Business Of Fashion – 22 janvier 2019<\/p>\n
By Tim Blanks.<\/p>\n
MILAN, Italy \u2014 Miuccia Prada loves love, but she hadn\u2019t finished saying what she thought about it in the men\u2019s collection she showed in January. Modern romance is a movable but fiercely compromised feast, so Miuccia used her new women\u2019s collection to expand on her conflicted thoughts. There\u2019s fear in the air, monsters stalk the planet. Love is all we need, but it\u2019s not enough, is it?<\/p>\n
Maybe consistency will convince. Miuccia rolled over the same window-dressing that she\u2019d used in January: the same foam-rubber floor with the filament lab lighting, the same safety-pinned heart, the same Hellmouth remakes of classic songs on the soundtrack (this time, Marilyn Manson\u2019s \u201cI Put a Spell on You\u201d and a Laibach revision of \u201cMy Favourite Things\u201d that could send you screaming to the nearest sanctuary). And Dr Frankenstein\u2019s monster reappeared, but this time Miuccia united him with his bride. The He&She of Horror. The Adam&Eve of ManMade Man.<\/p>\n
Miuccia felt that the topicality of reconstructed humans in an age where we are blindly walking into subjugation to AI was worthy of comment. She\u2019s frightened. So fear was a creative impetus in her collection. She mentioned \u201ca very real fear of wars so near\u201d when she was talking about the military aspect of her collection. She shod her models for conflict. And then she dressed Gigi Hadid in a particularly shapely hybrid of an MA-1 and field jacket which she paired with a delicate black lace skirt. Such a contrary combination weaponised womanhood in a way that made this collection a TKO. It was amplified in the way that classic menswear fabrics \u2013 tweed, herringbone \u2013 were transmogrified into classic femme fatale shapes. Like Binx Walton, tweed sheath limned to her body, portrait neckline recklessly askew. An image more potent than the repurposed combat-wear that surrounded it.<\/p>\n
Miuccia Prada has always twisted tropes to animate her collections. Think of a clich\u00e9, flip it or burn it to ash. But there\u2019s more urgency now. In a grisly ironic flourish, \u201cSomeday My Prince Will Come\u201d from Disney\u2019s “Snow White” floated across the soundtrack. Face it, he ain\u2019t comin\u2019. So Miuccia\u2019s women created an apocalyptic beauty for themselves. Something ruched, something draped, and maybe a little lacquered lace. But fucked-up. There were flowers, but they might have been borrowed from a graveyard. There were leather skirts printed with tulips and roses but they felt like fetish gear (the women wearing these particular items were fiercesomely ma\u00eetresse-like, so someone agrees with me!).<\/p>\n
It might have been one of Miuccia\u2019s most curiously uncompromising collections, but she\u2019s a past mistress at anticipating moods, so timeliness ameliorates in-your-face. When she was a student, she\u2019d man the barricades in vintage Saint Laurent. Now she\u2019s making clothes for her modern equivalents to do just the same. Vintage Prada, in the here and now.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"
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