Prada Men’s RTW Fall 2016
January 17, 2016 - fall Denim
Miuccia Prada perplexed with an well-developed coed show, and a diverse, sailor-tinged collection with a clever regretful tug.
Does it make clarity to uncover men’s and women’s collections on a same runway? A flourishing series of designers here in Milan are observant “yes,” including Miuccia Prada, who explained her proclivity thus: “When operative on a men’s collections, we am always meddlesome and really many suffer questioning a several opposite ways group and women conflict to a same suspicion with sum freedom.”
So maybe all a gibberish and handwringing about runway shows going consumer is a ruse. Let’s hear it for coed!
Prada positively done a absolute box with this well-developed show, one of her best men’s wear outings in years. Finally some edge-of-your-seat conform and a collection that was not usually opposite though thought-provoking and enthralling with a clever regretful tug.
Who were these proud-looking group and women in their soldier hats, beautifully tailored coats and uniformlike suits, collars and hoods detached, contorted and dangling? What kinds of storms, or ordeals, did they weather?
Backstage, Prada pronounced she had reflected on a extended brush of history: Not a informative triumphs, though a “bad and formidable periods” that need intrepidity and passion to overcome. She also suspicion about “what is function now,” alluding to a wars, assault and upheavals that are destroying or displacing millions of people. Her show, she said, was a product of “mixing, in a contemporary way, all those impressions and anticipating a proceed to make it now.”
She collaborated on prints with Christophe Chemin, a little-known French artist whose allegorical drawings — splashed on Fifties stay shirts for him, regretful smocks for her — question and remix history. For example, one in blue pencil, patrician “The Important One,” muses on fame, incorporating Hercules, Sigmund Freud holding a stick, Nina Simone in fighting gloves and Che Guevara holding an Oscar.
These densely layered images were echoed in a resources of new shapes, combinations and sum that filed by a multitiered set of timber molecule house assembled to elicit a museum or open square. The group wore mixed variations on naval dress, from small, waist-cinched jackets to thespian capes and large officer coats. The flyaway collars and hoods — in shirt fabrics, unbending leather or shearling-lined denim — look like a 2016 chronicle of Prada’s strike fur tippets of yore.
As a uncover progressed, a garments accrued folkloric embellishments and homespun touches like hand-knitted or shearling bend patches. For a many part, Prada employed stout and elementary materials: Leather for popover shirts and slouchy pants; denim for slim coats or capes, and mottled wools for snug, vaguely Seventies blazers. Pants were regularly cropped and infrequently ungainly in that counsel Prada way.
The women’s ensembles closely echoed a wayward, windblown soldier allure, sexed adult with high heels and patterned tights. There was a apartment of suavely draped satin and velvet dresses with Forties front — that decade’s change entertainment movement this pre-fall deteriorate — all kind solely for their open backs.
Asked backstage if she dictated a show’s gloomy tone, Prada responded with her matchless proceed to fashion: egghead nonetheless frivolous. “Deeply critical and deeply human,” she replied. “Trying to know mankind’s problems and what we have to face and what we have to do. But also trying, we hope, to make it nice.”