Stella Jean returned to the Milan Fashion Week runway after a three-year hiatus with a collection that reaffirmed her commitment to fashion as a vehicle for cross-cultural dialogue and political cooperation. Titled Where Women Move Mountains, her spring show was cocreated with artisans from Italy and the Kingdom of Bhutan, as part of the designer’s ongoing #ForWomenForNations initiative. It marked the first time that Bhutanese traditional craft has entered the Italian fashion calendar, and the first time that many of these Bhutanese women artisans had traveled outside their country.
The runway opened with a look that set the tone: A wrap corset inspired by kira (a traditional Bhutanese textile) was paired with a tailored beige suit, evoking Jean’s enduring interest in masculine Italian codes of dress. It was a subtle nod to the kind of refined tailoring that first caught the attention of Giorgio Armani over a decade ago, when he invited her to show at Teatro Armani. The tribute came full circle at the finale. As Jean took her bow, she held up a white T-shirt bearing a message of gratitude for Armani, following his recent passing.
The collection unfolded like a dialogue between mountain geographies. Earthy tones of sand, moss green, and clay red were joined by deep navy and bursts of Bhutanese lac-dyed crimson. Fabrics carried meaning: The show featured a Himalayan nettle fiber that was locally harvested, hand-spun, and coiled using time-intensive techniques, then shipped to Italy’s Marche region, where it was embroidered with artisanal precision and a strict zero-waste ethos. “One piece can take up to a year,” explained the Bhutanese artisans backstage, visibly moved by the occasion.
Silhouettes moved fluidly between the ceremonial and the contemporary, while Bhutanese weaving motifs appeared not as decorative elements but as structural linings and panels. Jean also integrated raffia and regenerated cotton, as well as a selection of accessories scouted during her trips to Bhutan. Each item purchased from the collection will directly fund and support the fading craft of these women, invigorating a borderless curiosity able to nurture and sustain local traditions.
As ever, Jean used her Milan platform to advocate for broader systemic reform. She called for a reduction in VAT for artisanal fashion and the introduction of a self-certification process tailored to micro-supply chains. “We need tools, not slogans,” she said. “The help must be direct. Buying from these women is not charity, it’s value. It’s fashion that stays alive because someone, somewhere, made it with love, precision, and ancestral skill.”
