The collection: A cavalcade of chic and colourful coats inspired by the 1920s Bauhaus movement. Destined to be a certifiable hit given the current trend of billowing outerwear seen ubiquitously both on, and off, the runway. The show started with the maison's famous camel maxi coat revved up with gold metallics (looks 1, 2, 3), made a chic detour via masculine grey tweed (looks 5 and 9), before transitioning to a colour-blocked confection of candy stripes on wide-legged pantsuits (looks 16 and 21) and elongated sumptuous coats (looks 29 and 32).

Favourite look: Undeniably the show-stopping maxi worn by Ruth Bell (look 35) with its creative clash of hot orange, chestnut brown and aquamarine on a body of black.

Backstage: Natalie Dormer (you know her from Game of Thrones and The Hunger Games) sporting a signature Max Mara camel coat, sleeves nonchalantly pushed up to the elbows, and waxing lyrical about why every woman needs a quality coat in her wardrobe. Hear, hear.

The theme: There was no real inspiration for today's collection at Fendi other than pure unadulterated fun. Waves of ruffles and frills were seen flouncing its way onto everything from sleeves to collars, and from bags to shoes. And what looked like stripes were actually a continuation of that ripple effect. This being the house of Fendi, for every few looks in flounce came a look fashioned in fur. Staying true to the house's FF insignia, furs for FW16 came in playful bright colourways (looks 11 and 32) and floral motifs (looks 33 and 34).

Lust-worthy: Those thigh-high sock-and-boot hybrids with frilly edges that had Eva Chen and Tina Leung proclaiming their love at first sight. 

Front row: Two celebrity guests flew in from Japan to make a special appearance at the show today — The Fendirumi, Piro-chan and Bug-kun. To read more about Fendi's furry friends, click here.

Inspiration: The mid-century European ski-slopes with its grand jaggered peaks, white powdered runs, and moneyed gentry of aristocrats and celebrities.

The collection: Round-shouldered coats, puffer jackets and long-sleeve dresses, all emblazoned with abstract images of snow-capped mountains. Highlights from Massimo Giorgetti's second collection for Emilio Pucci include: That bold opening look of a green pea coat worn over a multi-coloured zip pullover; that black and red midi-puffer jacket crested with dramatic blue peaks (look 8); and that hypnotic 'ski suit' slathered with geometric prints of mountains and cascading black-and-white ribbon, finished with over-the-knuckle frou frou sleeves (look 17).

Buro loves: The asymmetric patchwork skirts that closed the show; especially look 36 with its darting pattern of herringbone ribbons in red, white and black, with a tasteful splash of cream and green. Inspired by the slopes, and totally wearable on the streets. 

The collection: The Prada woman is never simple. Her complexity is evident from her carefully considered layers and her mish-mash of accessories. For fall/winter 2016, the Prada woman is kitted out to weather any storm that might sail her way — a theme carried forward from the men's FW16 show. The collection began with military-inspired looks complete with utilitarian outerwear, before marching into more romantic pieces with delicate embroidery and floral prints by artist Christophe Chemin (who also worked on the menswear collection).

The accessories: The direction was clearly more is more. Looks were cinched at the waist with half corsets, corset belts, and high-waisted belts (yes, and at times, all three worn together). Charms were aplenty, jangling from necklaces, belts and bags — think treasure chest knick-knacks such as keys, locked diaries and metal flowers; while argyle stockings grounded each look.

I spy: Models presented bottomless, only wearing argyle hosiery (looks 1, 4, 9 and 10) cleverly styled with cover-ups. Who really needs bottoms when you're wearing a statement coat or cape anyway?

The venue: An abandoned manor with crystal chandeliers, glass cabinets with antique glassware, and piles of broken furniture. Some front row attendees had the honour of being part of the set, seated on mismatched Renaissance chairs.

The collection: This fall/winter, creative director Jeremy Scott burnt down the house along with his collection — figuratively speaking, of course. After all, the invitation we received was burnt on the edges and came with matchsticks; a teasing prelude for the show. Half the collection comprised of scorched outfits, burnt and toasted, paired with matchsticks and cigarrette acessories. The other half? A lesson on how to do biker chic the Moschino way with loads of leather, chains, and pearls punctuated with statement prints and bows.

Something you might have missed: Several looks (including the outfit that Anna Cleveland danced down the runway in) were emitting smoke from what smelt like freshly extinguished flames. While those 'hot' looks were every bit Instagram worthy, it was the chandelier gown (look 50) that received a round of applause from attendees. Why? Simply because it took the model a whole lot of effort and concentration to manoeuvre the dress down the runway, taking baby steps at a time.

For all coverage of Milan Fashion Week fall/winter 2016, click here