MILAN – Behind the scenes at the Moschino show on Thursday, May Russia Attacks Ukraine, designer Jeremy Scott is standing among models dressed as furniture of a large building – a lampshade is an actual lampshade; a satin bedspread complete with a pillow as a collar; a grandfather clock – and discuss what happens when crisis and fashion collide. Nearby, miller Stephen Jones was attaching an entire lampstand to a model’s head.
“I’m just trying to bring some mourning, some joy and some beauty to our lives,” said Scott, explaining the show’s entire stance. He didn’t know what it looked like. “We still need it,” he said, pointing to his sweater having read, with unconvincing brevity, “Gilt is not guilty.”
The fashion bubble, the world in a world that moves with its own rhythm and language twice a year during ready-to-wear shows (or did, before Covid), can feel unsettling. at best times. However, when a global confrontation occurs, the contrast between the inner life and the outer life is especially jarring.
On the one hand: imaginary and frivolous things; on the other hand, feeds and headlines are full of menace and fear. It can seem almost irreconcilable.
However, fashion, like other human expressions, can be a tool to get through even the worst of times; can be used to feel stronger, safer, more confident, more effective, able to cope with today.
The problem is how to think about clothes that are made for one world, but will be seen and worn in another. When reality changes, what something looks like, the purpose it serves, can change overnight.
For example Max Mara team, checked the name Sophie Taeuber-ArpThe Swiss abstract artist of the early 20th century took notes during his show and sent out models wrapped from head to toe: wearing cashmere and puffer jackets, teddy pants, tank tops , knit opera gloves, thigh-high boots.
In a world emerging from Covid, such garments can spoil comfort clothing and family comfort, but in a world full of punishment and shelling – a world where a The guest in a small black dress held a placard scrawled with the message “There is no war in Ukraine” – they seemed more like protective gear, shielding the organs inside.
Then there’s Sunnei, where designers Simone Rizzo and Loris Messina imagine a small commentary on the hustle and bustle of everyday life, with models running down a side street as if late for a very important day. , their eclectic mélange of popcorn, loose trousers and stretchy color block tops flew around. It’s a witty script, but it’s hard not to see flustered people (some also feature in balaclavas, a trend that’s getting a whole new cast), bulging backpacks and thought they were on the run.
This is a problem for Mr. Scott, whose double-fashion buffs have turned his work into a social media channel and made him the industry’s resident postmodern prankster. A few months ago, when he was forming his collection, the sobering euphoria of the past two years when we’ve all had to find inspiration within our own four walls was perhaps an idea. interesting thought. Especially when it comes to overcoming the popular promise of space exploration, in the form of a set based on the lavishly decorated bedroom in the final scene of Stanley Kubrick’s “2001: A Space Odyssey.”
Mr. Scott joked backstage: “It was “2001: A Space Opposition”. He’s referencing suits and outerwear with sports hoses and cutlery buttons, and a tasseled little black dress with the tagline “maid in Italy” and a fur-trimmed scarf. hat – not to mention a golden cloak carrying a full-sized harp. with crystal straps on the back, although the first movie that comes to mind is Disney’s “Beauty and the Beast”. Normally, Mr. Scott’s patterned puns serve as a cover for a sharp cultural commentary, but this time they seemed less wink than irrelevant.
What exactly is he skewering? It might have been the tycoons (which should have changed a dime), but instead it seemed to be… the interior design industry.
As it happens, Mr. Scott’s first Moschino show, held eight years ago, took place during the early part of his career. 2014 uprising in Ukraine. Then, as now, it creates a jarring contrast.
Other: Just outside the Prada show – where the crowd was howling to catch a glimpse of celebrity guests Kim Kardashian (in jumpsuits and leather pants from the men’s show in January) and Hunter Schafer of “Euphoria”, model – two women opening a Ukrainian Flag.
That is why contrast is at the core of what Miuccia Prada and Raf Simons have discovered at Prada since then. they join forces two years ago was too sudden apropos. Its strength lies in the willingness of designers to grapple with the impulses of different perspectives. This season is no different, with intertwined tensions between masculinity and femininity, hidden and revealed, ornate and much-needed.
A basic ribbed white tank is teamed with a sheer dress in a metallic fabric, made wrinkled and shimmering, sometimes trimmed with pink satin inserts or gray felt fabric, sometimes the poles like dangling petals seem heavier than the material. no.
Dresses re-emerged as off-the-shoulder dresses and panties, paired with 1970s patterned wool pants (the kind Prada was famous for years ago), oversize coats and tops. leather jacket with protruding shoulders and fur growing from the elbows. Occasional black patches, like throat cleaners: wool coats and skirts with chains wrapped around the neck and tied at one shoulder; Knee length silk dress with cardigan.
It is not revolutionary; most of the pieces (or their ancestors) appeared on the Prada runway in another time. But then the designers explored the brand’s own past. If you don’t learn from history, etc.
As for the point, it’s specifically on the nose.
https://www.nytimes.com/2022/02/25/style/prada-moschino-milan-fashion-week.html Everything looks different now – The New York Times