and Western elements, ’70s and ’80s influences, layering, destructuring, asymmetry, belted waist, large pockets, puff sleeves, patchwork, mix & match, appliqués, transparencies, veiling, cut-outs, splits, flounces, frills, pleats, fringes, tassels, sashes, cords, feathers, handkerchief hems, crochet, mesh, embroidery, 3D effects, floral prints, stripes, ethnic patterns, cartoon motifs, tie-dye, glossy effects, satin finishes.
Colours: white, ivory, sandy tones, bold tints such as shades of yellow, green, fuchsia, bright red, orange, silver.