At Chanel, in the meantime, Virginie Viard was riffing on the Villa de Noailles, the Twenties creative salon within the South of France and the inventive milieu Coco shared, with bouclés and seaside stripes, long-line bathing fits and flirty cover-ups, logos and flowers and pearls galore. The issue is, for each nice piece — a pleated black and white halter neck robe, for instance, or a sort of satirically enjoyable tweed caftan — there’s one other that has all of the subtlety of boardwalk memento store Chanel with none of the irony.
It’s Mrs. Prada’s self-awareness and skill to each love style and acknowledge the problems with it, to embrace the inherent tensions and associated absurdity of even worrying about such tensions, that makes it potential for therefore many to acknowledge themselves (or their many selves) in her work.
“Style comes while you need a distraction, if you find yourself not too severe,” she stated after the Miu Miu present. “However then you could take into consideration the remainder, so that you want garments you may stay with, and garments that you may suppose with.”
Through the present, a chunk of video artwork titled “Gravity & Grace” from the Qatari-American artist Sophia Al-Maria performed on screens arrange across the venue, that includes a stuntwoman, Ayesha Hussain, in these Prada sizzling pants, fuel station jackets and knee-high boots, going by way of totally different workout routines with a sword and a cross bow, and twirling round like a jewel-box ballerina. It didn’t have a lot to do with what was on the runway, apart from evincing, the present notes stated, “a congruent mental viewpoint.”
On the finale, after Cailee Spaeny — the actor who performs Priscilla Presley in Sofia Coppola’s coming biopic “Priscilla” — had walked out in a plain black coat, the video flashed a close-up of a gum-chewing face and the phrase “no matter.”
It was the right ending.