‘Softer’ minimalism irons in a few stylish creases on Milan runways
Minimalism has enjoyed an unnaturally long tenure in the fashion world, but a new, softer form of it has bloomed on the Milan runways this season.
Crisp white shirts, tonal overcoats, rib knitwear, austere tailoring: minimalism has enjoyed an unnaturally long tenure in the fashion world, but a new, softer form of it has bloomed on the Milan runways this spring/summer ’23 season.
Take Prada, where clean, simple femininity spoke to the modern woman. This is, after all, the label that sent the white tank top soaring to the top of every fashion-follower’s most-wanted list.
And this season, the tank gave way to other, similarly unfussy pieces – from tightly buttoned collared white shirts to corporate grey boiler suits and slip dresses unencumbered by decoration. You can always count on Prada to perfect the staple.
Unexpected, however, was the litany of “errors” that walked the runway. A rip here, a crumpled blazer there. Skirts with slits ripped into them were an ode to imperfection, as were creases that were ironed and stitched into fabrics. Through purposeful errors, “traces of life shape the forms of garments (and) intentional rifts, twists, creases and folds capture a spontaneity, like memories of beauty embedded in cloth”, read the show notes. It was through these wilful blunders that co-conspirators Raf Simons and Miuccia Prada softened their classic pieces and gave pared-back classics new life.
Speaking of life: at Max Mara, clean silhouettes inspired by the French Riviera style of the ’30s walked the runway – low-backed tanks, floppy sun hats and slouchy canvas pants – but the skirts swung and swished with extra verve, thanks to the godets inserted into the hems. Like they were happy to be alive. “At Max Mara, each piece is made not just to be worn, but to be lived in,” explained creative director Ian Griffiths.
The collection drew from the architecture of Eileen Gray, the modernist who injected femininity – curves, rounded edges – into traditionally masculine modernist stylings of the day. Following Gray’s ethos, the pieces on the runway worked to soften the starkness and rigidity of minimalism as we know it.
Meanwhile, at Fendi, long lines and a muted palette formed the core of the collection, which wove in references from the ever-so-insouciant ’90s – the birth-era of the minimalists. It was colourful, but the ethos followed the same running thread: simplicity with warmth, sleek tailoring softened and made for living, rather than standing still in situ.
The reign of minimalism isn’t quite over – but the runways of Milan are signalling that it may be in its most practical era yet.
