THE UNIVERSAL JUDGMENT (AND THOUGHT) OF FASHION AT THE CENTER OF THE MILANESE MAISON FASHION SHOW
The Prada fall/winter 2020-21 collection is dichotomous, for several reasons. Starting with the setting in which the fashion show took place during the Milan Fashion Week: Fondazione Prada Deposito. The space was divided into two equal parts, in the form of two squares, two agorà, with both in the center a red version of the statue of Atlas holding the weight of the world. While the press, buyers and bloggers sat on top, ready to watch every exit on the catwalk.
Metaphorically, then, you can read the scenography with irony: the fashion public is always ready to judge each collection. Good or bad it is. And it is the brands, represented by the models, that are subject to criticism. But the speech cannot be reduced here. Not in the case of Prada. It is plain for everyone to live in a world where criticizing without any rights and qualms is almost becoming a vital need, like drinking and eating. Social media are responsible, as much as a culture incapable of facing the banality of everyday life, which until forty years ago was almost natural.
COLORS, SILHOUETTE AND MINIBAG
Red, white and black are the absolute hues that stand out many of the exits. There is no lack of beige, as well as delicate and at the same time strong – and here the dichotomy returns – outputs in lilac and yellow. A few flashes of green and fuchsia soften the severity of the triptych above. But dualism is also in the silhouette: heavy outerwear is worn over semi-transparent dresses and skirts; buttoned and tight-fitting shirts, sober and precise, defy the sensuality of bold slits. All in perfect balance. Even when for a few moments pop colors appear on the catwalk, seen on the over bomber jackets, on the boots and on the outputs dedicated to the still alive Prada Linea Rossa. The mini bags are as delicious as cadeaux.
Judge, judge, it seems to mean Miuccia Prada with the Prada fall/winter 2020-21 show. But in the end, what matters is the clothe, first thought, then worked and finally finished. It counts the designer’s very personal idea on femininity and the relationship of the latter with the zeitgeist. And in this case, it is worth a lot.
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