After the Emporio Armani show, King Giorgio Armani -- "Il Re Giorgio"-- needed extra time to get across the few meters of distance separating the two sides of Via Bergognone where the gigantic Armani/Silos exhibition space stands. The adoring crowd surrounded him and cheered his name like that of a true king. In that instant I understood that the war against the unexpected and terrible evil of Covid had been defeated, or at the very least that the Italian people now possessed the psychological strength of victors in a battle.

The fashion industry, or simply "Fashion" as they call it here in Italy, is an economic engine, a creative cultural stimulus, and a source of pride for a country that has always been prominent in the history of art and culture.

A few weeks ago in Milan there was the Super Salone del Mobile for furniture. After came the Fuori Salone for design that reenergized fans of Italian design across the world. 

Then came the “Settimana della Moda”, or Milan Fashion Week, that has returned to in-person shows, and has put the official stamp of optimism on what we all hope will be a definitive "rinascimento",  or renaissance of Italian creativity and fashion, according to Carlo Capassa, president of the Italian Chamber of Fashion. 

And there is reason to hope, as the Italian fashion sector has registered encouraging data, with a turnover growth of 24% in the first quarter of 2021 compared to the same period of 2020, though still 15% lower than in 2019. Italian fashion continues to affirm its appeal across the world, with exports amounting to 18.2 billion euros (about 21.37 billion USD) during the first five months of the year, thanks in particular to the Chinese market and the countries of the European Union.

The silent struggle borne by the fashion sector and its prestigious designers during Covid found its symbol in the Armani brand that not only "begins again" this year, but also celebrates 40 years of Emporio Armani with an exhibition and a show revisiting some of the milestones of the brand, one of the first major brands to bet its business model on more affordable prices. 

Dressing everyone has always been the maxim of Armani, and the brand demonstrates that fashion, elegance, and style are not exclusive to the wealthy elite. On the contrary, these things and their benefits should be accessible to all. This spirit of popular fashion, as well as the simple pleasure of feeling well-dressed are an essential part of Milan Fashion Week, and a part of the daily culture of the Lombard city.

Lines of luxury cars form in front of the shows where the stars of fashion and entertainment step out. The crowds wait vigilantly for the arrival of their favorite model, actress or influencer, eager to make their dream of a selfie with them come true, crystallizing a smile with him or her into an image allowing the taker to possess a part of the beauty and fame.

I experienced the Fashion Week in the lively and multifaceted world "outside", amongst the crowd of photographers all waiting for a famous person or a perfect shot, along with the aspiring models hoping to show themselves to the world and the beautiful and elegant women and men who simply want to see and be seen. 
The end of each fashion show inside brings its models down to reality from the rarified fantasy world of the catwalk. The models, with noble humility, all come outside and mingle with the waiting audience, where they pose for hundreds of anonymous photographers who take thousands of shots.

Of the 65 shows scheduled for the women's spring and summer 2022 seasons, 43 of them were done in-person and 22 virtually. Prada decided to combine both formats. It used a double catwalk-- one in Milan and one in Shanghai-- simultaneously presenting exactly the same clothes in the same order, 9,000 kilometers apart and shown virtually in each location. The week also saw the return of the iconic Roberto Cavalli after a period of absence, and long- established brands such as Luisa Spagnoli officially held their own shows for the first time.

Because fashion reflects life and society, the visions of the designers and brands have undoubtedly been influenced by the “Covid era”. Some designers made the choice to recenter themselves around their traditional styles, proposing a classic and timeless concept of feminine style. Alberta Ferretti is one such designer who was loyal to his classic collections, much like Armani, who nevertheless instructed his models to smile on the catwalks to acknowledge the optimistic new era. 
For other designers however, the end of confinement and social restrictions kindled a desire to “teach, celebrate and liberate the body” in a spirit of renewal. This was seen in the Missoni show, with very brief bikinis and silhouettes that recall Dolce & Gabbana and the hyper-sexy 2000s, with necklines descending below the navel. Versace, the house that made sensuality its hallmark, was not far behind with tiny bodices and rubber skirts.
 
Milano once again did not disappoint, and gave us a strong and vital dose of creation, beauty, and glamour, allowing us to embrace the best of the past while looking to the future with confidence and bright hope.

English text by Meredith Brunel