#SuzyPFW: The Uncertain Charm Of The Bourgeoisie For Miu Miu, Giamba, And Haider

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#SuzyPFW: The Uncertain Charm Of The Bourgeoisie For Miu Miu,
Giamba, And Haider
Miu Miu: Tripping The Conventional

If I had managed to trap Miuccia Prada at the end of the Miu Miu runway, would she have talked to me about her disdain for the
bourgeoisie? The collection was called ‘Toying with elegance’ – suggesting that the prim, long dresses and coats that opened
the show would not last the course, which was a long runway marked by big support beams and velvet covered seating. The
carpet was a floral print looking vaguely 1940s, much like the Veronica Lake hairdos on the young models. Added to this was a
more mature Rita Ora, wearing signature ankle-length dress and coat in the opening period.

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Storm Reid opening for Miu Miu, Autumn/Winter 2020

It has been Prada’s lifelong style to despise the dullness of the middle class – from which she, of course, came. And the Miu
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Miu line has always been a spirited and uplifting show for very young women – preferably budding movie stars.

Kaia Gerber, Miu Miu, Autumn/Winter 2020

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So the presentation opened with young women walking down a carpeted runway. And what women! First, young movie star
Storm Reid, of Euphoria, to start the show, then Kaia Gerber and a pair of Hadids. The clothes started surprisingly covered up –
thigh-length coats and ankle-length dresses, but the textures that dominated the show were ever-present: satin, knits, taffeta,
leathery suits and a puff of faux fur.

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Rita Ora sports a mature look, Miu Miu, Autumn/Winter 2020

The skill of ‘Mrs Prada’, as she is always known, is to trip up the conventional. A smart, tailored coat, thigh or mid-calf length, is
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fancied up with a furry front. And then she adds a transparent skirt to the ankles, embroidered with sparkles. A classic, tailored
wool coat is left open over a silver chain of a bra and a skirt that unbuttons at thigh height.

This mix and its element of surprise is the designer’s stock in trade – and she does it awfully well. By the time a girly model
walked out with giant puffed sleeves and tiny skirt bound together by scarlet satin at her waist, the Miu Miu look was complete:
nothing too silly or sexy, plenty of fine tailoring – and nothing, in the way the clothes were presented, at all bourgeois.

A mix of textures, Miu Miu, Autumn/Winter 2020

Giambattista Valli: Think Pink!

The wall of pink roses as a backdrop to Giambattista Valli’s show was just the beginning. From the A-line cape with lines of
buttons that appeared at the start, to the long satin dress with bows at the hips that brought the show to a close, the designer
was saying: “Think Pink”.

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Giambattista Valli's vision in pink, Autumn/Winter 2020

Although what he actually said was: “It’s a girl mood – something quite intimate between girls – my vision of Paris and France
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now that I have lived here for 20 years. And how all these international girls look when they are living or visiting here”.

A recurring motif of scattered pink flowers, Autumn/Winter 2020, Giambattista Valli

Giambattista is right: his clothes are too Italian to look bourgeois. Instead, each outfit is in search of an innocent prettiness, from
a scattering of pink flowers on a chiffon dress, to the same pattern for just the gloves worn with a pink chiffon dress. The
‘freedom’ that the designer talks about can be seen in the looseness of a dress, the waft of feathers down the arms, a polite
bow tied at the neck and makeup ringing the eyes like glasses.

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Makeup glasses at Giambattista Valli's Autumn/Winter 2020 show

The pursuit of prettiness is not new – but it is nice.
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Dressing for the now, Giambattista Valli, Autumn/Winter 2020

“With these girls there is nothing nostalgic, no looking to the past or to the future,” said the designer. “It’s just the now. It’s her
mind, she likes something and she doesn’t limit herself. She’s very free. Let’s call it the indiscreet charm of another
bourgeoisie!”

Haider Ackerman: Sensual, Never Sexy

It started with the hair: high-rise blonde as if its knot at the top was drawn in a full bouffant bun. That was for the women – at
least for some of them, including supermodel Bella Hadid – enabling the audience to separate males and females, who were
often dressed in similar clothes.

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The ice-blonde bouffant-bun kicked off Haider Ackermann's Autumn/Winter 2020

There was the women’s cream multi-button coat that opened the show and a fuller, ice-white men’s coat that came a few
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moments later. A manly, taut jacket and soft pants were in mustard-brown, just like the loose, long coat that swung as a woman
walked the stage.

Looks appeared in male and female iterations, Autumn/Winter 2020, Haider Ackermann
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When it came to a pairing of purple velvet, both outfits would have been just as fine on either sex. But if anything, the men had
the brighter shades – bright or acid green.

Blue overcoat and trousers, Haider Ackermann, Autumn/Winter 2020
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“It’s not about male and female. It’s more about standing straight in this life that we are living now,” Ackermann said. “I just
wanted to have the serenity to stand and fight against everything so anarchic that’s surrounding us.”

Striding in serenity, Haider Ackermann, Autumn/Winter 2020
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Greeting Timothée Chalamet, the male star of Little Women, backstage, the designer said, “It was a collection about tribes
standing tall and being present”.

Touches of the gothic in Haider Ackermann's Autumn/Winter 2020 collection
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It seemed that the designer had brought on stage everything he loved – the words of Dorothy Parker (“one of my favourite
                                   writers”) with her “sarcastic twist”, and a touch of Japanese influence. As always with Ackerman, it was a case of a story told
                                   with a light touch; it could be felt in the throbbing music, and didn’t need to be publicly unravelled.

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