Designer Anna Molinari’s collection started off with a preppy coed look: green, red and navy plaid skirts, sometimes pleated, or pencil pants paired with oversized green sweaters, pullovers or cardigans. Shoes were leather ankle boots, worn with short, dark socks.

The outfits transitioned into more feminine territory. A tartan-printed taffeta bubble skirts paired was with a ruffle-neck lace shirt and topped with a loose-fitting leopard-print jacket, leading off an array of looks combining plaid, lace and leopard. Here the preferred shoe was the pump.

The collection finished with a flash of gold, with sequined evening dresses and skirts.

Dragon and swan motifs gave a nod to Chung’s British-Chinese heritage. Commanding dragon shaped necklaces and Chinese-style jackets offered Asian flair, while sequined kissing swans on evening wear were reminiscent of an English park.

The looks were finished with small shoulder bags in leopard print, tartan or sequins, strapped across the body for the stylish girl-on-the-go.

MAX MARA

The German Bauhaus design school gave a sophisticated clientele functional yet elegant design in everyday objects, like chairs and teapots, as well as living and working spaces. On the runway in Milan, Max Mara struck the same note of functional elegance in its Bauhaus-inspired women’s wear show.

The collection for next winter was, fittingly, highly structured.

The coats alone were a feat of layered and textural complexity. A hooded overcoat, worn open over the shoulders with empty sleeves hanging, accompanied another interior jacket with a nubby texture.

Often, the overcoat sleeves were rolled up to reveal another layer of, say, spandex, which contrasted with the satiny coat lining. Leather patches emphasized rounded shoulders.

Max Mara’s heritage of practical luxury was highlighted by its focus on new camel fabrics for their coats, including spun alpaca and mouflon wool. From super-functional camel, the color palette then progressed to a deep yellow and onward to decidedly urban shades of gray, black and midnight blue — a nod to the Bauhaus inspiration.

The silhouette ranged from skinny pencil skirts paired with long sweaters for the office or loose-fitting pajama pants for relaxed afternoons. Shoes emphasized comfort — sneakers — but were built from luxury materials like suede and leather. Boston bags were made from leather and crocodile prints.

DSQUARED2

Both the masculine and feminine sides of the DSquared2 label were shouting over each other for attention.

The collection for next winter featured over-the-top masculine tailoring balanced with oversized jewels.

For daytime, the look was gangster chic, with loose-fitting men’s double-breasted suits worn with nothing more than a dickey underneath and topped with exaggerated bowler hats — pink with purple ribbon. Pencil skirts paired with belted jackets, one with layered, architectural lapels.

But for nighttime, the mood was more speak easy slinky with silky dresses with an asymmetrical, trailing feather boa hemline or a fur stole — a favorite on Milan runways this season.

Designing twins Dean and Dan Caten showed at night for the first time in a while, giving up their closing day slot.

JUST CAVALLI

Designer Roberto Cavalli drew inspiration for his second line ‘‘Just Cavalli’’ collection, from a recent trip to Thimphu, the capital of Bhutan, at the foot of the Himalayas.

‘‘Riches there are measured by the values of happiness,’’ the designer said ahead of the show, which had an ethnic, almost hippie feel to it.

Almost the entire collection came in subdued native prints, fashioned in anything from tunics over pants to colorful evening gowns. Accessories included long silk necklaces like the ones worn by the Bhutan nobility, and a backpack to replace the more urban handbag.