The collection is a starting point for an investigation that brings fashion into dialogue with art and film. Vanity is at the centre of this research, an analysis of the way women see themselves, an insight into their own gaze. Past and future. Simplicity and clarity. Instinct and randomness. Innocence and power. The proposals are no longer an echo of the past, a panorama of lived experiences, think an exploration of the whiteness of early youth, a reference to the period of absolute truth. The world and modern society push the individual under the continuous influence of overstimulation and overinformation, which is why a way to recall the authenticity of living must be found to react to this. Simplicity in clothing can signify clarity and precision, sincerity, honesty and character. The starting point, like a blank canvas to be painted, is a white, linear, cotton dress. The childhood wardrobe is one of rapid communication and assimilation, all pieces are pure in their form and function. Alongside these classic garments are spontaneous gestures that radically alter their form, but not their purpose, which remains intact and well-defined. Cotton chemise dresses are lowered and folded over the body. Jumpers belted to become small tops. Shirts twisted and overlapped. Swimming costumes under tailored blazers. Knee-length skirts created by panels of colour. Sleeveless dresses adorned with embroidery and sequins. Echoes of the past can be glimpsed in the important low-waisted belts, as well as in the prints reminiscent of the 1970s, in patterns and shades. The colour palette is neutral and solid throughout the collection, and features impulsive bursts of colour. And it is precisely the impulse that directs all the elements, acting as contrast and counterpoint, as manipulation of normality. Once again, Miu Miu’s aesthetic as a set of established works, a true Miu Miu uniform, gradually established, now fully realised, comes to the fore.
Elements are transposed and combined with a sense of impulse. Things becoming other, their displacement changing their purpose, shifting their truth. Elements shift between pieces, and items that look like nylon are silk. Hyper-classic items stand in contrast, emphasizing the manipulation of normality.
Vanity and deception come together here and find their realisation in The Truthless Times, a newspaper idea made for the installation accompanying the défilé, created by the artist Goshka Macuga. The concepts around which his artistic research has revolved are those of truth, disinformation and manipulation. The audience, increasingly influenced by mass logic and the viewpoints of a modern society that is at times constricting, finds itself immersed in an almost surreal scenario. A representation of printing presses. All the elements presented, and told through a short film made precisely to allow the viewer to go in search of an individual investigation, are connected to the logic of power, freedom of thought and speech, and the purest representation. The viewer is required to reflect rigidly on the role of the individual, his freedom, and his influences. In conclusion, Miu Miu’s continuous evolutionary journey, towards the creation of a world inhabited by individuals full of life, gritty and diverse, unique and personal, is represented by simple yet complex clothes. An alternative vision of imaginary realities, a subjective truth, is defined.
