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| The Pussy Hat Comes to the Runway | The Pussy Hat Comes to the Runway |
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| MILAN — Over the weekend — as attention turned to the Oscars, speculation grew as to just how political the awards ceremony would get, and various members of the fashion flock peeled away from the crowd and flew off to Los Angeles to help with that spectacle — a spectacle of another sort took place in Milan. | MILAN — Over the weekend — as attention turned to the Oscars, speculation grew as to just how political the awards ceremony would get, and various members of the fashion flock peeled away from the crowd and flew off to Los Angeles to help with that spectacle — a spectacle of another sort took place in Milan. |
| The pussy hat arrived on the runway. | The pussy hat arrived on the runway. |
| The Missoni runway, that is. As guests arrived, they discovered hundreds of pink Missoni knit hats with quasi-pointed ears laid out on the long benches that formed the seating. And at the end of the show — after a parade of knits of many colors and patterns, often layered three at a time, as if to demonstrate that different stripes (and squares and diamonds) can mesh surprisingly, if eye-bogglingly, well — the designer Angela Missoni and the rest of the extended Missoni clan, including her mother, Rosita, crowded onto the runway in their hats and urged everyone, along with all their models, to join them to “show the world the fashion community is united and fearless.” In the background, “Power to the People” played. | The Missoni runway, that is. As guests arrived, they discovered hundreds of pink Missoni knit hats with quasi-pointed ears laid out on the long benches that formed the seating. And at the end of the show — after a parade of knits of many colors and patterns, often layered three at a time, as if to demonstrate that different stripes (and squares and diamonds) can mesh surprisingly, if eye-bogglingly, well — the designer Angela Missoni and the rest of the extended Missoni clan, including her mother, Rosita, crowded onto the runway in their hats and urged everyone, along with all their models, to join them to “show the world the fashion community is united and fearless.” In the background, “Power to the People” played. |
| Turns out Hollywood and la mode share more than just a mutually advantageous clothes connection. They both have a yen to use their platforms for a certain amount of proselytizing as well. The trend (because that is beginning to be what it feels like, for good or ill, especially when fashion gets involved) may have begun in New York with the slogan T-shirt, but it has been picking up steam in Italy. | Turns out Hollywood and la mode share more than just a mutually advantageous clothes connection. They both have a yen to use their platforms for a certain amount of proselytizing as well. The trend (because that is beginning to be what it feels like, for good or ill, especially when fashion gets involved) may have begun in New York with the slogan T-shirt, but it has been picking up steam in Italy. |
| Donatella Versace, for example, used her maybe-possibly-final collection as creative director of Versace (the front row busy speculating on whether the rumor that Riccardo Tisci, who left Givenchy earlier this year, would be her successor was true) to issue a manifesto of sorts: one about both what her brand represents and her own belief system. Though it was written, not on paper, but on the sleeve. | Donatella Versace, for example, used her maybe-possibly-final collection as creative director of Versace (the front row busy speculating on whether the rumor that Riccardo Tisci, who left Givenchy earlier this year, would be her successor was true) to issue a manifesto of sorts: one about both what her brand represents and her own belief system. Though it was written, not on paper, but on the sleeve. |
| Also hems, hats, scarves and skirts. One black and white knit beanie, for example, atop an ergonomically seamed black and white knit dress, read “Courage”; the hem of a crisp white shirt worn under a cropped black knit and over a sheer leg shade of a skirt, “Love.” “Equality” was picked out on the arm of a form-fitting sweater atop a two-tone pleated silk skirt, and “Loyalty” ran up the side of a black tulle dress embroidered with yellow, blue and orange blooms. | Also hems, hats, scarves and skirts. One black and white knit beanie, for example, atop an ergonomically seamed black and white knit dress, read “Courage”; the hem of a crisp white shirt worn under a cropped black knit and over a sheer leg shade of a skirt, “Love.” “Equality” was picked out on the arm of a form-fitting sweater atop a two-tone pleated silk skirt, and “Loyalty” ran up the side of a black tulle dress embroidered with yellow, blue and orange blooms. |
| It was a catchy idea, but as much as anything, it is the way Ms. Versace has shaped the brand her brother Gianni founded in her own image that serves as her mission statement. For though she made the requisite nods to the signature chain-mail gown, in the form of a halter-necked bias-draped gold number and a mini version in bronze, her Versace is less about worshiping the Amazon goddess of curves than powering through. | It was a catchy idea, but as much as anything, it is the way Ms. Versace has shaped the brand her brother Gianni founded in her own image that serves as her mission statement. For though she made the requisite nods to the signature chain-mail gown, in the form of a halter-necked bias-draped gold number and a mini version in bronze, her Versace is less about worshiping the Amazon goddess of curves than powering through. |
| So there were power puffas in blue and yellow, and power shearlings in orange and black; power shoulders and power pantsuits (jackets cropped, trousers full) and power flowers for evening. There was not a shrinking violet in sight, though there were some rather lurid color combinations that may read better on social media than in real life. | So there were power puffas in blue and yellow, and power shearlings in orange and black; power shoulders and power pantsuits (jackets cropped, trousers full) and power flowers for evening. There was not a shrinking violet in sight, though there were some rather lurid color combinations that may read better on social media than in real life. |
| Either way, you can’t miss the fact that flirtation has broadly been abandoned in favor of fortification. | Either way, you can’t miss the fact that flirtation has broadly been abandoned in favor of fortification. |
| Tougher, men’s wear fabrics and suiting have been omnipresent: at Etro, where Veronica Etro mixed tweed and corduroy, Tibetan silk and sherpa shearling, into a mélange meant for a self-selecting tribe. At Agnona, where houndstooth met thick ribbed cashmere à la super luxe Sherlock. At Antonio Marras, where the first woman to be named to a university chair in Italy, Eva Mameli, and the modern performance maestra Pina Bausch inspired a wholly charming dance-off between tailoring and tulle, pinstripes and painterly embroidery. | |
| Leather is on the rise, ascendant at Tod’s, where the design team went back to its bags and driving-shoe roots for trench coats, motorcycle jackets, trousers and skirts in supple calfskin and shades of black, brown, red and white (the simplest statement yet of brand identity). Also Jil Sander, where Rodolfo Paglialunga, in what was rumored to be his last collection for the brand, offered his inflationary boardroom suiting in black patent, cashmere and felt — though the proportions were so oversized, it often seemed as if the clothes were swallowing the body, instead of swaddling it. | Leather is on the rise, ascendant at Tod’s, where the design team went back to its bags and driving-shoe roots for trench coats, motorcycle jackets, trousers and skirts in supple calfskin and shades of black, brown, red and white (the simplest statement yet of brand identity). Also Jil Sander, where Rodolfo Paglialunga, in what was rumored to be his last collection for the brand, offered his inflationary boardroom suiting in black patent, cashmere and felt — though the proportions were so oversized, it often seemed as if the clothes were swallowing the body, instead of swaddling it. |
| Still, it’s clear fashion has decided its mission is to gird women for a fight (or to protect them, depending on how you look at it). Some of the armoring is simply more overt than others. But just because something is subtle doesn’t mean it can’t exert a powerful force. As Tomas Maier demonstrated at Bottega Veneta. | Still, it’s clear fashion has decided its mission is to gird women for a fight (or to protect them, depending on how you look at it). Some of the armoring is simply more overt than others. But just because something is subtle doesn’t mean it can’t exert a powerful force. As Tomas Maier demonstrated at Bottega Veneta. |
| Working from an obliquely 1940s silhouette, with strong, squared-off shoulders (as in “carry the world on…”) and a defined, curving waist (for men as well as women) he gave sophistication a missile-sharp precision. Suits were nipped in and no-nonsense; dresses puff-sleeved and graceful. Decoration came in the form of metal studs. The coats, for both men and women, had a military bearing; the trousers were cropped. “They were designed at the same time and speak the same language,” Mr. Maier observed of his clothes for both genders. | Working from an obliquely 1940s silhouette, with strong, squared-off shoulders (as in “carry the world on…”) and a defined, curving waist (for men as well as women) he gave sophistication a missile-sharp precision. Suits were nipped in and no-nonsense; dresses puff-sleeved and graceful. Decoration came in the form of metal studs. The coats, for both men and women, had a military bearing; the trousers were cropped. “They were designed at the same time and speak the same language,” Mr. Maier observed of his clothes for both genders. |
| That was clearly true. But just as clear was the fact that it was the opening woman’s look — olive green ribbed sweater and jodhpurs, on the now 43-year-old model Eva Herzigova — that carried the biggest pow, defining the terms and setting the pace for the show. And it was the women, resplendent in a finale of gowns in gunmetal gray and gold lamé, part Boudicca, part Veronica Lake, that finished it off. In between, the men, in their bow ties and tuxedo cardigans, played a supporting role. | That was clearly true. But just as clear was the fact that it was the opening woman’s look — olive green ribbed sweater and jodhpurs, on the now 43-year-old model Eva Herzigova — that carried the biggest pow, defining the terms and setting the pace for the show. And it was the women, resplendent in a finale of gowns in gunmetal gray and gold lamé, part Boudicca, part Veronica Lake, that finished it off. In between, the men, in their bow ties and tuxedo cardigans, played a supporting role. |
| That may be because this is still, officially, the women’s season, despite the growing (and logical) movement toward combining the sexes, but nevertheless it felt particularly relevant in a way that went beyond fashion. Sometimes great style is a soapbox all by itself. | That may be because this is still, officially, the women’s season, despite the growing (and logical) movement toward combining the sexes, but nevertheless it felt particularly relevant in a way that went beyond fashion. Sometimes great style is a soapbox all by itself. |