The dark side

You could say the Italians have had other things on their minds, what with an election last month that resulted in a political crisis and then the first papal resignation in 600 years. Nevertheless, the mighty wheels of fashion continued to turn, even if the mood in Milan was a tad melancholy.

The cold and snow certainly put the new autumn-winter collections into context. On the bright side, though, many designers offered a sense of romanticism and sensuality. Ladylike elegance threaded its way through several collections: the aesthetic is close to the heart of brands such as Bottega Veneta, Prada, Fendi, Giorgio Armani and Alberta Ferretti, the last of which showed dreamy turn-of-the-last-century gowns and velvet peplum jackets.

Fabrics generally were dark and textured, and there was a lot of fur, tweed, brocade and leather, giving ensembles a luxurious look and feel. The 1940s filtered through in several collections, which, coupled with some atmospheric, filmic settings and femme-fatale hair and make-up, gave the shows a moody darkness reminiscent of film noir; the natural realm, of course, of Miuccia Prada.

Tomas Maier at Bottega Veneta conjured up a Rita Hayworth look, presenting sculpted coats with skirts made voluminous by big pleats, and vampish cocktail dresses in black or white, some embroidered with vertical lines of lacquered raffia.

The femme fatale was at her most lethal, however, dressed in black leather, vinyl, pencil skirts and strong-shouldered jackets by Gucci. Sultry lighting, a dark palette, luxurious use of exotic skins and fetish-esque accessories added to the mood. The beautifully crafted ostrich feather, slithery satin and mesh gowns were just what a silver-screen noir heroine would slip into after dark.

Antonio Marras, a master at creating rich collages of print and textures while playing with gender, similarly tapped into the 40s theme, giving it an English feel with tweeds, brocade and tapestry.