Portugal Colonial - Flights of fancy at Bottega Veneta, atmospheric mood at Armani in Milan

The city's harsh aspects found expression in the armour-like coats that Trotter sent down the runway Saturday night at Milan Fashion Week, while its theatrical side burst forth from delightfully tactile creations made from recycled fibreglass that swayed and shimmered as models made their way down the runway.

Milan's most famous brand, Giorgio Armani, also channelled a Milanese mood on Sunday, but more contemplative in a collection that drew on Japanese influences and hues of blue-grey and claret.

Trotter told journalists after her show that the Fall/Winter collection for the brand known for its "intreccio" technique of woven leather was inspired by "what Milanese style meant to me and Bottega Veneta from my viewpoint".

The brutalism of the city, whether in its architecture or its notoriously grey weather, juxtaposes with a more hidden "sensuality and seduction", she said.

That translated to the coats, long jackets and coat dresses with bold, exaggerated shoulders -- "like armour", Trotter said -- some of them with an accompanying brown leather belt that dangled, sword-like, from the waist.

As is fitting for Bottega Veneta, leather infused the collection for both men and women, here on shoulder patches, there on epaulets or collars.

One model was virtually swaddled in supple olive leather, her oversized bomber jacket with high collar paired with an asymmetrical matching leather skirt, with nubby leather flip-flops at her feet.

But the collection took a dramatic turn with the arrival of a series of over-the-top showstopping coats made from recycled fibreglass, a synthetic material introduced at Trotter's debut last September.

The costume-like poofs moved and shimmered under the lights of the former theatre where the runway show was held, just steps from the La Scala opera, many of them paired with matching hats, in colours of electric blue, black and bubble-gum pink.

A sweater worn by a male model recalled a Harlequin theme with splotches of red and black against the white background of the shimmering, fur-like material.

"I wanted to express that joy, that theatric," said Trotter, saying the looks expressed the more showy side of Milan's residents, who "really dress up."

"I think it's quite unusual or rare today to find that. And I think it's dressing up for oneself and also for one's community. I think it's a sign of pride and respect."

Trotter's goal as a designer, she said, was to "bring joy and confidence to people" through clothing.

Backstage, rapper Lauryn Hill had on one of Trotter's glittering sweaters of fibreglass, in electric orange, accessorised with an oversized "intreccio" purse with fringe.

An entourage of assistants directed hand fans in Hill's direction to keep her cool, sending the fibres of the outrageous garment aflutter.

"It's got a life of its own," said one of them, with a smile.

- Colour of clouds -

After the showmanship at Bottega Veneta, a change of mood pervaded the air at Giorgio Armani, where women's creative director Silvana Armani -- niece of founder Giorgio who died last year -- presented a subtle, atmospheric pret-a-porter collection in tones of grey.

Accompanied by the sound of blowing wind on the music soundtrack, loose flowing pants in ivory were paired with unconstructed grey jackets the colour of clouds, while a relaxed bomber jacket in soft wool found its low-key decoration in subtle piping on its sides.

The collection's gentle hues mutated from grey-blue to grey-green in barely perceptible shifts. Until the appearance of claret on flowing satin pants, that is -- a colour also used for velvet evening looks, whether long gowns or loungewear-inspired suits that drew influences from both Venetian and Japanese culture.

But Armani found her own moments of theatricality, mixing feathers in shades of Prussian blue and claret on a cape or a faux-fur long coat mixing black, claret, and grey with pops of royal blue.

X.M.Francisco--PC