It was the show that went on and on and on and on—Antonio Marras must have hibernated all year crafting the Spring collection he presented in Milan. For inspiration, he cited Malick Sidibé’s photos of people celebrating in Bamako, Mali in the ’60s, when the African state gained its independence. Marras’ men’s and women’s collections received the same treatment, a broader social commentary that was not missed, thanks to the show notes, which included, “J’ai deux amours: mon pays et l’Afrique” (“I have two loves: my country and Africa”) and a Yinka Shonibare quote, “Today, no one is just one thing. No one can deny the unflagging continuity of long traditions, national languages and cultural geographies. There are no reasons for insisting on their separation and diversity, other than fear and prejudice.” He took that attitude to fabrics, patterns, trends, and wasn’t remiss to include: black and white oversized gingham, thread embroidery, appliquéd raffia flowers, sequins, batik prints, fringe, sheer layering, distressed denim, pleats with slices of metallic, sarongs, tunics, kaftans, animal prints, cotton broderie anglaise, jacquard, dyed linen, and more. Despite the visual overload, his aesthetic wasn’t totally buried—there was still plenty that was distinctly and visibly Marras.