“Resort? Cruise? Or maybe neither of the above… a show is a show!”
These are the words said by Miuccia Prada, who yesterday with irony and broader dialectic, explained the meaning behind the catwalk show held in the Prada-owned observatory, normally dedicated to modern photo exhibitions, in the iconic costruction of Milan’s Galleria Vittorio Emanuele II.
By the way, the art director of the company robustly rejected the Resort/Cruise tag because it is a mixture of many pieces, each different from one other and nowdays the goal of these pre-collections is quite changed.
For those who don’t know them, “Cruise collections” were originally known as holiday or travel collections of ready to wear clothing produced by the fashion companies in addition to the recurrent twice-yearly seasonal collections spring-summer and fall-winter.
They were normally presented in this period, from May to June, to fulfill wealthy customers or “more seasoned jet-setters” going on vacationing in warmest locations during the winter months, because this kind of collections offered light clothing when shops are already focused on winter apparel.
But now, since the needs of the market are even more demanding, the cruise collections are thought to satisfy the desire of customers for new things in addition to the standard ones, demand fuelled by the fast-fashion brands as Zara, Mango, H&M that basically are giving new proposals every month.
Newsweek says that these kind of collections nowdays can fit an everyday dress code, maybe more wearable than the main ones presented during the catwalk of September and February.
So calling Miuccia’s new collection “Cruise” would be an understatement, because it shows all the passion of the fashion house embodying the new industrial modernity and the decorative abundance of the Belle Epoque.
The collection brought us back to Prada’s Belle Epoque with the nylon fabrications that helped the brand, with the iconic backpack, to became one of the leading companies in the fashion and luxury field; in this case the nylon was not in backpacks or bags, but in pants and blousons of sportwear, linked with totally different products as pailette-patterned tops, pants, and shift dresses which recall another Prada flashback.
The show often used references to the company’s partner, the artist Jeams Jean, who introduced illustrations of rabbits and lilies, which Prada had reinterpreted as Liberty print that we can find in overcoats, high socks pulled up over shoes, some with heels designed to resemble inverted Eiffel towers.
The bright colored blouses and skirts with organza fabric recalling Japanese fabrics showed how Prada keeps being a sophisticated, cosmopolitan brand inspired by multiple influences. Many decorations with feathers or pailettes details were used to create a perfect balance between aestethic extravagance and apparently practical garments.
I mean, the name “Cruise collection” was, for sure, a restrictive way to talk about a collection that totally smells of modern and beauty.