MILAN Fashion Week, where designer heavyweights Giorgio Armani, Prada, Gucci and Versace have shown their collections, was the third leg of the monthlong catwalk calendar that wraps up in Paris this week. Here’s a look at some of the highlights from both runways.

Fendi’s tribute to Lagerfeld

Fendi paid understated tribute to Karl Lagerfeld, who died last week and was the Rome-based fashion house’s creative director for 54 years.

The fashion house said in notes for its Milan Fashion Week show that the fall/winter 2019-20 collection “is the final collection designed by Karl Lagerfeld, representing a lifetime of dedication and creation from 1965 until today.”

Reproductions of five of Lagerfeld’s sketches accompanied the notes, summing up the looks. A small card came printed with his signature and the Fendi “F” that had a heart forming the cross-stroke. The date of the designer’s death was on the back: 19-02-2019.

A video recorded before his death showed Lagerfeld being asked to draw himself as he appeared on his first day at Fendi.

“Well, that’s prehistoric,” the designer said. “In the 1960s, we didn’t hold back.”

Karl Lagerfeld’s grand finale at Fendi emulated the designer’s signature style, with striking high collars and the models wearing ponytails at the nape.

Vaccarello back with bare skin

The sultry vibe of late couturier Yves Saint Laurent, harking from the launch of his perfume “Opium” in 1977 and after, was in the air at the evening show by Anthony Vaccarello.

Dark and hazy lighting lit up male and female models in retro ensembles, styled with large shades, trilby hats or disco skull caps. The show opened with oversize 1980s power-shoulders on some statement tailored coats that set the fall-winter display’s graphic tone.

But Vaccarello’s signature style is bare skin. Nipples and chest were exposed in a black silk gown with scooped bust, or on a YSL archive peaked-shoulder tuxedo jacket in white with cummerbund. Micro shorts and miniskirts were in abundance.

Reverentially, Vaccarello delved into the house archives and returned with the Asian musing that inspired Saint Laurent’s successful and controversial perfume from the late 1970s. This era was apparent in some accomplished archive pieces, such as a shimmering jacket, that recreated the red and gold embroideries associated with this heyday.

A starry front row applauded enthusiastically.

Cavalli’s fresh new twist

Creative director Paul Surridge’s opening look for Roberto Cavalli was a print with the power and shades of an Arizona sunset, giving the brand’s heritage animal print designs a fresh new twist and planting color at the center of the new collection.

A pleated mini-dress billowed into evening length in the back, while knit dresses echoed the silkier pleating, projecting a contemporary silhouette with stronger shoulders and narrow bodice.

Standout pieces included dresses decorated with shells and studs to create a rich pattern and snug, beaded art-deco evening dresses with cut-outs. Coats for men featured exaggerated buttons and closures, while suits were dressed up with colorful patterned turtlenecks under suit jackets and shirts. For younger dressers, there were ski vests over big animal-print anoraks and matching tops.

Dior charts into new territory

A GARGANTUAN art installation covered the runway walls, spelling out words like “feminists” as Dior’s first female designer, Maria Grazia Chiuri, took the theme to the sassy styles of British “Teddy Girls,” a rebellious breed of British teens during the 1950s.

It was new territory.

Monochrome gingham, red check, full skirts, big black leather belts, pointy shoes and cutoff bobby socks all evoked the girls who formed part of a largely forgotten subculture that took its name from the Edwardian-style “Teddy” jacket donned by adherents.

The Teddy Girls rebelled against austerity after World War II and replaced it with messy exuberance in their clothes. It’s laudable that Chiuri sought inspiration in “the queens of a ravaged landscape” who were “impertinent characters,” according to the description in the program notes.

For fall-winter, slightly awkward bell hat-hybrids led the eye down to Edwardian coats, their exaggerated lapels touched on a trend seen in Milan. Pleated or buttoned-down, full skirts evoked the end of wartime rationing. The collection was far from glamorous.

Mixing luxury and grunge

Donatella Versace mixed luxury and grunge in a new collection that calls on the Italian fashion house’s key iconographic details of past decades. It was the Milan fashion house’s first womenswear show since becoming part of the Capri Holdings Limited owned by Michael Kors.

Versace said before the show that “grunge is an attitude, that time in life when people were more deep in the sense of thoughts, talking and thinking.” She said there is need for more of that now.

Grunge came through in the purposely ravaged cashmere sweaters, held together by Versace hardware, including the Greek-head safety pin, like one that came with the invitation. The sweater paired perfectly with a tweed skirt with a colorful silk and lace slip peeking out.

Other looks were more eclectic, as if pulled from some 1970s magic trunk of slinky, colorful pieces that layered into fun, upbeat looks including a shimmery turquoise slip dress, to the lace tights and V-branded pink-and-green coat with an acid green fur collar.

Armani dazzles with blue

Giorgio Armani cast blue accents over his elegant collection for next fall and winter, with sculpted details recalling roses, or mini-cyclones.

Armani held the combined women’s and men’s preview for the first time in his Silos museum, which collects and encapsulates the designer’s creations.

The female silhouette was elongated, accentuating curves, while the looks for men were strong and classic. Together they cut an elegant, evening figure. In fact, the collection shown under twilight lighting contained no strictly daytime looks.

For women, dark suits featured short jackets with woven ribbon details in contrasting midnight blue and pants with a jodhpur profile. Long evening coats had sculpted necks. Belts and handbags both had ruffles that gave voluminous accent to the looks. An iridescent rose appeared on a top. The fronts of jackets were constructed to resemble a rose petal. Velvet pantsuits sparkled. Armani called the collections “complementary expressions of the same vision, united through the color blue.”