Me too
This collection hasn't inspired anything in me really, no excitement, no interest, it's just left me feeling.. cold. I hope next season will be better, usually I have a soft spot for Miu Miu
Miu Miu S/S 2010 Paris
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This collection hasn't inspired anything in me really, no excitement, no interest, it's just left me feeling.. cold. I hope next season will be better, usually I have a soft spot for Miu Miuj'adore_couture
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Looking at all the details is kind of irksome. It looks as if some grandma went crazy and bought a whole lot of fancy cloth and then decided to make lots of outfits with it. I do like the shoes though.
mackos
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The collection looks so good at the first sight, but it's just amazing at the closer view! I love all the prints, they're done in such a brilliant way, as well as all the sheer parts and embellishments. Not to mention the idea of innocence which I love, there's nothing more Miu Miu like that! 
mikeijames
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miu miu has proved herself the most grown up and sophisticated of the two prada sisters this season. what with the beautiful crystal -- though i'd love to have seen that on something completely sheer -- and the i-can-do-better-than-stella-mccartney-with-print in those great summer separates, this collection has a cerebral quality yet an utter ease that gives them the air of timelessness. i'd love to see someone pair these lovely nude-printed pants with some of those foujita-printed shirts from jil sander.
Blanche DuBois
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I didnt like this at all...but its been several years (not even season, im talking YEARS) that Prada and Miu Miu reforced so much that idea of ugliness (that of course, CAN get tired)
I mean, I love the shapes, the 70's are my favourite decade, you can do the pants and so...but that platform mini boots w stars all over NOOO
they could do so much better with this inspiration
the bags are something I've seen before...
and what about that whole bunch of black?? everything black?? for the summer??
are they trying to blur the lines between seasons?
It's a big NO to me
btw: what does imo means?
i see you guys writing it, and Im thinking "does this means I Must opinion?"
Im crazy and Im from Bsas
I mean, I love the shapes, the 70's are my favourite decade, you can do the pants and so...but that platform mini boots w stars all over NOOO
they could do so much better with this inspiration
the bags are something I've seen before...
and what about that whole bunch of black?? everything black?? for the summer??
are they trying to blur the lines between seasons?
It's a big NO to me
btw: what does imo means?
i see you guys writing it, and Im thinking "does this means I Must opinion?"
Im crazy and Im from Bsas
fouroclock
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This looks like a hipster raiding her grandmother's closet, with surprisingly good results. Also a fan of the patterns and the cats.
honeycombchild
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I think this is certainly one of the collections we're going to see replicated on the high street most.
That print's just screaming Topshop customer.
That print's just screaming Topshop customer.
Tentacl Ventricl
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So Miuccha was questioning youth and innocence in a world that's so opposite. What is the particular relevance of that question now? I hazard an answer.
I sensed the pertenance lay in this being the season when show barriers were rendered permeable with live streaming to the net starting to become widespread and the season when the grande dame editors had their noses put out of joint with the front rows invaded by bloggers. Of course many of said bloggers either looked like, or were, children.
The juxtaposition of the childlike motifs and the 'adult' 'scenes' in the print was the key. The uneasy and perhaps inappropriate blurring of childhood and adult worlds.
I would not be surprised if the 'muse' for the collection was a certain 13 year old blogger. An interesting notion in any event in the democratised, bottom-up new world that a blogger might become the 'muse' for one of fashion's foremost designers. The topsy-turviness of the notion feels very now.
Even in a sphere which one loves, once one achieves a certain standard of output there comes a pressure to continue at the same level. When that is coupled with notoriety, when one performs to a growing worldwide audience, what might have started out as a bit of fun unquestionably becomes 'work'.
We are quick to abhore the use of child labour in developing world sweat shops. But who has noticed the new form of child labour in the West within the 'netocracy'? It's trite and pushing it too far to cite child star numero uno of the music world in the year of his demise, but anyone who's achieved any measure of success in the creative industries will understand the point that the accompanying psychological pressures are not at all suited to children.
Unquestionably Miuccha had work-life balance issues at the forefront of her mind this season. What else was 'Business-to-Beach' at Prada about. Here I felt she was flagging up the unease felt when children enter adult arenas, workplaces in particular. The casting of that most baby-faced of all models Lyndsey Wixson, first-facing at Prada, present at MiuMiu, also reinforced the point. And that we ought to read Miuccha across both shows.
I was interested to see that said blogger by and large 'liked' Miu Miu, seemed to feel it sat well with her aesthetic although several of her commenters wondered if they'd themselves like to wear the nudie prints. Likely it would embarrass them. Perhaps therein lies another point. Particularly awkward younger teen dorks might in fact be oblivious to the unease of the juxtapositions between child and adult worlds.
There are also here, in a fashion moment characterised by fusion, hybridisation and blurring of boundaries, perhaps wider points about limits to such a project.
So I think the collection reads with a sense of unease. That there's, if not a darkness, then at least a concern raised, beyond the surface sweetness. The vibe was not straightforward 'young and fun' like at ie Louis Vuitton. No, as we'd expect from Miuccha, there are nuances and messages to be found within her art if we want to look for them. And, as discerning adults, we ought, really, to be able to see what's being said.
I sensed the pertenance lay in this being the season when show barriers were rendered permeable with live streaming to the net starting to become widespread and the season when the grande dame editors had their noses put out of joint with the front rows invaded by bloggers. Of course many of said bloggers either looked like, or were, children.
The juxtaposition of the childlike motifs and the 'adult' 'scenes' in the print was the key. The uneasy and perhaps inappropriate blurring of childhood and adult worlds.
I would not be surprised if the 'muse' for the collection was a certain 13 year old blogger. An interesting notion in any event in the democratised, bottom-up new world that a blogger might become the 'muse' for one of fashion's foremost designers. The topsy-turviness of the notion feels very now.
Even in a sphere which one loves, once one achieves a certain standard of output there comes a pressure to continue at the same level. When that is coupled with notoriety, when one performs to a growing worldwide audience, what might have started out as a bit of fun unquestionably becomes 'work'.
We are quick to abhore the use of child labour in developing world sweat shops. But who has noticed the new form of child labour in the West within the 'netocracy'? It's trite and pushing it too far to cite child star numero uno of the music world in the year of his demise, but anyone who's achieved any measure of success in the creative industries will understand the point that the accompanying psychological pressures are not at all suited to children.
Unquestionably Miuccha had work-life balance issues at the forefront of her mind this season. What else was 'Business-to-Beach' at Prada about. Here I felt she was flagging up the unease felt when children enter adult arenas, workplaces in particular. The casting of that most baby-faced of all models Lyndsey Wixson, first-facing at Prada, present at MiuMiu, also reinforced the point. And that we ought to read Miuccha across both shows.
I was interested to see that said blogger by and large 'liked' Miu Miu, seemed to feel it sat well with her aesthetic although several of her commenters wondered if they'd themselves like to wear the nudie prints. Likely it would embarrass them. Perhaps therein lies another point. Particularly awkward younger teen dorks might in fact be oblivious to the unease of the juxtapositions between child and adult worlds.
There are also here, in a fashion moment characterised by fusion, hybridisation and blurring of boundaries, perhaps wider points about limits to such a project.
So I think the collection reads with a sense of unease. That there's, if not a darkness, then at least a concern raised, beyond the surface sweetness. The vibe was not straightforward 'young and fun' like at ie Louis Vuitton. No, as we'd expect from Miuccha, there are nuances and messages to be found within her art if we want to look for them. And, as discerning adults, we ought, really, to be able to see what's being said.
helmut.newton
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The prints were inspired by the Californian Pop artist John Wesley, which the Fondazione Prada presented a retrospective of a couple of months ago. I find it very interesting the way Prada takes artists and elevates them to consumer culture.
askart.com/
askart.com/
Tentacl Ventricl
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Source = Spaightwood Galleries website
The Curator of John Wesley: Paintings 1961-2000, a retrospective held during the autmn of 2000 at P.S. 1, a branch of The Museum of Modern Art, has a slightly different perspective. Alanna Heiss, P.S.1 Director, says"Wesley’s work stands eerily apart. He mixes images of traditional emblems, historical figures, comic book personalities, animals, sexy women, athletes and showgirls into surreal daydreams, prompting the viewer to rejoin her own private dream-world." This exhibition includes works ranging from his earliest paintings (Stamp, 1961) to his most recent–Showboat, 2000. To accompany this retrospective, P.S.1 has produced a catalogue including new essays by Brian O’Doherty and Carolyn Christov-Bakargiev, an interview with the artist by Alanna Heiss, a chronology by Hannah Green, and an anthology of other significant texts and color plates. Wesley is known for his consistency of palette (baby blues, cotton-candy pinks), his use of painted "frames" within his pictures, his early emblem paintings, his cartoon Bumstead paintings, and ultimately for his representations of an inner erotic voyage where we are both the voyager and the voyeur.
After moving from his native Los Angeles to New York in 1960, John Wesley began showing his work at the Robert Elkon Gallery in 1963. Donald Judd became an early supporter of Welsey’s work at that time. In a review of that first New York show he wrote "...the forms selected and shapes to which they are unobtrusively altered, the order used, and the small details are humorous and goofy." Initially considered in alignment with pop artists of the early 60s, Wesley consistently produced works of such a subtle and subversive nature as to put him in a category of his own. He used the early tools of advertising production (tracing paper and stock photographs). Influences on his work range from Surrealism to Art Nouveau, from ancient Greek pottery to Matisse. Wesley’s colorful and figurative style also reflects the "flat" world of comics and posters. His secret life is ours; the works uncover the private world of a dreamer, where the dreamer is the protagonist, the artist, and the viewer. They are icons proclaiming the sanctity of our subconscious wanderings.
The Curator of John Wesley: Paintings 1961-2000, a retrospective held during the autmn of 2000 at P.S. 1, a branch of The Museum of Modern Art, has a slightly different perspective. Alanna Heiss, P.S.1 Director, says"Wesley’s work stands eerily apart. He mixes images of traditional emblems, historical figures, comic book personalities, animals, sexy women, athletes and showgirls into surreal daydreams, prompting the viewer to rejoin her own private dream-world." This exhibition includes works ranging from his earliest paintings (Stamp, 1961) to his most recent–Showboat, 2000. To accompany this retrospective, P.S.1 has produced a catalogue including new essays by Brian O’Doherty and Carolyn Christov-Bakargiev, an interview with the artist by Alanna Heiss, a chronology by Hannah Green, and an anthology of other significant texts and color plates. Wesley is known for his consistency of palette (baby blues, cotton-candy pinks), his use of painted "frames" within his pictures, his early emblem paintings, his cartoon Bumstead paintings, and ultimately for his representations of an inner erotic voyage where we are both the voyager and the voyeur.
After moving from his native Los Angeles to New York in 1960, John Wesley began showing his work at the Robert Elkon Gallery in 1963. Donald Judd became an early supporter of Welsey’s work at that time. In a review of that first New York show he wrote "...the forms selected and shapes to which they are unobtrusively altered, the order used, and the small details are humorous and goofy." Initially considered in alignment with pop artists of the early 60s, Wesley consistently produced works of such a subtle and subversive nature as to put him in a category of his own. He used the early tools of advertising production (tracing paper and stock photographs). Influences on his work range from Surrealism to Art Nouveau, from ancient Greek pottery to Matisse. Wesley’s colorful and figurative style also reflects the "flat" world of comics and posters. His secret life is ours; the works uncover the private world of a dreamer, where the dreamer is the protagonist, the artist, and the viewer. They are icons proclaiming the sanctity of our subconscious wanderings.
Street_a_Licious
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i could totally do without the "cutesy" (pukesy) prints
the nude pieces with the embellishments look like they're waiting to get customized for some extravagant red carpet dresses
the nude pieces with the embellishments look like they're waiting to get customized for some extravagant red carpet dresses
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june gloom
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I seriously cannot stop thinking about those bejeweled bird print pink platforms. I need!
GivenchyHomme
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I agree they're gorgeous!
style.com
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GivenchyHomme
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