See you at the fashion shows with the rebel ladies of Miu Miu and Chanel

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The Parisian fashion marathon has come to an end: a session that is indeed too long, which could have lasted two days shorter, leaving instead one in Milan where everything is piled up in a senseless haste. With a few, notable exceptions, it has not been a memorable season, of strong and compelling proposals, or of radical changes. Provided, of course, that continuous change is the real driving force behind the system. In some cases, stopping and deepening is just as effective.

It is from this idea that Miuccia Prada gives Miu Miu, after the peak of the last collection, which with the minis, the scissored tops and the bellies in the wind had created THE look of the season, opens the new test with an exact replica of the same look, in a tennis version. Frustration: a feeling that, as a true situationist and as a true counter-bastard, the lady likes to arouse in her audience. Those who expected a new look, as opposed to the previous one, are disappointed. The same idea, on the other hand, is reviewed, contemplated, expanded. And it is a good thing: good ideas should not be thrown to the wind in a trifle; we must not succumb to the forgetful mentality of the infinite scroll for which everything is valid, but only for a second. Also because that idea, which in short is a subversion of the classics, of existing garments, is both a method and an attitude. Now the repertoire is expanding: there are centaur skin and crystals, there are tennis suits and ballet shoes. To bring everything to life, a very androgynous, fluid cast, because the show is always a proposal, on which the public can further elaborate. The freshness, the dry but polite irreverence is striking.

Also from Chanel a certain freshness is pursued, with mixed results. The collection is a tribute to tweed, the maison’s fetish fabric. An English and masculine fabric that Gabrielle Chanel took from the jackets of the Duke of Westminster, with whom she had an affair, and she made French and feminine. In the show, tweed overflows everywhere, including the set, while it modulates itself on the catwalk in infinite variations, from romantic to psychedelic, from masculine to feminine, mixing with bouclé, velvet and leather. It is the garments that seem removed from his wardrobe that win: coats and jackets with oversized volumes, soft trousers. Because, says creative director Virginie Viard, “there is nothing sexier than wearing the clothes of the person you love”.