MILAN — I’m knee-deep in Stephen King’s “Fairy Story.” It looks as if an ideal paradigm for the chaotic right here and now. Behind the flimsy make-believe of actuality, there’s one other world, an Oz the place human folksiness and eldritch horror co-exist to a level so intimately uncomfortable that apocalypse is consistently incipient.
I took one take a look at the Prada set on Thursday – doorways and home windows brutally torn out of a black backdrop, providing glimpses of an summary, hectically colored past — and I assumed, oops!, Fairy Story.
That’s as a result of I’m a really suggestible human being. However Miuccia Prada and Raf Simons had engaged filmmaker Nicholas Winding Refn (you’ll know him from “Valhalla Rising,” “Drive,” Netflix’s “Too Outdated to Die Younger,” and his scathing vogue satire “The Neon Demon”) to create an environment for his or her present. Which he did. He named it contact of crude: contact so mild, crude so formless, unfinished. And that’s how the gathering unraveled.
There have been 4 rooms: bed room, toilet, kitchen, lounge. Havens of domesticity. They supplied a backdrop for garments that very intentionally, perversely twisted the acquainted: a back-to-front cardigan; a considerable sweater and skirt, rendered delicately insubstantial within the gauziest wool; a couture silhouette — sack jacket and pencil skirt — minimize from worn biker leather-based; a sheer nightdress became daywear.
There was a careless impact within the clothes, with unfinished hems and incomplete color blocking. Once more, the perversity. These items had a louche glamour that was intrinsically Prada. When Julia Nobis rotated on the catwalk, her black taffeta gown was open to the bottom of her backbone. Or not open a lot as undone. Particularly as a result of there was additionally a rosette and a protracted black prepare. She was a widow within the very merriest of mourning.
Oh, about these rosettes, as camellia-like as one among Chanel’s tack-ons. Or the lily of the valley motif on a sheath gown (Dior’s favorite flower, bear in mind). Or the slip gown that echoed Simons’ guiding mild Martin Margiela. Or the best way some fashions clutched their coats within the intimate gesture that was such a sensational signature for Simons at Jil Sander. There have been moments when it felt like this was a vogue present about vogue, going down in a parallel world the place nobody knew about these references, the place all the pieces outdated was made new once more. An aide-memoire. A memento mori.
Talking of parallel worlds, the present was accompanied by a video the place Prada, Simons and Refn shared their ideas in a room as luridly curtained because the Pink Room in “Twin Peaks.” Prada talked about the best way an object —i.e. a chunk of clothes — might embody a imaginative and prescient. They have been wrinkled, they have been unmade, they’d the informal illogic of a dream. A darkish fairy story.