The marathon of fashion season ended yesterday in Paris after four weeks beginning in New York. A flood of clothes and attitudes, on which will be reflected for a good six months. The bombardment of images taken of digital culture, of course, dampens the effect of surprise. What is striking in the fashion industry, now, then, is another: the domain of a technicality, for example. Too many times we perceive the perfection cumbersome, the show more bizarre, as in most soft and affectionate. The emotional aspect and fun of dressing, which is the daily performance of the reinvention repeated ad infinitude, seems to have become an equation solved by logical and mathematical tools. The fashion clothing is becoming an affective: a little bad feeling would not do. “The space of time between the parade of Miu Miu from Prada is really too short to stop and think. I worked on the clothes, the pleasure of playing with fashion trends,” he says about Miuccia Prada, beaming at the end of the Miu Miu show.
The elongated silhouette and layered, imaginative collage of languor Twenties and Thirties (straight lines, which flare below the knee, the shoes with the ankle strap), military style (the long overcoats with sailor collar, shaped by darts wise, the soles tank) and sports-known underground (the bomber, loved by aviators and skinheads, made sliced and transformed in bustier), has in fact worked until the last minute. The result of so much editing is an almost comic counterpoint, gender Clockwork Orange: a collation of elements together into a whole of imperfect perfection, a weaving together visual monotonous and changing, in which the differences between a look and the next are minimal but monumental as the transition from blue to pink stern.
It is in this subtle shimmer that Miuccia Prada captures the true reason of the eternal fascination of fashion: the ability to be always the same and always different. “Fashion show appeals to people because it responds to the desire for change and provides the tools to do that,” he concludes. The atmospheric qualities of a fashion show is an element not to be overlooked: the show is one of communication instrument in which everything is considered, like a play. At best, we are seeing a film interpenetration of the parties.
This is what happens season after season, Louis Vuitton, where Marc Jacobs seems to have replaced the role of a director to creative director. The staging, this tour is vaguely noir, voyeuristic and very fashionable and stylish: A History of Race and chase in the corridors of a luxury hotel. The hasty exit from the rooms – perfect choreography – says the quality of the unfinished look, with shiny coat thrown over petticoat and pajamas worn under the fur. Meanwhile, disappear logos, monograms and all the rest: the classic Vuitton bags are now made with the most precious skins and fur-lined or covered with marabou.
These are the pieces you have, because in nostalgia clothes and gifts are too obvious, although the work of transfiguration of the material is superb. It is a snowy and mountainous setting, complete with huskies and skiers, what is the setting for the parade of Moncler Gamme Rouge, where Giambattista Valli continues to hybridize down and taste couture. There is something for everyone, from animal fur mixed with the females crystallized and gifts, but the technical part, from skier glam, to really convince. From Hermes, Christophe Lemaire scored a real hit, the fashion designer is focusing on a cleaning essential that enhances the value of the subject while creating a contemporary version of the eternal and still valid, french chic.