A day like no other, this July 14, as the Digital Fashion Week in Milan opens: Miuccia Prada reveals her latest collections made alone for the house that bears her name, before the Belgian Raf Simons joins her to the creative director at the start of the new school year.
For the occasion, the Milanese invites five artists to stage, the men's spring-summer 2021 collection and the women's resort (in stores next December) in a video of just over 12 minutes where aesthetics meet in black and white by Willy Vanderperre, the industrial inspirations of Juergen Teller, the world of confinement by Joanna Piotrowska, references to cinema in the 1960s by Martine Syms and the science-fiction performance fueled by Terence Nance. " We are used to the format of the shows, but as soon as it turns out to be impossible, you have to invent another work," explains Ms. Prada to Le Figaro about this collection.So we decided to give five different personalities a total freedom of creation. This concept corresponds to what I have always believed: once the clothes are created, they no longer belong to me, but belong to others. "
1950s volumes, zipped details, workwear spirit ... Ms. Prada Prada's codes
As usual and perhaps even more for this last season as a solo rider, Miuccia Prada explores her own contradictions by confronting the ultra-fitted line of a costume and the references to futurism in men or the prettiness of couture dress and technical subjects in women. " I think our job as fashion designers is to create clothes for people ," continues the designer. This is where honesty is, the value of our profession: producing beautiful and intelligent clothing. This season we have focused on this idea. The pieces are simple but in a concept of simplicity as an antidote to unnecessary complications. The current period requires a certain seriousness, necessitates thinking and wondering about things. What do we do, what is fashion for? What can it do to a community? "
To discover on Prada.com, the 12-minute video presented in the concrete decor of the Prada Foundation in Milan. The first chapter entrusted to Willy Vanderperre presents a crossover of boys and girls in black suits with narrow lines and white shirts. Nylon dresses three-button blazers and flap pockets when, conversely, the utility silhouettes are reworked in cottons and leathers. The only exception to this very Prada asceticism of the 1990s, the model Sara Blomqvist, in a long quilted silk jacket printed with colored seedlings, bag with small shoulder strap in glazed leather.
Prada floral coat
The second chapter is made up of a series of photographs by Teller, where the monochrome silhouettes, the triangle logo of the brand, the zipped jackets and the shirts buttoned up to the chin echo the dehumanized decor of the engine room. When a strapless dress in technical taffeta emerges surrounded by romantic embroidery. Further on, printed silk dresses rub New Look volumes with contemporary zipped details.
Prada silk negligee
The following sections relax the subject, more mesh, oversized . The long underpants which swing between the old underwear and the tracksuit of today, are worn under long coats. The silk negligees are madly sensual.
A 4-button suit at Prada Prada
Last round, the strange filmed performance of Terence Nance revolves around the polo shirts, parkas and other high pants of the white cloakroom marked with the red Linea Rossa logo, cult sports line of the label, completing the panoply of men and women. Prada woman. " I have often said it, but I really believe it ," insists Ms. Prada. The world today is so complex, so rich with different populations, regions and religions. You cannot have a single vision. The best is to offer your vision and let others react. The best way to get to know an individual is to work with them. Confronting your work with that of others is the most profound conversation possible. »And gives rise here to an accelerated rereading of the last thirty years which owe so much to Miuccia Prada.
