Muccia Prada presents the Miu MiuSS23 collection. Esther McGregor opened the show, with Ísadóra Barney, Lindsey Wixson, Ethel Cain, Miranda July, Sibyl Buck, Emily Ratajkowski, Bella Hadid, and FKA Twigs closing the show.
This is not an easy moment to create fashion. For this collection, I wanted to explore the purpose of fashion, its reason. Its usefulness in society and in culture today. Fashion can have a meaning and a reason beyond utility – to decorate, to attract, is a meaning. But it is important that fashion functions – I am not anti-luxury but I am anti-ostentation.
Fashion is a means of translating a reaction to reality into material form. It is not only a reaction to the world around us, but ultimately designed to sit within in, to become part of an actuality it in turn reflects. The Miu Miu Spring/Summer 2023 collection by Miuccia Prada underscores and explores this idea, of a transferral of feeling and response into result.
Fashion itself is part of real life – it has a use a purpose, both to dress the body and to express broader feelings, larger themes, around the individual and culture. The notion of usefulness, of fashion’s benefit and service, influences physical expression: pockets, an expression of utility are used across different garments, transgressing boundaries between decoration and function.
I am interested in the notion of translation – how to translate a feeling, a mood, a concept, into an object. This collection is about fashion born from reality, and born for reality, to be placed back into that context. Because times are difficult, it does not mean we should not create. But we have to ensure every piece has purpose and reason. This is not a time for meaningless fashion.
Complexity is expressed through the layering of cottons, silks, and cashmeres in deliberately subtle colors, or nylon tricot in sharper hues. Their interplay creates surface texture, a form of decoration evoked through the garments themselves as opposed to the extraneous application. In a continuum of the previous two seasons, echoes of classic garments – tailored jackets, coats, shirts, sweaters – are re-proposed, and reiterated. Here, unexpected fabrications can disrupt their reality, executed in leather or washed denim.
The use of fashion is not only physical but psychological – it affects emotion, and elevates. Embroidery and color serve a purpose to translate these aims of emotional impact; elsewhere, surface animation is created through garments, graphic bands of underwear, and shoes carved out to expose skin, in decoration as a form of an anti-ostentation.
Always I want to expand Miu Miu, to open up, through our casting, through collaboration with artists. That is another translation, the notion of translating different ideas into the world of fashion, of engaging with different creative spheres, enriching each other. It mirrors the exchanges and communications of life.
The collection is shown on a cast of all genders, a challenge to convention and an embracing of our new reality. And in a collaboration with the artist Shuang Li, the hypostyle of the Palais d’Iena is fashioned by AMO into an unknown facet of reality, a representation of the physical submarine electronic infastructures – the wires – that support our synchronous, seemingly asomatous digital realities. Again these allay the fashion show to communication, to translation – the artistic intervention extends to a soundscape created by musician Eli Osheyack, conceived as a sequence of lost messages, communiqués undelivered and therefore never heard.
This notion of communication is wider than mere messaging – it underscores the notion that every concept, in its translation, mutates to take on a new form, a different truth. In words, as in fashion.
The character cast included Esther McGregor opening the show, with Ísadóra Barney, Lindsey Wixson, Ethel Cain, Miranda July, Sibyl Buck, Emily Ratajkowski, Bella Hadid and FKA Twigs who closed the show.