Only the very best in Milan. Gucci, Versace, etc. we’ll start with Gucci, whose designer Frida Giannini was obviously feeling very goth.
All black, with leather and velvet. The oversiezed men’s jacket as cloak brings to mind the lady who doesn’t need to provide her own. I do like the gloves.
Marbled leather gives a dark and dangerous air to both these outfits, though the way the pants on the left balloon at the thigh is a big on the Jodhpur side of things for my taste. I’m going to assume it’s from tucking them into the boots, and not because they are jodhpurs. Either way, I prefer the dress version on the right with the simple black belt.
Why wear overcoats when you can wear capes? It’s a good question. Especially when they enable you to wear see-thru shirts with impunity, apparently.
The show wasn’t all black. On the left there are gold hot-house flowers printed on a dress with an oddly folded waist. On the right a silk smoking jacket pairs very nicely with wide legged pants in an olive-green.
Here we go goth again. The only thing the outfit on the left is missing is a riding whip. On the right, a nearly see through poet’s blouse is saved from NSFW territory by a large set of laces.
Two lovely red dresses. On the left, appliques are expertly places, while on the right it’s all ruffles.
More expertly places appliques on the left-hand side, on a poet-esque shirt with large ballooning sleeves. On the right, the tunic like top is almost enough to make one forget the floor length skirt is nearly see-thru.
Back towards the color end of the spectrum. This turquoise hothouse flower print looks lovely on the ruffles. On the right, I knew someone who owned that dress–for when they played queen of the elves in a high school production of The Hobbit.
Feathery! I prefer the right hand side, because the entire frock made of iridescent feathers is too much for me, but your mileage may vary.
These three closing gowns make me think of Titania and Midsummer Night’s Dream.