Lo proved can still bring a crowd to its feet. In springy hues, the men’s and women’s clothes — including boxy, workwear-inspired shirts and jackets, paper bag trousers, a pair of flowing caftans — exuded a pared-down ease. All the highlights from the spring 2020 shows. The house’s high-craft leatherwork, especially of the padded and woven variety, was still at center-stage, but the collection marked an undeniable step into the future with laser-precise jackets, contemporary knits and Bottega’s signature intrecciato leather reimagined in dramatic, oversized proportions. Click through to see all the jewelry that will leave everyone wanting more this autumn. The models at Fendi, where the designer served as creative director for 54 years, wore his signature low ponytails and high collars as they paraded by; and in the exquisite nipped-waist dresses, the sharp-shouldered jackets and the dramatic silhouette of a cropped leather jacket over billowing high pants, Lagerfeld’s graceful sketches took shape once more. It was a tense coupling, mirrored in the soundtrack that floated freely from fairytale tunes to death metal. Despite the kinky-color message, the collection was still Marni — and still quirky and cerebral to the extreme. The Best of Milan Fashion Week, in Pictures. There was, of course, plenty of what Ferragamo does best: luxury leather in all possible forms, from suede trousers to a supple poncho cape. After Risso’s men’s wear show, which was held under a netted sea of discarded plastic, the show — with its sustainable, organic, recycled, and recouped fabrics and Amazonian references — presented women as “tree-huggers,” the designer said. Just two days after Salvatore Ferragamo announced the appointment of its women’s wear designer, Paul Andrew, to the post of creative director for the entire brand, Andrew and the brand’s men’s wear designer, Guillaume Meilland, presented a brilliantly hued fall collection inside Milan’s lovely if haunting Rotonda della Besana, an 18th-century former cemetery complex. All the highlights from the spring 2020 shows. And yet Lagerfeld’s same elegant sense of silhouette prevailed, with cropped jackets, robe coats and voluminous shorts floating delicately down the runway. Bags — shaped like hair dryers, cash registers, toothpaste tubes and Champagne bottles dangling from shoulder straps — were the emblems of consumerism, and of Jeremy Scott’s loopy, lighthearted world. In short, Versace was daring anyone to expect anything less than legendary from her. Feb. 20, 2019. The fall 2019 shows have wrapped up in Milan. She championed clothing designed to outlast the cycle of seasons. The Fashion Month marathon completed its penultimate round of shows in Milan before moving to Paris. Against a backdrop of flashing LED lights, Alessandro Michele presented his fall 2019 Gucci collection: a carnival of looks mixed with a succession of spiky masks — a metaphor, according to Michele, for the disguises we adopt through clothes. Saturday, Feb. 23. Perhaps the biggest revolution was a distinctively nostalgic print of ’60s-era flowers, whose bright colors covered some of the collection’s ubiquitous quilting and even a zigzag-shaved fur coat. Fendi debuted its first women’s wear collection since Karl Lagerfeld’s death. Marni turned erotic this season: Women, plus a smattering of men, wore eccentric layers of staid checked wools and racy red leather and silk, with chain necklaces dangling down to the knees above stovepipe boots. Jeremy Scott’s inspirations are often delightfully lowbrow, but his Moschino show this season was a jaunt into the lofty world of art. “I tried to work so that the person is more important,” she said backstage, offering “more simple, less useless stuff.” The first look, her favorite of the show, was a straightforward collared sweater and shin-length skirt — a timeless look, like the silk gauze dresses and slim tailored blazers that followed. Those disguises mixed arch tailoring, copious fake fur, sparkling lamé, kneepads and a hodgepodge of vintage references (Victoriana, flappers and the space-age ’60s) in a mash-up that continued Michele’s freewheeling, free-associating approach to style. The fall 2019 shows have wrapped up in Milan. The familiar melody of “The Price Is Right” rang out and models were dressed in the sparkling grandeur of late ’70s excess, waving their arms enticingly around washing machines, a La-Z-Boy recliner, a flashy red Ferrari and other glories of full-throttle capitalism. Held in a greenhouse on an unseasonably warm winter day, Bottega Veneta’s creative director Daniel Lee made his runway debut, the first show after the brand’s 17-year partnership with Tomas Meier. Understated and opulent as usual, the collection started off with gray suiting before moving into rich jewel tones. The models at Marni paced the runway in frayed-edge garments that were sometimes ripped and sometimes tied up like sarongs, recalling what the creative director Francesco Risso described as “couture nostalgic.” Inspired by a trip to Brazil, the clothes came in tropical colors and big, hand-painted florals in cuts that fell off shoulders and revealed models’ stomachs and backs. The collection was a fusion of extremely feminine touches (delicate laces, sparkly sequin pumps, oversized flower prints and life-size, drooping appliqués of bouquets) with the tropes of tough masculinity (outsized military jackets, metal-encrusted combat boots, thick-soled creepers and a menacing, high-attitude walk). See our favorite moments, as captured by T’s photographers. The brand’s creative direction now falls entirely to Silvia Fendi, who already headed the men’s wear and accessories lines.