Last Looks: Yesterday’s Runways at Fendi, Prada and Moschino
Embracing progress, and in turn the young customer, Karl Lagerfeld and Silvia Venturini Fendi presented a playful collection with exquisite old-school details enhanced by modern technology.
As if produced on a 3D printer, crisp ruffles were the through line, appearing on bibs, along sleeves, peplums and tall boots with the slouchy drape of over-the-knee socks. Even the shoes unfurled like alien flowers—in Fifth Element oranges and blues—although they were inspired by 18th-century Japanese botanical illustrations. Lagerfeld explored a sumptuous and earthy fall palette through his patterned furs and embellished golden garments. Fendi’s popular monster trope, seen especially on bag charms worldwide, even peeked from the collar of a navy coat.
Long interested in political, intellectual and artistic intersections in fashion, Miuccia Prada muses for fall on “what is happy or painful” and “whether you are feeling beautiful or horrible”—or how we transmit our feelings through wardrobes, how we assemble ourselves.
The complexity of a woman’s personality begets many style decisions, be they argyle tights worn with outdoorsy boots or a classic red lip worn with everything, as here. Full-skirted brocade dresses and ’40s-influenced square-shouldered coats in this collection were cinched with corsets. Charms of tiny books were secured with locks. Artist Christophe Chemin created surreal narrative prints based on the French Revolutionary reordering of the calendar, wherein every month is given a feminine name. These appeared on oversized tops paired with straight leather midi skirts and elbow-length gloves. Wispy, embroidered pieces and velvet gowns were layered within the symbolism of white sailor caps, utility fabrics and opulent capes.
Rip it up and start again: Jeremy Scott’s rebellious Moschino collection lit up the Milan stage with party-perfect possibilities. A bonfire of vanities, indeed.
Inspired by monks who burned objects of beauty during the Renaissance, this fall, Moschino supplemented the brand’s tough-chic leather M.O. with singed hemlines and net veils made by milliner Stephen Jones. Jewel-toned satin swaths set off fierce leather and denim skirts, giving way to suiting and gowns deconstructed by way of fire. Models wore cigarette earrings, and some of their outfits actually puffed smoke (from hidden machines). Pop-culture puns included a cigarette pack-style warning against the fashion industry and the embroidered notion that “Good girls go to heaven, bad girls go everywhere,” on denim booty shorts no less.