{"id":34179,"date":"2012-06-21T13:54:01","date_gmt":"2012-06-21T17:54:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=34179"},"modified":"2013-01-29T10:45:12","modified_gmt":"2013-01-29T15:45:12","slug":"subversive-chic-elsa-schiaparelli-and-miuccia-prada","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/06\/21\/subversive-chic-elsa-schiaparelli-and-miuccia-prada\/","title":{"rendered":"Subversive Chic: Elsa Schiaparelli and Miuccia Prada"},"content":{"rendered":"
\"\"<\/a>

Elsa Schiaparelli and Miuccia Prada use girlish sensibilities to subvert expectations of age-appropriate dressing.<\/p><\/div>\n

With fashion, true love isn\u2019t about the money. It\u2019s about the conversation. By that I mean decoding the statements on the runway each season and bringing them into culture simply by going about my everyday life. Conversing with someone on the street using the lines and proportions of our clothing: \u201cNice denim rip. You layered two T-shirts? That collar\/hemline\/texture is slightly off, and I like it.\u201d I learned how to read these cues and appreciate making odd bits look chic from studying the work of Miuccia Prada.<\/p>\n

The other day, I tried explaining to a friend whose primary associations with Prada are 1998 Jay Z lyrics (\u201cI like a lot of Prada, Alize and vodka\u201d) why this summer I took pleasure in making a boys lacrosse penny elegant for evening. I picked it up in a Maryland thrift store for two dollars. To most, a practice jersey is as far from a fete like the MoMA\u2019s Party in the Garden as one could get. In that crowd, if you say P.S.<\/em> you mean Proenza Schouler<\/em>, and Stella<\/em> is followed by McCartney<\/em> more often than Artois<\/em>.<\/p>\n

I wore it underneath a silk blazer, with a skirt of tiered fringe. The empowerment I felt was real\u2014there is something about taking a garment of unexpected origin and making it reference something completely new (look at Alexander Wang\u2019s brilliant athletic-inspired collection<\/a> this season) that excites me.<\/p>\n

I think of Prada as being synonymous with intelligence and controlled tension; the pith of confidence. Her clothes remind me that I haven\u2019t seen everything, and even on a Hannah Horvath budget<\/a>, I try to maintain allegiance to her pursuit of self-defined beauty. I feel strong taking a risk, and every morning I try to assemble a look that would make Miuccia say, This is right.<\/p>\n

It\u2019s an impossible conversation, but a pleasurable one. As is Prada\u2019s Met-based chat with the woman from whom she inherited the feminist fashion mantle, Elsa Schiaparelli.<\/p>\n

\"\"

Elsa Schiaparelli, left; Miuccia Prada, right. The two women never met, but their designs are uncannily similar. <\/p><\/div>\n

The two designers never met, but their histories are remarkably parallel: both were born to upper-crust Italian families led by scholar-patriarchs, weathered Catholic upbringings, and found fashion late. A jilted young Schiaparelli experienced the dawn of Dada in New York before moving to Paris, where she debuted her first couture collection at thirty-seven. Prada kindled counterculture while earning her Ph.D. in political science in Milan in the 1970s, studied mime for a half decade (I know), and then took over her family\u2019s luxury-goods company. She got into ready-to-wear when she was thirty-nine.<\/p>\n

Until curators Andrew Bolton and Harold Koda brought this Impossible Conversation to the Metropolitan Museum, not even Prada knew how kindred they are. Until the exhibition, she cited her famous Surrealist lip print from Spring 2000\u2014a motif of floating red lips dotting pleated skirts\u2014as a nod to Yves Saint Laurent. She hadn\u2019t considered YSL was giving lip service to Schiap, who put the pucker on a suit at the urging of Dali. (Call it art for a really cute skirt\u2019s sake.) There are many similar overlaps, which the curators group into categories like \u201cNaif Chic,\u201d saccharine clothes that Prada says explore \u201cinnocence as a choice\u201d; \u201cHard Chic,\u201d which showcases the designers\u2019 interests in menswear and military uniforms; and \u201cUgly Chic,\u201d items culled from the collections that intentionally subvert standards of feminine beauty, forgoing pink for palettes of neon bile and dirty sand.<\/p>\n

\"\"<\/a>

Schiaparelli used decorative detailing as a response to 1930s caf\u00e9 society; Prada's below-the-waist focus was a symbolic expression of modernity and femininity.<\/p><\/div>\n

\u201cWhat\u2019s extraordinary is the way everything modern fits in with everything old,\u201d Diana Vreeland, who was the editor of\u00a0Vogue<\/em> between our two Italians\u2019 tenures, wrote in 1984, the year before Prada designed her first hit, a line of nylon handbags. \u201cIt\u2019s all a matter of combining. There\u2019s no beginning or end there\u2014only continuity.\u201d<\/p>\n

In Schiaparelli\u2019s time, smart fashion was shocking; she designed a felt hat in the shape of an inverted shoe, preserved beetles in chunky buttons, and incorporated fabrics from then-exotic locales like India. But for Prada, a shoe hat is too decorative (in the exhibition video, she uses the word stupid<\/em>, and Schiap, played by actress Judy Davis, scowls), bugs are funnier rendered in leather, and since the Internet exists, India is too close. Schiaparelli definitely challenged her 1930s audience, but Prada makes us think a bit harder. She directs narrative attention below the waist, a rather serious region compared to the frill-ready neckline that Schiap favored. She attends to shoes\u2014a necessity\u2014decking them out with Mohawks and taillights. Something\u2019s always off. You look once and think, Who would wear that? You look again: Give it to me.<\/p>\n

\"\"<\/a>

Schiaparelli and Prada both played with scale, proportion, and illusions in their clothing. <\/p><\/div>\n

Throwing associations off kilter, whether by combining disparate elements (example: Prada takes an apron and renders it in crystals<\/a>) or reviving a reference to some forgotten trend (she brought back Annie Hall ties for Fall-Winter 2012<\/a>! You\u2019re welcome!), is a way to develop great fashion while winking across the street at frivolity, excess, and consumerism. In many ways, it\u2019s the same excitement that jars you when a writer makes colloquial crassness you hate into beautiful prose. I am thinking specifically of Sam Lipsyte\u2019s reappropriation of the awful c-word in this dialogue from The Ask<\/em>:<\/p>\n

\n

\u201cOkay, you wrinkled old spidercunt, have it your way.\u201d
\nFrancine sucked in her breath.
\n\u201cHoly macadamias,\u201d she said.
\nClaudia regarded me somewhat clinically.
\n\u201cSpidercunt?\u201d
\nI shrugged.<\/p>\n<\/blockquote>\n

It\u2019s shocking. Schiaparelli would approve. It\u2019s a shame that she is more remembered for her Salvador Dali shoe hat\u2014she was one of the first designers to dress celebrities\u2014than for her audacious sartorial designs. But it\u2019s fashion, not antiquities, so you can still acquire a pair of her outrageous glasses<\/a> or her perfume<\/a>.\u00a0Even so, we\u2019re lucky to have a show like this to remind us of her genius and a contemporary like Prada to remind us of her relevance.\u00a0When you see someone take a risk in a look that works, you can almost read it: their easy weekend sweater (cool), paired with perfect trousers recalling Gatsby-era suiting (chic), and then platform gold sneakers that resurrect your awareness of the Spice Girls (spiderc\u2014t).<\/p>\n

Prada says it all:\u00a0\u201cMore and more I want to be more like myself, more out, and say what I think.\u201d Subvert what is expected of your attire, then shrug.<\/p>\n

Katherine Bernard<\/a> is a features associate at <\/em>Vogue<\/a> and the fiction editor of <\/em>The Journal<\/a>.<\/p>\n

\u201cSchiaparelli and Prada: Impossible Conversations<\/a>\u201d is on view at the Metropolitan Museum of Art in New York through August 19. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

With fashion, true love isn\u2019t about the money. It\u2019s about the conversation. By that I mean decoding the statements on the runway each season and bringing them into culture simply by going about my everyday life. Conversing with someone on the street using the lines and proportions of our clothing: \u201cNice denim rip. You layered […]<\/p>\n","protected":false},"author":368,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1580],"tags":[7913,7374,538,1234,7914,3791],"class_list":["post-34179","post","type-post","status-publish","format-standard","hentry","category-fashion-style","tag-chic","tag-elsa-schiaparelli","tag-fashion","tag-metropolitan-museum-of-art","tag-miuccia-prada","tag-vogue"],"acf":[],"yoast_head":"\nSubversive Chic: Elsa Schiaparelli and Miuccia Prada by Katherine Bernard<\/title>\n<meta name=\"description\" content=\"June 21, 2012 \u2013 With fashion, true love isn\u2019t about the money. It\u2019s about the conversation. 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