Prada
THE FASHION SHOW OF THE MILANESE MAISON GOES BACK TO MINIMALISM
The Prada spring-summer 2020 collection returns to the nineties. To the decade of minimal juxtaposed to the opulence of the previous one. And it does not do so only with the help of clothes seen on the catwalk. Chez Miuccia, as always, a concept is proposed; the viewer (and potential client) is required to make an intellectual effort. Behind the scenes of the fashion show, at the Fondazione Prada, the Milanese designer explains that she removed rather than added. And to have taken this difficult decision because of some issues that are increasingly important to everyone, even in the fashion industry. Pollution, consumerism and, therefore, production. Three aspects that cannot be ignored.
Prada
Style first of all. In fact, Prada has never done fashion in the strict sense. The only exception is the introduction of nylon (which from the next collection will be exclusively recycled) on clothing and accessories, such as the iconic backpack. Also, and above all, on this occasion la signora della moda has preferred not to tell an identical story for every look, but the personality of each model. In the hope that each of us will pull out our own, rather than copying the bloggers or, as they are called today, influencers’ clothes equally.
NOT JUST FASHION: SOCIETY AND ITS CONTRADICTIONS
On Repubblica Miuccia Prada declares: «The feeling is that there is too much of everything, that the world is clogged. And then there are those who invoke the stop of production to eliminate the surplus. Right, but if we stop, the country collapses. So what do we do?» The ideal would be to create less and better. The problem is that then jobs are taken away. As a result, consumption is reduced.
The Prada spring-summer 2020 collection thus becomes an ode to the woman, rather than to a particular type, and to her feeling of it every day, when she is in front of the wardrobe to choose what to wear. And this is where personality comes into play. «A suit. A coat with a dress. A pullover with a skirt. A bag, shoes. Stop. The eccentricity is not in the pieces, but in the way they are brought (…).» The designer declares.
Prada
FROM PRADA TO GUCCI, PASSING BY VERSACE: WHAT DOESN’T WORK
In a certain sense it is a pity that Prada spring-summer 2020 have opened the Fashion Week. It is because all these words, instead of being deepened, discussed, even contested – why not? – have been overshadowed by two other moments, both epic and questionable compared to the sense of contemporary fashion: the Versace show, with Jennifer Lopez to close it wearing the maison’s Jungle Dress, and that of Gucci.
Gucci
In the first case, it is from some collection that Donatella proposes a sort of revival of what was the fashion house. In the second it is worth spending a few more words. The fashion show opened with immobile models like statues on treadmills. Dressed in white, their looks included straitjackets and workers suits. After a few minutes the show begins, where the clothes we will see in the window next summer are presented. Yes because the former will not be offered for sale. They only served to communicate a stance – that is, that we are imprisoned by social superstructures, by the “types”, a bit like Durkheim, even in the fashion sector (really?) – and that we should instead have more personality, proposed by the eighty and more looks seen on the catwalk.
Gucci
Just as Prada invoked its minimalism, Martin Margiela reflected on the question raised by Gucci, realizing, in the nineties, real straitjakets, in fabric and leather. Fashion shows at the limits of artistic performance. The proposal of Gucci, then, is not really a new fact in the world of fashion. If Michele’s goal was to attract attention, obviously he succeeded. But if we compare his proposals with those of Prada spring-summer 2020, it is possible that with regard to the latter there is much more freshness, innovation in clothes. Today’s fashion, in the intellectual context that belongs to it. Michele’s problem is that he remained in the early stages with the maison, so much so that, with the benefit of hindsight, the silent and immobile exits were more interesting than the others.
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