The scandal surrounding British designer John Galliano's recent behavior may have been the biggest story dominating the fashion world this week, but Italy's leading - and still reputable - names kept it together and did their talking on the catwalks at Milan Fashion Week. And rather than upsetting the expectant onlookers, they astounded them.

Playing with textures was a major theme of the Italian event as was the distinct presence of 1960s influences, the "Mad Men" factor clearly failing to be uprooted. As smart looks go, D&G's androgynous approach sent pinstriped suits and bowler hats in an interesting direction, while Tod's accessories eclipsed its outerwear in the same way Galliano's racist ranting overshadowed Milan Fashion Week's foray in the fashion media spotlight.

Giorgio Armani's Boudoir-themed collection suggestively played to female fantasies and was as daring as it got, but thankfully no one took offense on this occasion.

Dolce & Gabbana

Leave it to Mr Dolce and Mr Gabbana to turn androgynous into one of the hottest looks on the Milan runway.

The operative word is sensual, the secret is a clear distinction between male and female, at least in the clothes.

During last Sunday's womenswear show for the fall/winter 2011-12 models wearing pinstriped tailored jackets, white shirts and low-waisted pants shared the runway with others in diaphanous chiffon gowns with star or musical note prints and body clinging dresses spiffed up by lace and fur.

This certainly isn't the first time the duo has trotted out man-tailored looks for women, but for this collection they called in tailors to cut the clothes just right.

The novelty came in the cut-off sleeve for suit jackets and coats to turn them into elegant vests.

Accessories, too, kept things separate. Shoes are lace-ups in tiger print, sequins or colored calf for the boy part, while high-heeled pumps and slingbacks decorated with lace and embroidery belonged to the girlie side. Funky bowler hats and suspenders lend a masculine touch, in contrast with ultra-feminine star-studded earrings and necklaces sparkling with rhinestones.

Giorgio Armani

Bellissima! Giorgio Armani called his fall collection Boudoir, and in his program notes provided insight that can trigger thoughts of "yikes." For the Armani woman "as reflected in the mirror of her own fantasies," it read. But rather than spiral into equal parts feathered seduction and mainstream dominatrix, Armani played to a woman's fantasy of pure chic, one tempered by a relaxed young attitude. It made for one of his best collections in memory.

From the boudoir motif Armani took dusty, powdery shades of pink, alone and in combination with black and grays. The biggest news here: gorgeous evening dresses. They came in pinks with variously achieved shine - in the fabric itself, crystals, paillettes - and included several variations on the alternative ball gown: natural-waist bodice over gentle, not too full A-shaped lantern skirt that stops at the ankle.

That same lantern shape took on an entirely different guise for day, in a pair of sober black looks that nodded at the Edwardians by way of Yohji. He also offered a major pants statement with amply cut trousers cuffed above the ankle. These were paired with any number of jackets, whether slouchy and mannish or short and flirtatious, or a frothy jewel-flecked gray tulle for a charming take on a bed jacket. It all worked beautifully. So much so that there was no need for Armani to, quite inexplicably, insert a dress with a giant photo-print self portrait. This lineup needed no such market; it was all Armani, at his best.

Prada

What could be more innocent than an aviator's cap. Pair it with a narrow silhouette dress featuring a pleated skirt, and you start to get an image of sweetly innocent childhood dreams.

Then throw in some python boots, and the dream morphs into Miuccia Prada's vision of what her women will be wearing next fall and winter.

Prada says she took inspiration from the 1960s and the 1920s. The 1960s is evident in the low waisted, straight mini-dresses, paired with an updated sort of go-go boot, high-heeled and clingy like a sock. The 1920s was probably best expressed in the aviator hats that accompanied many of the outfits, in soft leather, or shaggy fur that she hinted was more fake than real.

The collection was a study in simplicity - each piece a clear expression. There were dark double-breasted coats with big buttons, silver or black, belted at the waist. The collar, in nude or baby pink, matches the aviators' cap - goggles complete the picture.

Drop-waist dresses with pleated skirts, red or blue, or geometric designs, checks and squares.

Evening wear included dresses of plastic, transparent scales, in sophisticated combinations such as mustard-seed and garnet, paired at times with one of her oversized furry collars - a sort of surf-and-turf of fashion.

Tod's

At Tod's, it's the trenches, bombers and parkas that are the accessories to its full line of shoes and growing handbag collection.

The latest women's collection, presented at a spacious villa in central Milan, features a new silhouette with a pointy toe, substantial heel, updated with bright colors such as cherry red. One thing doesn't change: the telltale pebbles on the sole that have helped make the brand one of the most recognizable in the world.

The shoes coordinate nicely with the new clutches, two-tone in mustard with exotic prints, which fit snugly in hand but are thick enough to fit things today's women need, such as a wallet.

"There's a lot of color and texture," said Derek Lam, who has been designing for Tod's since 2006 and has helped Tod's expand steadily into clothing.

A Tod's wardrobe might feature classics that any Tod's woman would have: the classic D-bag, driving shoes, loafers, trench in suede or leather and leather parka, in classic beige leather and suede.

But Lam also created an edgier urban counterpart with a focus on black.

There's a great mix of textures: A black leather bomber has rich shearling. A longer trench with shearling accents and leather sleeves. Masculine boots. A classic bag is made out of fox.

Versace

Donatella Versace is revisiting the fashion house's Baroque heritage with a pop twist, brought to life by gold buttons and bold flower prints.

Gold buttons accent well-tailored winter coats, belted tightly at the waist in military style, flowing into a relaxed A-line pleat. And gold buttons appeared on the shoulders or sides of sleeveless shift dresses, with sharply cut necklines, featuring bold yellow and purple flowers entwined around the bodice.

Versace also played with textures, a theme in Milan this season, putting generous white fur sleeves on a white leather coat with stiff pleats; or leather swirls of purple, blue, green or black leather that snake seductively around a black dress.

Colors ranged from winter white, to silver, black and bright purple-violet, best seen in a pleated leather skirt worn with a matching turtleneck that reveals a spider-web pattern in deep blue.

Short skirts and dresses are paired with mid-calf boots and roomy leather bags.

If the snake imagery suggests a predatory Versace woman, Versace went soft for the evening - long evening dresses with sexy open backs were trailed by feathers.

Ken Downing, Nieman Marcus fashion director, said the sleeveless styles for fall would be big draws for customers in warmer climates.