For years now, Prada has dominated Milan’s fashion scene. The pairing of Miuccia’s modern femininity and Raf Simon’s somber brutalism has created an unexplainable magic that tapped into fashion’s collective consciousness. Similarly, Alessandro Michele’s tenure at Gucci governed the coverage with his beloved retro-inspired designs. But this season, among the viral moments and reshared runway images, both brands were barely mentioned.
Instead, the best collections of the week came from other heritage houses, including Fendi’s opulent centenary birthday celebrations, Marni’s maximalist styling, and Moschino’s call to “save our sphere”. London’s presence was certainly felt in the Italian fashion capital, as Susan Fang crossed territories for a collection as part of the Supported by Dolce & Gabbana initiative, David Koma made his runway debut at Blumarine, and Ferragamo creative director Maximilian Davies offered his most confident collection yet.
But if virality is the measure of success for global audiences, then Dsquared2 cleared all competition (with an honourable mention to AVAVAV’s undead horror show). With an opening performance from it-girl of the season Doechii, and a reprisal of Naomi Campbell’s 2003 runway finale, plus the debut of a Vaquera collaboration, Dan and Dean served up some showstopping drama.
Below, BRICKS rounds up our favourite collections from Milan Fashion Week AW25.
AVAVAV
AVAVAV’s AW25 show woke the dead. “Lately, I’ve been grappled by a quiet fear – one that lingers rather than overwhelms. It’s not an urgent panic but a slow, creeping unease,” wrote designer Beate Karlsson in this season’s show notes. As models crawled out of a grave-like hole dug into a patch of fresh grass that was laid out on the runway, the designer unearthed the collection titled ‘The Hole’, which featured a seamless ensemble of seductive tailoring and modern streetwear, all infused with an eerie goth and zombie-esque essence.
Gothic influences intertwined with exaggerated femininity – ribcage cutouts, skeletal prints, bouclé blazers, and sheer veils contrasted against armor-like silhouettes and sportswear references, as a haunting atmosphere was amplified by the smoke-filled catwalk and distorted anatomical illusions. Avavav’s ongoing Adidas Originals collaboration introduced avant-garde footwear, including the Moonrubber Megaride, defying sneaker conventions, while a partnership with Swedish jewellery brand Glitter added hyper-feminine embellishments, reinforcing the show’s delicate yet powerful essence.
VERSACE
Donatella Versace took over a working tram depot for AW25 to showcase a collection paved with the timeless values of Versace: freedom, individuality and integrity. Showcasing a colourful blend of the house’s signature baroque-inspired prints on opulent opera coats, silky button ups, and showstopping ball gowns, the designer paid homage to Gianni Versace’s archival homeware line.
Further archive references – including from his last couture collection before his death in 1997 and his 1980 costumes for ballet – could be seen on stud-ornated collars and pockets, the off-set shoulders of the tailoring, and the velvet upskirting of gravity-defying crinoline tutus. Although fairly revering Gianni’s vintage collections, Donatella didn’t fail to bring innovation to the runway, fabricating a 3D printed dress, bustier and skirt in recycled nylon polymers with crystal inserts, citing her brother’s 1980’s series of chainmail-feel evening gowns made from a light metal mesh more commonly used in aeronautic engineering.
DSQUARED2
The AW25 show was a night to remember as the brand celebrated its 30th anniversary. For starters, the show opened with a surprise performance from the “iconique” Doechii and JT. Celebrating their milestone, Dan and Dean Caten presented a collection, coined ‘Obsessed2’, that paid homage to every Dsquared2 staple imaginable – daringly low-cut denim, partywear with a touch of trash, and, of course, an ample dose of Canadian tuxedos. The runway was like a ‘Guess Who’ of famous faces, including Brigitte Nielsen, Isabeli Fontana, and NLE Choppa, to name just a few.
Excitingly, the brand also showed off new collaborations with LVMH winners Magliano and Bettter, and New York fan-favourite Vaquera, pairing the latter’s signature balloon skirts with an ‘I Heart D2’ cropped hoodie, and license plate hats and belts. The designers got to delve into Dsquared2’s archives to repurpose garments into new runway looks, making for some of the most innovative designs showcased this season.
FERRAGAMO
For AW25, Ferragamo’s creative director, Maximilian Davis, took inspiration from German ‘Tanztheater’, a type of expressive dance from the Weimar Republic that originated in the late 1920s and experienced a comeback in the 1980s. The collection started tentatively with a plethora of wool coats paired with leggings and some awkward handbag belts, but grew in confidence as satin trench coats and shredded ribbon gowns stomped down the red rose petalled runway.
The brand’s London-bred creative director Maximilian Davies said old Hollywood glamour was also at the forefront of his mind while he was designing the collection, which could be seen in slick tailoring and sleek evening dresses with a touch of 1920s surrealism.
BLUMARINE
David Koma made his runway debut as creative director of Blumarine. After his predecessor Walter Chiapponi lasted just one season, there was high expectations for Koma to steer the brand back on track to appeal to a more mature customer, a departure from the brand’s Y2K aesthetic – both of which sit comfortably in Koma’s wheelhouse.
The Georgian designer’s AW25 collection was characterised by “dark romance” and the sartorial stylings of Italian actresses – thistles, emblems of resilience and fragility, recurred throughout the collection across micro and macro-scaled prints and accented with dazzling crystal appliqués and shimmering silver details atop stilettos and belt buckles. Elsewhere, Koma’s signatures could be found in the monochromatic colour palette and sumptuous stylings of lace separates and fur hemlines.
MOSCHINO
Entitled ‘Tools Of The Trade’, Moschino explored notions of hard work FOR AW25. The show closed with an ‘SOS’ message from the archive of the brand’s late founder, Franco Moschino: “Save our Sphere”. Three seasons into his creative director role, Adrian Appiolaza delivered on the wit and kitsch we’ve come to know and love from this brand, offering up the mundane as high fashion ensembles including bin bag dresses, sofa cushion hats, and Polaroid pictures of brooches adorned on knits.
FENDI
No creative director? no problem, for Fendi’s big birthday bash. To celebrate its 100th anniversary, accessories and menswear artistic director (and daughter of Anna Fendi) Silvia Venturini Fendi honoured the house’s heritage in its first catwalk show since Kim Jones’ departure in October with a luxurious 1920s-inspired collection of fun furs & Italian leather.
Across its nearly 90-looks, craftsmanship took centre stage – in Eel skin and leather macs, in deerskin and suede reversible coats, in cleverly-cut peplum skirts and in many fur looks, where patchwork techniques were applied to shearlings to resemble fox, mink and sable.
SUSAN FANG
The Chinese-born, London-based designer took her whimsical creations to Milan thanks to support from Dolce & Gabbana, pulling lace from the Italian house’s archives and pairing it with her 3D & sequinned signature styles. Chosen by Perfect’s Katie Grand, Fang was given access to the Dolce and Gabbana archive, design studio space and seamstresses.
The resulting collection was bursting with colour and creativity – to open, she showcased an intricate ensemble of crystal and beaded flower dresses which took craftswomen over three months to produce, displaying her technical precision as much as it did her artist innovation. Elsewhere, a sweeping swing coat, inspired by an archive D&G silhouette, was hand-painted with scenes from her native countryside by Fang’s mother.
BOTTEGA VENETA
Opting against a traditional runway, Bottega Veneta invited guests to the theatre in its headquarters to enjoy an intimate multi-disciplinary performance from Patti Smith, celebrating 50 years since the release of her breakthrough album Horses. The music legend appeared in an understated ensemble – a black suit and ankle boots, paired with a simple white tee – as she recounted poetry and two works, ‘Medea’ and ‘Paolini’, as well as performing her 1978 hit ‘Because the Night’, in honour of her late husband and their 45th wedding anniversary.
The alternative presentation is undoubtedly due to new creative director Louise Trotter’s short tenure (she was appointed just last month following Matthieu Blazy’s departure for Chanel). Unlike other brands whose creative leadership is under question, Bottega Veneta’s event was a confident display of the values and vision that Trotter will take into SS26 in September.
MARNI
For AW25, Marni showcased a poetic study of the wolf – one of folklore’s most iconic predators, known for its connotations of deception and violence. The Italian heritage label welcomed a star-studded cast to its runway including model Amelia Grey, stylist Dara Allen and actress and style icon Tracee Ellis-Ross, a close personal friend of creative director Francesco Risso. Plus, the show was soundtracked by Blood Orange’s Dev Hynes.
Vibrant hues swept the runway, styled in mis-matched pairings and bundles of layers that felt reminiscent of the internet’s favourite eclectic style girlies. The collection, titled ‘The Pink Sun,’ emerged from a month-long artistic residency in London, where Risso collaborated closely with Nigerian artists Olaolu Slawn and Soldier Boyfriend.
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