Celebrities are thin on the ground in Milan, partly thanks to the collaboration of the fashion week with the Oscars, but a group came out for Prada, including Gal Gadot, Maya Hawke, Simone Ashley and Hunter Schafer.
Mrs. Schafer wore a pink top and gray briefs under a black satin jacket, about a week after he had worn a flower -prada dress dress for the Independent Spirit Awards. Who was immediately after she posted A video On Tiktok it noted that she had just received a new passport that, thanks to an executive order from Trump, I identified her as a male. Although she had had female sex markings on her documents since she was a young teenager.
“It’s impossible,” said Raf Simons, the co-creative director of Prada, Backstage, of Mrs Schafer’s situation. “But it happens.”
And it is part of the reason that the issue of femininity – what it looks like and what it could define now and in the future instead of in the past – was the question of the season for Mr. Simons and Miuccia Prada.
Or rather, as Mrs. Prada Backstage said, “What kind of femininity can you maintain at this difficult moment?”
We are conditioned, Mr Simons added, to think about that issue in a classic way, which is generally also a cliché way: Ozempic and Korsets and Limitations embrace.
But what if they, they asked, you freed yourself from it? What if you screamed in the opposite direction?
Cue a show conceived as a riposte for the whole idea of female stereotype. One that blew a raspberries in the eye of the male gaze and then turned his back on the good measure. To a certain extent, the exploration of ugliness and the imposition of unreachable female ideals has always been the existential topics of Mrs. Prada’s career. Just like the tension between what she tries to say (something politically) with the apparent frivolity of her chosen vehicle (luxury fashion) has driven her designs. And her backstage interviews.
However, rarely has the process look so necessary. Or so much, frankly, like she and Mr. Simons on the trolls were on the Miss Universe Eestablishment and the boundaries of the Prada Mystique tests.
These are black times? Great. Go into the little black dress – imagine that Audrey Hepburn plays the crazy woman in the attic of Tiffany, storms at a techno -beat, empower her hair and walk her seams. Then the small black dress can be a loose black Schmatta, with only the spirit of an arc or some large, dust -covered buttons. And things can mutate from there.
Nothing fits completely well. Not the extra large knits that looked like sweater dresses that survive, or the sofa print Doris Day Housedresses that seemed to have been pulled directly from a love chair, or the leather waist skirts with paperz bag so on-body con that they only lung around the rib bable. Instead of lingerie dressing there were written pajamas separated with the wrinkles ingrained; Instead of chains, ribbed necklines that seemed to have been separated from well -behaved vests; Instead of buttons on a large gray overcoat, clusters of pearls, such as small iridescent pustules. Their reform was more a decoupling.
The result was aggressive, a bit exciting, unflattering (well, except the lush shearling jackets that looked like mink and the slippery pants – a few pieces must be commercial). But it was also targeted. This clothing did not try charming and glamorous and failure. They tried to force confrontation. They did not want to please anyone except the body, freed from a binding and the woman who inhabits that body.
They were absolutely not beautiful, but they were something even more attractive: they were relevant.
