At first look, it might be difficult to see the political pursuasion behind Miuccia Prada's lavish collection of exotically-feathered and embellished looks but be assured, it is there. Signora Prada has long been outspoken in her convictions - even as a young women she famously attended communist party meetings, clad in Yves Saint Laurent, of course.
For her Autumn Winter 2017 collection, Prada collaborated with artist Rem Koolhaas and his AMO Studio on a set to create, 'the City of the Women', taken from Federico Fellini's La Citta Delle Donne. Littered with signage of females and accompanied by notes reading, "Fashion is about the everyday and the everyday is the political stage of our freedoms," the set provided a stage for Miuccia's response to the recent political upheaval by exploring the relationship between men and women in love and sex.
"I heard that in America, at the women's march, an old feminist said 'I can't believe that 50 years later we are still in the same place,'" Prada told The Guardian backstage. "The weapons of seduction are always the same. Feathers. Lingerie. When you are an educated feminist, sometimes you reject this, but it is true that these have stayed the same for many, many years. How is it that desire is necessarily linked to these things? Does this mean that seduction is something deeply human, or that it is a social structure? This is a serious question."
Miuccia's answer was articulated in riffs on elevated everyday wear: beaded, embroidered cardigans, fuzzy crocheted bralets, ostrich feather hoodies and pin-up printed dresses. Flirtatious, austentacious but each embued with the sense of feminine confidence and intelligence that the designer is celebrated for.
Max Mara's cosy collection of tonal looks - scarlet red, cognac, grey and gold - was a study on seriously chic outerwear, for which the house is so well known. Wall Street-esque suiting was fashioned with femininity in fluid fabrics and punctuated with slouchy, snug knits. Somali-American Muslim model Halima Aden leading the finale in a classic Max Mara camel coat look finished with a hijab, ending the show on a high.
Fendi's opening of fur-trimmed suiting came replete with thigh-high red leather boots which would set the tone for the rest of the sexy-meets-smart show of demure looks with an unmistakably sensual undercurrent. The Fendi 'F' returned into full force emblazoned onto belts, hoop earrings, bag straps and coat cuffs, ensuring logo mania is alive and well in fashion.
Jeremy Scott's predictably humorous collection for Moschino was inspired by the idea of a Cate Blanchett in Blue Jasmine-esque character, a wealthy, fashionable woman who has become broke. On the catwalk, this translated to a literal sack dress, a suit cut to look like it was made from cardboard, trimmed with packing tape, all-over-print looks that appeared to be made from torn up 'Moschino magazine' pages, a dress accessorised under a dry cleaning bag, another with a bag fashioned to look like a roll of toilet paper. The next It-bag?