Enemy clothes and not exciting in Prada

Celebrities were high on the ground in Milan, partly due to the coincidence of the Fashion Week with the Academy Awards, but a group for Prada, including Gall Gadot, Maya Hook, Simon Ashley and Hintre Chevir.

Mrs. Chevir was wearing the highest pink and gray in a black satin coat, about a week after wearing the flower of Prada Al -Azhar to the Independent Spirit Awards. It was immediately after she posted a video clip on Tiktok, noting that she had just received a new passport, thanks to the executive order of the Trump administration, which I specified as a male. Although she is a passing woman, she had sexual signs on her documents because she was a young teenager.

“It is impossible,” said Rav Simons, the creative director of Brada, the co -manager behind the scenes. “But it happens.”

This is part of the reason that the issue of femininity – how it looks and what it might be determined now and in the future instead of the past – was the issue of the season for Mr. Simonz and Moticia Prada.

Or rather, as Ms. Prada Al -Kuala said, “What kind of femininity can you preserve at this difficult moment?”

Mr. Simmons added that Mr. Simmons, to think about this issue in a classic way, which is also the Klushihat method: embracing OzemPIC and Corsets and restrictions.

But what if they asked, you freed yourself from all of that? What if you ran screaming in the opposite direction?

A braid display depicted as Riposte for the full idea of ​​female stereotypes. One who blew the berries in the eye of the male view, then turned his back for good management. To some extent, exploration of ugliness and an ideal imposition of females could not always achieve existential topics of Mrs. Prada’s profession. Just as the tension between what she was trying to say (something political) was with the trivial of its chosen car (luxury fashion) that pushed its designs. And its conversations behind the scenes.

This process rarely seemed very necessary. Or frankly, just as she and Mr. Simons wandered at the Miss Universe Foundation and testing the boundaries of Brada’s ambiguity.

This is the black times? fine. Enter the small black dress – just imagine Audrey Hepburn playing the role of a crazy woman in Tifani, and behaves to a technical rhythm, behave her hair and leave her layers. Next, the small black dress may be a loose black ghost, with the ghost of the bow or some large tissue buttons. Things may turn from there.

Nothing is completely suitable. It is not a huge knitting that was similar to the jacket dresses that have become alive, or in the printing of Doris Day that appeared to be pulled directly from a love seat, or leather leather waist skirts so that they do not wander around the rib cage on their cage. Instead of wearing underwear, there were pajamas that were dismantled with baked wrinkles; Instead of necklaces, the neck lines decorated with jewels that seemed to have been cut off from well -bound secrets; Instead of the buttons on a large gray coat, groups of pearls, such as a small iris. The reinstitation was more than removing the formation.

The result was strongly, a type of excitement, not spoiling (well, with the exception of lush lush jackets, and slow pants – some pieces should be commercial). But it was also purposeful. These clothes did not try to be charming, witch and failure. They were trying to impose confrontation. They were aiming to satisfy anyone except the body inside, editors of any binding, and the woman who inhabited this body.

She was definitely not beautiful, but they were more convincing: it was relevant.