The show opens with rigorously simple dresses built of flat panels, with what look like screen-printed designs, simplified blooms reminiscent of the great Andy and of Man Ray's solarization. The models also look tough, strong, even muscular, hair cropped short, aggressively lip-sticked, and the kimono-like garments have a satin sheen that brings them close to armour. Initially the only concession to frivolity are the ankle-high boots in silver or gold leather.
As the runway show progresses, the flowers extend over the tops, which become softer and more textured. Knee-length day-dresses in black and purple are paired with super bags in white and red leather, and complex wedges with double soles and red bows. White fur makes and appearance, and the more formal looks are lovely orchestrations of white or off white with red, grey and black. Stylized flower shapes are ever-present, but they resemble more signs of recognition than decoration, like the roundels on a military aircraft. The more complex dresses are built from overlapping flaps, that develop downwards from simple shoulder straps to a more elaborate construciton on the hips. No lace, no transparency.
Bags are constructed from geometrical, trapezoid shapes. Spectacles also feature some ironic daisy shapes on the frames.
The last looks feature some appliqué flowers, firmly attached, so that there's no way that you can decide whether "she loves me" or "she loves me not." The Prada gladiator woman will make up her own mind.
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