Milan Trend Week: Optimistic tendencies for next winter

The curtain fell Mon on another Milan fashion week -- or at least the screen went dark on this season's all-digital affair, in which designers looked ahead to better times. The autumn/wintertime 2021-2022 collections had an oxygen of hope for when coronavirus is definitely banished or at least brought in order: for when home clothing are shed and fresh outfits start to see the light of time, for when life easily returns to a semblance of ordinary.

Sequins collection the tone for an irresistably festive mood, with the typical set by Prada.

Raf Simons and Miuccia Prada used them for a sparkling lining of a big faux fur stole.

Elsewhere they were more full-on, totally covering an otherwise straight-cut coat, or about skirts, bags and shoes.

At Valentino, Pierpaolo Piccioli used sequins on a skin-coloured costume, or a shimmering floor-length cape.

These were inserted into knitwear at Missoni or Brunello Cucinelli, while at Armani, sequins invaded a black tuxedo jacket, the result completed with ruffles and gemstones.

After months cooped up indoors, intimate wear was presented with an outing: dresses with thin straps in silk, lace or voile were on the catwalks of all major houses.

At Fendi, there were liquid silk dresses, extended to the neck with the incorporation of prolonged scarves.

New artistic director Kim Jones also used silk for trousers and tops, as though the working young lady had transformed her silk pyjamas into an ultra-chic urban outfit.

Valentino's nets and laces revealed a lot more than they hid, and Martin Margiela had camisoles with thin straps found in a good collection where everything was backwards, where underneath was on top.

Bomber jackets brought a hint of G.I. Jane to the selections, although extra in the vein of Marilyn Monroe browsing the Marines than Demi Moore's shaved head.

At Prada, the nylon jackets were oversized and dark-colored. At Etro, that they had an ethnic look and feel, at Pucci these were top quality, while at Max Mara they highlighted the label's founding time of 1951.

For Alberta Ferretti these were in leather, while Dolce & Gabbana built them naughty with Madonna-design conical additions to the upper body.

Black was first used to state a more formal wardrobe. At Valentino, the colour dominated with only flashes of white colored, gold and check.

At Prada, it contrasted with factors of colour on the hands, legs, necks or in accessories.

Armani used it to identical effect, the collection based on dark with blue, green and lilac. A grand finale of dark-colored at Fendi brought hyper-sophisticated looks.

Meanwhile the strong girl with a modern-day Amazonian spirit at Alberta Ferretti wore black overalls, capes and wide black trousers.

Like an animal appearing out of hibernation, the heavy coat of the Yeti or Star Wars' Chewbacca is back, whether true or fake.

For Prada, the fur was synthetic and ubiquitous, used not simply for coats and stoles but also in the decoration of the exhibit, covering walls and flooring surfaces. Fur experts Fendi presented different grand looks, but with a novel methodology -- re-using materials from previous pieces.

Florentine property Ferragamo was fur-free, but showed knitwear with dramatic fur-like fringes.

At Dolce & Gabbana, the fur layer was colourful, sometimes pink, golden or multicoloured, and constantly oversized.(AFP)