The Miu Miu FW25 fashion show, exorcism of the female

« Men see us like this, but we are another thing. » Any woman could say it in any latitude and culture. And what is more simply understandable in the immobile iconography of the « female » of a bra with the padded cups and to the tip as the images refer to us of the fifties of the last century? The American advertisements « Dio-Patria-Famiglia but above all mom » are full of them. Together with the blond-sconate cotton hairstyles, the vacuum cleaner operated with a 90 white teeth smile, the fake fur stole on the colored sweaters, cake with fresh cream, tube skirts and twin-sets in lurex. What nightmare back in fashion! To be exorcised.

Miuccia Prada says, always investigating the immutable perception of femininity, among the few to reveal the male lies that many women take to truth: « Today there is a sense of tensionanxiety and fear. In this season, I wanted to create an elegance without anything – through the newspaper, through the direct manipulation of simple pieces combined with daring gestures of the « female » such as jewels and fur, which elevate giving importance, value and complexity to every gaze « .

And being the title of the collection Femininities The presence of male clothes and figures would not be understood in a collection that, season after season, appears with women and men and who in the analysis The archetypes of the male also incorporates. That Prada considers them an aspect of « femininity »? It may be, but if it does, it is because it is the mirrored version in the world of stereotypes.

The bra is therefore the starting point of this Miu Miu FW 25-26, in a continuous exposure of « elegance created by nothing in simplicity » that Miuccia Prada takes both as an investigation tool and as a result.

Padded and tip bras emerge from under the thin wool or lurex sweaters with a high neck, shiny cotton satin bras appear under the low -cut clothes, under the coats and the male cut jackets But that the presence of this intimate clothing accessory transforms as only the presence of the « female » manages to transform the meanings of the male.

And here are also the males who parade with the green trousers on under a jacket in the shoed leather chart and with the hair neck, or with the complete wool suits with the bag jackets that move from the body.

“The identification of the female It is synonymous with curve« We read in the note from the collection. But the shape that detaches from the body cancels this vision and then resume it in the thin skirts cut in the bars as well as in the tight pants sparkling in lurex. As indeed the silver lurex sweater that Lou Doillon brings to the catwalk.

It is therefore this continuous to affirm and deny that makes a symbol of the « biographical but non -autobiographical story » of the femininity that the collection aligns contradictory desibilities. And therefore even more desirable.