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MILAN (AP) — The architecture in a Prada showroom changes every season, but it’s not as fluid as the spring-summer 2024 menswear show.
The collection was displayed through a clear slime wall – a type of fluid architecture – assembled on a metal grit runway in a pile of green foam. The moving architecture was an example of a collection meant to express the fluidity of menswear.
Here are some highlights from the third day of Milan Fashion Week, mostly menswear runway shows for next spring and winter:
Prada explores the fluidity of 1940s workwear with its streamlined silhouette and liberating menswear at the same time.
Co-creative directors Miuccia Prada and Raf Simons said they were experimenting with the idea of fluid architecture that evokes the male form and never feels cramped.
The building blocks of the collection are a white shirt, mid-thigh shorts, black socks and a thick single shiny loafers. For real men’s clothes, the collection also includes jeans, an umbrella and a raincoat. The look can be layered with a reporter’s dress. Soft leather bags, with decorative pockets.
The fabric allows shirts or jackets to fit neatly into shorts, which are gathered at the waist, emphasizing the ideal male shape – broad shoulders, narrow waist.
“We were very interested to see how we could free him,” says Simon. This means you have a lot of freedom to move around.
Hawaiian-inspired prints of sci-fi dragons are draped with long fringes, creating movement. Pockets on reporter coats were more decorative than servicemen’s, the designers said. Looks are framed by sculpted eye wear and headbands, channeling the energy of movement.
The upcycled, handmade craft label Simon Cracker presents an untitled and even chaotic collection for that moment when all is well.
Simone Kracker embraces gender fluidity and is friendly to all body types, all seen in the brand’s friendly runway models. Its core identity, however, is a punk ethos that embodies the spirit of Vivienne Westwood, and a collection of completely unused clothing and accessories, each conceived and created by the brand’s founders, Simone Botte and Filippo Biragi.
This season, “we used all the materials we didn’t like,” Bote said, delving into chenille, lycra and “ugly prints” that had previously been rejected.
Dresses are made from men’s shirts. A quilted dress turned into a whimsical bolero. Men wear flowing skirts with colored shirts decorated with fluorescent beads. Coats and T-shirts are treated with the sun printing process.
Accessories are completely reworked: shoes are painted or covered with rush dollies or green tins. Handbags this season are adorned with dolls, including the short-lived Blythe doll, which was considered a rival to Barbie in the 1970s until her big head scared the kids off. She finds new life in Simon Cracker.
German luxury leather accessories maker MCM, once associated with travel bags for the jet-set, is eyeing its product line at new consumers, from the logo-shy to Gen-Z youth.
MCM had a great time in the 1990s with fans like Princess Diana and Michael Jackson, and in the 2000s with Beyoncé’s custom brand of corsets and shorts, or the belt bag designed by Billie Eilish.
The brand is moving into small leather goods, treated canvas bags and accessories, and maxi bags with the new minimalist laurel motif. The new Diamond bag with a pointed arch can be worn as a clutch or cross body bag, and also comes in an oversized version.
The accessory line is also expanding into flip-flops and sneakers, featuring the new Laurel logo, signifying a journey into quiet luxury. MCM is also testing the wardrobe waters with travel-ready wrinkle-free clothes, like a treated canvas mini skirt and jacket for her and a varsity-style jacket.
As inflation drives up the price of accessories in the luxury sector, MCM is keeping prices under €2,000 ($2,192). “This is a sweet spot that has unfortunately been left behind by the big luxury manufacturers who have raised prices,” said Sabine Brunner, president and brand officer of MCM.
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