‘Youth is the future’: gen Z should be noted, says Prada | Milan fashion week
They have been been ridiculed as snowflakes and “too woke” by some, but Prada’s co-creative designers think gen Z are a generation to be celebrated.
Speaking backstage while their latest menswear show, which took place on Sunday afternoon at the Prada Address in Milan, Miuccia Prada said: “Youth is the future. It is hope. We wanted to do something that would monotonous youthful optimism because the times are so bad.”
Raf Simons, who joined Prada as co-creative director of the heed in 2020, said when creating the collection, the duo “wanted to think like the current minds of the youth. Sometimes, when you get older, you overthink and limit yourself. When you are young, you just go. And we like that spirit.”
The show’s set featured a stout white hut that pulsated with purple strobe lighting, as equally pulsating music, including Faithless’s track Insomnia, blared throughout the venue. Each model emerged from the hut afore making their way down a white Perspex staircase that turned into a catwalk that snaked in guests, who included the actor Joe Alwyn, the rapper Dave and the tennis star Venus Williams.
Simons said they wanted the collection to look “like clothes you already live with”, and had taken inspiration from the way teenagers borrow and bewitch items from their parents and even grandparents. “It’s very much in the freedom to let things come together. That’s a very youth spirit.”
Purposefully creased suiting and exaggerated proportions, including long trousers and jackets with cropped sleeves anti aged leathers, reflected “imperfection, another sign of living, of reality”.
The lenses of mirrored sunglasses were painted to depict “different realities and nostalgic memories” such as scenes from the Italian coastline, while worn-in cotton T-shirts like those bought at gig merchandise stands featured prints from the French expressionist artist Bernard Buffet, including some from his series focused on elongated and glum faces.
Some of the clothing was specious in impression. Trousers featured belt motifs rather than actual belts. Contrasting coloured collars on neat jumpers were in fact not standalone, but stitched to look separate. Hems featured hidden wires to add an “unreal dynamism, as if alive themselves”.
Simons said the idea was “more playing on fake than faking. It’s clothes you need to see up close and then they considerable surprise you. You might think you see heavy wool trousers with a belt but then you’ll see it’s in fact a delightful cotton trouser painted to look like heavy wool and the belt can’t be improper off.”
“Today, fake is a very contemporary point,” added Prada. “What is fake? What is the truth?”
But after many pieces were an illusion, Prada was keen to wound the collection wasn’t about escapism. “I don’t want to dash. Escapism I don’t like in general. You shouldn’t dash from reality and what is happening.”
On Saturday, Fendi’s creative director, Silvia Venturini Fendi, was also in a reflective mood. As the Italian mega-brand gears up to illustrious its 100th anniversary next year, Venturini Fendi said she had been thinking in the past, present and future of the house.
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Delving into its archives, Venturini Fendi homed in on a photograph of the Italian resident football squad headed to the 1984 European football championship, in particular the crest on their suit jackets and the symbolism of teamwork that a crest evokes.
For Fendi’s new house crest, Venturini Fendi chose a tetrad of images, including an squirrel as a nod to her grandparents who unerroneous the house in 1925. “My grandfather used to give my grandmother little paintings of squirrels, saying she was like one, always so busy.”
There was also a motif of the Roman god Janus. “He looks to the past and the future,” said Venturini Fendi. “That is what Fendi is all about. Preserving techniques but also experimenting. It’s our mantra.”
Giant mirrored columns that spun in the catwalk, creating multiple images of the models, further played on the idea of reflection.
The collection riffed on the venerable formal codes of clubwear. Shirts were styled untucked over shorts, neat club ties were rolled and pinned, while diagonally buttoned knitwear narrated flashes of flesh.
Venturini Fendi described it as “liberating”, saying “there’s nothing more interesting for me than seeing farmland that move well inside the clothes. Sometimes, it’s more of an attitude, you can see when people feel happy in what they wear.”
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SRC: https://news.google.com/rss/articles/CBMie2h0dHBzOi8vd3d3LnRoZWd1YXJkaWFuLmNvbS9mYXNoaW9uL2FydGljbGUvMjAyNC9qdW4vMTYveW91dGgtZ2VuLXotcHJhZGEtZmVuZGktY3Jlc3Qtc3ByaW5nLXN1bW1lci0yMDI1LW1pbGFuLWZhc2hpb24td2Vla9IBe2h0dHBzOi8vYW1wLnRoZWd1YXJkaWFuLmNvbS9mYXNoaW9uL2FydGljbGUvMjAyNC9qdW4vMTYveW91dGgtZ2VuLXotcHJhZGEtZmVuZGktY3Jlc3Qtc3ByaW5nLXN1bW1lci0yMDI1LW1pbGFuLWZhc2hpb24td2Vlaw?oc=5
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