Five Party Looks for Fall 2025 Seen at Milan Fashion Week

MILAN — Partywear showed range during Milan Fashion Week as designers channeled different vibes, from young bourgeois to understated elegance. Many looked at style icons of the past, ranging from Edith Bouvier Beale to Bianca Jagger and Anouk Aimée.

Here’s a roundup from the fall 2025 presentations in town.

Des Phemmes’ Salvo Rizza has never found a sparkle sequin, crystal appliqué or feather trimming he didn’t love. Since launching the brand in 2019 he has carved a fashion vocabulary rooted in young and fresh concoctions for party girls with a bourgeois bent. It has gained him international appeal, with 80 points of sales globally and an industrial business partner, Olmar and Mirta SpA, which nabbed a minority interest in 2023.

In sync with his fun ladylike ethos, the fall collection referenced “Grey Gardens” a documentary on the cinematic life of Edith Bouvier Beale, known as Little Edie, the cousin of Jacqueline Kennedy Onassis, who fell from high-society Lady Who Lunches to spending life secluded in the rundown estate with her mother.

Her offbeat style and charming eccentricity informed the concise lineup in which high and low were intentionally merged.

Cue a pretend-high jewelry necklace encrusted on shift dresses and  broken-down versions of it cascading on pencil skirts. Black and white cheetah prints decked skirts with a front slit trimmed in aquamarine feathers which also snaked around the lapels of a fiery red woolen coat. A bias-cut frock featured wallpaper-inspired floral sequin embroideries, which also framed the patch pockets of intentionally distressed cardigans tossed over checkered and crystal appliqué-bearing miniskirts.

The eclectic mix had nothing nostalgic about it, rather speaking to the penchant of today’s youth for quirky juxtapositions and carefree self-expression.

After last season’s 10th anniversary show spectacle in Paris, Redemption’s Gabriele “Bebe” Moratti hosted a more intimate presentation for fall, working a restrained, black-and-white-only color palette to channel an ‘80s vibe for his rock ‘n’ roll and glitzy vision of partywear.

Supersized polka dots decked a novelty, but retro-inspired, tuxedo with strong-shouldered cropped blazer, carrot pants and a bowed cummerbund, or strapless mini frocks shaped as bows with tulle mesh peeking from their hems and halterneck billowing gowns à la Marilyn Monroe.

In more overtly sensual veins, a bias-cut gown with a front slit came with a corseted bodice, its boning edged in crystals, leather cropped jacket and pant ensembles conjured an ‘80s downtown vibe worn with lace underwear, while early 2000s glam came to mind in the sultry spaghetti dress with full-crystal panels.

“This is for an unapologetic customer,” Moretti said. “Eveningwear is what the market has always recognized us for and we continue to build on that with only two collections a year. We’re happy to be part of a niche and continue doing what we like.”

Known for putting elevated everyday essentials at the core of its wardrobe-building approach, Mantù developed another versatile and polished collection intended to dress women from their morning cappuccino to evening Negroni. 

In addition to the sartorial outerwear and tailored pieces it is known for, the in-house brand of Italian manufacturing company Castor put a stronger focus on nighttime via sensual options targeting those who might be a different kind of party animal: understated yet elegant. Cue liquid slipdresses with intricate lace details and bias-cut frocks punctuated with crystal embellishments for a touch of extra shine.

Founders Susanna Cucco and Sara Ferrero looked up to Bianca Jagger, Sigourney Weaver, Cate Blanchett,and Tilda Swinton to draw inspiration for their new Sa Su Phi collection. The ability to alternate between hyper-feminine dresses and tailored tuxedos was enhanced by the mix of masculine and feminine structures, fabrics and textures. 

The collection was wrapped in fabrics such as grisaille, flannel, Prince of Wales, and ultra-soft virgin wool from Loro Piana and Ermenegildo Zegna in contrast to silks from Ratti, crisp duchesse and fluid double satin, and knitwear crafted in Cariaggi cashmere.

A couple of gold looks included one pair of Lurex pants matched with a white double satin shirt with scarf and a total Lurex look with jacket, blouse and pants. 

“Our inspiration comes from women who naturally merge a hyper-feminine and purely masculine aesthetic with effortless confidence,” said Cucco. “The boundaries between masculine and feminine dissolve. A single piece can transform in an instant,” continued Ferrero. The color palette presented deep hues of gray, burgundy, chocolate, and classic navy, in addition to the brand’s signature ivory, accents of yellow, orange, and mint green in knitwear. 

Gianluca Capannolo’s fall collection was one of his strongest efforts, and based on Anouk Aimée in the 1966 film “A Man and a Woman.”

It was filled with spare, ’60s shapes and saturated colors and included a trenchcoat done in aubergine, bordeaux and beige, shaggy bouclé coats and soft hobo bags.

There were capes and spare ’60s shapes, including a showstopping tunic dress made from small, hand-sewn feather appliques. One came in myriad shades of dark, sea blue. The dress reflected the light, and mirrored the backdrop of the film, and the mood of its characters.