Prada gets carried away with “mistake gestures” at Milan fashion week

At first, the wrinkles in the Prada blazer seemed an oversight. Perhaps the model got bored waiting for her turn on the runway, sat on the floor, and inadvertently crumpled her outfit. A big mistake in Milan fashion week, where impeccable perfection is the aesthetic foundation, but these things happen.

But then there was a pencil skirt that had a slit down the front ripped in the fabric. And more folds, which, upon closer inspection, turned out to be sewn and ironed into place. “Error gestures”, as Miuccia Prada co-designer Raf Simons put it.

Twists, cracks and folds suggesting “pieces that have had a life” were reflected in the design of the show, an immersive temporary art installation by film director Nicolas Winding Refn in which holes punched in black cardboard walls framed grainy film. and abstract. Fragments of domesticity: a flickering light bulb, a sleepy walk up a staircase.

Deliberate mistakes, a triangulated creative collaboration between two fashion designers and a film director, and film clips glimpsed in the background of a catwalk create a mind-bogglingly convoluted setup for a 15-minute fashion show. And this, of course, is precisely the point. Prada is haute couture for the kind of people who appreciate auteur cinema and modern art installations. Intellectual complexity is as key to Prada as the famous triangular logo.

The clothing itself was simple. The Prada catwalk is always peppered with ideas that are borrowed for free by a much larger audience than the few who can afford to shop in boutiques. Here, that meant broad-shouldered blazers of wet slate gray worn with skinny trousers, for daytime.

For evening, jewel-colored silk blouses were carefully tucked into elongated pencil skirts. Last season’s white racer-back vests, a popular trend that began on the Prada runway, were traded for the fierce simplicity of button-up white shirts.

Max Mara is a simpler proposition, for women who want well-made flattering pieces updated with a light touch of feminism. The French Riviera wardrobe of the 1930s—sleek wide-legged trousers with racer-back vests, straw baskets, and wide sun hats—is a classic summer vibe to which Ian Griffiths, the British designer of This Italian label added food for thought by giving top billing to Renée Perle, whose kohl-rimmed eyes and finger-curl hair are familiar from portraits taken by her lover, photographer Jacques-Henri Lartigue. “Perle is remembered only as a muse and Lartigue as the artist,” Griffiths said after the show. “But it’s her style, her presence, that really makes those photos. The idea of ​​a ‘muse’ is a way of dismissing the contribution of creative women.”

Griffiths learned about 1930s silhouettes the best way: her fashion tutor at Manchester Polytechnic was legendary designer Ossie Clark, who brought the 1930s bias-cut bodycon dresses back into fashion in late 1930s. the 1960s. “1930s style is very feminine, but also very modern,” Griffiths said.

About admin

Leave a Reply

Your email address will not be published. Required fields are marked *