Day: 18/01/2021

Raf Prada!

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Has Miuccia Prada become more hands off sooner than we think? Or is Raf Simons merely asserting himself? Would this turn out be the best menswear collection of the Milan season?

If you love Prada and you love Raf Simons, you would love this collection. If you love Raf Simons more, this would totally grab you by the collar. The world was deeply curious when Miuccia Prada and Raf Simons as co-designers was announced in February 2020: How would the “balance of power” work out? These two designers do have distinct voices. Will they harmonise? The answer came in the form of the spring/summer 2021 women’s collection shown last September. It was as much Prada as it was Raf Simons—the best of both worlds, some say. But, with the pair’s first men’s collection for autumn/winter 2021, Mr Simons seems to hold sway. It was all rather familiar. Those of us who have been following the work of Mr Simons will recognise many of his touches. But more importantly, it’s how everything comes together, including Prada’s unmissable inverted triangle (now more symbolic that the straight-on enamelled logo)—there’s no mistaking Mr Simons has a strong hand in all of it.

Called Possible Feelings, the possibilities can indeed be felt. This is not a collection (or the thinking behind it) circumscribed by the four walls of your home because you are WTF. It isn’t a deliberate and conscious reaction against what is considered far from normal, which, as we know, is being redefined. Possible Feelings are what you, the individual, feel, and people do not feel alike. This open-to-interpretation approach is also reflected in the Rem Koolhaas/Amo-designed set. Although presented as a ‘show’, it isn’t on a regular runway, as the entire Milan Fashion Week is an online affair. We see the models walk into rooms, sans audience. Prada calls them a “non-space”. But they are physical confines, even if empty. Each with surfaces differently coloured and textured. Could they be separate realms? How do we possibly feel? Raf! The faux fur walls! Did they not appear in Mr Simons’s website History of my World?

It all starts with a sort of base garment: a knitted, patterned body stocking of sort, be it a top, a legging (the media calls it “long johns”), or both. Against the hard and grinding sounds of Plastikman’s soundtrack, the models appear in silhouettes that are generally lean. Raf! (We’re not getting into the argument of who did skinny first although we know.) The patterns recall Prada’s notorious but welcome “ugly” geometric shapes, in the colours of ’60s wallpaper. But these were not restricted to the close-to-the-body wear; they are in the form of cardigans (or all-knit cardi-suits!), coats, and, in what appears to be the lining of outers. Sometimes underneath all these is a turtleneck pullover. Raf! The slightly oversized sweaters, bombers, coats (those lapel-less pea coats!), shaped longer than the standard issue, contrast appealing with the lean separates worn underneath. Raf!

If you look at the pieces individually, you can’t really describe them as out there. Even with the addition of a co-designer, Prada keeps to the merchandising approach characteristic of the brand. Make a great coat, for example, with perfect proportions, of a familiarity that even non-fashion guys can accept, only make it in a blistering yellow or the softest of pink so that fashion folks cannot resist. Also Raf! There seems to be a push for textures, and the pairing with the smooth. A Prada collection is incomplete without nylon, and here, it goes with boldly patterned jacquard knits. There are also the matte turtle-necks and just-as-shine-free slim pants teamed with slouchy bombers with a soft sheen—almost lurid (the purple in particular). Prada calls these “sensory stimulation”. Given how our surroundings have been last year and would be the year ahead, such a stimulus is very much welcomed.

But it isn’t just the individual pieces that come together to show a Prada that’s delightfully not quite the same as it was before. The styling, too, speaks of the newer half of the designing duo. The models are thinner than ever (“all new models,” as The New York Times reported Mr Simons saying in a dialogue with Ms Prada). There’s the bowl cut of the hair—a reference to the Mods, although sartorially, the total is not quite the ’60s and there is no rebellion against the austerity of a previous generation. Raf! Or, could this be Prada’s style-aware otaku tribe, as opposed to the dandies seen elsewhere, such as at Fendi? Some of the guys walk awkwardly, some dance. They’re in their own world, kitted in their own vision of what is fashion in a world when fashion should not matter, at least not to the extent it deserves something as inane as Zoom meeting wear.

“Fashion became pop,” Mr Simons said in that dialogue, “and the winners now are the ones that scream hardest, not the ones that speak most intelligently.” Was that a prediction that having a vestige of intelligence in speaking, or communicating a design language or aesthetic, as is (always) evident in Prada, may result in not winning? Even when it was reported that Prada has been doing well, especially in Asia? It is unthinkable of a debut Raf Simons collection that does not emerge from speaking intelligently. Although Prada’s newest collection does not scream, it is audible in its tactile sumptuousness, pattern-strong pep, and off-beat pairings. How Raf.

Screengrab (top) and photos: Prada

And The Luxe Goes On

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Despite what’s going on around us right now, Silvia Fendi does not believe in an abstemious life. Her latest collection for autumn/winter 2021 continues to pile on the luxe and is not short of ideas, proving that her strength is in menswear

“Hello,” goes the matronly voice above the not-yet-loud electronic beat, “it’s Silvia calling. I just wanted to tell you about humanity, colour… about what is normal today, about light… and darkness…” That’s how the Fendi show started. These days, the creative heads behind luxury houses want to speak to you directly. Silvia Venturini Fendi does so through the soundtrack by Not Waving, the London-based Italian “musical artist” Alessio Natalizia, for the live-streamed men’s show. She does not sing. Instead, she speaks as if through a phone, or Zoom without the video turned on. It is reminiscent of Jean Paul Gaultier’s 1989 dance single How To Do That, in that he too didn’t sing, but Mr Gaultier sounded like he was having fun, rather than encourage a discourse on what matters now. Ms Fendi’s wanting to tell you about “what is normal today” could be prelude to what her Fendi men’s might look like.

But only, it isn’t really. This is not some elevated athleisure or loungewear 2.0 frippery; this is whatever you wish to call it, with extra doses of the deluxe. Not quite the fashion of WTF, unless you live in a country estate in, say, Buckinghamshire, England, the look that reflects a still-precarious time. We can’t place exactly where these clothes might be worn to or where they might feel right, but we are drawn to them, if only because they look like we might be able to snuggle in them or turn one of the quilted coats into pillow or blanket. These are not exactly clothes for a lockdown (or for retiring, socially); they look like they would want to be worn somewhere. And clothes have such appeal if they are destined to be seen outside, in the world, no matter how awful or lamentable it is. What’s normal for Ms Fendi, as it turns out, is not quite so.

Such as shorts in winter. Although quilted, they might be insufficient for, say, Sapporo. Or too much for Hong Kong, where winters rarely warrant quilted garments. So they will be a fashion item, distanced from the practical obsessions of a now-different world. The head-to-toe knits too (we like the overalls with the turtleneck sweater), which could be for a log cabin apres ski (who really wears sweater-knit slacks outdoors?). Or, for that matter, the quilted dressing gowns? The dandy vibe is not lost, although it’d be eye-opening if there are, at this time, or nine months later, men who’d want to express their predilection for clued-in elegance by adopting such symbols of deep refinement and eccentric aristocracy. But it is the unlikely, by way of the practicable or visual, that we find this collection compelling.

The first look sums it all up. Two quilted coats together is unusual enough, but it is the cable-knit sweater worn underneath that draws our interest: it has a collar (if you can call it that), seemingly made from two joined sleeves. The styling allows these two ends to just hang down the chest, but we suspect that, for the more fashion forward, they could be tied into a pussy bow! Ms Fendi, as head of menswear, kidswear, and accessories, has, in these past years, made Fendi men a considerable force. Her women’s line, after Karl Lagerfeld’s death, banked too much on Roma retro, and did not quite excite, which may explain Kim Jones’s taking over in the upcoming season. Whether extreme or conspicuous luxe for menswear shall stake its place in a pandemic-ravaged world remains to be seen, but Silvia Fendi has positioned the now-LVMH-owned brand well, and with wit to boot.

Screen grab (top) and photos: Fendi