PRADA the Women's Fashion Show PRADA Milan Fashion Week S / S 2022

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Prada spring / summer 2022.

«I am strongly in disagreement with the idea of ​​returning to normal. After all that has happened, how can you ignore it and just go back to normal? " He says Miuccia Prada while the catwalks of Milan come alive in the deposits of the Prada Foundation and in Shanghai at the headquarters of the Zhongshan Road Foundation whereat the same time the fashion show of the Prada spring summer 2022 collection.

Yes, how do you go back to a normality that you couldn't like as it was full of unsolved problems, conflicts, misinterpreted relationships, mystifying powers? We cannot go back to that normality, we must build a new world in which fashion can be a landing point for concrete work rather than reflection. But if the role of social and cultural construction is not of fashion, it is that of mirror and narrator of what he sees in the moment in which it is born. What do you see the fashion that is born today? "We had thought of words like elegance, but it felt so old-fashioned to us»Insists Prada.

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Miuccia Prada and Raf Simons.

One can not help but appreciate the logical process with which Miuccia Prada makes her thinking proceed and if there had been no reasons to share it so far, today it would even become urgent to do so. Fashion cannot limit itself to embellishing everything, it cannot be the perfect curtain that hides the ugly it does not want to see. If it is not taken into consideration by those who work on change, there is a reason, and it is because it often continuously and constantly re-proposes the concepts of déjà vu: elegance, femininity, awareness. As if it were possible that they weren't there. Of course, they are the starting point, but today a fashion that continues to ignore it, which is limited to lengths, colors and processes to dress the sensual bodies of elegant and aware women who cares? A fashion that re-proposes models of femininity invented by male power, what sense does it have in the light of what is happening in the world and leaving aside the long period of the pandemic?

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Prada spring / summer 2022.

Seduction is overrated

The response of a collection obsessively projected to find the synthesis between the past and "a time that is no longer when it is formed" to present itself to current events is the work that Miuccia Prada and Raf Simons have done as creative co-directors of Prada. "The collection analyzes the meaning of the garments (considered typically feminine, ed) in the current context through ideas and references to the past and questions the meaning of seduction. Why are these ideas still important after hundreds of years? ' The easy answer would be to say why the power of male culture has never changed, but this can be given by speaking. As a fashion designer, the answers are more complicated. “Trains, corsets and evening dresses. These elements have always been considered beautiful, but an evening dress, however beautiful, at this moment seems out of reality. We want these dresses to be relevant to the 21st century and to women today»Adds Raf Simons. In short, you can not pretend nothing has happened, pretend that women are always the same, pretend that they are willing to drink the usual lies about beauty and seduction that are told to them by those who have an interest in keeping them out of important speeches. And in this moment the clothes in the collection take their shape, which is substance in a discourse that is organized to change things from the inside and in an influential way.

Seduction, an overrated activity, a lie that even the men who invented the canons of women believe in, is the starting point of Prada SS 2022 but it is faced by reduction in a process of subtraction. Corsets are a memory, what remains are the boning inserted in a satin dress that remains entirely unbuttoned on the back. The tail and the train become a wide ribbon that descends from a flat bow on the back of a miniskirt, the bra cups draw the front of a sweater, the overcoats and jackets are male and in black leather, the shorts have the shape of the culottes (one of Miuccia Prada's historical obsessions that over the years has re-proposed them in a thousand ways and qualities, even in cashmere), the day dresses are in red lace, the evening ones are petite robe in white satin with the A-line »(And then who knows if they are for day or evening … It is not relevant). In short, it is a question of shifting points of view as happens in all other creativities, first freeing the mind and then the body from habits to lazy thinking, from the banal faculty of refuge in continuity. Like the rhythm of a music that repeats the notes to create repeated harmonies (Philip Glass or John Adams), so this collection repeats his clothes, as if to affirm the obsessive proposal of the themes of modernity, giving this message the rhythm of urgency. There is no more time to waste making beautiful clothes, clothes must also be able to say what world they want and what world they want to live in: if they insist on living "in normality", fashion will die. As usual, Miuccia Prada is right: "I like the idea of ​​being able to analyze the garments we refer to because they are relevant to our history, especially as women. It is not a refusal, but a rethinking of how to use them in a different way ». All clear.

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Prada spring / summer 2022.

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Tod's Milan fashion show S / S 2022 MILAN FASHION WEEK

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tods milano fashion week tods

Tod's spring / summer 2021.

The Sixties, the "A" silhouette, the simplicity and bon ton of Federico Fellini's films: Walter Chiapponi summarizes with words that build precise images the spring summer 2022 collection of Tod's which, finally, can show live in the halls of the Museo della Permanente in Milan. And it is the specific one on bon ton that, in reality, manages to give the complete mood to the collection because it is a Milanese-style "bon chic bon genre" meaning, that is, severe because it comes from the project.

There is in Chiapponi's story a precise fascination for the bourgeois life of Milan where, more than appearances, one pays little attention to appearing. The Milanese, at least the one that has influenced the culture of the city, is a bourgeoisie that appears little, that has mixed with the intellectuals, also bourgeois, and that has produced a mixture of taste and precise rituals: reserved dinners, the discreet cocktails, the evenings at the Teatro alla Scala, the gloves for going out in the afternoon, the suit for the afternoons in the Ridotto, the overcoat for the presentation of the book by the engineer, Carlo Emilio Gadda.

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Tod's spring / summer 2021.

The charm of the bourgeoisie that attracts Chiapponi is therefore different from what Luis Buñuel tells in his film lucidly true, where the perversions described by the Spanish director have no place. Here sensuality becomes Mediterranean, the silhouettes become graphic, the cinematographic references are those of the Italian cinema of the Sixties, the clothes convey sweetness. In the bon ton conveys sweetness.

Italianness and optimism

"We have incorporated taste," says Diego Della Valle, president and CEO of Tod's, who links the success of his companies to a general recovery of the Italian system. «The credibility of a country also comes from what it produces. And perhaps it would also be nice if we were no longer surprised at being a credible country »underlines Della Valle as if establishing a direct dialogue with the clothes that parade on the catwalk.

Where on men's moccasins with the "T" buckle and sandals with giant rubber pads, there are coats with rubber protectors, tunic dresses in white, mini dresses in crochet knit ("they are the symbol of dexterity and materiality" he says Chiapponi), shorts worn with bustiers that form leather suits, manteaux robes made up of long jackets in raw linen, anoraks and other sports jackets in light, colored and transparent nylon that take on balloon shapes. All while formal and sporty mix to describe a new bourgeois formality. Because even the formalities change with the changing times.

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Tod's spring / summer 2021.

Style © REPRODUCTION RESERVED

"Leave it"

"Leave it"

Last week I had to buy Viola's gym shoes (now it's called physical education, we used to call it physical education, but gymnastics always remains).
We go into Nike and I started showing her some models, the ones that seemed prettier to me. She rejected them all to the sound of: no PINA has this, PINO has this and NINO has this one.
Why am I telling you this? Because for me, the fact that they were widespread shoes and on the feet of most people was an added value, but for her it was an excellent reason not to choose them.
I would go home saying: I WANT THE SUPERGA LIKE THOSE OF BARBARA. I WANT THE CONVERSE LIKE THE CORINNA'S. DO YOU BUY THE TIMBERLANDS LIKE THE FRANCESCA'S?

(Obviously the use of the articulated preposition instead of the simple one, indicates my origin, not my ignorance).

I've worked like this for a really long time … probably even now, I don't have Corinne or Francesche to imitate (Barbare yes), but influencers or newspaper pages that give me ideas, yes.
Not her.
We came out of there with very normal black and fuchsia shoes, of a model that I do not know (and whose name I miss now) and which are exactly for him.
Maybe she already knows, more than I do, what she likes?
Last year I bought her some beautiful (for me) pink Air Max. I liked the contrast of a tiny little girl, with these somewhat ignorant shoes, to be worn with jeans or even with slightly baggy pants.
I'm not saying she hated them (also because she's too kind to tell me they made her sick), but she didn't appreciate them as I would have liked. To this we must add that a couple of times she wore them to go to school and two classmates looked at her with an ambiguous smile.
I obviously have no idea why they smiled at her shoes, but she took it as a nice and good tease and so this helped to leave the Air Max in the corner.
Lesson learned, never buy shoes on someone's back, it might not be good.

Also on Sunday, she suddenly came to me saying: mom, but when you were little, did you have the desire to wear a little different things and then instead you didn't do it because you were afraid that others would laugh?
Probably this question is also the result of the fact that after 8 years of democratic apron, now we see what is underneath, with all the implications of the case.
I took 30 seconds to answer her (because the question is tough, if you think about it) and instead she went away impatiently telling me LEAVE IT
Let's say lately the LEAVE IT it is something that accompanies us, a mixture of: YOU CANNOT UNDERSTAND and I AM NOT SURE THAT I CARE ABOUT WHAT YOU HAVE TO SAY, but the questions are asked of me, so I am content with sharing and I try to come back to it, when I see it a little 'more receptive.
So Valentina, by chance, sometimes, you didn't dress as you wanted just because you were afraid of the judgment of others?
WE ALSO REMOVE THE BY CHANCE AND THE SOMETIMES. I can say that it still happens to me now, if not every day, at least once a week.
I get ideas, I take ideas, I would like to experiment, but then I think about the people I meet, how they are and I give up.
Why do I do it?
I do not know.
It's not really afraid of judgment, I'm too old, high school has been past a while and I also have the tools to defend myself from certain looks, but maybe I still find it convenient to conform to be part of a group. I find that to be adequate is very comfortable and often I linger in this comfort a little too much.
I'm probably afraid that the message I would send out by dressing a certain way is misunderstood.
Fashion is a tool to make people understand who we are, it tells the people we meet every day (at the supermarket, at work, at the post office and outside school) what we want and let's not tell ourselves that our choices (or not choices) in terms of clothing do not say a lot about us, because it is obvious that they speak for us, much more than our words.
None of us dresses just to cover ourselves from the cold or not to be arrested for outrage of modesty and when we are in a shop that is a boutique or a fast fashion (it is obvious that I am not talking about money) we make choices ( I know, here many Miranda Priestley vibes … but isn't it, the best moment of the movie?).
If I went out every day with my friends, maybe I would have the audacity to try new things, because I would feel understood in my relationship with fashion, which is fun, love, creativity, but when you are dealing with mostly with acquaintances, everything is downsized because making ourselves known for some peaks of creative madness or for experiments that have a high potential for failure is a bit risky.
Mind you, it's not that I shape my style on the people I hang out with, but I don't overdo it and I don't try new things because I'm afraid of not being understood.
I continue with my style, even if every now and then I paw and I would like to give it a paw. Obviously when it happens (and it does, because sometimes I feel so sure that I don't pose any problems), it is immediately noticed and I don't know to what extent it is good.
So the question I ask myself is: what do I want my way of dressing to say about me? And are the bursts of creativity part of my style?

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