Miuccia's Act two (Act one was the men's collection) quoted Fassbinder's The Bitter Tears Of Petra Von Kant, a huis clos about a love triangle between three women. About her collection, she said: "it's a mix of the sophisticated and things that look plain vulgar." You shake all these references and you have an irreverent, bold and avant-garde collection gathering Miuccia's current obsessions about beauty, gender and probably her aesthetic signature of good and bad taste. Other references were less obvious, but sex was definitely around the corner in a subtle way. It was not body-conscious literal attitudes, but kept and retained looks in which the body was hidden behind large v-neck sweaters, sherling jackets and boyish blazers. No tits or skin were showed. You could only see legs. You have to imagine the naked body behind the sheer négligés. The irony is that you become a kind of voyeur, detailing every layered look. There were college boy blazers over sheer dresses, colourful oversized sherling jackets with sheep skin on the wrong side over pop silk shirt dresses, the signature 70's printed dresses, outrageous sheer dresses embellished with strand of hairs over heavy v-neck sweaters or just these sweaters worn like dresses, the furry hairy red dress and stand out bondage dresses, all styled with ties fastened around the neck. There were also nude lips vs red lips as everything should not be conventional. It was raw, brutal, CharlieMinduesque, monstrous and kitsch considering these two ugly hairy looks : the red dress and the long v-neck sweater. This collection pushed the limits of ugly chic very far and that's funny from a luxury house. The power of Prada is Miuccia who is afraid of nothing, completely free to create what she wants. Hair is nothing but a piece of fabric for a house that established ugly as a trademark. No matter what is the commercial aspect of this collection, if Prada got trash the customers will follow.
|Pic via I-D Magazine|
These pictures come from DazedDigital.