Fendi looks back on its first 100 years, Iceberg celebrates 50 with the joy of colour

Here we go again: another turnaround, another fashion week, but this season Milan makes up one day in the calendar and opens on a Tuesday. The system is going through, globally, a turbulent moment: contraction of consumption, pursuit of profit at all costs with denial of risk and consequent aesthetic impoverishment of the proposal, general uncertainty.

In short, these are not the roaring twenties envisaged at one point, even if the atmosphere is sparkling rather than leaden. In fact, there are even those who quote the twenties for real, to the tune of flappers - the Charleston dresses with their slim, flowing lines - transparencies and beads. She is Kim Jones, but the reason behind this choice is cogent rather than aleatory: Fendi, the Roman maison of which she is artistic director, is 100 years old, so building a bridge between 1925 and 2025 is almost automatic. Jones is a creator with a dry, sometimes algid taste. He has never really connected with Fendi's Roman sensuality and swagger, but has always attempted to update the code, focusing on contrasts, accelerating contradictions, defining a personal modernism. In this case, under the evanescent dresses he places sturdy Red Wing boots, over them he places masculine coats and jackets, and the precious but unmade look, as of someone dressing in a hurry the morning after a party, is served. It is a collection with a certainly higher temperature than in the past, and for this reason more convincing, but the impression of the experiment conducted in vitro remains, and it is on the bags, tactile and decorated, that attention really falls. Silvia and Anna Fendi's voices reminiscent of Adele, the mother and founder, punctuate the soundtrack, and it is precisely from that founding idea of beauty as modernity that Fendi could at this point start again.

Francesco Risso, from Marni (Otb group), continues to wear the - creative - clothes of the little pest. He is certainly a provocateur, but not of the vitriolic and destructive kind. Rather, he aims to remain an eternal child. The fashion he proposes, with its sharp lines, graphic and expressionist contours, looks like a kindergarten drawing made alive and wearable, a caricature of the adult world. This season the contrast between puerile instincts and querulous atmospheres - murky and sexual - is electric. The reinterpretation of certain 1950s glamour is fascinating, but the paper bags and hats tickle Gallianesque memories, while the affinity with Marc Jacobs emerges overbearingly.

To say it is certainly banal, since we are dealing with summer collections, but this is the season of lightness, for the umpteenth time. We will have to reflect on the vaporisation of aesthetics, but in the meantime we register the multifaceted variety, ranging from the sensuality of Twin-Set, straightforward yet related to the style of Chloè, to the concrete delicacy of Alberta Ferretti, whose dedication to the cause of ethereal femininity is commendable for its consistency and durability. Impalpable and dreamlike are Francesca Murri's creations for Fiorucci, whose ideas are not lacking, but must be harmonised with the spirit of a brand that has made costume history, not fashion history. At the moment it derails, and does not quail. At Iceberg, finally, the brand's fiftieth anniversary is being celebrated with a vitamin injection of colour and joy: a perfect recapitulation of a singular path that has made the history of Italian industry and fashion.