Anna Molinari's stylistic concept for Blumarine is characterized by simplicity, yet it combines elements such as fantasy, passion, curiosity, fascination, and romance. These characteristics not only shape the fashion but also reflect the personality of the typical Blumarine woman. Looking at Anna Molinari—her intelligence, vibrancy, creativity, femininity, and passion—one detects a vibration between angel and femme fatale. Renowned fashion photographer Helmut Newton recognized this essence and, in collaboration with Anna Molinari, created a new concept of female power.

A Blumarine advertisement, for example, offers a glimpse of a girl, half innocent, half cheeky, emerging from her older sister's closet and into the sophisticated world. There's also an edgy defiance in the garments, designed by a woman combining her intelligence with feminine powers of seduction. Fashion photographer Helmut Newton has created a powerful image for Blumarine throughout his career styling and photographing advertisements. Whether set in the seedy ambiance of a back-alley hotel with tacky 1970s decor or on the shores of a trashy Mediterranean resort, the imagery always has strong sexual connotations. The clothes are styled with revealing accessories—garter belts, the dominatrix's pointed patent leather boots, or dog collars as chokers. The models' poses, particularly Nadja Auerman, who recalls an early 1980s Debbie Harry, are seductive. The images, by both Molinari and Newton, are always provocative.

Molinari liked to emphasize the female figure, often through exaggerated feminine styles. Her tutu miniskirt, featuring a tiny nipped-in waist that suddenly explodes into a full flared skirt, and layer upon layer of net and lace petticoats were very popular. The line also included delicate black lace babydoll dresses cut dangerously short, lace-up corsets, short striped dirndl dresses, tiny cardigans, and fitted sweaters, always worn revealing a lace bra or satin-trimmed panties. Popular fabrics included lace, brocade, chiffon, and fake fur, either as embellishments or fashioned into a fitted jacket. Accessories were important—bo-peep hats worn with schoolgirl-style braids, large feather boas, or top hats. Ruffles often reappeared in collections, on shirts or as flounced cuffs and necklines.

Color combinations are always refreshing and unexpected: ice blue mixed with burgundy, peach and cream, or chocolate brown mixed with sky blue and tangerine; however, black is always predominant, always sexy and suggestive. Blumarine has also explored many trend-setting fashion themes in collections. For Spring/Summer 1995, Molinari utilized the most precise representation of that season's "Disco Diva" look, with a short, knee-length pleated skirt in sorbet satin, combined with tailored jackets, hot pants for good times, and kitsch-print lurex T-shirts. Other collections tap into what Anna Molinari considers the dual personality in every woman: shyness combined with passion, or the little girl combined with the seductress.

The company has steadily grown in influence and is now recognized as one of the world's trend-setting, risk-taking fashion brands, with showrooms in Milan, New York, and Paris and an ever-growing number of boutiques in Hong Kong, Milan, and London. Courting affluent under-30 shoppers brought a sharp turn in style and taste. The arrival of Molinari and Tarabini's daughter, Rosella, to the design studio in 1998 brought an obvious youthful vibrancy to Blumarine's high-fashion heaviness. Long gone are the days of knitwear; Blumarine's theatrical reds and purples, searing pinks and turquoises, combined with cigarette skirts in satin, leather, and crocodile, and tailored suits with fur collars and covered with fox stoles and fur coats.

In March 1998, Molinari presented satin and pointelle slip dresses, fur-collared velvet coats, and sweater sets for fall, a nostalgic return to the sweater girls of the 1950s and 1960s with a touch of the flapper. For festive occasions, she emphasized beaded eveningwear for a striking party appearance. In her second season, design-led daughter Rosella tempered her exuberance with less exhibitionism, more control over her festive florals, sequined slip dresses, tailored pantsuits, and polka-dot organza with ruffled hems and voluptuous sleeves. Balancing a mother's bold daring with a mother-knows-best attitude, Molinari's designs drew West Coast fans to Heaven 27, Sofia Coppola's Los Angeles store, which opened in 1999.