The Emilio Pucci's collection was a mixed bag- she tried to add laidback elements-luxe retro travel into her style for her S/S18 Milan fashion week collection.

She brings the model in Sunglasses, big or extra small bags, and towel turban. There were a cropped, neatly tailored utilitarian jumpsuit and a fabulous white caftan bordered in strips of print and puckered georgette

The house’s history of luxe retro travel and curlicue prints with a collection devoted to poolside glamour — morning, noon and night.

Bathing beauties camped it up in laser-cut white bathrobes over a bikini top and wave-print mini or Pucci printed terry dresses, one wrapped in a beach towel into a strapless minidress with beaded embroidery. Another looked like a beach towel turned retro evening T-shirt dress with feathered trim.

Feminism, politics, and art define the Prada's S/S18 collection, not in the manner of trend statement or take-your-breath-away statement. Rather, they stated a philosophical call to arms. The result was fascinating in its premise yet oddly disquieting in its ultimate dispassion.

The designer played with and crossed gender stereotypes, pretty dresses, and bustiers, girly to the point of, well, cartoonish, worn over mannish shirts and pants.

Prada added the playful quirky coats featured the jarring artwork of Prada’s cartoonist collaborators, sometimes gussied up with jeweled panels or studs.

The basic idea behind the collection was ironic juxtapositions of cartoons against exquisite tailoring. After a while, endless cartoon drawings converge into a blur of exaggerated facial expressions.

In the end, the bifurcated message resonated uncharacteristically, as neither the fashion nor the social message was delivered with the passionate power that Prada has trained us to expect.

Silvia Venturini Fendi described her spring collection as a fusion of Italian Futurism and carefree Caribbean style; he mentioned the artist Giacomo Balla and a play of “geometrical shapes in new proportions, but not stiff geometric things. We’re not doing Schlemmer Ballet Triadic. On the body, they have to be soft and floating.”

The lineup was unified by an inventive graphics rendered via cut (cutouts and demonstrative collars that created a shoulder focus) and pattern.

Bold chevrons modernized shapely, full-skirted looks that once upon a time would have been called fit-and-flare; layerings of multiple patterns, plaids, stripes, and more stripes.

The key fabrics were sheer nylon organza that delivered a top layer of pattern sans heaviness. Creating the ease through the range of beautiful, airy fabrics. Many of the looks had athletic airs, especially the faux-geeky bowling shirts over skinny knits, or city-smart anoraks.

Donatella remembers her late brother Gianni Versace in developing the S/S18 collection, she honed in on a single overarching motif, the prints that her brother made the sign of the house. She extracted from the archives, among others, “Baroque,” “Vogue,” “My Friend Elton,” “Warhol,” and one that might play as controversial today despite its obviously celebratory context, “Native Americans.”   

The collection we spotted were - Warhol minidress teamed with over-the-knee boots and handbag. She also added the printed leggings – a huge hit with the current model set, Versace noted.

Yet though highly focused, the collection reflected Gianni’s range, from biker babe to power woman sophisticate. And yes, he loved a high-waisted jean; Donatella’s takes looked good enough to launch a retail revival.