Eleven minutes of the catwalk where everything is perfect, the calm surface of a rather chaotic backstage: the models come running from the previous fashion show, makeup artists and hairstylists, real geniuses like Pat McGrath and Guido Palau, maintain admirable coolness in taking care of them in no time, the designers release interviews, dressers arrange the garments, the staff of the press offices run from side to side. Meanwhile, journalists, buyers and guests arrive at the show and it is a hive of street style bloggers or just curious, armed with camera in search of a look to capture (the good weather has accompanied us during Milan Fashion Week, so we were able to wear in February a preview of the spring summer collections), the most loyal stand there with their tablets in hand to write about what they just saw. In the hectic days of the shows which start at 9.00 and finish at 20.30 there is hardly time for a full meal, but luckily there are rich buffets that welcome you at the entrance: the snack of sweets by John Richmond, Prada's snack closely linked to the collection that will be seen, the bubbles of champagne at Gucci, Franciacorta’s bubbles at NUDE’s fashion show. Multiply everything by 67, the number of shows scheduled, divide by 7, and here's the measure of a day of the fashion week.

Andrea Vigneri

"A good reporter does not have friends," said Joseph Pulitzer, yes, him, that of the most coveted journalism awards. And the rule should always prevail, especially in the world of fashion, where flattery and gifts abound. But today more than ever, in the era of Web 2.0, it seems difficult to respect it. It would be useful to frame the words of Colin McDowell, one of the most famous and influential fashion writer in the world: "It's always good to know what we're talking about. But in this business experience is invaluable. I am bored by  young reporters who know little or nothing and stand up as judges. The contemporary fashion journalism has reached historic lows." (From the book "At the court of King Fashion" by Daniela Fedi and Lucia Serlenga).

Sharp and merciless judgment, that does not give discounts, but not so true: try to go into a backstage of any fashion week, not to see the back of a mad circus, but to study the journalists, those with a capital J, people like Fedi, Mulassano, Piaggi and Aspesi. It’s like a lesson at the academy.  Some of them, you will see around the designer, with a notebook in hand taking notes and drawing sketches, asking sharp, relevant questions, which will became curious and well written articles on the most famous magazines of the Beautiful country. Even if the category is often envied and unloved – in particular by the designers -  you cannot deny their influence and importance, second only to buyers, because they best translate the trends of the catwalks.

An up and coming journalist and on the antipodes for the use of digital media, never without iPad and two iPhones, Simone Marchetti, fashion editor of "d.repubblica.it”, notable for its chronicles and his flawless and original looks. After all he was one of the most photographed in the Milan Fashion Week. He wins for speed, but without forgetting the good writing. Also his words should be framed, in addition to his outfit, which express true passion for fashion and the will to tell it, at his best, thanks to his work as a journalist. In a recent interview Flippo Fiora said: "The phenomenon of bloggers has been the battering ram for a system about  to collapse, but now it needs new ideas, new shapes. Lately, I only see twenty-year-olds who feel mighty and write what comes to mind when they see a show or a dress. Do not waste your time: there what is needed is quality, ideas and talent. (...) My advice is: dive  in the contemporary, find your language, address the present. And then splurge on something new, radical, subversive. Only then you will break through boredom." And, I might add,  learn to write well.

In the calendar the last show of the day is scheduled at dinner time, just in time for a change of outfit and a run to one of the many exclusive parties foreseen during Milano Moda Donna. Many have taken place during last week. Vionnet celebrated its first Italian store in Corso Monforte (in the historic Premoli Palace) at the presence of the Marzotto family, Valentino's new flagship store in Via Montenapoleone on the occasion of the 50^th anniversary of the creation of the brand, so for the party the shop-windows were set up with archive and in limited edition dresses. For the launch of the new line of bags Dsquared2 the Caten twins have reconstructed the atmosphere of a Fellini's magic show: fortune tellers, fire eaters, magicians (the designers themselves improvised a show), antique carriages and soft lighting. Bulgari organized a cocktail party in the garden of his hotel  to present the new collection inspired by the iconic snake and chose the music of Icelandic GusGus to entertain his many guests: Giuseppe Zanotti, Fausto Puglisi, singers Paola and Chiara, the entrepreneur Nicolò Cardi, the beautiful Margherita Missoni. The Gold hosted the party "Beautiful Summer" by Dolce & Gabbana: to applaud the short film "Italian family" and the two protagonists, Bianca Balti and Monica Bellucci, there were Oscar winner Helen Mirren, the étoile Roberto Bolle, the singer Eros Ramazzotti. Finally, the magazine "Marie Claire" has seen fit to celebrate the end of Fashion Week with an informal dinner, a wise choice after a week of society life.

Andrea Vigneri

It was held on Friday February 24^th, in the enchanting surroundings of the Royal Hall of the Central Station, the first party organized by the Camera della Moda Italiana, with the participation of Saks Fifth Avenue, one of the most important department stores in the world and the Wall Street Journal, the most important and authoritative, on economics and finance, newspaper in the world.

Accompanying the President of the Camera della Moda Italiana Mario Boselli, in his opening speech, Ronald L. Frasch President and Chief Merchandising Officer of Saks Fifth Avenue, Steve Sadove Chairman and Chief Executive Officer of Saks and Anthony Cenname Publisher Wall Street Journal Magazine. Great emotion in the words of all, a sign of the actual importance that marked the event.

Many were the guests to this event, prominent names of Milan fashion, fashion entrepreneurs, designers and international press. Together to celebrate friendship and creative uniqueness that unite the world of Italian fashion and that of American fashion.

A memorable evening marked with hospitality and mutual respect.

The love for architecture and design flows in the veins of Chicca Lualdi so on one side she is inspired by the architecture of Toyo Ito, but on the other she intensifies her research on the silhouette of the '60s. The space tension is evident in the garments that combine different materials, in the compact natté, in the embroideries and applications, in the skirts cut as if they were stripes. The softness is evident in the sablé, the silk, the organza, in the "pink caramel." The cardigan is one of the garments of the collection: sometimes it is buttoned at the back, sometimes it has transparencies. At the feet black velvet shoes.

Ludovico Loffreda, contrasts of style

The young Ludovico Loffreda points at the texture by choosing full-bodied materials, technical fabrics with which reinterprets work overalls, creates Bermuda shorts under skirts and makes his women show with creepers at their feet. The bags are in a nice stylistic contrast: they are mega suitcases made of light-colored leather with a vintage flavor.

Murata Haronobu, new minimal

The young Japanese designer, who did part of his studies in Italy, brings a minimalist collection on the catwalk: black and white, perfect cuts, straight lines, only the velvet inserts mark some details and the pinces of the shirts give volume to  these solids made of thin fabric.

Camille Pfister, fashion games

In Camille Pfister’s collection the elements  of clothing abandon the classic definitions and follow the unexpected: the belts disappear and reappear, the hems of skirts are swaying, the volumes are large, so the fabric is folded on itself, creates asymmetries, the sleeves are bat like and socks are strictly colored.

Santo Spada, like a milonga

Santo Spada decides to reinterpret the elegant dresses of the tango dancers: back and bare shoulders, a small trawl on the back and tiny black beads that create a network. A seduction scene was staged with many transparencies and the seduction of high heels for the court shoes with platform was reintroduced.

Mauro Gasperi, medieval urban

Head wrapped by a hood like the armor of the Crusaders to whom Mauro Gasperi steals also the gold and silver, here comes a woman on the catwalk of medieval metropolis. The body is bound  like that of the soldiers, but boiled wool and fur (Astrakhan) wrap the female figure in constructions which play with diagonal cuts, intersections, and asymmetries. At the feet sandals worn with small wool socks on sight.

Moi multiple, comfortable femininity

The Milanese Ceccon Anna Francesca thinks of a woman who steals from man's wardrobe without dressing, however, so androgynous. There are a tuxedo jacket worn with a top that covers only the breast, fabrics of drapes, the plastron of the shirts, but also organza, chiffon and georgette. Comfort meets femininity, but also the sensuality of transparencies and necklines.

Francesca Liberatore, suggestion

As for the summer collection, Francesca Liberatore lets herself be once again inspired by a distant landscape: Jordan. The great search for materials is aimed at rendering the dusty effect of dresses: heavy canvas and cream colored waterproofed fibers, Swarovski medallions of opaque nuances reminiscent of amulets, fur for the oversize vests.

Arthur Rimbaud wrote Les Voyelles trying to translate the world he perceived, in a universal language: that of the emotions. Thus, during this Fashion Week for autumn-winter 2012/2013, the protagonists were the five senses. Touch, sight, smell, taste and hearing. Strong colors, soft and precious materials, leather with an handmade aroma, strong taste and, as far as hearing is concerned, they are far away memories, tied to the past. A of Alcantara, vocal and the first letter of the alphabet, surprising for illustrious collaborations, from Sara Battaglia to Leitmotiv, from Catherine Gatta to Andrea Incontri. Church's, revisits two historical models: the Burwood shoes and the classic slippers. Jimmy Choo runs into a '70s revival and discovers the bohemian charm, switching from a male model to a female one: total gold. Cesare Casadei, is inspired by the archetype of the stars of the past: feminine, mysterious and fascinating. Suede and leather. Cuissards in stretch nappa leather and oversized buckles. The stiletto heel becomes a weapon of seduction. Color is the undisputed protagonist, masterfully dosed, well balanced between creativity and experimentation. Court shoes rediscover their original purpose as a pedestal: a small stage able to transform a woman. For Persol, inspiration is at Casa Malaparte, "a red arrow toward the horizon," as Curzio liked to call it. The silver arrow was redesigned by recalling the shape of the house, as well as the original engraving of the rods, aimed at recalling the stairs. Persol Capri Edition is a clever combination of technology, quality, research and Italian design. Furla imagines a winter in strong colors: sparkling style anti cold for the new it bags. Sergio Rossi, however, points to the black with twists given by python, ostrich, chamois and nappa. A body that goes in and out of a dense dark, carnal, waiting to be transformed into pure attraction. For Fratelli Rossetti, the keyword is unconventionality, served with awareness and class. Characteristics of an androgynous woman who does not disdain Dandies and likes to be called Lady Brera. Valextra, points to a casual chic, where ‘less is more’ is an imperative for inspiration. Bally, in a perfect balance between innovation and tradition, closes the circle, transforming this carousel of attractions, into an O: the Omega.

The up-and-coming designer Sergei Grinko gives to his collection a gothic allure, mysterious, futuristic and dark. The cuts are slim and linear. The futuristic prints give a ‘space’ effect to the dress while the colors are various  and bright, united by the black which dominates the entire fashion show.

With the Caten twins we plunge into an American TV series, the world of high school is the inspiration for their collection: Capri pants, '60s mood both in knitwear and hairstyles, skirts and leather jackets; there is no heaviness neither in the material nor in the style in this mischievous look, but only the irony of frivolous glittered sunglasses, a glittered poodle as print, a schoolbag transformed into a walking bag. A winter which loves colors and mixes them: light green, pink, yellow, purple and denim passepartout, but for the night of the prom, black is a must: fur surrounds the pelvis both for long and short evening gowns.

Giorgio Armani continues the process begun with the last man fashion show: tracing the path for relaxed and comfortable elegance. The show is opened by pantsuit, so similar to men's clothes in their Prince of Wales, but the pochette is not folded in the pocket, is pinned as a brooch, a romantic flower. Bermuda pants, already seen on the Emporio catwalk, reappear (even under the skirt), the length is knee-high also for evening wear. Femininity is all in the delicate, thin like silk, fibers of the blouses and in the fluttering edged skirts, in the colorful prints (orange, fuchsia and red Tibetan), in the shimmer of small Swarovski.  Everything is strictly worn with low laced shoes vaguely rockabilly, pointed, decorated with embroidery or shimmering or zebra.

The Roberto Cavalli woman knows only the extremes: either very short or long, the alternative is flared pants, fetish of the designer. Whether mini or maxi, it is the skirt which redefines the feminine silhouette, with its balloon effect. The other alternative is between total glitter (crystals, sequins and stones) and total printed (a lot of animal prints, but also abstract prints). There are the precious leathers (crocodile and python for example), but also thin layers of silk that overlap, a touch of sweetness to this woman with a strong look; it is not by coincidence that the show was closed by the panther Naomi Campbell.

At their second collection, Stefano Citron and Federico Piaggi reinterpret in a modern key the meaning of construction as thought of by the architect Gianfranco Ferrè. There are no buttons, fabrics are simply laid: jackets, sweaters and coats wrap around the body creating a game of amplitudes and asymmetries, jacket lapels multiply or cut across the chest, short dresses are rectangles of fabric laid on one on the other just as bricks (not surprisingly we get a metallic material effect). Evening dresses are long, empire style. Only a thin knotted belt breaks this  graphic and chromatic cleanness: white, black, beige, navy blue, and rigid silver bracelets.

For his collection Lorenzo Riva got his inspiration from the Fifties. The colors, both for dresses and accessories, are matched asymmetrically thus recalling Mondrian’s paintings and the optical effects of that period. The shocking color of some dresses plays down the monotony of the collection which, this way,  assumes a meaningful and interesting style.

Clean and defined lines characterize this collection of Marni which opens with capes, coats and jackets tight at the waist by a belt (which is sometimes used to divide the upper part of fur from the cloth of the lower part) and characterized by huge pockets. Red, turquoise and orange dresses break down into modules, but there are many prints, the pride and joy of the brand. The last garments are embellished with stones and gold embroideries on collar and sleeves: Consuelo Castiglioni reinvents the old-fashioned balloon effect by migrating it from the shoulders to the arm. At the feet he requires flat shoes culminating in a golden tip and rigorously worn with white mat stockings.

The Baroque period is by definition a surprising irregularity, so Dolce & Gabbana inspired by that world present a collection rich of excess, opulence, minute details. Smooth fabric doesn't exist: thick gold embroideries triumph over the knee sheath dresses, capes, cloaks, dresses made from transparent ruffles and laces, even tapestry threads become part of the female wardrobe, and the silk prints are inspired by the seventeenth-century paintings (flowers and cupids). Large stones are used in earrings and necklaces, the traditional Sicilian veil appears, the shoes are embellished by the same work of clothes, as well as the it- bag Miss Sicily and the newcomer Dolce bag.

Leather and fur meet in the first looks of the autumn-winter show of Salvatore Ferragamo: sharp cut, clean, jackets and coats seem inspired by the severity of the military uniforms. Then softness, romanticism of lace and finally the gentleness of the chemise effect (and timid transparencies) take over. Bon ton elegance made with knee length pants that resemble the equestrian world, just like the high boots. The sandals imprison the foot with thin leather crossed stripes, the bags are small: almost shoulder small satchels or clutch bags.

From warm colors (orange, mustard, brown) to cold avion, passing through the neutral beige and grey, the Missoni woman uses various colors for the patchworks she loves to wear. The rows, the irregular patterns, the giraffe print merge and mix in a game of overlap and in a mixture of the typical garments of a woman’s wardrobe: sheath dresses, short jackets, cardigans, coats (long, medium and short). Loyalty to high quality yarns and craftsmanship are the distinctive feature of this collection and of the long history of Missoni style.

Joan Jett is the icon that has inspired Maurizio Modica and Pierfrancesco Gigliotti for the next autumn-winter. The protagonists of the collection are the golden studs that deluge mini leather jackets, skirts and tuxedo jacket (worn with a man white shirt). Skinny pants and bulky jackets characterize this young rebel who wears a lot of black, but also orange and pink.  In the evening the chains replace the studs and enrich the mermaid gowns with vertiginous slits.

Umit Benan is inspired by menswear of the early twentieth century travelers for a collection that reflects the dynamism of today's women always on the move, but with the need for a practical and comfortable elegance. The three-piece man's suit is the basis of this wardrobe in which  striped suits also appear and wide skirts are still worn with sweaters and vests, wide-brimmed hat completes the look. Between gray and black tones appears a warm shade of orange and rust, a chromatic note that refers to those territories to be explored even if only by mind on cold winter days.

More unique than rare in autumn-winter, on Versus catwalk black is never present. The optical and abstract prints of short dresses, leather jackets, skinny pants, and miniskirts alternatively dipped in deep purple, fuchsia, burgundy and lime. The single shoulder alternates with a bandage that seems made of gauze and the dresses at times appear more tied around the body than worn.

The collection of Aquilano.Rimondi is inspired by the paintings of Tiepolo, Mantegna, Artemisia and the royal families of the late fifteenth century. Prints disappear, but the jacquards decoupé, made on silk microstructures, recover the effect. The colors are bright, sacred and demonstrate the opulence of the Italian Renaissance.

The double, a theme dear to. normaluisa, in its most physical meaning. Mirror symmetry of fabrics, jacquard on bouclé fabrics, voyeur-dresses  formed by a tulle shell-covering to wear on a graphics core. References to archeological landscapes, natural colors reminiscent of Africa, the Mother Land. A modern amazon, never excessive.

La collezione di Byblos è proiettata su un'altra dimensione in cui le forme perdono i canoni tradizionali e le linee dei modelli sono costruite sul corpo come per proteggerlo.Si ha un new classic code in cui il futurismo di questa collezione si esprime in un tripudio di forme che richiamano il tema della velocità.

Ivan Allegranti - MI-ME

The last collection of Raf Simons for Jil Sander is a progression from not being to being. It starts with smooth coats with a chromatic contrast between exterior and interior and with the flesh-colored dress that is almost invisible. Then he adds red, blue, black to the neutral color and matter appears: the leather that evidences breast and an almost plastic fiber. It starts with cuts from the '50s, knee sheath dresses, skirts with pleats and reaches petticoat dresses, to the jumpsuit with the waist up to under the bust that redefines a new silhouette, to the leather bodice, to the revolutionary volumes made with asymmetries and cuts.

Giorgio Armani is inspired by fun for the Emporio collection: his fancy for designing that  experiences unusual keys for women garments, that of women who are faced by a wardrobe with interchangeable pieces, capable of putting a different accent at their look by changing the combinations. The autumn-winter will see the return of up to the knee trousers, to be worn with opaque socks, low slippers and male laced gloss shoes, with a fiber tip. Male is also the cut of deconstructed jackets, but femininity is confirmed by carved or applied flowers, ruffles and polka dot patterns or abstract brushstrokes. The velvet gives light to black, white, Indian red and blue amethyst.

The protagonists of Hitchcock’s movies today would wear the collection of Bottega Veneta, a sophisticated rigorous style: sheath dresses and coats to the knee, long rows of buttons that almost evoke the priestly robes or double-breasted closure. Little space for color: between black and blue on the catwalk show fantasies that recall the action painting of Pollock. Luxury is the quality of materials and the attention to details: Japanese velvet, crêpe of various tightly woven fibers, pearls, metallic wire, bright stones. Great attention to accessories: long black leather gloves (on the fourth day of fashion shows we can say that it will be the trend of the season), in some cases up to the shoulder, slightly shiny low booths; embroidered Mary Jane shoes and precious woven bags.

The Mila Schön fashion show was characterized by an immense romanticism: the skirts have large width and the garments have pastel colors. Shoes are both with heels and with man’s feature and  make the female figure nostalgic and a bit old fashioned. The outfits at the end of the collection were characterized by black and white feathers fantasy prints and recalled the invitation of the show.

Peter Dundas, in the 2012-2013 autumn-winter collection, rips the fabric just as Fontana did with his paintings and under the cuts, transparencies appear, that reveal, however innocent nudity. The dresses have a slim silhouette, the figure is slender, long and short alternate and the iconic kaleidoscopic prints that have made the identity of Pucci are not forgotten. Male smoking jacket is resumed and embellished with sequins (such as wool sweaters, because the glitter is a must for the coming season), worn over skinny pants. Black, white, color, nude look or wrapping furs, the common denominator of the collection is the femininity of this siren that prefers the evening look.

Antonio Marras thinks of a woman who really loves fashion so that the desire to wear what she likes pushes her to invent new formulas of clothing. So a real mix and match is staged: the classic trench coat is interrupted by inserts of tapestry fabric and discovers the voluminous sleeves of fur, the skirts with the laced front are worn under shirts that alternate check with brocades, the collars are double with materials, colors, different designs, the shawl is worn over the jacket, the classic suit is played down by the kimono belt, the romantic flower fantasies combine with animalier. The search for fabrics and the craftsmanship of assembling these patchworks is yet another confirmation for the made in Italy.

Sportmax introduced a collection clean and urban that, with research materials, transforms silhouette making it graphic, extremely feminine and body-con. The evolution of this show are the proposed lines which, athletic and ergonomic, design the body thanks to textured fibers and quilted nylon, prismatic crystals and padded embroidery. The lengths are midi and the cocktail dresses are characterized by a belt which is inspired by Japan and the essentialist culture of Zen.

Silvio Betterelli is inspired by the mellow colors of winter dusk, and decides to fight the grey days and the look of winter with an interesting palette: dark brown, plum, pink, blue and fuchsia degraded in various shades. The waist of the pants is high, while in the dresses it is marked by a thin belt, the wrapping knitwear alternates with thin silk, the game played by the pleats is functional to the effects created by the reflected light, fur inserts with different hair lengths create a game of volumes.

The collection Ter et Bantine is casual but but contracted like the antiuniform of a revolt. The show is based on military cuts and geometric expansions. The nuances used are dark, mostly black, but measured by some dazzling white pieces.

Massimo Rebecchi thinks of an urban fairytale so he brings on next autumn-winter catwalk fabrics worthy of a princess as brocades and laces, but unites them in felted cloths; next to the hoods the parkas appear, there are silk dresses with floral prints, but also skirts in tweed or vichy knitwear. The furs are strictly ecological, the knitwear is crocheted and nappas are laser worked. The fable that Rebecchi thinks of is real and can be worn every day with comfortably.

Donatella Versace picks out of the gothic repertoire by using one of the most universal and better known symbol: the byzantine cross which becomes a precious décor, made of glittering stones which lighten the knitwear and the boots, or simply an aged gold print on hand carried soft fabric bags. Versace gothic thought doesn’t mean that total black is an absolute diktat: neon yellow for example is a flash in the midst of so much black, which is never flat since it is lighted by cascades of Swarovski which adorn not only the silhouette but also the boots. The latest is an essential accessory, both in the up to the knee version and in that which becomes a net leaning on the calf. Surprisingly soft square cut hairdos frame the face of the Versace woman, which on the catwalk wears evening gowns that are a clear tribute to the famous safety pins which held together the dress worn by Elizabeth Hurley.

Ennio Capassa continues his path as fashion innovator through a refined tailoring which takes into account technology. His is a collection which seems laser cut: perfect diagonal cuts, geometric volumes, skinny pants, coated and adhesive fabrics with a glossy look, just like sequins treated with iridescent coating. Large volume coats which contrast with the rest of the collection complete the look of this metropolitan biker who  wears shoes with exaggerated high heels. 

The rebel style of ‘70s meets the hedonist one of the ‘80s on the catwalk of Just Cavalli. Freedom of prints in this collection: optical motifs and folk, flowers, animal fantasies follow each other, they meet, play contrast. The super skinny and cut above the ankle pants are in leather, lurex or vinyl, just like the small sequins which adorn the short dresses. The chemise effect of the dresses and of the blouses are a reminiscence of the hippy style, the glitter of the material that of disco music. Almost absent the coats, better to wear a worm knitted sweater, and here is a shabby chic

Rossella Jardini remains faithful to the stylistic code of the brand and brings to the catwalks the garments which have made Moschino history: wide brimmed hat, circle shaped golden earrings just like the buttons on the jackets and on the double breasted coats, black and white stripes, quilted leather for the jackets and the iconic bags, bows in the hairdos  or on the belts around the waist. The irony of an excessive style that has become very recognizable, as evidenced by the heart (symbol of the maison) which returns on the biker jackets and pendants.

Veronica Etro has created for this collection, a new conception of Paisley which, in fact, is deconstructed and recomposed. The hallmarks of this fashion show are the graphic and decorative Paisley elements which redefine the contour of the female body and perfect the figure. The typical colors of autumn winter, like camel and army green, give the show a relaxing chromatic rhythm that goes back everything to the most sought-after and urban contemporaneity.

Blumarine, for his autumn winter collection, is inspired by a dynamic woman, young, strong and absolutely sexy. Substantial and dominant were the shock and fluorescent colors like yellow and pink which, both for the coats and the long dresses, have been a must for the show. Interesting was the chromatic palette proposed by Blumarine to revitalize the next season.

Iceberg woman for next autumn-winter season seems to come straight out of the legendary Studio 54. The knitwear is the protagonist of the collection: tightly woven, optical patterns, bright colors (electric blue and yellow above all), cat shaped eyeglasses and skinny pants. In the evening it is the glittering of the dance floor which prevails: short dresses studded with dazzling sequins. Everything has to be extremely structured, and furs emphasize the large shoulders.

An interesting contrast comes on the catwalk of Marco De Vincenzo who chooses to focus on a rigorous style, a simplicity which doesn’t lead to minimalism. The seams outline geometric carvings on the leather, the female body is conceived as an classic architecture: clean lines, measured, decorations which seem ribs of an ancient temple, precious and solid materials capable of lasting beyond the current trend. Brushstrokes of gold and silver on evening garments are maybe the only extravagance for this woman who prefers classical colors: the white of marble, the antique red and cipolin. The superfluous is banned; the only accessory is the court shoe with lapin profiles.

La collezione 2012 Les Copains è incentrata sul colore grigio che, in tutte le sue nouances, viene abbianato a colori come il bianco e il viola. I tagli sono piuttosto strong, le lunghezze sono midi e, l'accessorio must di questa stagione, è il berretto, ovviamente grigio.

Ivan Allegranti

The young Gabriele Colangelo is inspired by the effects of light:  emanating from the light-colored clothing (white and antique pink) and reflected by an intense red, from a shimmering fantasy with tones of silver and by those who play with fading colors. The result is a three-dimensional effect accentuated by the solid shapes: shoulders and hips are exaggeratedly rounded and draw an hourglass-shaped body.

Andrea Vigneri

The Aigner models go on the catwalk with a prim ponytail: but when you look down here appear shoes with vertiginous wedges, whose silhouettes are softened by the design of a heel made of precious metal embroidery. Soft suede pantsuit for the day, long and light dresses for the evening.  

Gender: female. Species: insect. The woman before transforming in a splendid butterfly is, first of all, a chrysalis. Clean lines in the cut and in the textures, which give the body a perfect shape. Miuccia Prada, with this collection, expresses nostalgia for the past. A ‘60s revival for dresses and coats. Minimal shapes enriched by optical textures which hypnotize.  The colors are a clear reminder of the earth: eggplant, browns, mustard, and orange. On the catwalks, show rectangular silhouette on vertiginous heels. Glasses with dark lenses, applications on dresses and coats, geometry of colors: a lure. There remains only one constant: black

Karl Lagerfeld and Silvia Venturini Fendi create a sculptural woman: wide and rounded shoulders (sometimes emphasized by fur inserts) contrast the waist surrounded by a rigid and wide belt which seems borrowed from the ancient Samurai armors. Laser-cut dresses, which actually conceal a long tradition of precise tailoring. A lot of black leather (also precious crocodile), but the undisputed protagonist is fur:  different hair lengths create volume games, different types are combined in a multi-colored patchwork. Great attention, as usual, for accessories: trapezoidal and rectangular bags with a short handle,  shoes are rather revisited ankle boots.

For the autumn-winter 2012-13, Max Mara is inspired by the contrasting nature of being a female and of metropolitan life. The collection is dedicated to a strong and determined woman, so the silhouette has a clear low waist so as to describe the shape of a doubtless woman. Plenty of soft leather inserts,  printed coco or leather martingales, which highlight the martial aplomb of duffle-coats and tailored Montgomery. The garments, inspired by the contrasts of city life, are clean, simple and essential if seen frontally, but very surprising thanks to the cocoon volumes and blouson effect in the back.

Ermanno Scervino has been inspired by the traditional and aristocratic English fox hunt for the 2012-2013 autumn – winter collection. Riding pants, hat with visor, boots up to the knee, parkas with fur collars, forest green and sand color, animal fantasy and high-class pie di pull are enough to hint at an inversion of style. The Scervino woman abandons the proverbial romanticism, but not the femininity which is instead enhanced by the sinuous shapes and transparencies of the evening dresses.

To Antonio Vivaldi goes the paternity of the now famous Four Seasons, as are called the first concerts for violin in the “Trial of harmony and invention” (“Il cimento dell’armonia e dell’invenzione”), whereas to Fabio Sasso and Juan Caro we approach the Fifth Season: The Elegant Universe. Mellow colors, decisive, full of meanings. Clean lines, which give the body a rigorous silhouette. The woman imagined by the duo Leitmotiv, is a dreamer, who loves to indulge in the worlds she wears, but doesn’t let herself be fooled by the open eye reality. No pastel shades, no fluorescent hazard. It almost seems to be a solitary journey through space. An intimate collection, to reflect and to be amazed by an adventure beyond the boundaries of the imagined world.

The young girl of Blugirl reintroduces the preppy style: red and blue striped cardigan, green lozenges,  collegial skirts, Borsalino and men’s socks as knee socks, but all worn with confidence and a pinch of irony. The second part of the collection sees a masterly play of colors: garments of different colors (water green, baby pink and light blue) create a ‘bon ton’ look, with little short dresses, straight coats, furs vests. For the evening Anna Molinari thinks either an ice princess in total white or the total black proverbial elegance enriched by crystal details. Earflaps and fur boots are an indispensable habit.

A mix of masculine and feminine is staged on the catwalks by Roccobarocco. The tartan ties are worn over a white shirt, but under sleeveless dresses and vests of lace; the coats are voluminous, bulky. On the catwalks overcheck and microcheck prints, polka dots and floral patterns, alternate and sometimes blend in a patchwork. For the evening we see one shoulder dresses, adorned with jewels and worn with double breasted quilted satin small jackets.

Catherine Deneuve, iconic vampire of “Miriam wakes up at midnight” inspires the collection of Maurizio Pecoraro. Coats and trenches are rigorously double breasted, lots of fur (also patchwork), light blue is paired to grape juice, red to burgundy, the sleeves are three quarter , the garments are overlapped, the leather is a symbol of power. The look for a determinate woman, able to combine strength and femininity.

Izuno Igino thinks of a woman with a relaxed elegance that cures all details, but doesn’t flaunt luxury. The fabrics are precious: silk, brocades, great attention to the rigid frame knitwear (cashmere, voiles of alpacas, heavy wool). Asymmetries in the necklines and in the lengths and  uneven hems give them a relaxed look. Gold and silver contribute to the sculptural effect of the shapes, but it is the green, in its various shades, which dominates.

Jo No Fui ha incentrato la sua collezione sulla lana che, per questa stagione, viene elaborata in tutti i modi, creando così miniabiti in tricot e giacche maxi. I colori utilizzati sono il nero, il verde e il viola che vengono abbinati per creare short dresses molto chic con giochi di sfumature e simmetrici. 

Ivan Allegranti - MI-ME

Ivan Allegranti - MI-ME

Small and decisive details characterize the 2012/2013 autumn – winter collection of Sergio Zambon. Games of portholes minimize the most elegant jackets, Swarovski elements bring lightness to the clothes, fabric flowers define the finishes, and graphic applications embroidered rug stitches give it a touch of folk, surrealist-inspired hats complete the look. All these elements become the means for making original and even more recognizable street clothes like a technical fabric snorkel or the silk night gowns in a collection that makes its strong point in the research of material and their combinations.

(Andrea Vigneri)

John Richmond chooses to aim at the construction in the 2012/2013 autumn – winter collection. Black and white alternate in geometric cut jackets, straight lines and clean shapes are also found in the renewed suits. The waist is marked by leather belts and by bell-shaped skirts with a flavor of the 50s, inspiration confirmed also by the use of lace. But the distinctive rebel soul of the designer can be found in the way he plays with the leathers, the inserts of furs, the network of wool, the long fringes of the dresses, rigid flared and transparent skirts that redesign a modern Victorian style. No type of length is neglected: mini, up to the knee, and also long dresses. The accessories are essentials, practical: medium and maxi hand bags, leather gloves, sunglasses with round lenses.

(Andrea Vigneri)

In the stunning Column Hall of Palazzo Clerici, Camera Nazionale della Moda Italiana celebrates the magic of one of the greatest living photographers, Peter Lindbergh. The exhibit, access free, displays the photos that the German photographer shot in cooperation with Testanera: beautiful women immortalized with hair styling created by the hair care artists of Testanera. Into the faces and hairstyles of the models, the usual purity of Lindbergh captures - with vivid effect - the vanity of women and the obsession they have with hair and hairstyles. Do not miss it.

Paola Frani for the 2012-2103 autumn-winter collection presents a femme garconne. The dresses and the entire wardrobe of the stylist have the appearance of the king of this collection: man’s suit. The colors used for the show are various, from black and brown to clear beige, gold and aquamarine. The severity of man’s suit is declined on shapes and female lengths for a sartorial idea of a woman aware and very contemporary.

Ivan Allegranti - MI-ME

The Milano fashion began with Simonetta Ravizza who presented a real ready to wear Fur Collection. Dominant black, thin shaped leggings for a skinny body under voluminous furs. Mix of materials, from fur of kidassia to man clothes, and then neoprene. Perfectly successful the idea to decline the history of the biggest fur company in a prêt-a-porter collection.

Ivan Allegranti - MI-ME

Chromatic dystonias and clean lines. Asymmetries. Mauro Gasperi woman is determined, loves crossings, the inlays in astrakhan and raffia, the total black broken. Rust, pistachio, taupe. Gold mixed with dust, in the reflections and textures. The wool tabards leads to a clear inspiration to contemporary architecture which have accompanied him throughout career. Surrounded since early childhood by architects and artists, he develops an innate sense of beauty which leads him to obtain a degree in fashion design at the Polidoma Institue of Florence. Then selected as collaborator for the Paola Frani line, in 2009, wins the Fashion Incubator contest organized by Camera della Moda Italiana, and is admitted to the New Upcoming Designers project. Today, he represents a brand which is a guarantee for the Made in Italy in world.

Alessandra Sutto - The Lost Innocence

Frida Giannini puts on a seductive dark tale. Black dominates most of the collection, but creates various effects on the materials which alternate and overlap each other: velvet, brocade, leather, wool and silk. The pants and the high boots remind of the equestrian world, the jackets of the military one, coats and blouses, voluminous and narrow at the wrist (wore with high waist skirts) have a neo gothic flavor. The only exceptions to total black are the green wood, a vibrant purple and some floral prints. The sinful transparencies, the rouches which encircle the body in the cocktail dresses, the side slits of the long gowns and the high heels become tools of seduction. The evening is a triumph of sartorial skills: the transparent black silk is adorned with black feathers and crystal embroidery, to emphasize the Made in Italy technical skills.

(Andrea Vigneri)

Alessandro Dell’Acqua borrows the colors of the collection from a carpet of autumn leaves. The heavy fabrics of men’s suits are used for squeezed jackets, men’s belts, while work gloves are embellished with hard stones. The torso is often wrapped, sometimes revealed by the transparencies of the shirts which highlight a sophisticated lingerie effect; legs are always naked: high waist knee-length or above the knee skirts (which slim the silhouette), rich of geometric folds vaguely ‘40s, such as rectangular pochettes,  in a harmony of angles which constitutes the stylistic code of Dell’Acqua. Building femininity by incorporating codes of men’s’ wear is surely a proof of creativity, but also a game for all women whom benefit from it. Welcome back to one of the greatest talents of Italian design.

(Andrea Vigneri)

Alberta Ferretti dresses of elegance every moment of a woman’s’ day. From perfect cut square coats (also pinstripe in businesswoman style), to pantsuits, cozy and soft knitwear, waist short half sleeves fur jackets.  The belt on the coat will be a must for next autumn-winter. On knee-length cocktail dresses, with a rigid silhouette, develop geometrical patterns which almost seem carvings built thanks to the transparencies and to the sequins which during the evening make place to cascades of feathers and   embroidery on long gowns, without forgetting a sexy but elegant transparency.

(Andrea Vigneri)

40’s style coats open the show of the next Francesco Scognamiglio autumn-winter season and reveal the main points of the collection: the important rounded shoulders and the marked waist. A wardrobe whose garments can be easily mixed: man cut trousers with pleats worn with printed silk shirts or transparent or decorated with games of frills for different occasions or moods, black leather skirts subtle yet of sculptural shapes, very short dresses, high-necked with long sleeves also in glitters. The palette is defined: between black and white, only notes of color emerald green and pink salmon, as well as prints that reinterpret Baroque motifs.

(Andrea Vigneri)