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ファッションの心境の変化?プラダのウィメンズ・メンズ秋2016年。Batten the hatches, a storm is brewing at Prada Fall 2016


気がつけば耳にするのは悪いニュースばかりで世知辛いここ数年、ファッションは逆に鮮やかなプリントや遊びの効いたデザインなど、ポップなコレクションを発表する事でバランスを取ってきた気がする。それこそ、ミーシャはピンクのパイソン地にうさぎがプリントされたコートとグラフィカルな目玉とばってんがチャーミングな60年代風スパンコールTシャツドレスを着ておめかし。どちらもプラダの2016 pre-springコレクションのもの。こんなにドレスアップして向かった先はといえば、そうプラダの最新コレクション。プラダ メンズ ウィメンズの秋コレクションがミ17日の日曜夜にミラノで開催された。


Fashion has spent the past few years creating a remedy to the real world’s problems by ushering in collections of POP grandeur, in fun and peppy prints and playful designs. I myself was swaddled in a pink python coat printed in bunnies and a 60s-style t-shirt dress featuring graffiti eyeball stencils and pretty plastic paillets from the Prada pre-spring collection currently in stores now. This is certainly one of the most peppy, uplifting, and buzzworthy collections in a long time. But as the audience shuffled into the venue for the Prada mens and womens fall show in Milan on Sunday night, it was like we’d stepped into a different world. This collection that Miuccia Prada showed for fall 2016 was an antithesis to pop, and was instead a snapshot of a dark and twisted tale… and that tale is reflecting the reality of the harsh world we live in. Is fashion finally coming to terms with it by going dark and heavy?


MILAN, ITALY - JANUARY 17: Misha Janette attends the Prada show during Milan Men's Fashion Week Fall/Winter 2016/17 on January 17, 2016 in Milan, Italy. (Photo by Stefania D'Alessandro/Getty Images) *** Local Caption *** Misha Janette



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ベニヤが敷かれたホールで行われる裁判のようなセッティングに、長い燭台の明かりが徐々に赤く灯る。そんなシチュエーションにミーシャ自身は魔女裁判を思い浮かべた。真意はある意味近かった。ショーは、”Auto da-fe”と呼ばれるスペインの儀式(異教徒を取り調べるもの)で、観客はその傍聴席で様子を見ている。そんな設定だった。印象的なバックミュージックはニックケイヴの ”Where the Wild Roses Grow”。 陰気なその曲はあえて言わせてもらうと、ごく普通の日曜の夜には似つかない恐ろしいものだった。”The Devil”というPJ Harveyの曲もかかった。ゾクゾク。わーお、このコレクションはなにかやらかしてくれるかも。そう感じた序盤。

これは、ウィメンズ12体を含んだメンズコレクション (メンズフォール2016と整理される)。全体的にダークトーンやグレイッシュなカラーパレット。また、生地の質感もヴィンテージ感が表現されていた。いろいろな見方があると思うけど、セーラーハットに意味を持たせて見ると…私たちは小さな子供で海にいるて、でも実は難破船の乗組員。だなんて恐ろしいストーリーが浮かぶ。あるいは、(目玉作品から見ると)生地や装飾を見つけてはパッチワークしてぼろぼろの服を着続ける男女にも見える。

ショーを見終わったあと、GQ Japanの編集長鈴木正文さんと食事に出かけた。彼に聞いてみると、”ブリコラージュ”というものについて教えてくれた。これは設計図の無いコラージュアートのこと。きっとプラダのコレクションで見たのはこれに間違いない。ランウェイで見たコラージュ作品はクリストフケミン(Christophe Chemin)とコラボして作られたもの。レースや細々としたいろんなピースを用いて作られた彼の作品はとてもアーティスティック。プラダとのコラボで今回生み出したプリントは、”Banquet Thieves” や“Survival Utopia”と名付けられNosferatuやKing Kongをソースにしたそう。それらはカオスでありなごらクラシックで、着衣するにもごちゃごちゃしすぎない、良い塩梅。この子達はとても美しいクリエーションだと思う!



The runway was set up into a two-story plywood viewing hall, like a makeshift courtroom, set extremely dark and bare with candelabras glowing red. I wondered if we’d see some gothic Salem Witch trial play out for us. I was close; it was a viewing platform for a ceremony called a “Auto da-fe”, where the Spanish inquisition sentenced heretics in the town squares. The prominent song played was Nick Cave’s “Where the wild rose grows” which is a somber and dare I say scary song for a simple Sunday night. Another song was “The Devil” by PJ Harvey. *shivers* This collection was going to be a doozy.

This was a men’s collection, with 12 women’s looks included, and it was a turn to dark jewel tones, heather grey, and vintage worn-in looking fabrics. Then, if all the sailor hats were an indication, we were young boys and girls at sea. But upon closer look they appeared to have gone through something like a shipwreck, or at least like men and women patch working together what they could find in a “boro” (Japanese for “shabby”) style. After the show, I had dinner with GQ Japan editor in chief Masafumi Suzuki who introduced me to the word “Bricolage” which is like a haphazard way of collaging. I think he must be right, as it’s got a more artistic intention and the more collaged-looking pieces were created in collaboration with artist Christophe Chemin which were then decorated with lace and other bits and bobs hanging from them. These prints he created for the Prada clothes have names like “Banquet Thieves” and “Survival Utopia” and reference films from Nosferatu and King Kong. They are actually very beautiful; chaotic but classic at the same time, without being too fussy to wear.

The accessories were made of hardware, and other ship-ready necessities like skeleton key chains, a captain’s log book, and mini luggage trunk that might fit your business cards. The women’s shoes were chunky and sturdy in velvet wedges or mary janes, and rounded out with the new Prada front-flap bag in nostalgic materials like classic croc and worn just under the armpit.

The whole collection was romantic, but not happy… and it appeared gothic, but not sad. Just like all of the crazy stuff happening in our society today, there isn’t a black and white way to encompass it all. Japanese audiences (my audience) tend to heavily prefer happy and light collections on the surface, but I think this return to classic forms is a sign of a bigger movement. As for how it will be received, it helps that the standout collage dresses are oversized, making them appealing to not only the girls who like a drowning silhouette (which I seem to love more and more these days myself) but also the many stylish Asian men out there embracing the unisex trend, too. And if you prefer pep, well then…you better grab as much of the frothy Prada Summer collection while you still can!


I think the key looks for this season are the bricolage shirt dresses:























Mens Fall 2016 key looks and accesories:































Photo of me: (Photo by Stefania D’Alessandro/Getty Images)

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One reply on “ファッションの心境の変化?プラダのウィメンズ・メンズ秋2016年。Batten the hatches, a storm is brewing at Prada Fall 2016”

The word “bricolage” is from Claude Levi Strauss, the French structuralist anthropologist. His idea was that the raw material of culture is really just flotsam and jetsam available to someones consciousness at a particular time and that people assemble these materials as “bricoleurs” into a “bricolage” that we then experience as some product of culture.

It’s a very existentially – philosophically, I would say – sophisticated theory. But then again he is French.

The best intro to him is “Claude Levi-Strauss” by Edmund Leach, a British anthropologist, since his actual works, which have great titles like “The Raw & the Cooked”, can be, like Foucault, a tad bit less than linear.

He was, as well, perhaps the best known and most successful structuralist of the 20th century, which in this case means he was following Saussure in adapting the latter’s work on language to culture, though there are really no limits to structuralism.

[Not to make this about me, but I am a structuralist, in the form of a post structuralist and though there are others somewhat like me, they are more “post” than “structuralist”. It’s a great theory, incredibly powerful.]

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