The reason the long-awaited collaboration between Miuccia Prada and Raf Simons was so incredibly long-awaited was that it finally released the brand from the rotten depths of utility, minimalism and *sigh* nylon. Titled “Possible Feelings’, the collection returned to Prada’s intellectual and elegant roots, the abundance of colours and textures certainly helped. The centre of the collection was the bodysuit, in knits, wools and textiles – a glamorous counterpart of the washy loungewear. The outerwear element was strong. The exaggerated bombers and fabulous pastel coats harmonized with faux fur and marble environments, reflecting the way most of us have been feeling for a long time now. Vulnerable and longing for intimacy.
One word. Colour. Silvia Venturini Fendi’s psychedelic vision of the future was a testament to positivity. The collection was quintessentially Fendi. The furs, oh the furs! Trimming the coats or spliced with golden piping upon aviator jackets, it reminded us of what glamour should look like in a man. Since the collection revolved around outerwear, nylon couldn’t be escaped, however, it was the choice of neon pink and matte gold that left the eyes rolling in ecstatic shivers. This time around, the Fendirama prints were substituted with colourful embroidery and heavy quilting, while pyjama piping acted as an element that tied the latest collection to its predecessors.
“La Vie Bohéme”, was what this author screamed when looking at Etro’s FW21-22 collection. Velvets, knits, paisley prints – all joined a euphoric dance on the runways of Milan. The baroque prints infected the accessories and bags, stapling the entire collection together into a hypnotic vision. The only way to style streetwear from now on must be by layering hoodies under kimonos, while leopards have to clash with florals, dictates Etro, which we will gladly follow seeing how elegant the seeming excess of colours and textures can look.
Miguel Vieira’s show has painted a clear picture of what glamorous menswear should be. The tailoring drew inspirations from both 80s and 90s with its shimmery finishes and slouchy silhouettes. It seemed as if Vieira created a nearly dystopian world of eternal nightlife – who knew a simple choice of pairing riding boots with glamorous suits would make such an impression. Details elevated the collection even more; of course, harnesses with tailoring were hardly a novelty, yet, their presence was a cherry on top of a wonderfully delightful desert.
HAN KJØBENHAVN’s presentation resembled an arthouse film but without the cheap swank. The short film was built around H.C. Andersen’s fairytale ‘The Rose Elf”. A hypnotising, almost nightmarish narration of the tale perfectly mirrored the macabre feeling of the collection. The pieces were sharp and androgynous, with fitted suits making way for dresses and floral blouses. The tailoring introduced an exciting new silhouette with sharp, metal-framed hips and shoulders that ever so playfully teased the fine line between couture and camp.
K-WAY’s choices this season were safe but smart. The collection’s message was purely function-based with a plethora of jackets and coats, some more intriguing than the other. From nylons to knits, to that one peculiar velvet coat that was the unintentional pièce de résistance of the collection, K-WAY showed its expert skill in navigating the desires of the youths, while simultaneously respecting the convention of streetwear.
Against a crimson backdrop, expressive figures evoke the memories of the eighties for the older folks and the scenes from Rumble Fish for those of us still enjoying the carefree youth. MAGLIANO dived deep into the world of bad boys and motorcycle gangs from decades ago with its suits-inspired overalls, exaggerated tailoring and deliciously deep V necks. The collection served as a meeting point for mid-century workwear and bohemian nuances, with oversized coats and straight-cut denim making way for chest-revealing shirts, scarves and leather pants.
One would think that 2010s were not distant enough to be referenced in modern fashion, LES HOMMES, however, begs to differ, and this author could not be more thrilled. LES HOMMES show was an exposition of a somewhat forgotten facet of tailoring. Here the suits are tight and precisely cut, they come with leather gloves and shades and are fit for villainous playboys from the glitzy spy movies. The outerwear component was a portal to the decade-old magazines, where glossy nylon and combat boots were the epitomai of style erudition.
This its MFW debut, TOKYO JAMES was a Deus Ex Machina. TOKYO JAMES showed tailoring through the eyes of a child, with whimsical floral decorations, sequins and vibrant colours showing that fashion should be fun. Despite the theatrical choices of the collection, the pieces themselves seemed wearable and versatile. Of course, the bedazzled suits might not be for everyone, but the stunning striped ensembles or slitted blazers will find their places in the hearts of any bored fashion critics.