Paris has traditionally been the city where inter­national designers – from Australia and England to Beirut and Japan – opt to unveil their collections. However, Karen Ruimy, who is behind the Kalmar label, chose the runways of Milan Fashion Week for her debut showcase in September.

The Morocco-born, London- based designer hosted an intimate al fresco event in a private palazzo to launch her holiday line of fine cotton and silk jumpsuits, breezy kaftans, long skirts, playsuits and off-the-shoulder tops in tropical prints.

Ruimy had a career in finance before moving into the arts – she owns a museum of photography in Marrakech – and has become increasingly involved in fashion and beauty, thanks to her personal interest in holistic therapies.

These are clothes, she explains, that marry luxury and wellness, and are the things she would wear when she wants quality time by herself. The fact that they are made in Italy, convinced her that Milan was the right place for her debut – where she showed alongside the likes of Gucci, Prada, Verscae and Marni.

On fashion calendars, Milan has conventionally been the place where the runways confirm the trends and themes hinted at ­earlier, in New York and London. However, this season, the Italian designers did not speak with one voice, making Milan Fashion Week all the more refreshing for it.

Often, there might be an era or style of design that dominates the runways during a particular season, but for spring/summer 2017 in Milan, there was a standout showing of techno sportswear and techno fabrics employed in updated classics such as coats and box-pleat skirts, or with references to north African and Native American themes.

The Italian designers sent looks that would appeal to everyone, from the haute bohemian and athletic woman, to the cool sophisticate and the art crowd, as well as – as in the case of Moschino – to the iPhone generation.

Only three seasons ago, Gucci’s creative director Alessandro Michele was lauded for his complicated maximalist styling. Yet in Milan, Gucci channelled a dreamlike vibe with Victoriana, denim, athletic apparel and oversized accessories, thrown together in delightful chaos, making it difficult to predict the direction Michele is taking Gucci in.

Currently he seems to be in a holding pattern, hovering at once over 1940s Hollywood glamour, 1970s flared pantsuits, and ruffled party dresses from the 1980s, in a cacophony of ­colours and fabrics.

The feeling of joyous madness continued at Dolce & Gabbana, where street dancers emerged from the audience to start the party in the designers’ tropical-themed show. The clothes used some of their familiar tropes, such as military jackets, corseted black-lace dresses miniskirts. New, however, were the baggy tapering trousers redolent of jodhpurs, and the lavish and detailed embellishment the designers used to sell their story.

Wanderlust dominated the moodboards at Roberto Cavalli – rich patterns, embroidery and patchworks inspired by Native Americans – and Etro with its ­tribal themes on kaftans, duster coats and Berber-style capes.

Giorgio Armani, Agnona Tod’s, Bottega Veneta and Salvatore Ferragamo – with its stylish twisted leather dresses and crisp athletic sportswear designed by newcomer Fulvio Rigoni – all answered the call of women who want stylish but undemanding clothes.

Marni would appeal to the art world for its graceful, pioneering ideas. The label’s finely pleated dresses displayed a life of their own, and its micro-printed dresses were gathered, folded and distorted to walk the line between stylish and quirky.

In contrast, the sportswear at MaxMara and Donatella Versace targeted the dynamic generation of athletic women, with sleek leggings, belted jackets, power suits and anoraks. Versace has made it clear that she thinks this is the only way forward. She may be right, but there’s always room for the myriad styles displayed at Milan Fashion Week in all our wardrobes.

It was feathers with everything at Prada. Silk pyjamas, boldly coloured and mixed checks, cardigans and wrap skirts with Velcro fasteners show Miuccia Prada reinventing the classics. Most glamorous was the series of evening dresses and pyjamas with jewelled embroidery and feathers, worn with kitten heels that married sporty straps with heaps of crystals. Prada’s must-have bag of the season is a bold clutch with a long strap fastener, that comes in a multitude of geometric and daisy patterns.

Versace

Over the past three seasons, Donatella Versace has been carving out a new image for her brand – a shift from the luxe glam of red carpets and superyachts, although the inhabitants of that world will be sure to buy into the new Versace vibe. Donatella’s girls are both glamorous and empowered. The sporty look is tough, urban and energetic, judging by the billowing ultra-thin high-tech nylon parkas and blousons, stirrup trousers and dresses (the shapes of which are manipulated by drawstrings). Dresses, skirts and tops are spliced at angles and studded together. Swishy pleated dresses and silky slit skirts gave energy when in movement, and were as soft as the look got.

Bottega Veneta

Model Gigi Hadid and veteran actress Lauren Hutton walked arm in arm down the Bottega Veneta runway, illustrating the breadth of the Italian maison in Tomas Maier’s hands. This was a double celebration of the Bottega’s 50th ­anniversary and Maier’s 15th as its creative director. Menswear and womenswear were combined, and the focus was on easy, elegant clothes in luxurious materials, such as ostrich, crocodile and lamb skin for coats; easy knits and cotton dresses worn with antique-style silver jewellery; and wedge heels. Fifteen handbag styles debuted along with 15 from the archive.

Fendi

Silvia Venturini’s new Kan handbag was a star turn at Milan. The stud-lock bag dotted with candy-coloured studs, rosette embroidery and floral ribbons couldn’t help but charm every woman in the audience. It was the perfect joyful accessory for Karl Lagerfeld’s feminine vintage romp through the wardrobe of Marie Antoinette, with sugary colours, bows, big apron skirts and crisp white embroidery juxtaposed with sporty footballer-stripe tops – effectively updating a historical look.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

With designers like Iman Ahmed, HSY and Sania Maskatiya all showing, it was standing-room only at the venue. Many of the crowd of fashion insiders and socialites ended up sharing seats, with the chivalrous Zaheer Abbas giving his seat to Iman Ahmed after her show and sitting on the floor himself. So much for designer egos!

It was an evening that lived up to its billing.

Iman Ahmed may not be a designer who makes her clothing easily available, but in fashion terms she reaches heights that few other designers can reach. Her “Sartorial Philology and the New Nomad collection” was breathtaking.

The best fashion shows have a narrative — the clothes, styling, music and progression of the outfits blend seamlessly into a whole that portrays the designer’s artistic vision.

It’s hard not to gush about Iman Ahmed’s show last night because it was exactly what a fashion show should be.

Starting with a series of outfits in white and gradually adding tribal colours, Iman used fringing, embroidery and a range of fabrics to great effect. From the inspired detailing to the juxtaposition of texture and silhouette, this was a class act. The tribal white-dotted makeup and beaten silver accessories added further depth to Iman’s stunning layered ensembles.

Levi’s uninspired showing of their new 501 jeans and other stock provided the audience with a pause to process the previous collection. It’s difficult to make a interesting fashion week presentation out of high street wear and something that Levis struggles with.

They used better music than they did at their autumn show but the styling was still painfully lacking. They did manage to make everyone sit up and take notice at the end of their show though — Wasim Akram walked the ramp as their showstopper amid cheers from the admiring audience.

Somal Halepoto was next, with collection that looked distinctly amateur. She seemed to be aiming for a bright kitschy collection but ended up looking merely tacky. The shiny, synthetic-looking fabrics and gaudy embroidery were particularly woeful. Somal’s digital neon animal prints and some of the harem pants were funky but the rest of the collection had little to recommended it.

YBQ’s LalShah collection, meanwhile, was in a different league. An ode to 3 Sufi Sindhi saints, the collection was as much about the artistic impression it made on the ramp as it was about the clothes. The distinctly theatrical presentation relied on the slow beat of sufi music and plentiful accessories for much of its impact.

YBQ sent his models down the ramp in huge pagris, holding flags on poles and garlanded with prayer beads. He used only three colours - red depicting rage, white for peace and black for mourning. Most of the outfits were draped red jersey tunics or gowns with white lowers, braided belts and black turbans.

Rubya Chaudry wore a black gown with red roses but otherwise the outfits were all about subtle plays with drapery and cut. From jodhpur style chooridarsto asymmetrical draping, the outfits had interesting touches but needed all that heavy styling to make an impact. HSY was YBQ’s showstopper and added glamour to the theatrical presentation that he had choreographed.

Wardha Saleem was first up after the break and her Lotus Song collection showed how this talented young designer has been upping her game over recent years.

She used digital flamingo prints, 3D embroidery, gota embroidery and lasercutting in a pretty formal fusion collection. The detailing on the collection was simply stunning. Wardha used gota in delicate patterns that gave her outfits shimmer and paired this with three dimensional embroidery. The outfits featured flowers, fish, elephants and birds picked out in silk thread and beads.

She showed a variety of shift dresses, jackets, saris, capes and draped dresses. The styling was also great fun – the models wore shoes featuring spikes and 3D flowers while the multi-talented Tapu Javeri provided some gorgeous jewellery and music for the show. While there was nothing groundbreaking about her silhouettes, this was a beautiful collection that showed skill and artistry.

Sania Maskatiya, who presented her luxury pret on Day 1, now showed her lawn collection for AlKaram. As far as designer lawn goes, this is something of a dream collaboration.

Textile and print are Sania’s forte and she uses print extensively in her luxury pret. In this collection for Al-Karam she has taken print elements from her pret collections throughout the year including the Sakura, Lokum and Khutoot collections.

The prints are different from those used in her Luxe pret but are based on the same principals. She’s even used the paint splash embroidery from this season’s Khayaat collection in one of the outfits. Designer lawn should be affordable way to wear a designer’s aesthetic and this Sania Maskatiya Al Karam collaboration certainly is.

As for the show itself, showing lawn is always tricky on the ramp. Sania pulled it off with an upbeat presentation using fast music and trendy cuts, throwing a few conventional shalwar kameez in the mix. She fashioned the lawn into jackets, kaftans and draped tunic, using the sort of cuts that are a hallmark of her pret. It’s not how most people wear lawn but it was a great way to show off the prints on the ramp.

Naushaba Brohi’s Inaaya burst onto the fashion scene last year with a spectacular collection. Following up on a dramatic debut is difficult but Naushaba proved that she is not a one hit wonder with this collection. Inaaya’s SS15 collection continued with the theme of using traditional Sindhi crafts in contemporary wear. Naushaba used both touches of Rilli and some stunning mirror work in her collection.

What makes Inaaya noteworthy is the way that she takes unsung traditional crafts that we’ve seen badly used and gives them a high fashion twist. Standout pieces included a bolero with unusual mirror work and a rilli sari that glittered with tiny flashes of mirrors.

Although the collection included many beautiful outfits, there was a lack of focus. The simple tunic with a rilli dupatta didn’t work with knotted purple evening wear jacket. The inability to make a definitive statement let down an otherwise accomplished collection.

Naushaba added a characteristic touch at the end of her show. She’s committed to social responsibility and supports local craftswomen with her brand. Accordingly, Inaaya’s showstopper was Mashal Chaudri of the Reading Room Project along with Naushaba’s daughter Inaaya. She held up a plaque saying “I teach therefore I can” while Inaaya wore a T-Shirt with the slogan “super role model”.

HSY brought the evening to a close with a high-speed presentation of his Hi-Octance menswear collection. The unusual choreography featured the models zipping along the catwalk, pausing briefly on their second round. The energetic presentation complemented a collection of sharp suits and jackets, leavened with quirky polka dot shirts and bold stripy ties.

There was the requisite shirtless model in distressed jeans and an ice-blue jacket but also some appealing suiting fabrics. HSY used only Pakistani fabrics and included solid colours as well as self-checked and striped suits. This was wearable, classy menswear presented creatively.

Day 3 was undoubtedly the best day of TFPW so far. Iman Ahmed undoubted takes the laurels but she was ably supported by HSY, Wardha Saleem, Inaaya, Sania Maskatiya and YBQ.Read more here:www.marieaustralia.com/formal-dresses | www.marieaustralia.com/short-formal-dresses

In the seventies
we brought back silks and saris
hot with colours
that shocked the nights
Punjabi embroidery
on cheesecloth kaftans
mirror glittered skirts
that were spun with light
Kashmiri shawls
and Afghani dancing dresses
arms full of bracelets
silver and brass
enameled and etched
and singing with ***
rings of Ivory, sapphire and jet
necklaces of jade and threaded apple seeds
rain forest timber bowls
white marble boxes from Agra
with precious inlay stones
our little Taj Mahals
we wandered the globe
like a magical village
of lovers and
and came back
with backpacks of dreaming
and hope.


© M.L.Emmett

The assassins hit in 63
And Camelot was gone,
Inspiration vanished
And the darkness sang it’s song.
Vietnam escalated
Brezhnev’s Russia loomed,
Africa was eviscerated
And Red China entombed.
Floating on a long white cloud
The Kiwis were replete
With abundant British markets
For their butter, wool and meat.
The Europeans went ****
And Britain lost it’s way
When the Beatles and the Rolling Stones
Monopolized their day.
Man landed on the moon
And raised the Yankee flag
And they shot Mahatma Ghandi
For making good things out of bad.
The Berlin Wall dividing,
The Cold War tense and spare,
ICBM’s threaten silently
In their silos of despair.
Bob Menzies ruled Australia
As an amassing of his loot
And his White Australia Policy
Condemned him as a brute.
Found naked on her tousled bed,
Blonde hair across her face,
Marylin Monroe is dead
The world’s a darker place.
In the Age of Aquarius
Our children lost their youth,
LSD and smoking ***
And Afro’s were the proof.
Lots of leg in miniskirts,
High bouffant’s in the hair,
Screaming teeny boppers
Rock with Elvis on “the Air”.
Giant, Rawhide, Ponderosa,
Martin Luther King,
Kaftans and a cheese fondue,
Abortion is a sin!

It’s a sixties kaleidoscope,
A panoramic skim
Of an era of wonderment
Which you and I lived in.


Marshalg
@the Gate
Mangere Bridge
20th January 2009

I woke to a morning that called out in crystals,where mistletoe ice wands would grant me three wishes and wise men were wrapped up in kaftans and turbans.
The clock stuck at five,so the **** came alive and told time from cracked egg shells and church bells were snowed in,no dings and no dongs,the rights and the wrongs of it seem to fit in quite nicely,when at six the wind whips through the streets where I walk,it's like treading in chalk leaving footprints to read,with my toes feeling the way,so glad I wore two pairs of socks and my wellingtons today.

Then at eight there's hot chocolate and a muffin with jam and the work day begins.
No djinns and no genie,just the boss who's a skinflint and a tightfisted meanie
but it all ends at four when home seems to beckon,
I reckon I'll go and make more prints in the snow and maybe call in to see Andy for a pipe and a brandy,then off to feed Joe,(he's my cat dontya know) and then bed with my nightcap,take the bolt off the catflap and dive into a book I was saving for the time before I nap.

To touch your lips before dawn stretches across our skin
Similar to The Creation of Adam

On the eve of your departure

Where whimsical scripts meet sacrosanct words
Wrapping themselves around your tongue
And ripple like kaftans when sung

We hold these truths to be self-evident
And your vision is honest

I refuse suffering your absence amongst the hunger I feel
Cooking up a plan to capture your heart
A pinch of your perspiration's salt
The kiwi sweetness in your sway

Even if you appear in my dreams, although miles away
It's the best homecoming yet.


Ifeanyi N. Okoro II - © 2018

Peaceful nights
and then morning rains,
living through midday fantasy
with fruits for brunch.

Roaming in kaftans
and then cycling in the fields.
To guffaw at our jokes
and sit under the tree.

We're drinking water,
filled to the brim in the glass
to quench thirst
after our outdoor rendezvous.

Dancing to the sounds
of our breaths
and feet tapping to
the throb of our hearts.

Hold me in a
euphoric embrace
as historical wrongs
are corrected.

We'll sleep peacefully
through the night
and wake up at the crack of dawn
to see each other again
in euphoria.

I crave what I see in my mind

The future I have constructed

I see a messy bed and the rising sun
Bare legs peeking out from wrinkled sheets

Our love written in every crease
Evidence is ever present

I see hands sliding

Fingers tracing

Mouths speaking with no words

But still

The message is received

I see open windows letting in the breeze

Sparkling lights in the distance

The moon yearning to feel our love
Perched above

I see my breath

The cold night air engulfing me 

Though never reaching my heart 

I’m warmed indefinitely by the love at my side

I see my hand on a soft chest
Discovering, for the first time, acceptance and

Freedom 

The only things I’ve ever wanted

I see the world in a new way

Each night is a new city

But happiness never sleeps

Life never rests it’s weary head

Neither do we

I see summer

Flowers sway with our whispers

Sunlight sings it’s song on your shoulders

I kiss and reminisce…

I see turmoiled oceans

As we drive down winding pathways

Atop cliffs 

High as kites

I see convertibles and buses

Afghans and kaftans

Guitars and bonfires and sand covered bodies

Psalms of palms that sway in the west coast wind

I see beads in my hair

Fringe on my sweaters

Rings on my fingers

Jewels on my brow

I see you in our makeshift home 

Sitting cross legged in briefs

Your back to me; face to the ocean

Painted gold by the suns halcyon kiss

I see undying allegiance

To freedom in its freest form

No red white and blue

But the sun, me and you

I see clearly in this still silence

No fear here, only peace

And I have you by my side 

To keep me safe from solace

The bus driver is only doing his job-



he says i am out of my zone



come on mate- take a look at the rain-



i just want to get home



never mind- its not too far to walk



as this sudden shower comes steaming down



London Bus lookin all shiny red new in the rain.



so i take cover and hudde on the pavement



and write this poem- as rain spilling over the cracked asphalt



,washing over me toes, into paper wrapper river in the gutter-



search and return to the gushing thames



in drab doorway i see pregnant mother



with dripped make-up and cigarette-



a bloke runs past into the Tote-



theres a stench of Old Holborn and alcohol



The cool dread hipster blackman soundshop-



pumpin out da reggae sound all round



an chillin there inside snug



an outside da rain drippin down.



headless wooden mannequins in windows



indifferent and dead to the scene



model outdated displays



of yesteryears east end Fashion



The screech -grind -halt-



of braking trucks and cars



taxis and buses



and halt heave hum, go off and on



phrases like jazz



emitted from the traffic hissing



on the wet steam road



passing the plain low gates



and walls of modest eastend brick



Little pockets of Istanbul-



vending exotic skewered tastes



empty cardboard boxes piled high on the pavement-



sickly sweet old vegetable odours



curiously shaped paprikas- purple sweet potatoes



- halved pumpkins, ginger aponkenam, breadfruit,



Karla, Kassava and Jamaican mangoes



Ol' Carribean Mama she price the purple p'taters



an mumble she grumble onward, homeward



past the asian butcher selling cows feet



fifty nine pence for two



sad looking cadavers of chickens



comically -hung by their feet



boney alien headless n sad



and blood spurted and smeared



and dried on a cardboard box-



so rich an odour of spice and death-



what words to use



yams and hams and potted jams



shelves stacked with imported cans



grinding horror of the butchers blade



splintered marrow bone in broken bleeding box.



brown Black plantain bananas-



fat black boy in trainers and baseball cap-



kicks a discarded apple about in a puddle-



Illegible torn bills and posters on posts



walls and naked wooden doors



of cracked paint peeling in the rain



Unnumbered identities of unknown ethnic origins



scattered uprooted far travelled communities



stirred in the stew of this eclectic london Crucible



shuffling by under unhappy umbrellas-



an unenthused housewife in tracksuit pushing



twins to the child support centre-



wishin she'd married a bloke with money



north africans in bright kaftans



saunter surreally in the full cool, attitude of summer



somehow the Tottenham and Celtic suporters



seem more misplaced in this scene-



people with gaunt girocheque expressions



huddled in Pub over pints



awaiting the Worlds End



To my left number plates while you wait



keys cut school of motoring special rates



then a right into finsbury station out f te rain



and the scene fades.

The bus driver is only doing his job-
he says i am out of my zone
come on mate- take a look at the rain-
i just want to get home

never mind- its not too far to walk
as this sudden shower comes steaming down
London Bus lookin' all shiny red n' new in the rain.
so i take cover and hudde on the pavement
and write this poem- as rain spilling over the cracked asphalt
, washing over me toes, into paper wrapper river in the gutter-
search and return gushing to the Thames

in drab doorway i see pregnant mother
with dripped make-up and cigarette-
a bloke runs past into the Tote-
theres a stench of Old Holborn and alcohol

The cool dread hipster blackman soundshop-
pumpin out da reggae sound all round
an chillin' der inside an'snug
an outside da rain drippin down.

headless wooden mannequins in windows
indifferent and dead to the scene
model outdated displays
of yesteryears east end Fashion

The screech -grind -halt-
of braking trucks and cars
taxis and buses
and halt heave hum, go off and on

phrases like jazz
emitted from the traffic hissing
on the wet steam road
passing the plain low gates
and walls of modest east-end brick

Little pockets of Istanbul
vending exotic skewered tastes
empty cardboard boxes piled high on the pavement-

sickly sweet old vegetable odours
curiously shaped paprikas- purple sweet potatoes
- halved pumpkins, ginger aponkenam, breadfruit,
karla, kassava and Jamaican mangoes

Ol' Carribean Mama she price the purple Taters
an mumble she grumble onward, homeward
past the Asian butcher selling cows' feet
fifty nine pence for two

sad looking cadavers of chickens
comically -hung by their feet
boney, alien headless n sad
and blood spurted and smeared
and dried on broken ****** cardboard box-

so rich an odour of spice and death-
what words to use?
yams and hams and potted jams
shelves stacked with imported cans
grinding horror of the butchers blade
splintered marrow bone in broken bleeding box

brown black plantain bananas-
fat black boy in trainers and baseball cap-
kicks a discarded apple about in a puddle-

Illegible torn bills and posters on posts
walls and naked wooden doors
of cracked paint peeling in the rain

Unnumbered identities of unknown ethnic origins
scattered uprooted far-travelled communities
stirred in the stew of this eclectic London Crucible
shuffling by under unhappy umbrellas-

an unenthused housewife in tracksuit pushing
twins in double pram and wishing-
she had married a bloke with money

Africans in bright kaftans
Saunter surreally in the cool, attitude of summer
somehow the Tottenham and Celtic suporters
seem more misplaced in this scene-

people with gaunt girocheque expressions
huddled in Pub over pints
awaiting the Worlds End
To my left number plates while you wait
keys cut school of motoring, special rates
then a right into Finsbury station out of the rain
and the scene fades.

Mark Hurlin Shelton   London 1987.