MILAN (AP) — Prada’s showroom in Milan is known for its ever-changing architecture, but the Spring-Summer 2024 menswear collection took fluidity to a whole new level.
The collection was presented against a backdrop of cascading clear slime, creating a mesmerizing display of fluid architecture. The metallic grate runway was covered in vibrant green foam, symbolizing the collection’s emphasis on fluidity in menswear.
Here are some highlights from the third day of Milan Fashion Week, featuring predominantly menswear runway shows for the upcoming spring and summer season:
PRADA EMBRACES FLUIDITY
Prada delves into the realm of fluidity in menswear by exploring a tailored silhouette inspired by 1940s workwear, which simultaneously offers a sense of liberation.
Co-creative directors Miuccia Prada and Raf Simons ventured into the realm of fluid architecture, seeking to animate and enhance the male form without restricting it.
The collection’s foundation lies in classic elements such as the white shirt, mid-thigh shorts, black socks, and chunky-soled shiny loafers. Catering to the needs of everyday men, the collection also includes jeans, blazers, and raincoats. For added versatility, the looks can be layered with a reporter’s vest. The leather bags exhibit a soft texture and feature decorative pockets.
The fabrics used in the collection are exceptionally lightweight, allowing button-down shirts and jackets to be neatly tucked into shorts. The shorts, gathered at the waist, accentuate an idealized male form with broad shoulders and a narrow waist.
“We were particularly interested in exploring how we could liberate movement,” explained Simons. “We wanted to provide a sense of freedom and ease.”
The collection featured Hawaiian-inspired prints depicting sci-fi dragons, adorned with long fringes that created a dynamic sense of motion. Pockets on the reporter’s vest were designed to be more decorative than functional, according to the designers. The looks were complemented by molded eyewear and headbands, adding to the overall sense of kinetic energy.
CHARLES JEFFREY LOVERBOY INTRODUCES A NEW CAROLEAN ERA
British designer Charles Jeffrey presented a vibrant Loverboy collection that proposed a new Carolean era in Britain. The collection drew inspiration from the passionate spirit of the people during the reign of King Charles III, a time marked by political turmoil and upheaval.
Backstage, Jeffrey expressed his desire to reclaim a particular space and create his own counterculture. He explained, “I wanted to reclaim that space. I decided to do my own counterculture.” To do so, he drew inspiration from the 17th-century Carolean era, which saw the reformation of the monarchy, the emergence of theaters, and a flourishing of arts, culture, and new Romanticism.
Similar to the new Romantics of that era, Jeffrey employed costumes as a means to portray euphoria and depict a vision of a better life. By utilizing fashion as a form of expression, he sought to capture the essence of joy and create a transformative experience for the wearer and the audience.
Loverboy’s distinctive design elements, such as tartan, tailoring, and knitwear, were interwoven with what Jeffrey referred to as “joyful slapstick accessories.” These accessories included whimsical shield and sword sets adorned with classical figures, as well as tricorn hats embellished with scenes from Carolean theater depicted using paper dolls.
The collection showcased a variety of unique looks. Some highlights included fluorescent yellow bloomers, a maiden’s dress with a bustle and an AI-generated floral pattern, athletic running gear transformed with knight’s armor aesthetics, and a barrel dress constructed from interconnected fabric strips. Completing many of the looks were the brand’s signature leather claw shoes.
Backstage, Jeffrey explained that these designs aimed to represent the ideals of the Carolean era: free education, LGBTQ+ rights, women’s rights, and open borders. By infusing these concepts into the collection, the designer sought to evoke a sense of freedom, progress, and inclusivity.
SIMON CRACKER TAKES ON THE CHALLENGE OF FULL UPCYCLING
In a bold move, Simon Cracker presented a collection that fully embraced the concept of upcycling. The designer challenged the fashion industry’s traditional practices by repurposing discarded materials and transforming them into unique and innovative garments. With a focus on sustainability and resourcefulness, Cracker’s collection aimed to redefine the possibilities of fashion while minimizing environmental impact.
“Theoretically,” an irreverent and delightfully chaotic collection, was proudly presented by the upcycled and artisanal brand, Simon Cracker. With a strong commitment to sustainability and craftsmanship, the collection embodied the brand’s unique punk ethos, reminiscent of the iconic Vivienne Westwood. Every garment and accessory showcased on the runway was handcrafted and upcycled, showcasing the brand’s core identity.
Simon Cracker celebrated gender fluidity and inclusivity, as evidenced by their diverse range of runway models who were all friends of the brand. The collection embraced various body types, offering a friendly and inclusive experience for all.
For this season, the brand’s founders, Simone Botte and Filippo Biraghi, dove into their stash of materials they had previously rejected, including chenille, Lycra, and what they referred to as “nasty prints.” These materials were transformed into imaginative and unexpected pieces.
Men’s shirts were repurposed into stunning dresses, while a quilted garment found new life as a funky bolero. Slip skirts were paired with painted button-down shirts embellished with vibrant fluorescent beads. Overcoats and T-shirts underwent a solar printing process, adding a unique touch to their design.
Simon Cracker’s collection demonstrated that creativity knows no limits, and by repurposing discarded materials, they exemplified the potential for sustainable fashion that embraces individuality and pushes boundaries.
Simon Cracker’s accessories take on a complete transformation as well. Footwear undergoes a creative overhaul, with hand-painted designs and crochet doilies or green tinsel embellishments. Handbags in this season’s collection are adorned with dolls, including the quirky and short-lived Blythe doll, which was originally introduced as a rival to Barbie in the 1970s but gained a new life in the hands of Simon Cracker.
GERMAN LUXURY HOUSE MCM REDEFINES ITSELF
MCM, the renowned German luxury leather accessories brand that was once synonymous with travel bags for the jet set, is relaunching its product line with a fresh perspective aimed at new consumer segments, ranging from logo-averse individuals to Gen-Z youth.
Having experienced a heyday in the 1990s with influential admirers like Princess Diana and Michael Jackson, MCM continued to make an impact in the 2000s with iconic moments such as Beyonce’s custom-branded corset and briefs, as well as the belt bag famously sported by Billie Eilish.
The brand is now diversifying its offerings by introducing smaller leather goods, treated canvas bags, and accessories, along with maxi bags featuring the brand’s new understated laurel motif. The newly introduced Diamant bag, characterized by its pointed arch, can be carried as a clutch or cross-body bag and is also available in an oversized version.
MCM is expanding its accessory line to include sliders and sneakers, which also feature the laurel logo, signaling a shift towards a more subdued and understated sense of luxury. Additionally, the brand is testing the apparel market with travel-ready wrinkle-free garments, such as a treated canvas miniskirt and jacket for women, and a varsity-style jacket for men.
While inflation has led to increased prices in the luxury sector, MCM aims to keep its prices below 2,000 euros ($2,192). Sabine Brunner, MCM President and Brand Officer, explains that the brand is targeting a “sweet spot” left by major luxury producers who have unfortunately had to raise their prices.