The elements that can trigger our nostalgia are not absent in the interlacing of time, the narrow double-breasted coat that was popular during the late 60s and early 70s, the pearl necklace that came from the hands of the elders of the family, and the delicate round toe shoes, all show fresh interest in the clever proportion control and folding of Ms. Prada.

But it strikes the right balance between the everyday and the quirky, suitable for almost any age of women to meet the variety of life, look at the diverse faces walking through the show this season, from Tan Huilan, Kristin Scott Thomas, Dara Allen, Ethel Cain, Along with Guillaume Diop and Luther Ford, this season's Miu Miu undoubtedly belongs to everyone.

When it comes to Valentino's colors, you may first think of a rich red, or the gorgeous glitz of Pink PP two years ago, but this season, Pierpaolo Piccioli once again broke our perception, creating an all-black collection under the name Le Noir.

To some extent, black is not clever on the show, the deep background color often hides many details, but because of this, black can highlight the most essential skills.

Piccioli saw it as a challenge to himself, and a new way of making clothes for Valentino.

The brand's signature ruffles, chiffon and bow elements are present in every detail of coats, dresses and suits. 63 sets of looks create the infinite possibilities of fashion design in black alone.

From light tulle to heavy wool, from traditional cut to new cutout, Piccioli freely changes the way of making clothes.

Breaking the boundaries of structure, silhouette and decoration, the functional and visual effects of the three are integrated into each other, presenting a collection worth repeating, once again proving Valentino's unshakable position in the fashion world.

On the other hand, Balenciaga is using an immersive show, through the full range of LED screens, the most complex side of the world to pour out in front of us.

As models move through the visual space created by digital technology, the virtual scenes in front of, under and behind them are changing, from dawn and mountains, to glaciers, deserts, and even the white noise generated when the system is running out of order, redefining the scene and meaning of fashion.

Demna is very good at this show performance technique, so as to provide sufficient conversation and interpretation space for the audience and fashion lovers.

From the perspective of fashion creativity, the structure of clothing seems to be no different from the superposition of pictures on the screen, but it seems more spontaneous and random, especially the closed underwear stitching evening dress is the most obvious.

It's like capturing the piles of clothes we throw away in our daily lives.

Demna may be using these ideas to walk between the boundaries of fashion and anti-fashion, to arouse people's thoughts and perceptions about their own lives.

Loewe creative director Jonathan Anderson seems to be a perpetual motion machine, always able to take the most seemingly ordinary elements in the process of quoting and transforming them into a glamorous ritual in the day wear.

Anderson loves traditional handicrafts, and is more keen on deconstructing the essence of ancient craftsmanship from a modern perspective, so that it can become a popular interest for people today.

Just as he did in the new collection, he copied mores from the work of the late artist Albert York onto fabrics, with dog images, flowers and natural landscapes hand-embroidered in clothing, shoes and accessories, while the seemingly soft and delicate woolen collars were made of walnut wood.

It took three craftsmen more than 1,000 hours to carve it.

"In this series, I started to explore the concept of origins and why we buy things and why things have meaning."

"I get an outsider's perspective on a world we've never experienced," Anderson explains. As a result, these unexplored places, through the interpretation of technology, have become the source of masterpieces that modern people marvel at.