No one could overlook the irony when not one but several designers sent models tumbling to the ground in their preposterous footwear — just as the US government was scrambling together the $700 billion bailout package of its troubled economy.
It seems for this season as least, Milan has decided to ignore practicality and take a blinkered approach to the uncertain times ahead, with the majority of collections infused with a fervent optimism. One just need look at the colour palette for evidence. In more perturbed times of history, fashion has traditionally reflected the mood with understated pigments. Yet in Milan, designers were unapologetically embracing Technicolour - the hottest of pinks, vibrant turquoise, pompous purples and tenacious teal were all runway fixtures, which hardly screamed "dreary outlook ahead".
Dolce&Gabbana were the most unashamed in their refusal to accept the world's financial woes, with a
collection that was suited to the bourgeois sensibilities of old. Hugh Hefner-style silk pajamas were teamed with soaring platforms and fussy vintage accessories. Dresses were corseted creations swathed in silk corsages and would have been a welcomed addition to the excesses of Marie Antoinette's parlour.
To trend or not to trend
At Dsquared2, there was a determination to party, sending Studio 54 gowns down a runway that resembled an exclusive nightclub. Pucci was also pervaded with a feeling of carnivale, playing up its signature prints in bright and playful designs to a soundtrack of classic reggae hits. Donatella Versace did what she does best, with a myriad of red-carpet glamour gowns appearing on her catwalk. Even if her extended client base succumbs to penny pinching, she can always count on her celebrity constituents to bolster sales.
It was only Gucci who bucked the frivolous trend. While its designs were no less impressive or understated in colour, there was an underlying sensibility to its approach. Separates - from slim fitting suits to printed shirts, and safari jackets - ensured that the Gucci client would be able to update their look to mix old with new, without breaking the bank. Bags too, were resourceful in their design, converting from backpack to shoulder accessory with the simple release of a buckle.
It's perhaps because Gucci is facing an unknown future of its own, with the departure of its CEO Mark Lee, that the label empathises with the current global sense of unease. Regardless of the reasons behind the smart collection, the label's ingenuity should be admired. Purists may roll their eyes, but at the end of the day fashion needs to be wearable. After all, what's the point of spending the few dirhams left in one's pocket on an expensive pair of shoes, if paid professionals can't even walk in them without falling?
Gucci
If ever there was a collection that exuded unadulterated confidence, it was Gucci's. Designer Frida Giannini's brand of exotica owned the catwalk, with a tough and tailored silhouette but given a tropical twist with a vivid jewel spectrum of purple, emerald, turquoise and papaya.
The '70s continued to be a key trend of the season, with striking suits consisting of narrow garcon jackets cut to the hip and pants slung low and tapered to the ankle. Safari jackets in taupe or khaki were paired with rolled shorts and miniskirts, ensuring a well-cared-for set of pins will be essential next summer.
The palm print proved to be a popular design with a number of Italian labels (who could have known the Palm Jumeriah could prove so inspiring?) and at Gucci it was boldly stamped on shirts or providing a sensual touch to the long, fluid evening gowns.
As always, accessories were a highlight of the collection. Straw Panama hats, a new, softer Jackie bag and statement jewellery made from oversized amethysts, agate and crystal are all must-haves for next spring.
Pajama Party
Dolce&Gabbana can always be counted on to bring together celebrity and fashion. The 50th birthday celebrations of Domenico Dolce ensured the most star-studded front-row of Milan Fashion Week, with the appearance of Dita Von Teese, Claudia Schiffer, Monica Belluci, Matthew McConaughey, Jennifer Lopez and Mark Anthony — sending photographers into a frenzy.
Whether any of the A-list guests will be wearing the baroque-inspired creations to their next Hollywood gala remains to be seen, as the designs were steeped in the avant-garde. Only Von Teese, with her penchant for old-school glamour and corsetry, appeared a natural fit for the ballgowns covered in a carpet of embroidered flowers and matched with tight-fitting bodices and believe it or not, silk pajama tops.
That's right, according to Dolce&Gabbana the masculine pajama - the type your grandfather probably still owns -should venture outside the realms of the bedroom and go to the party. The traditional pjs, in navy or burgundy with tiny polka dots, were the predominant theme of the spring-summer collection, layered with everything from brocade skirts that flared at the hips in obtuse angles to cropped jackets with Mickey Mouse-like ears sprouting from the shoulders.
Accessories were vintage-inspired baroque jewels and worn liberally around the neck, pinned to jackets and alligator clutches. The drama of the ensembles earned adulation from the audience, but only time will tell if that same sentiment translates to the loyal Dolce&Gabbana customer.
Versace
Dontella Versace is the mistress of the red carpet gown, and on Thursday night she lived up to her title.
On a gleaming circular catwalk, models paraded dress after dress that will no doubt be awarded ceremony fixtures.
Unlike previous collections, the designer recoiled from the temptation to flash the flesh with her usual thigh-defying splits that made Liz Hurley so famous, presenting a more refined collection that used sculptured lines and textured materials to add interest.
Printed gold crocodile minis were a stand-out among the more serene creations, hugging the body and hemmed just above the knee. Gold zippers were also used to brilliant effect, creating an edgy fringe to the luxurious folds of fabric or looped into a focal heart-shape to give gowns a unique embellishment.
British artist Julie Verhoeven was charged with giving the label's famous Medusa motif a facelift, and her detailed collage of shells, starfish, Roman columns and tridents adorned everything from long romantic sheaths to swimwear and handbags. Like most artist-designer collaborations, the print should prove to be a good investment, not to mention a Versace classic.
Dsquared2
Outside an imposing black marquee, Dsquared2 devotees queued in the early morning hours for entry into what would be an energetic fashion show big on theatrics. Designer duo twins Dean and Dan Caten were inspired to pay homage to Charlie's Angels, with a big playful wink to '70s high-waisted denim flares, three-piece suits, oversized sunglasses and white jersey numbers reminiscent of Haston's halcyon days.
Following a booming voiceover adapted from the popular TV show, the black curtains were drawn back to reveal Dsquared2's "angels" who happened to be supermodels Esther Canadas, Fernanda Tavares and Nadege du Bospertus.
They kicked-off the show in high-octane spirit, charging down the runway with plenty of attitude and
pausing to great effect at the end of the runway to deliver the trio's famous crime-fighting pose.
It could have been seen as cheesy, but the crowd loved it — cheering and applauding as if they were at a rock concert. It just goes to show that even though the international catwalks are littered with nameless models the supers still reign, or in Dsquard2's case, kick butt.
Pucci
One couldn't help but feel sorry for Matthew Williamson. For no matter how worthy of praise, his last collection for Emilio Pucci was marred by faltering models who struggled to keep upright in the designer's summer bootie. One poor beauty had the unfortunate experience of tumbling to her knees twice and just like a missed foul shot at a basketball game or a penalty kick, the audience groaned in collective pain.
Front-row dwellers appeared to nod their heads in rebuke, as many had been witness to the seemingly endless number of stumbles that plagued Milan Fashion Week, taking the focus from the clothes to a debate about the appropriateness of the shoes.
It's a shame in Williamson's case, as the designer had given the iconic fashion house a fresh lease of life, reinterpreting the 1950s prints for a modern audience. His final collection was evidence of this, featuring dresses made up of gorgeous sequins and sheer fabrics for evening, while daytime stuck to sunny yellow knits and printed shirts with geometric patterns and palm motifs.
So while the less-than-polished catwalk performance meant there was no lingering applause when Williamson came out to take his final bow, it was not because HE was undeserving.
