Manolo says, the Fashion Week in Milan, it is upon us!
Here are some pictures of the things the Manolo likes very much from the Miuccia’s show today.
Manolo says, these items above, they are very much to the taste of the Manolo; classicly tailored, they are elegant and demure, but nonetheless conveying the quiet sense of the female strength.
This it is in the opinion of the Manolo the best of the Miuccia. More picture they will follow soon.
Manolo says, here is the interesting piece about the Liya Kebede that includes the unflattering comments about the Prada’s choice of the models.
[Kebede’s] success — and that of Sudan’s Alek Wek and Japan’s Ai Tominaga — is the exception, though.Though those models are redefining beauty standards, progress for most models of color is slow.
The omissions are evident. Take fashion giant Prada, for example. CNN looked at runway shows going back several years.
Last year, there were no women of color in their show. In 2003, none and in 2002, zero.
Indeed, Prada has not put a woman of color on its runway in at least six years. A Prada spokesperson did not return CNN’s calls.
Manolo says, let us hope that the Miuccia, she hears this and changes her ways. It is indeed an omission that is worthy of the correction.
Manolo says, undoubtedly many of the readers of the Manolo they have been wondering why the Manolo he started an entire blog devoted to the fashions and personalities of the Prada and why he was resistant to starting the blog about the mens fashion.
Here, in this article about the Milan menswear show, the Miuccia herself she tells you why.
By her own words, Miuccia Prada has decided to take menswear seriously. “It’s time to put the avant-garde behind, and analyze what men really want from fashion,” the designer said after her Monday preview presentation of a no-fuss, classical look for next winter. […]“Let’s face it, men are conservative at heart,” Prada said.
Manolo says, this it exactly expresses the philosophy of the Manolo with regard to the dressing of the mens. The fashion of the man, it is about the classical forms and materials, this despite the long-standing attempts of the confused GQ-reading peacocks to bring about the radical change.
Manolo belives that if the man he can keep his shape, he can wear the same suit, if it is of the high quality and the classical tailoring, from the young manhood into his grave. The same it can be said of the mens shoes.
This it is why the Manolo, he did not initially want to start the blog about the fashion for the man, because it is not as exciting to the Manolo as the shoes for the women. (Ultimately, only the out crying of the masses in need presuaded the Manolo to relent.)
Manolo says, the Miuccia, she knows.
Manolo says, the clothes, they are cut very tight, but they look good.
Manolo says, here is the article talking about the latest men’s show in the Milan.
The next time someone asks you what you plan to wear when carrying out a particularly tricky assassination, an unlikely eventually I grant you, tell them it will be something from the Prada winter collection shown Monday evening in Milan. […]Banished from the catwalk — make that gangplank — were the traditional Prada nerds. Instead, we welcomed in a new era of hunky hitmen. Not ugly mobsters but deadly pretty boys, the sort Alain Delon would have hung with in French classic crime movie Le Samurai.
Dropped as well were the gadgets and computer toys that accessorised recent Prada men’s seasons. Apart from a few thin ties, dreadful woolen gloves that looked like a very bad stylist’s ploy and one purple leather bag, there was not a furnishing in sight.
Don’t get us wrong, this was an very fine collection, whose very simplicity was its greatest strength. It opened with a half-dozen camel hair looks, splendid coats, snug suits — all of them creased from a continental flight, or was it a night in a car waiting patiently to perpetrate a crime? Most of them were worn on naked torso, the better to highlight their precise construction and unexpected sex appeal. And when the night turns cold, then Miuccia had neat little Moroccan skullcaps — a few in leather with grommets — to keep Luca Brassi’s head warm.
Sleek black wool redingotes, excellent tooled leather suits and a speckled herring bone duster were each impeccable. The footwear, a notable collection of suede boots and loafers, came with worn toes. Standing around for a capo in the rain does have its downfall.
“I wanted tougher, but more human,” Miuccia told FWD backstage. Her inspiration — “italian kings of the b’s,” a series of movies dating from 1949 to 1976, shown in the Fondazione Prada art space in collaboration with the Venice Biennale.
Manolo says, the Miuccia she was striving for a tough, but stylish chic, which she accomplished. As the Manolo he has said before, he thought it was a very good show, and in general a very good collection.
