Get Inspired by the 5 Chicest Street Style Trends from Milan Fashion Week

All photos: Julien Boudet/

Fashion Week is not inspiration-poor; from the runways to the streets, we’re finding all kinds of reasons to reinvigorate our wardrobes. Get inspired by the 5 chicest MFW street style trends, right here.





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Shopping: 3 Ways to Dress Like You Just Got Back from Milan Fashion Week

Milan Street Style. Photo: Julien Boudet/

The pitfall of the covetable fashion show? The items on display won’t be available for about six months. The least the shows can do is serve as inspiration, and it’s inspired that we find ourselves, especially by these three major trends: The Luxe Slouch, Monotone Color, and the Long Coat and Sweater.

Here’s how you can dress like you just came back from the shows (and stole all the best looks).

The Luxe Slouch
What: “Baggier pants, luxury sweats, looser-fitting clothes all around. And LOTS of fur (sigh).” — Aaron Hicklin
(Clockwise from left): Loro Piana beaver and suede-trimmed cashmere cardigan; John Smedley Milan cashmere sweatpants; Rick Owens drop crotch silk trousers; Jil Sander slouchy trousers; Baja East ikat graf hoodie; Baja East printed sweatpants trousers; J.W. Anderson striped wool-blend sweatpants; Heschung Zermat shearling-lined leather lace-up boots; Loro Piana Montgomery suede-trimmed beaver-lined cashmere jacket

Monotone Color
What: “There was a very monotone color palate this year, with the notable exception of Gucci. Grey predominated everywhere.” — Aaron Hicklin
(Clockwise from left): Incotex reversible cotton sweater, J.Crew striped cashmere sweater; Billy Reid zipped sweatshirt, Club Monaco slim-fit cotton-flannel shirt; Acne Studios merino wool polo; Richard James linen and cotton blend shirt; Dolce & Gabbana sweatpants; A.P.C. wool blend flannel overshirt; Saint Laurent varsity jacket; Saint Laurent slim fit jeans

The Long Coat and Sweater
What: Sweaters and coats were worn long — sweaters well below the waist in many cases; coats below the knees. Notable exception: Calvin Klein, with cropped sweaters and bomber jackets.” — Aaron Hicklin
(Clockwise from left): Rick Owens long hooded cardigan; H&M long sweatshirt cardigan; Maison Margiela long coat; Transit long cardigan; Comme Des Garcons Homme long corduroy overcoat; Maison Margiela long overcoat; Burberry Prorsum cashmere-blend cardigan; Acne Studios overcoat; Rick Owens long length hooded cardigan

The Dish and Dispatch from Milan Fashion Week

Models backstage at Calvin Klein Fall/Winter 2015. Photo: Matteo Prandoni/

Gucci was the talk of Milan; it was intended to be Frida Giannini‘s last collection (her departure was announced last December; she has been creative director since 2006). Last week it emerged that she was given a quick boot, and her deputy, Alessandro Michele, charged with producing a new collection in the space of a week. Actually, it was very Frida — feminine and romantic, with dashes of color, contrasting with the somber collections everyone else sent down the runway (this year’s predominant palate: gray). The puzzle was just how much Alessandro Michele inherited, and how much he altered.

The rumor is that Riccardo Tisci will take over just as soon as his contract with Givenchy is up (in about a year), while Alessandro steers the ship in the interval. For what it’s worth, I really loved the collection, but there will nothing there for GQ, Details, Esquire — it’s definitely not what Americans would consider men’s fashion. It was as if all the cute boys raided their girlfriend’s closets.


Outwardly, Prada appeared to play it safe, drawing on military uniforms in a collection that included women as well as men. The silhouettes were tight and geometric, lots of double-breasted jackets, very tailored, and naval. Epaulets on the shoulders of some of the men’s jackets were echoed in the bows on the shoulders of the women’s dresses. Many of the fabrics were lightweight — nylon jackets, gray mohair sweaters. I loved it, but as usual you would have to be super skinny to get away with it. You’ve got eight months left to diet.


Military motifs showed up also in Italo Zucchelli‘s F/W collection for Calvin Klein, but this time with a futuristic patina that summoned Blade Runner–an army of sharply silhouetted models in every shade of grey. In fact Zucchelli was more inspired by film noir than sci-fi, but it’s that combination of brooding masculinity and dystopia that makes this collection come to life. Double-breasted coats, parkas, black vinyl jeans, and cropped sweater and bomber jackets, often embossed with animal prints, felt signature Calvin Klein without feeling in any way repetitive.

Why We Love What Alex Badia Wore to Milan Fashion Week

Photo: Julien Boudet/

A cinched waist. It’s a flattering thing, but something we imagine first and foremost on a woman. On a man… well, it’s tricky. That nipped-in waistline has been cropping up in the men’s collections for fall/winter 2015 — James Long is belting it, and so are Miuccia Prada and J.W. Anderson — but, and as is often the case, it’s been done better on the street than on the runway. Our case study of the day: Women’s Wear Daily fashion editor and M magazine fashion director, Alex Badia.


Badia is certainly not the first man to venture into waist-defining territory; another male editor did it years ago, but maybe not quite as well (there’s a certain portrait taken by The Sartorialist that I think of when I think of male tied waists done badly… but you can ask me about that privately.)

When I think of who did the look well before Badia — and by well, I mean it enhances masculinity, emits grace, and is chic and entirely unfussy — I think of Marlon Brando in A Streetcar Named Desire, and Brando’s slim waist highlighted by a higher rise, nipped-in pant. Sure, he was greased up, and not necessarily of a character to aspire to, but who could deny how good he looked?

marlon_brando_in_a_streetcar_named_desire_by_gabrielttoro-d6bxboiMarlon Brando in A Streetcar Named Desire

Badia’s belted coat calls to mind that forgotten masculine grace. The proportions are on point (and that’s a thing you either have the instinct for or not,) and consistency of tone is enviable. If a man’s defined waist can be this good, then here’s to its comeback.

Lessons from Milan: Dress for the Job You Want (No Job at All)

Dress for the job you want not the job you have. For those who want to skip work all together to hang on yachts, private jets, other *glam* forms of transportation, we have Milans fashion week. It’s v rich, v sexy, v fun. The Milan girl is a diva, but she is also high drama (like red bottoms and a bandage dress simply don’t have enough of a narrative for her). In my opinion the Milan girl is really smart in an unexpected way and I always go owff for her look. Let me elaborate on who the she is.

Emilio Pucci
The Pucci woman tried pot a couple times and it wasn’t her thing, but she’s not mad about it. Her husband, however, had a big stoner phase in college and is still known to have an occasional puff. With the legalization of marijuana in Colorado, the couple relocated to Aspen where he is now making their millions in the marijuana industry. As for his wife, she’s the vice president of the company and she’s spending her cut of the profits on Pucci.

Giorgio Armani
Okay so she LOVES The Great Gatsby. The movie, not the book. That’s about it.

Roberto Cavalli 
Her boyfriend’s in a band, he plays guitar while she sings Lou Reed. His band has a lot of radio popularity, but isn’t very good. He probably sings that “Why you gotta be so rude?” song. Nonetheless she insists he is a rockstar and strives to be the Bianca to his Mick.

She is kind of like the Cavalli girl except it is all about EDM instead of rock ‘n’ roll. She doesn’t want any of your molly, but she’s backstage at the rave puffing on an e-cig and taking selfies. She looks great.

The Milan girl, she’s so cool.

The 10 Cutest Instagrams You Missed from Milan Fashion Week Day 2

Image via

If you can’t be there, then peeping all the best Instagrams is a close second best.

Saskia De Brauw getting some yoga in before the Fendi show


How many hands does it take to do hair at Fendi? Approximately five.


An anomaly at fashion week: Michael Carl manages to get a workout in.


Cara and Joan doing what they do best at Fendi.


Highlighter-as-eyeliner at Max Mara. [Editor’s note: of course Emily, the organization freak, like this — A.S.]


Gemma Ward is BAAACK!!!


Coco Rocha front row at Moschino, in Moschino.


Backstage at Fausto Puglisi.


Spotted: Elle Woods at Moschino


It’s a Jeremy Scott / Barbie world at Moschino.

Milan Fashion Week Dispatch #2 — Bottega, Dolce, Jil, and Ferragamo

Thomas Maier sent down the runway for Bottega Veneta (above) a collection devoted to clean, unfussy, easy-to-wear, graphic dresses. No attention was spared in the way of cut and pattern and no attention was paid to any sort of pant, as there were none, not a single trouser in sight. For the women who can’t be bothered, each and every one of his dresses lent it’s wearer a sense of power by dint of extreme craftsmanship (see: the charcoal flannel skirt with the trompe l’oeil-style beading) married with comfort and restraint.  This collection proved that even the munificent styles of Italian designers are not resistant to the minimalist trend percolating through the fashion industry.

This season’s Jil Sander collection could have been last season’s, could have been a collection from 2000, maybe 2004. This collection preserved the continuity of the brand at the expense of personality and creativity. But who could blame the design team who’ve been left abruptly at the helm of the eponymous brand for the third time? They continued writing the story of clean architectural lines, muted colors and androgynous suits that the label has been writing for years, with the same happy but predicable ending (with the exception of one plot twist, the introduction of the python flatform– a charter a girl could really rally behind.)

Jil Sander


Dolce & Gabbana gave us the key to a secret garden that was home to owls, foxes, frogs, fauna and fairies alike.  The fairytale was rendered in comely naïve appliques on an array of dresses and coats. However, I found myself most enchanted by the pieces that seemed to live right outside of the fantastical gates, the pieces that bridged the world of the real and the sublime. A hunter green pantsuit, a black lace below-the-knee skirt and a tweed cape kept the collection grounded and wearable. And for that grand finale? An army of glittering fairies whose fairy-dust-infused garments we’re sure to be seeing at parties all over the world next season — but only if you clap your hands along with the equally stunning front row (I see you David Gandy and Monica Belluci.) Do you believe?



Comfort doesn’t mean casual, well at least at the Salvatore Ferragamo show yesterday. Pulling in the reigns on last year’s experiment with deconstruction, Massimiliano Giornetti dressed a modern woman with a taste for the classics. Updating plaid coats with leather trim and standup collars and giving little black dresses a gold leaf Midas touch, he gave his classically luxurious brand a modern edge. Comfort reigned king with a #trending robe coat and an array of ribbed knit dresses.  Should, god forbid, the vortex return next fall, I know exactly who I’ll turn to for swaddling.


Gucci Gucci, Fendi Fendi, Prada: Milan Fashion Week Dispatch #1

Posing not only a contrast to the over the top, boisterous fun that was London Fashion week but also to the brand’s most recent collections, Gucci was wildly tame. Gleaning inspiration from the brands ‘60s collections, full on glamour was replaced with clean silhouettes and smart, simple tailoring. The fits were kept shrunken, with body hugging blazers and above the knee mini dresses and the colors kept to a pastel palette of dusty rose, baby blue and mustard yellow.  Highlights from the collection? Sumptuous leather tops, chunky python boots and drop crotch denim — yes, Gucci did denim.  Though the looks appeared simpler than what we’ve come to expect from the brand, crystal embellished necklines and panels of pleated skirt reminded us that Gucci was still in fact Gucci, bling and all.


While androgyny was a trend embraced by many designers this season, Alessandro Dell’Acqua illustrated how striking the juxtaposition of feminine and masculine dressing can be. In layering a heavy gray menswear inspired jacket over a sequin and feather dress he showed exactly what Pat Benatar meant when she sang,  “Love is a Battlefield” during the closing song of the show. Many of the looks suggested a morning after ensemble, last night’s party dress topped with a flannel coat or camel cardigan stolen from a paramour’s closet.  A No.21 girl is simultaneously a tomboy and a socialite who tosses a floral holographic sequin coat over a pair of gray flannel trousers. (Pictured at top.)

Karl Lagerfeld’s Fendi was a variety show that shifted between four distinct themes but still managed to feel united. There were ladylike hourglass silhouettes and coats pinned with orchid. There were sporty urban looks with mesh inserts and fur-cum-Mohawk details. There were military inspired bomber jackets and furs patched together to resemble camo. And lastly there were strong Nordic connotations with an emphasis on luxurious layers and furs draped around shoulders belted together with leather straps. Despite a deluge of must have pieces and accessories, a certain Karl Lagerfeld Bag Boy three-fur-purse overshadowed them all  (sure to become a cult favorite especially after Cara Delavigne danced it around Lagerfeld during his closing bow.)



Roberto Cavallli kept it close to home for Just Cavalli this season despite a tendency to pull his inspiration from more foreign affairs. This season he celebrated his hometown of Florence with an earnest tribute to Medici statuary and the arches of Santa Maria Novella, which were printed on dresses and trousers alike. Abstracting the prints with neon colors and overlaying brushstrokes kept the prints inline with the rock and roll vibe synonymous with the label. It is impossible to talk about the show without commenting on the copious amounts of fringe, which migrated from bags and heels to the cuffs of coats and the legs of jeans. Floral brocade jackets and motto inspired details help to ground the more outrageous pieces, such as one space cowboy gold leather jacket that felt more fit for a rave than a Renaissance.



It is with little hesitation and even less surprise that I call Prada the best show so far. Funneled in through a black felted tunnel, the stage or sound-proof “recording studio” equipped with sunken orchestra pits, housed the musical soundings of Kurt Weill sung live by Rainer Werner Fassbinder’s “Lola” a la Barbara Sukowa. The show began with minimal sleek menswear tailoring then quickly escalated into a brightly colored phantasmagoria of sheer shift dresses, highly saturated shearlings and bold art-deco prints. Looks began with silk scarves tied around the neck and ended with wedged heels and boots. The vibe was sensual without ever faltering toward sexual; Miuccia Prada exercising her uncanny ability to make even the dowdiest shapes feel feminine and seductive. The best example of this an oversized sporty V-neck thrown over a modest high-neck silk dress. The outerwear was some of the best we’ve seen this season with dark overcoats that boasted contrasting piping in metallic leather and shearling: practical, wearable yet still dramatic.  Likewise can be said for the entire collection, great potential for commercial successful with out losing anything in the way of artfulness and drama.


Eight Stand Outs from Milan’s Menswear Shows

1: Brioni’s East-meets-West vibe

You have to go back a long way to uncover the roots of Brioni’s Fall/Winter 2014/15 collection—all the way back to Caravaggio, in fact. Take, for example, Giusquiamo green—yes, I had never heard of it either, but a chief pleasure of fashion is how it expands your appreciation of color. Giusquiamo green—dark and mossy—is named after a leaf (henbane in English), that was said to help witches fly, and the dead forget their loved ones, as well as more practical purposes in treating colic, irritable bladder, and gastric ulcers. And now it is a shade of beautiful knits and jackets by Brioni, taking the color palette from the shades of Carvaggio’s compositional chiaroscuros. There’s also midnight smoke, cherry brandy, dry bougainvillea, and geisha red. Talk about a (cashmere) coat of many colors. And that geisha red is no anomaly: a 1963 travel journal by Brioni co-founder Gaetano Savini, in which he recorded his impressions of Tokyo, serves as the anchor to this sublime collection in which silk shirts and a varsity jacket are embroidered with traditional Japanese scenes that you don’t need to be an extrovert to wear. Current creative director, London-born Brendan Mullane, let me look through Savini’s yellowed notebook, full of scribbles and doodles, and practically humming with inspiration and passion. Mullane and his team have taken that inspiration and expanded it for a collection that genuinely merits that overused trope “east meets west,” by synthesizing the best of both worlds.

Brioni JournalBrioniSilk ShirtBrioni close up

2: Bottega Veneta’s everything.

There were many shades of green on show at the Bottega Veneta presentation early on Sunday morning—at an hour that Tomas Meier, the brand’s reserved, somewhat cerebral creative director, tends to favor, presumably because he thinks that afternoons are for slackers. Meier has helmed the luxe Italian brand, Bottega Veneta for over 12 years—and for good reason. His collections are never less than impeccable, and consistency is his hallmark. There is almost nothing that materializes on his runway that I wouldn’t want to wear, and almost nothing I could ever afford. This season’s signature was a dip-dyed sweater, as well as cashmere sweat pants that will never be worn to the gym.




3: Canali’s Grand Piano

The music for the Canali presentation was a live performance by pianist Ludovico Einaudi, playing his own pastoral compositions on a grand piano. Yes, it was exhilarating to hear Beyonce’s Superpower at Bottega Veneta, and the blast of Pulp’s Hardcore at Feragamo was a delightful mindfuck, but after all the pop and rock that propels the svelte young boys down the catwalks, how nice to have the grown-up sound of Einaudi at the piano. I’d never heard of him before, but when I fly back to New York, this is the song I shall be playing to calm my nerves.


Ludovico Einaudi


CD for ludovico-einaudi-in-a-time-lapse-album

4: Bebel’s Puntarelle salad

Man cannot live on style alone. Sometimes he needs bread, too—preferably dipped in a little olive oil, and served with a heaping bowl of puntarelle salad. Let me come clean: I had no idea what puntarelle was when I first encountered it at Bebels, one of those typical Milanese restaurants that are over-lit, and basic, but which serve fresh, simple dishes that you crave after a day of sitting endlessly on hard, narrow benches waiting for shows to start 30 minutes after their scheduled time. Puntarelle is a winter chicory that grows in southern Italy, and which is transformed by a little chopped anchovy, garlic, vinegar, and olive oil. Reader, I could eat this every day, and when I am here I do.

Puntarelle Salad_Bebels

5: Pink? No, Flamingo.

I overheard Deborah Needleman, now making waves as editrix of T Magazine, marveling one morning at the rise of the men’s clutch. Men’s fashion had become a little more feminine, she noted, while women’s wear was a little more masculine, and so much the better. It’s a good and true observation, but Valextra, a cult Italian bag company, suggests the wheel has simply been dialed back to the 1960s when European men thought nothing of running around with a slim, elegant purse under their arm. Velextra’s fall collection of leather goods come in three colors—petroleum, dark brown, and what they refer to as Flamingo, a bright poppy pink that would add just the right amount of dash to a man’s wardrobe. It surfaces in attaché cases, document wallets, even a cool little case for your computer cables, but I liked the wallet best of all. Is it too early to draw up a Christmas list?


6: This model

Watching Pier-Gabrile LaJoie stroll down the runway for the Fall/Winter 2014/15 Calvin Klein’s menswear collection was my Death in Venice moment of this season’s shows (you’ll have to read the novel/watch the movie to understand). In Gerontophilia, the most recent movie by director Bruce LaBruce, the young French Canadian plays an 18-year old attracted to an 82-year old man, and it’s easily LaBruce’s most touching and mainstream movie to date. There was something cinematic, too, about Italo Zuccheli’s latest collection with its masculine suiting and the slick-haired models strutting confidently down the catwalk. Leading the charge, LaJoie wore a green trench and pleated, roomy pants that brought to mind a Raymond Chandler crime noir. Later that night, at an extravagant cocktail party festooned with tureens of caviar, LaJoie reflected the same lovely ease and grace he shows on camera, and yes—I was charmed. And no, I did not ask his age. That would be too depressing.


7: Donatella Versace

When her brother was shot and killed by Andrew Cunanan on July 15, 1997 few fashion world observers expected Donatella Versace to have the combination of talent and business acumen to keep the fashion house relevant. And yet, here she is in 2014 with a collection that had the audience at the Versace mansion cheering at the weekend. It was, perhaps, the most purely entertaining and joyous occasion that this year’s shows had to offer. There were men in assless chaps that might have been ripped from the pages of gay illustrator Tom of Finland; and men in elaborate jewel-encrusted cod-pieces; and men in ferociously-patterned biker helmets. I had the pleasure of interviewing Donatella some years ago, and still remember thrilling to her deep-throated purr as she discussed fashion and sex. Was there such a thing as being too sexy or seductive, I asked? “Never, never!” she responded, “You can be too boring, but you can never be too seductive.” Nothing about Donatella has ever been boring. And when she came out at the end—a gush of silky blonde hair and a buoyant smile—seductive was precisely the word that sprang to mind.


8: The enigma that is Prada

Trays of whiskey were waiting as the fashion press poured into the large cage-like arena for Prada’s always-hot ticket show. A stickler for detail, even the refreshment is often a hint of what’s to come, but as usual with Miucca Prada the show was playfully abstract with a somber undertone. Were we in wartime Europe, or maybe in the immediate aftermath? The fox furs hanging around mens necks, and used, harness-like, to reinforce vests, conjured escaping prisoners, but no — afterwards, backstage, Miucca smiled appreciatively at the guessing games, but quickly clarified: we are in the world of the German avant-garde, of which the late Pina Bausch was such a great exemplar. And Bausch, like Prada, commanded a devoted following, not simply because she knew how to dance, but because she knew to think.

Aaron Hicklin is the editor in chief of Out magazine and editor of BlackBook.