Sharon Stone takes Dolce & Gabbana in relaxed Milanese fashion

MILAN – The first rows of first-graders and shoulder-to-shoulder seats gave Milan Fashion Week a pre-pandemic atmosphere.

So far this week Sharon Stone has rated herself at Dolce & Gabbana, Rihanna and A $ AP Rocky have shocked Gucci, and Kim Kardashian wore Prada at Prada.

After two years of a combination of digital and physical means, social distancing and travel restrictions that did not allow many foreign buyers and editors, there was a sense of a return to some new normalcy that now includes the war on the eastern outskirts of Europe. Tens of thousands of people gathered on Saturday in Milan’s central square to demonstrate for peace, crossed by weekend shoppers and fashionistas.

Highlights of Saturday’s previews of predominantly women’s clothing next fall and winter:


Want to become your own avatar in real life? Check out the latest collection from Dolce & Gabbana, which brought the metaverse to the runway.


Why leave all the fun to the digital universe when there’s a real version of a shiny red mini dress with exaggerated fluffy sleeves or a shaggy Yeti-style coat in a greasy stripe or checkered?

Regardless of the avatar in real life, the slogan in the new collection of Domenico Dolce and Stefano Gabbana – sexy. The bet of the season are sheer stockings with garters that look out of short hems, through sheer lace dresses and even, incredibly, out of one-leg pants. Yes, apparently, this innovation will have some benefit in the meta-universe D&G.

Corsets defined the shape of many coats and dresses, and also appeared in the form of silky outlines on fitted black dresses, tops and jackets. For a better transition from the digital world to the digital world were refined fitted tops and leggings with a shiny finish, which were worn under dresses and skirts with a neckline. Large 3-D style sunglasses completed the image along with high heels. The designers also demonstrated an unusual humor in a series of clothes similar to the pod – coats, jackets and knitwear – designed for protective wearing on the head, almost like a nun.


Sharon Stone sat in the front row with Sam Webb, Lady Kitty Spencer and Adam Sen and rapper Anna. She nodded gratefully at them, saying “Gorgeous” to the black faux fur dress with suspenders and “Wow” to the fluffy white room.

Designers recently announced that they are abandoning fur this year, but continue to work with craftsmen over synthetic alternatives to preserve craftsmanship.


Every view of Marnie appeared out of nowhere, on an indefinite runway inside an abandoned warehouse with dirty floors and overgrown greenery.

The models walked, as if stunned, through the crowd, each following them on a hooded torchbearer dressed in the form of trousers with tight hems and spiked plastic shoes.

Each of the models wore the work of creative director Francesco Ritz, as well as items from their own wardrobe, part of Ritz’s growing collaboration with the community around the brand, which he calls collaborators. Sophisticated hats, including teddy bears sticking out of knit hats, twisted felt and wool, or the devil’s wire ears, created some sort of zombie threat of a slow, irregular procession.


Ritz himself was walking to the show, halfway through, wearing a geometric sweater he had knitted himself in two days, pants with a new collection and a worn-out tuxedo jacket that belonged to his grandfather.

“Things in our wardrobe become the meaning of who we are. “Sometimes you forget about these things,” Ritz said afterwards. “Everyone brought their own items. Each of them cooperates differently. It’s part of the game of what we do together at Marni.”

From the dark cave space the crowd poured out for an impromptu feast with fruit and cakes, bread and cheeses served on a porcelain mix and silver under a bright blue sky.

One employee, Izzy Adams of Los Angeles, wore a pleated floral dress created by Rizzo that looked as if it had been torn and frayed after being shared with a can of blue paint. She layered it with a children’s T-shirt adorned with palm trees that once fit and have now become a crop top. This is her fourth performance with Marnie. “There are a lot of really interesting people on board,” she said as one model posed at a banquet table holding a glass of wine.



Designers Lucy and Luke Mayer have redefined Jill Sanders ’minimalism with artistic gestures and intricate cuts that give the silhouette clarity.

The jackets in the new collection were bell-shaped, hovering over the mini-orders; straight coats had built-in capes, worn over short felted skirts; flat bows adorn dresses on a strap or across. The expressions were denoted by large V-bibs or navy lapels. Textiles are mostly made of wool and crepe, some textured, but there were also soft silky dresses with neat ties at the neckline.

“Every outfit has the dignity and subtlety of couture,” – say the designers in the notes.

Reflecting the cool contemplative nature of the collection, the models walked along the runway decorated with classic sculpture. The color palette was soft, including off-white, creamy yellow, pink and lilac-gold.



Milan designer Arthur Arbeser has been inspired for prints this season through a kind of divine intervention. Coincidentally, the priest, who baptized the Vienna-born designer, found him on a list of costume artists for the Berlin production of “Der Rosenklavier. ”

“He learned my name (about four decades later) and thought I might be the kind of person interested in Baroque fabric prints at the Salzburg Museum, and he sent me a CD,” Arbesser said.

The images were sometimes just clippings showing off baroque flowers in countless colors, Arbesser turned them into patchwork, superimposed by his own brushstrokes and elements of. Another imprint is taken from his own sheet of water-based paint, with colored stripes and sharp black scratches.

He gathered it together into a prudent silhouette that ranged from skirts with twisted jackets and sports jackets, beautiful dresses with angel sleeves, with hand-knitted scarves and jewelry. The appearance was complemented by a Dante-style cap, neatly tied under the chin to mark the 700th anniversary of the death of the great Italian, celebrated last September.

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