It always amazes me how Milan can produce collections as diverse as this sophisticated one from No. 21 and more kitsch examples that are regularly shown at houses like Moschino and Versace. Here, designer Alessandro Dell'Acqua showed an elegant take on sensuality. The collection was ladylike with an edge, and while subtlety was key this should not be mistaken for simplicity or a lack of imagination. He featured double-breasted coats slashed with metallics or with unfinished hems, shift dresses with careful pleating and tucks, many of which were layered over trousers. Even the colour palette reinforced the chic, considered vibe.

Stark, utilitarian looks softened by the use of floral printed satin and three-dimensional flower appliqués equals a romanic horror show or a rough amalgamation of two genres. Miuccia Prada's show for Fall was entitled Anatomy of a Romance and it was a direct reflection of her world view today, divided as she sees it between extremes. The models appeared to be styled after Wednesday Addams and Prada used images of Mary Shelley's Frankenstein and his bride on the clothes. Dresses were paired with thick, lug-soled boots and shoes or dainty pumps. Coats were beautifully fitted with elongated patch pockets. She showed off-the-shoulder party dresses in wool with a curvaceous skirts, slouchy black trouser suits and military jackets with lace sleeves and lace cloaks.

The women's side of this line was designed by Veronica Leoni who reinterpreted the Moncler code by  layering materials and shapes including bouclé wools, fishnets, pale tartans, fur, and knits mixed with nylon. These were accessorised with standout bags that were created in collaboration with Valextra.

New girl guiding. This show was all about nature, and Rocha's models strolled through a forest of silver birch trees. As before, Rocha’s collection closely followed her own aesthetic with tent capes, frills and florals in monochromatic colours. The models wore thick soled shoes and the patches on the sleeves were only obvious nod to Moncler. Her balaclavas had pearl embellishment around the opening - proof clothes can be functional and feminine too.

Probably the collection that got the most inches in terms of reporting last season, Pierpaolo Piccioli's previous collaboration with Moncler Genius received an additional boost when one of the looks was worn by Ezra Miller at the French premiere of Fantastic Beasts: Crimes of Grindelwald late last year. Movie stars aside, this season Piccioli sought to maintain this momentum by showing padded gowns with voluminous skirts and hoods. He drafted former model turned designer Liya Kebede to add Ethiopian-inspired colours, patterns and embellishments to the garments creating a collaboration within a collaboration. The result was a striking show and despite the volume and material, the dresses managed a certain grace and elegance that was no doubt helped by the setting. 

A new addition to the Moncler Genius stable, designer of the moment Richard Quinn (remember when the Queen graced his show with her presence?) showed his hyper floral take on the brand's outwear combined with his usual helmet schtick. Some aspects of his London show like the fastenings were repurposed here for continuity. 

One of the more successful collaborations to have come out of Milan recently has been that of Moncler Genius and its coterie of designers, each of whom are tasked with putting their own spin on the company's products. This season, Craig Green showed sleeping bag chic with looks that cycled through the colour wheel. Each piece was two-toned, front and back in complementary colours and like a sleeping bag, each one can be packed away into small, portable cubes. 

We are wrapping up London with a look at a new (to us at least) name, Huishan Zhang who showed a pretty and feminine collection which contained several references to major European design houses. The result? A pretty but not completely derivative collection.

Shrimps' bread and butter remain their accessories, particularly the faux furs and beaded Antonia bag which made their name a few years ago, so it's no surprise to see newer versions of both on the runways for Fall. The fur this time was so light as to mimic the feathers that have proved to be incredibly popular this season. Oversized and floor sweeping in length, designer Hannah Weiland's coats and capes were bright checked or covered in mythological prints of Weiland's own design. Apart from the bags and the fun furs, Weiland has also attempted to diversify into clothing with varying results. Using the Grecian goddess Athena as her muse, she showed ruffled and puff-sleeved satin dresses trimmed with lace, covered with spots all in cheery colours. Belts were raffia sashes with embellished Greek wreath buckles and models wore pearl Alice bands, lace gloves and chunky soled sandals, paired with socks.  

There have been many variations of brown on the runways for Fall 2019; from camel to tobacco to the version found here at Emilia Wickstead - a rich nut brown. We are not convinced that it is the most flattering colour for everyone, but there's no denying its popularity at the moment. Wickstead, who was inspired by Mary Corleone, Sofia Coppola’s character in The Godfather trilogy, interspaced long, masculine coats and suits with pretty floral patterned dresses and bright splashes of colour. She used pleating to great effect on trousers, tops and dresses to create pattern or a lightness of drape from empire waists. The unifying silhouette was one of rounded shoulders and balloon sleeves. We were most fond of the stunning final gowns that managed to be both dramatic and monastic in equal parts.