No sooner did Scarlett Johansson and Emma Watson grace the front row of the Prada Foundation in Milan, wearing elegant black dresses, than a surprising phenomenon unfolded. A curtain of slime started to ooze from the polished concrete ceiling, cascading down in thick ribbons and forming bubbly puddles on the catwalk. The models skillfully avoided the slimy mess in their pointed kitten heels. This unusual display of “ugly chic” exemplifies Prada’s distinctive aesthetic, where a touch of ugliness enhances beauty.
Miuccia Prada, the designer, confesses that she often delves into ideas rather than focusing solely on clothing. Backstage after the show, she discussed masculinity and femininity, the weather, and the creative eccentricity of her grandfather, Mario Prada. She also highlighted the fusion of early 20th-century decorative aesthetics with 1990s minimalism to achieve a modern look for her collection.
Despite their inclination to philosophize, Miuccia Prada and her co-designer Raf Simons let their clothes speak for themselves. The prevailing style on the Prada runway featured white shirts, grey knitwear, and ultra-pointed court shoes.
At Max Mara, a tribute to Lee Miller, the iconic Vogue model turned war correspondent, took center stage. Though Miller passed away in 1977, her spirit resonated on the Milan runway. Models donned utilitarian jumpsuits and knits with elbow patches, their hands nonchalantly tucked into the pockets of their fashionable, jodhpur-hipped trousers. The collection featured multi-pocketed jackets, designed to carry essentials such as notebooks, pens, cigarettes, and lipstick, all while wearing the collar popped.
Ian Griffiths, the British designer behind Max Mara, considers Lee Miller a perennial source of inspiration, not just for this season. Her transformation from model to groundbreaking war correspondent fascinates Griffiths, leading him to describe her as an extraordinary woman. Max Mara excels in creating elegant yet practical clothing for strong-minded women, and this collection, with its tough yet charming pieces in pretty colors, embodies their expertise. Griffiths drew inspiration from various sources, including a portrait of three Land Girls, images of Vita Sackville-West, a photograph of the actor Phoebe Waller-Bridge, and personal snapshots taken in his Suffolk garden.
Griffiths’s exploration of uniforms and workwear led him to design sturdy cotton apron-strap dresses and easy gaberdine car coats in washed-out lavender, blue, and marigold tones. The intention was for these garments to appear soft and well-loved, rather than brand new and rigid. In addition to boxy camera bags inspired by Lee Miller, practical canvas gardening bags made an appearance. The influence of the Land Girls and Sissinghurst gardens prevented the collection from becoming too militaristic, as Griffiths intended.
The inclusion of Griffiths’s image on the mood board stemmed from his love of sweet peas and the colors they evoke in his Suffolk garden. Phoebe Waller-Bridge, known for her wit and independence, served as a contemporary alter ego of Vita Sackville-West, bringing a modern touch to the collection.
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