Miuccia Prada is alarmingly aware. Her Miu Miu ensemble – variations on a dull belted pleated skirt cut into a daring mini, with a matching crop top – went viral, appearing on magazine covers and models and sparking a wave of DIY imitations and counterfeit. And Miu Miu in general is one of the most copied brands out there, especially by super-fast fashion brands like Fashion Nova and Shein, not because it’s easy to knock off (it’s not the case) but because Madame Prada makes clothes that women absolutely want to wear just at this moment.
“Fuck you, baby,” the set seems to say. “Forget those bourgeois expectations, go wild.” Even if you don’t want to wear a tiny little skirt, haven’t you felt that for the past few months, haven’t you needed that feeling of release, haven’t you felt like to constantly dream of freedom? It’s not a big statement about femininity, but a message about something unconscious that many of us miss.
And yet, many people seem to take the success of her Miu Miu look as proof that sex is back in fashion, that women are ready to reveal themselves in the public eye again, telegraphing themselves as available and curious (don’t if only spiritually). But Tuesday’s Miu Miu show, essentially a more popular continuation of that Spring 2022 show, shows why that’s not the case at all.
Almost all of the looks were retaliation for the viral miniskirt look, many with shrunken coats and bomber jackets, as well as ballet slippers and thigh highs. Between these brave women were a handful of men, many of whom had long Pre-Raphaelite hair and lean Bambi-like limbs, essentially in the same look as the ladies. It felt less like the long-awaited relaunch of Miu Miu Men’s (which closed in 2008) and more like a statement about the fluidity of that attitude, that thirst for release.
That spirit, and a sense of excitement and experimentation, is what’s hiding under those clothes, I think. There’s nothing out of the ordinary about these women or men, unless they’re staring greedily at another crazy experiment that could one day make for a great story at a dinner party. They are eager to grow up and eager to get out of the present and all of its rules and obligations, if only because they think they will be or feel young forever. This is the amazing high I think we’re going for when we go gaga for this set of mini skirts.
The femininity of sugar punk – perhaps it’s a feeling of naivety – also carries Chanel into the future. Virginie Viard’s Chanel looks heavier than Karl Lagerfeld’s, but it also looks less meme fashionable. Lagerfeld, of course, was drawing long before the meme was invented, but he presaged it, essentially, by turning Chanel’s signatures – tweed, chains, gold buttons, skirt suits – into global symbols as recognizable as Coca-Cola. . and the Mona Lisa. Viard has taken the Chanel staples away from all that grandeur, and while the shows still have an audience of thousands, Viard gives everything a calmer feeling.
This particularly struck me because it was his most Lagerfeldian collection to date. The theme was tweed, which is like making the theme the brand itself, and most of the looks were skirt suits with jackets of varying volumes and lengths. But his skirted ladies, with their shiny, bouncy hair, felt like real girls, rather than avatars for the Lagerfeels. And I think she just understands something that Lagerfeld never could, either because he was a man or because he thought so big: the quirks, the weirdness, and the inner life of a woman. , which I’ve seen reflected in fun little details like the layered and opaque bags. tights and even the little smiles that many Viard models wore on Tuesday.
Coming back to gender, however, there was another collection, coming from a much more adult perspective, which pointed out to me that the new preponderance of revealing or ultra-feminine clothing isn’t really a statement about gender. . I stopped by the Alaia showroom to see the collection that Pieter Mulier presented in January during couture week, and I was struck by the seductive sharpness of the fabrics, in addition to the clarity of the silhouettes worthy of Alaia. The clothes, from the pea coats to the coated nylon dress, were aggressive and gorgeous, but if they appealed to anyone, it was the one who wore them. The same goes for Miu Miu: it is the carrier, not the public. Rather, it is an obsession with calm in a life where nothing can be controlled. You put on your snakeskin coat, or your trumpet-hemmed shirt dress (!!!), or your blue coat that has a skirted back that can be buttoned up, and you can do anything.
He’s not just a designer could not make sexy clothes. The only designer I’ve come across in the last year who makes sexy clothes is Eli Russell Linnetz, whose ERL brand continues to make sportswear that hangs or falls off the body, always creating a pout image. attractive, eager sighs and excited looks. (Marine Serre, with her voluptuous bathing suits and curvaceous dresses, can also do the trick.) But these clothes that emphasize or reveal the body, even that emphasize femininity, are not at all there to plug sex. Sex, after all, is about power, and Miu Miu, in particular, is about denying power, even making fun of it.
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