Supermodels from the 1990s and 2000s pay sizzling homage to Roberto Cavalli in vintage dresses
MILAN — Milan designers dipped into neutrals and muted tones for next summer — reflecting both a conservative streak in troubled times and a move toward thoughtful production of garments that can anchor any wardrobe.
Boss revamped its trademark suiting with a more relaxed, even deconstructed, vibe that can take men and women from day to after hours. Antonio Marras created joyous silhouettes that hearkened to the 1950s, an era long depicted as fun and carefree. Even Roberto Cavalli opened with white, ivory and ecru cotton dresses before exploding, inevitably, into bright hues.
Here are some highlights from runway preview shows Wednesday, the second day of Milan Fashion Week of mostly womenswear for Spring-Summer 2025:
A cadre of 1990s and 2000s supermodels, including Eva Herzigova, Joan Smalls and Alex Wek, ramped up the energy at the Roberto Cavalli show wearing vintage gowns in tribute to the late designer.
During the finale, Cavalli designer Fausto Puglisi plucked Cavalli’s widow and longtime collaborator, Eva Cavalli, from the front row, and the supermodels took her in a warm embrace. Arm-in-arm, they walked backstage, wearing archival looks bearing Cavalli hallmarks: bright asymmetrical animal print gowns, deep, leg-baring slits, black leather, chiffon and feathers.
“For the first fashion week without Roberto, I wanted to involve Eva to celebrate through what I consider seven iconic pieces from the archives, involving the women who most represented Cavalli’s glorious period,’’ Puglisi said backstage. Cavalli died in April at age 83.
While paying homage to the Cavalli heritage, Puglisi’s runway collection aimed to push the brand to a younger generation. He already has done significant outreach in that direction by dressing Taylor Swift during the Eras tour in an ever-shifting color combination of Cavalli bejeweled and sequined mini-skirts and bustier combos.
“Today’s woman is not the woman of 25 years ago. She is very independent, she knows when she wants to be sexy and when she wants to be covered. Above all, she doesn’t need the judgment of men,’’ Puglisi said.
The collection progressed from cotton and linen seaside dresses with cutouts and rope detailing and elaborate macrame weaves to slinky skirts and dresses in fiery sunset and volcano prints, finishing with body-hugging gowns in bright hues or covered in crystals.
Backstage, Eva Cavalli praised Puglisi for his “great work to continue our legacy.”
German-born Milan-based designer Daniel Del Core launched his first all ready-to-wear collection, but he left room for one couture piece, modeled by Naomi Campbell.
Del Core, a Gucci alum who launched his brand during the pandemic, said he had been exchanging Instagram messages with the supermodel, when she said she wanted to wear his creations.
“I thought it was a joke,’’ Del Core said backstage. But there she was, closing the show in a white gown with a satin bustier, long skirt trailing.
The ready-to-wear collection was inspired by women scientists who in turn take inspiration from female writers, smart women who want to be smart dressers. Del Core created for her a translucent lab coat that was reinterpreted throughout the collection, paired with protective shoe coverings, and latex gloves in bubblegum pink or bright blue against otherwise soft palette.
Eveningwear had some couture touches, like pleating that framed the neckline and anchored draping sleeves. Del Core said he will break out couture with a presentation in Paris in January.
Boss designer Marco Falcioni is sending a message to the fashion universe: Get out of the office.
“Being the boss means taking time off to rest. Resting is the ultimate luxury,’’ Falcioni, senior vice president of creative direction at the German brand, said backstage.
To encourage a better work-life balance in a frenetic world, Falcioni has relaxed the business suit, subtracting shoulder pads and jacket linings, and layering generously, for a less button-down vibe.
Trousers for men were at times cut off just below the knee, and for women cuffed to a cropped length. Worried about a summer chill? Then layer with leggings. Drawstring detailing on trousers and blouses gave the garments technical functionality. Women’s jackets wrapped prettily around the middle. Flat or heeled mules finished the looks, for him and her. A neutral color palette was offset by muted shades of green and blue.
Bags were left open, to show off the utilitarian compartments within, for keys, reading glasses and pens. They could be carried alongside a leather racket case or yoga mat strap, letting the world know the workday is done.
Swing dancers and a four-piece saxophone-led band set an upbeat tone at Antonio Marras’ runway show, which featured a summery collection celebrating picture postcard destinations.
Marras took a cue from the life of Italian actress Anna Maria Pierangeli, better known as Pier Angeli, who left her native Sardinia for Hollywood, where she started a romance with James Dean, with whom she often jetted to Acapulco.
Marras’ collection is a celebration of a night out on the town, with the female silhouette defined by full skirts, tight waistlines and exaggerated shoulders. Fringe tops and skirts swayed, and layered grass skirts rustled. For men, boldly shaped suits and more casual silky Bermuda short and shirt combos featured big tropical prints
While putting on a happy front, Pierangeli craved her mother’s approval for her romance with Dean, imploring her mother to “think about Jimmy,” according to an imagined exchange included with show notes. “I adore him, and he adores me.”
Perhaps with this doomed affair in mind, Marras kept the color story mute. Still, he added beading, sequin and shimmering gold and silver accents, a sign of hope.
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MILAN — Milan designers dipped into neutrals and muted tones for next summer — reflecting both a conservative streak in troubled times and a move toward thoughtful production of garments that can anchor any wardrobe.
Boss revamped its trademark suiting with a more relaxed, even deconstructed, vibe that can take men and women from day to after hours. Antonio Marras created joyous silhouettes that hearkened to the 1950s, an era long depicted as fun and carefree. Even Roberto Cavalli opened with white, ivory and ecru cotton dresses before exploding, inevitably, into bright hues.
Here are some highlights from runway preview shows Wednesday, the second day of Milan Fashion Week of mostly womenswear for Spring-Summer 2025:
A cadre of 1990s and 2000s supermodels, including Eva Herzigova, Joan Smalls and Alex Wek, ramped up the energy at the Roberto Cavalli show wearing vintage gowns in tribute to the late designer.
During the finale, Cavalli designer Fausto Puglisi plucked Cavalli’s widow and longtime collaborator, Eva Cavalli, from the front row, and the supermodels took her in a warm embrace. Arm-in-arm, they walked backstage, wearing archival looks bearing Cavalli hallmarks: bright asymmetrical animal print gowns, deep, leg-baring slits, black leather, chiffon and feathers.
“For the first fashion week without Roberto, I wanted to involve Eva to celebrate through what I consider seven iconic pieces from the archives, involving the women who most represented Cavalli’s glorious period,’’ Puglisi said backstage. Cavalli died in April at age 83.
While paying homage to the Cavalli heritage, Puglisi’s runway collection aimed to push the brand to a younger generation. He already has done significant outreach in that direction by dressing Taylor Swift during the Eras tour in an ever-shifting color combination of Cavalli bejeweled and sequined mini-skirts and bustier combos.
“Today’s woman is not the woman of 25 years ago. She is very independent, she knows when she wants to be sexy and when she wants to be covered. Above all, she doesn’t need the judgment of men,’’ Puglisi said.
The collection progressed from cotton and linen seaside dresses with cutouts and rope detailing and elaborate macrame weaves to slinky skirts and dresses in fiery sunset and volcano prints, finishing with body-hugging gowns in bright hues or covered in crystals.
Backstage, Eva Cavalli praised Puglisi for his “great work to continue our legacy.”
German-born Milan-based designer Daniel Del Core launched his first all ready-to-wear collection, but he left room for one couture piece, modeled by Naomi Campbell.
Del Core, a Gucci alum who launched his brand during the pandemic, said he had been exchanging Instagram messages with the supermodel, when she said she wanted to wear his creations.
“I thought it was a joke,’’ Del Core said backstage. But there she was, closing the show in a white gown with a satin bustier, long skirt trailing.
The ready-to-wear collection was inspired by women scientists who in turn take inspiration from female writers, smart women who want to be smart dressers. Del Core created for her a translucent lab coat that was reinterpreted throughout the collection, paired with protective shoe coverings, and latex gloves in bubblegum pink or bright blue against otherwise soft palette.
Eveningwear had some couture touches, like pleating that framed the neckline and anchored draping sleeves. Del Core said he will break out couture with a presentation in Paris in January.
Boss designer Marco Falcioni is sending a message to the fashion universe: Get out of the office.
“Being the boss means taking time off to rest. Resting is the ultimate luxury,’’ Falcioni, senior vice president of creative direction at the German brand, said backstage.
To encourage a better work-life balance in a frenetic world, Falcioni has relaxed the business suit, subtracting shoulder pads and jacket linings, and layering generously, for a less button-down vibe.
Trousers for men were at times cut off just below the knee, and for women cuffed to a cropped length. Worried about a summer chill? Then layer with leggings. Drawstring detailing on trousers and blouses gave the garments technical functionality. Women’s jackets wrapped prettily around the middle. Flat or heeled mules finished the looks, for him and her. A neutral color palette was offset by muted shades of green and blue.
Bags were left open, to show off the utilitarian compartments within, for keys, reading glasses and pens. They could be carried alongside a leather racket case or yoga mat strap, letting the world know the workday is done.
Swing dancers and a four-piece saxophone-led band set an upbeat tone at Antonio Marras’ runway show, which featured a summery collection celebrating picture postcard destinations.
Marras took a cue from the life of Italian actress Anna Maria Pierangeli, better known as Pier Angeli, who left her native Sardinia for Hollywood, where she started a romance with James Dean, with whom she often jetted to Acapulco.
Marras’ collection is a celebration of a night out on the town, with the female silhouette defined by full skirts, tight waistlines and exaggerated shoulders. Fringe tops and skirts swayed, and layered grass skirts rustled. For men, boldly shaped suits and more casual silky Bermuda short and shirt combos featured big tropical prints
While putting on a happy front, Pierangeli craved her mother’s approval for her romance with Dean, imploring her mother to “think about Jimmy,” according to an imagined exchange included with show notes. “I adore him, and he adores me.”
Perhaps with this doomed affair in mind, Marras kept the color story mute. Still, he added beading, sequin and shimmering gold and silver accents, a sign of hope.
