Nothing is perfect. We all know it. And while we hate imperfections so much and make sure that our selfies get filtered to the point of turning us into another person, imperfections spice up our lives in a twisted, funny and sometimes uncanny way. Because yes, it would be incredible to always look impeccable and have a perfect existence, but then again, it would be extremely boring as we would never learn anything from our immense perfection.
If you are attracted by imperfections, please be aware that, come next season, many more fashionistas will share with you this passion, inspired by Miuccia Prada and Raf Simons' new designs.
In Prada's S/S 23 collection - entitled "Touch of Crude" and showcased yesterday during Milan Fashion Week - the design duo tried indeed to explore what they defined as "gestures of error".
The theme materialized on the runway as pencil skirts and dresses with splits down the front that looked as if the fabric had ripped open in one of those catastrophic wardrobe malfunctions we've all been victim of at some point in our lives.
The colour palette for these designs was lifted from the house archive, with random moments that also evoked colour combinations from Miu Miu's Pompeian S/S 09 collection.
There were also pre-creased knit sweaters and skirts, and crumpled jackets and coats of the type that in the '80s would have prompted your granny/mother/aunt to instantly produce a hot iron to eliminate the offending fold (how the hell they had that iron perennially in their reach remains a mystery to this day… but I'm digressing here).
Also the accessories had that crumpled effect with large tote antique nappa bags in pink or gray with a pressed and wrinkled surface, as if they had been left a the bottom of a wardrobe, under a desk or a chair for a long time.
Further imperfections were explored in clothes designed to go out, but inspired by the intimacy of the home, including nightgown-like lingerie dresses with the triangle Prada logo and dressing-gown evoking coats.
These designs vaguely pointed at more famous bed dresses, while the mini-dresses that seemed made with a folded pillowcase evoked the pillow challenge of lockdown times.
The theme of the home was also mirrored by the set design, a rather minimalist but also disturbing installation by the film director Nicolas Winding Refn ("Drive", "Neon Demon") with walls made of black craft paper in which raw windows were crudely ripped open, some of them opening up onto arty abstract short films exploring the lives of women.
There was actually some sharpness in all this imperfection represented by jackets and coats with a masculine flair matched with the offending garment of the day - bodysuits of poplin shirting in industrial colours.
Is this supposed to be a new Prada uniform? Possibly, but this is the sort of garment that only looks good on skinny and tall models, so some members of the Prada army may refrain from buying this piece (even though the white version of the design may come handy if you want to dress like a tailored droog from "A Clockwork Orange" at Halloween View this photo).
Imperfections worked therefore better in this collection also because they hid a metaphor: those twists, creases and folds were supposed to be traces of life left on the garments, memories embedded in cloth.
As Miuccia Prada explained in a statement: "Life and humanity crafts the clothes - not superficial embellishment, but traces of living, leaving marks. This idea of clothes shaped by humanity excites us." So next time there's a crease or a fold on your clothes turn this imperfection in a badge of honour, you know that Miuccia would approve.
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