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Restraint was never the point. The Italian house built its language out of ornament — a Medusa head, a Greek key border, baroque scrollwork in gold against black — and then treated that ornament as structure rather than decoration. A print carries an entire garment; hardware finishes a hem the way a buckle finishes a belt. Nothing here is ever asked to whisper.
That vocabulary reaches across everything the Milan house makes. Silk shirts and printed dresses carry the baroque and Greca patterns at full scale, tailoring is cut sharp and close to the body, and the Medusa recurs in miniature on buttons, buckles, bag hardware and shoe heels. Leather goods and footwear repeat the same codes in relief, so even a plain black bag still identifies itself.
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