Fashion has seasons, just like the weather. And it is just as unpredictable. It will follow a particular pattern, and then, for no apparent reason – except perhaps we were all getting a bit bored and there was a collective instinct for change – there will be a swing in the opposite direction.

Vogue’s editor, Anna Wintour, calls it “that jolt.” Well, it was a jolt of seismic proportions at Milan Fashion Week. The earth moved – and we all felt it.

The two key messages for autumn/winter 2005-06 are: black is back and big is beautiful. Frivolity, embellishment, and all those folksy, ethnic, boho looks are facing stiff competition.

Black, banished by the past few years’ riotous overindulgence in color and print, was a prime ingredient along with its near-neighbors gray, brown, and navy. The new volume was expressed in skirts that ranged from bell to puffball and even 1970s midis and maxis, and in flowing smock-dresses, balloon and lantern sleeves, blouson effects, and inflated collars.

Miuccia Prada, in a groundbreaking show that came close to her revolutionary minimalism of the 1980s, called it “the new dignity.” The emphasis, she said, was on shape and tailoring, with a nod to Cristobal Balenciaga.

Bereft of jewelry, her collection was well-nigh austere, in plain black and navy, with touches of camel, wine, and moody rose-prints, although brighter colors, mixed prints, and decorative touches appeared at Miu Miu, alongside black.

At Jil Sander the spare, sober spirit was translated in black, navy, and gray soft tailoring, often detailed with fringing or same-colour “medal” appliques.

Black 1940s and 1950s suits and coats predominated at Moschino, while Christian Lacroix, uncharacteristically, opened his Pucci show with a little black dress.

The week offered its share of additional shockers, surprises, and sensational clothes. Donatella Versace concentrated on daywear with new volume in coats with giant shawled collars, nipped-in waists, and flared skirts. Consuelo Castiglione of Marni made the wintry palette look graceful, with her sweet silhouette of belted coats, smock and apron-dresses, short jackets, and gently pleated skirts with simple knits.

Alberta Ferretti offset black, linear tailoring with rich greens, tan, and teal. Karl Lagerfeld, at Fendi, offered volume in a tequila sunrise palette and a new “tweed” woven from sheepskin and detailed with baseball seams. And Angela Missoni revived a 36-colorway design from the 1970s into oversized knits as well as ruched, draped, vintage-feel dresses.

Thomas Maier’s first collection for Bottega Veneta was an exercise in refined luxury, based on well-cut coats and jackets and knee-covering skirts in black, taupe, and gray in velvet, flannel, and cashmere, with the occasional flash of crystal on a camisole or gunmetal beads on a hem.

MaxMara mixed black with cream, taupe, and navy for its signature well-bred tailoring, with fringe adding sass to knee-skirts and sheepskin bombers. SportMax, the younger sister line, was a curious motley of gold lame and leather, tailored shorts, puffballs, and smocks with Oxford bags.

Christopher Bailey pumped up the volume at Burberry with a poetic collection of printed smock-dresses, military sheepskin jackets, tweedy trenches and coats that mixed town and country and offered olive, deep-blue, rose, and terracotta as another option.

Giorgio Armani left audiences perplexed by the bizarre, unflattering bloomers and pantaloons – and equally weird hats – that were paired with marvelous jackets or elegant fit-and-flare coats.

Gucci was dark and vampy, but while the oversized, balloon-sleeve, fox and Mongolian lamb bomber jackets, occasional swing coats in taffeta, and a black, high-waisted, semi-puffball dress scattered with crystals echoed the volume trend, the sprayed-on pencil skirts and trousers and paparazzi-plunge necks looked dated.

One would expect the ethnic trail to be well trodden, but Antonio Marras succeeded in exploring new territory for the eclectic-ethnic fan.

Riccardo Tisci betrayed his Central Saint Martins, London background with a conceptual showing in a former slaughterhouse, decorated as a Catholic church. Sadly, candles, a few light bulbs, and the occasional flash of spotlight barely illuminated the flowing, voluminous gowns and cloaks, in black and cream wool, leather, and fur.

Fashion may be turning to black, but that’s no reason to view it in semidarkness.