Miuccia Prada’s latest fashion show, which kicked off Milan Fashion Week, placed skirts at the heart of the collection. Featuring 63 distinct looks, the show avoided traditional dresses and trousers, focusing instead on A-line and knee-length skirts paired with a variety of tops, including sweaters, shirts, and lace bras. High heels and bare legs were used sparingly, emphasizing a more understated aesthetic. Prada, who has been working closely with Belgian designer Raf Simons for the past six years, explained that the idea for an all-skirt show originated with her, and Simons encouraged her to take it further. Prada prefers skirts over dresses because they offer more contrast and versatility, mirroring her view of herself as a complex and contradictory individual. She believes clothing should reflect that same complexity. The Prada brand has expanded significantly in recent years, including the acquisition of Versace, a brand once considered a rival. Donatella Versace, who left her family’s brand last year, has announced a new partnership with Revolve Inc, a California-based company known for its online fashion retail. This new venture will launch with beauty products next year, followed by a line of fashion. However, there will be no Versace show at this Milan Fashion Week, as the brand is preparing for a debut next season under new designer Pieter Mulier. Meanwhile, Giorgio Armani’s legacy continues with the appointment of Dario Vitale to lead the Emporio Armani brand, positioning him as a potential successor to the late Giorgio Armani. Milan’s fashion scene is currently undergoing a transformation, marked by leadership changes at several major houses. This shift contrasts with the traditional stability of Italian fashion, which has long been dominated by family-run brands. At Fendi, the powerful matriarchy that once controlled the brand has stepped back, allowing Maria Grazia Chiuri—known for her work at Dior—to take the helm. These changes reflect a broader evolution in the global fashion industry, where Milan, historically more conservative and stable, is beginning to mirror the more experimental nature of Paris and London. While Milan has long been associated with classic design and established names, recent developments suggest a more dynamic and evolving landscape. The departure of longtime figures and the arrival of new creative leaders indicate a willingness to embrace change. This period of transition may signal a new chapter for Italian fashion, one that balances tradition with innovation, as the industry continues to adapt to shifting consumer tastes and global trends.