Milan Fashion Week: Che Confusione!

Blow-by-blow accounts of bank closings and bailout debates dominated the news during the Milan collections last week. The hot topic among editors and buyers—warily there to view fashion's prescription for moving clothes in a climate no longer teeming with a bottomless pit of consumers—was understandably the issue of selling. After the saleable prints and commercial friendly New York collections and the optimistic bright colors and sheath dresses seen in London, Milan left us puzzled and uncertain by week's end.

The shows started off promising enough at Gianfranco Ferre. Tommaso Aquilano and Roberto Rimondi's debut at the house was bold in architectural shapes, stiff and precise, with loads of chic options for women to make seasonal fashion waves.

At Prada, Miuccia's forward-thinking statement on seduction met mixed reviews. There was nothing halfhearted in the suggested eroticism: bodies glistened in oil while the shiny crushed clothes revealed bras and exposed stomachs—barely secured by provocatively dangling grosgrain ties. If you ask Italians about their thoughts on the collection the response is overwhelmingly positive and you somehow sense they understand something in the ugly beauty. By contrast, some questioned the prose and practicality of rumpled clothes that fall off the body as a style elixir during uncertain times.

At Marni, Consuelo Castiglioni moved beyond the abstract printed dresses seen for the last couple seasons. For spring/summer '09, she brewed up a fresh pot of directional, fantasy dressing for the type of arty woman who won't abandon her optimism when things get a little rough. Previously drab colors were replaced by a jolt of mix-and-match graphic prints: quirky stripes, polka dots and plaid prints done up in shiny paillettes, loads of transparency (a pervasive trend) and techno fabrics in vibrant greens, reds, royal blues and fuschias. Castiglioni also banished her signature smock shapes to make room for body-grazing silhouettes. Belted knits with knee length skirts and a cardigan suggested that it's alright to feel pretty, festive and prim this season—a welcome prescription no matter the economic forecast.

Fendi's message was, unsurprisingly, all about fabrics as well: looks comprised of luminescent organza blouses and a stunning display of perforated suede rounded skirts peeping into other transparent layers. There was strength in these fabric exercises, but many women may be wary to adopt the oddly rendered architectural shapes. Instead, the clothes best served as a theatrical canvas to the real focus: the beloved Birkinesque bags. At Aquilano.Rimondi (formerly 6267), the designer duo went in a markedly different direction than at Ferre. The '20s-inspired collection dripped in paillette covered tops, chunky necklaces that had an Egyptian tribal, yet modern, look (another trend under watch).

Regardless of their leanings, women will buy precise selections for their highly scrutinized spring purchases. Some will opt for a fashion statement (i.e. the architectural pieces and shock colors) and others will lean to commercially tuned pieces. Over at Gucci there were loads of options in the latter category. Jet set girls will go for the trendy drop crotch pants studded with gold buttons and paired with a fitted Safari jacket. For something breezier, alternatives include chiffon frond-printed tops, waist skimming gold jewelry, low hanging snakeskin shoulder bags and some of the best (super vertiginous shoes) seen this season. Even the less than enthused critics of creative director Frida Giannini's unabashedly commercial (and hot-selling) collections, can't ignore the measure and freedom of this Gucci exotica.

Classic shirt-dresses as well as Milanese knits and work suits found an audience at Max Mara, while Tomas Maier's saffron and green jacket dresses and leather separates at Bottega Veneta deserve a similar embrace. At Burberry, the mood was set in the muted jewel-tone separates and hats pulled low over models heads—giving the feeling of incognito, low-key luxury. Christopher Bailey moved away from the studded embellishments we've previously seen, and, with little exception, stripped the looks down to essential basic cardis (albeit drip-dyed), slouchy rain coats and skinny fluid pants.

The Jil Sander devotee will have no fear in lapping up the narrow lapel, tunic-type tops that were shown with pencil pants. These types of seasonal tweaks to clean simple lines have successfully re-converted Jil Sander purists. Even in the dark navy, black and white palette, the looks eased on some of the previous rigidity. Most of the talk focused on the dresses dripping in fringe, however. This recurring '20s vibe (do take note of it) supplied the right amount of waves for a conservative climate. Meanwhile, Christopher Kane's influence over at Versace may be credited for the string of brief dresses shown at the house's show—there were several strapless and structured numbers that will appear on fit fashionistas' bodies in the spring.

Jonathan Saunders is another Brit tapped for his unique creativity over at Pollini. He had a breezy turn at his first go round, showing light tribal touches, dots and striping prints, graphic patchwork and tiered, fluttery skirts with movement that were simultaneously sexy and performance sporty. D&G was full-on the Deauville sailor theme: high-waisted pants, boat prints on silky tops and degrade eyewear were the styles du jour. While Dolce and Gabbana worked in contrast mixing pajamas tops and highly exaggeratedly shaped puffy skirts, as well as 3D shoulders.

Such was the strange brew of confusion coming out of Milan, even at typically reliable sister companies. Was it a case of commercially relaxed chic duking it out with avant-garde stiffness? The lines weren't that clearly defined, nor do we anticipate that they will be on store floors next spring.

—Jason Campbell