‘Show that never happened’: Prada’s electronic hangover in Milan

Miuccia Prada’s swansong turned into captured in five films in new era of online fashion shows
The Show That Never Happened, Prada SS21
Photograph: prada.com
Six months due to the fact that the last fashion week displays were held in front of an audience and after a week of streamed couture and men’s displays in Paris, there was a little bit of a electronic hangover at Milan fashion week.
“Can we pass back to precise shows now?” become the plea from one of the ones with a compromised posture and dry eyes from squinting at a tiny computer reveal as Miuccia Prada were given Milan beneath manner with a collection of five videos, subtitled: “The Show that Never Happened”.

Prada changed into presenting her last solo choice previously the dressmaker Raf Simons joins in September as co-creative director to demonstrate the spring/summer 2021 womenswear choice.

Viewers saw the spring/summer 2020 men’s selection (and the women’s hotel collection) via means of video: one choice however as observed through the lenses of five creatives (Juergen Teller and Willy Vanderperre included) in separate “chapters”.

Of the five films, via the Polish photographer Joanna Piotrowska, stood out. She controlled to elegantly balance an artfully made short movie (models doing finger-clicking interpretive dancing, around a Twin Peaks-ish degree curtain) with a dazzling showcase of the selection.

Helpfully, the films did now not distract from the clothes. For the menswear, Prada kept to last season’s utilitarian vibes: trousers cut with directly precision, paper-crisp white shirts, ties that erred on the aspect of skinny and sylph-like crossbody bags.
The men’s choice had an nearly eerie feeling: sometimes recalling the exactness of the costumes in the 1997 dystopic sci-fi movie Gattaca. The womenswear became distinctly freer: dresses cut in tiered and bubble shapes, coats with bat sleeves and peaked Mary Jane shoes.
In an age of style austerity, with its recognition on the minimal and functional, it felt perfectly judged.
Miuccia Prada herself seemed in short at the end of Terence Nance’s last movie, a blink-and-you’ll-miss-her glimpse through a doorway. As a swansong to this technology of Prada it turned into gentle, diffused and variety of perfect.
But it wasn’t as if this “digital technology” hasn’t provided any highlights. Kim Jones’s collaboration with Ghanaian artist Amoako Boafo for Dior was an official party of Black Lives Matter, Casablanca oozed with summery fun, Viktor and Rolf’s couture reveal – heavy with witty postmodernism – played like a Fast Show sketch, whilst Jonathan Anderon’s demonstrate-in-a-box for Loewe was predictably brilliant and inventive. And of direction Prada. But too many played like trailers to the leading event. Which they variety of were.
A sense of lack pervaded the proceedings: a lack of curation inside of the medium, a lack of anxious energy that propels that “anything could happen” calories in the live reveal and a lack of certainly being in a position to go to the clothes. Obscuring the collections at the back of obtuse and artful intent felt more like you were looking a confusing Tumblr page of an overzealous art student.
But there’s light at the finish of the tunnel: Milan fashion week returns to physical displays on Wednesday with Dolce and Gabbana (live models! Real clothes! Problematic references!) and London style week has announced physical shows will start back in September.


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