Style Miu Miu’s girlishness believes that technology is something personal

Miu Miu’s girlishness believes that technology is something personal

Anna Frattini
miu miu

It’s no news that Miuccia Prada is the queen of collaborations with the art world. Miu Miu, in particular, provides the perfect context to invite artists and open a dialogue. Just last October, Miuccia Prada involved Sophia Al-Maria in the latest Miu Miu runway show for Spring 2024. Other notable collaborations include artists such as Meriem Benanni, Nathalie Djurgerg, and Geumhyung Jeong. This year, during Paris Fashion Week, Cécile B. Evans, a multimedia artist of Belgian and American origin, took center stage. Let’s explore how Evans contributed to FW 24 and what lies behind this new and exciting collaboration with Miu Miu.

Miu Miu | Reception FW24 from Jo Jo Lam on Vimeo.

Reception Miu Miu FW24

In the video created by Cécile B. Evans, we see Guslagie Malanda, a French art curator and actress, in the role of Reception, the last living human translator after a digital apocalypse. Her specialty is lost languages, and she practices her profession in a deserted parliamentary chamber transformed into a data center. The theme at the heart of Reception is the importance of the survival of memories. We hear the voice of a woman speaking in Gaelic, and Reception, translating her interlocutor’s experiences into French, dictates to a machine – engaged in transcribing in English – the memory of this woman. All this with what seems to be a future Artificial Intelligence. In the WWD article where Cécile B. Evans and Miuccia Prada discuss the collaboration, there are many interesting passages. One, in particular, is Evans reflecting on our relationship with any type of device. According to the artist, we often forget how technology has become something extremely personal. «Some things don’t exist without what they contain,» says Evans.

A woman in constant evolution

The runway’s press release states that «contemporaneity allows divergent creative processes to achieve paradoxically related results.» At Palais d’Iéna, Evans’ video installations were a means to “expand the conversation among people.” The garments, on the other hand, embraced the concept of memory, drawing inspiration from the 1960s, 1970s, and even the 1990s. The Miu Miu FW 24 wardrobe, according to Sarah Mower on Vogue Runway, tells the Milanese autobiography of Miuccia Prada. In short, there’s a bit of girlhood but also a touch of Mob Wife, especially when thinking about the fake minks reminiscent of those worn by ladies on Via Montenapoleone.

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Un post condiviso da Gigi Hadid Update (@gigi.hadidupdate)

One of the most surprising aspects of this partnership is the convergence of themes presented on the Miu Miu runway by Miuccia Prada and in Cécile B. Evans’ video, all without a proper preliminary discussion. On WWD, Miuccia Prada talks about how a «creative who speaks about reality in a contemporary context is interesting by definition.» The meeting point between Evans and Prada was the dialogue, initiated months before the runway show, in a context where both the artist and the designer wanted – as they have always done – to address contemporaneity. In her latest interview with Vogue, Miuccia Prada talks about her relationship with art and her commitment to the Prada Foundation. She mentions being formed by “reading and talking to artists, many of whom have become my friends.” There’s also a good dose of trust: Prada never interferes with the work of the artists she decides to include in her projects. Perhaps, this is the optimal recipe for supporting artists to collaborate and successfully engage in dialogue from the fashion world’s perspective.

Written by Anna Frattini
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