PRADA
Really? Mink coats for spring? Mink coats with floral motifs? The
Richard Avedon Vogue July 1967 cover of
Twiggy immediately spring-ed into my head (see right). This season,
Miuccia Prada showed shapes that are classic Prada: The modest shift dresses, the pencil skirts, the robe-coats worn open over bra tops and granny pants. All these were made in duchesse satin, that stiff, smooth almost ceremonial silk, recalling the label's heritage (this fabric was the star of the label's first few seasons).
This season the styles were made fresh by Mrs Prada's take on the
Japanese aesthetic. I can only hope magazines aren't going to be literal next year and shoot
Memoirs of a Geisha spreads - it would be too tiresome for words. Some of the dresses featured rigid folds that echo the folds of traditional Japanese dress, with the stiffness of obis, and the geometry of orgami - all of which you can read elsewhere as critics go into overdrive, but none will say, as I do here, that the folds recall more the elaborate gift-wrapping that comes from any purchase made in a Japanese shop. The outfits look like precious parcels. The floral motifs are fairly obvious takes (the LV monogramme canvas has these ancient flower icons) and could have come straight from those half-curtains you need to flick as you enter a sushi joint, as are those tabi socks worn with sandals, embellished with bows that are pure
Hello Kitty.
Really? Mink coats for spring? Mink coats with floral motifs? The Richard Avedon Vogue July 1967 cover of Twiggy immediately spring-ed into my head (see right). This season, Miuccia Prada showed shapes that are classic Prada: The modest shift dresses, the pencil skirts, the robe-coats worn open over bra tops and granny pants. All these were made in duchesse satin, that stiff, smooth almost ceremonial silk, recalling the label's heritage (this fabric was the star of the label's first few seasons).
This season the styles were made fresh by Mrs Prada's take on the Japanese aesthetic. I can only hope magazines aren't going to be literal next year and shoot Memoirs of a Geisha spreads - it would be too tiresome for words. Some of the dresses featured rigid folds that echo the folds of traditional Japanese dress, with the stiffness of obis, and the geometry of orgami - all of which you can read elsewhere as critics go into overdrive, but none will say, as I do here, that the folds recall more the elaborate gift-wrapping that comes from any purchase made in a Japanese shop. The outfits look like precious parcels. The floral motifs are fairly obvious takes (the LV monogramme canvas has these ancient flower icons) and could have come straight from those half-curtains you need to flick as you enter a sushi joint, as are those tabi socks worn with sandals, embellished with bows that are pure Hello Kitty.
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