In some ways the most exciting moments at the spring/summer fashion shows were spent speculating when Bruno, Sacha Baron Cohen’s supergay Austrian fashion journalist character, would turn up to shoot footage for his new cinematic spoof on the fashion industry. He passed on the shows in New York City (security too tight, perhaps?) but took a few unwitting designers and their staffs by surprise in Milan when he walked onto the runway at the Agatha Ruiz de la Prada show bundled in a jumble of coats. A couple of days later, everyone behind the scenes was buzzing that he’d crashed backstage at Iceberg to steal clothes off a model’s rack, then had himself rolled up in the plastic runway covering as the bodyguards tried to remove it. Given the often lackluster and endlessly merchy shows one has to sit through season after season (and, as a result, often skips), it was painful to bear the thought of having missed anything out of the ordinary (it’s what fuels the burning desire to keep at it in fashion), especially in Milan.

But, in fact, the shows this season proved extraordinarily upbeat and optimistic even as the stock market was crashing and every drama queen was panicking like Chicken Little and rushing to use the failure of banks, brokerages, and lending institutions as an excuse for everything that had gone, and will go, wrong—like the service in four-star hotels. Retailers stateside, however, were legitimately scrambling to come up with a formula to keep women shopping in 2009 after a bleak autumn. Despite the luxury market continuing to grow by leaps and bounds in China and India, it was hard to reconcile people losing their homes over here while $1,000 shoes are still flying off the shelves over there. But designers quite rightly want to keep their bread buttered on this side of the Pacific as well, so maybe that’s why there were so many colorful and provocative designs that proved irresistible, like the origami folds at Calvin Klein, S&M banding at Narciso Rodriguez and Thakoon, and a mind-boggling exploration of turn-of-the-century (the twentieth) chic at Marc Jacobs. Silhouettes still favor a strong shoulder and pleated high waists on full-legged or skinny pants, and roll-hemmed shorts that, along with jumpsuits and apron dresses, are de rigueur.

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