Under the frescoed ceilings of Milan’s 18th-century Palazzo Clerici, Trussardi’s creative directors Serhat Işık and Benjamin A. Huseby said their intention is “to build a wardrobe that makes sense for the new Trussardi.” To that end they paraded a collection that included staples such as polo shirts and cotton and linen V-neck knitwear and further developed the bread-and-butter accessories of the storied brand, which is marking 111 years in business.
Indeed, they are moving Trussardi’s aesthetic in a more contemporary direction — their designs reflecting their values, such as inclusivity and diversity. This season, they felt they should focus on female empowerment. “It feels like too many forces are trying to limit women’s autonomy, people are scared of powerful women and this is very much on our mind,” said Işık.
This translated into suits with strong shoulders, but also into a defiant femininity, seen in jersey, draped and shimmering dresses with twisted necklines and cascading hemlines. Ruches, slits and ruffles added movement to floor-length satin gowns.
The designers are on trend, as they showed several denim looks, worn head-to-toe and jazzed up by 3D crystals or a plethora of pockets or cutouts, relying on the brand’s tradition and history with the fabric.
While the idea of contrasting the modern take on a storied brand with a stately palazzo is understandable, the ornate salons somewhat jarred with the looks, which at times seemed lost. Perhaps they will be better displayed in the nearby Trussardi palazzo, which is being overhauled by the company and where they showed last season — despite the unfinished walls and scaffolding.
For men, they showed faux embossed crocodile trenches in a rich chocolate hue or in an over-bomber jacket paired with a ruched miniskirt as well as in wide-legged pants. Their light tailored suits in linen were spot-on. The monokini straps peeking out of the garments on both men’s and women’s looks felt a little gimmicky, though.
The designers spun the revisited greyhound logo, dating back to 1973, on hardware details on wedged heeled satin slippers.
They emphasized Trussardi’s accessories heritage by showing several bags, including a new hobo bag design, the Meroe, in black, white or light blue leather and coated canvas combinations with silver greyhound ring hardware and a wide shoulder strap.
A drawstring pouch in yellow satin was inspired by an archive evening bag design from the ’90s.