At Miu Miu, preppy castaways take to the runway When fashion goes to boarding school

In a midnight-blue room, lit by the image of a cloudy sky, the Miu Miu girls took over the uniforms of past seasons enriching them with a whole new theatrical feel. To present Miu Miu's SS24, Miuccia Prada wanted every last detail to be taken care of with the utmost diligence, so much so that the artist chosen for the set design of the show invented a special fragrance for the occasion. This afternoon, every corner of Auguste Perret's Palais d'Iéna was transformed, Miu Miu's identifying codes reinterpreted through the imagery of the Qatari-American artist Sophia Al-Maria, an apocalyptic stage of technological ruins, amidst metal columns, radio speakers and tv screens projecting the film Gravity & Grace directed by the artist herself. Miuccia Prada's youngest brand, Miu Miu has once again established a two-way relationship between contemporary art and fashion, a space that's constantly evolving, challenging the conventions of the industry for thirty years now and still managing to capture the attention of the newest generations. Unlike the last few seasons, which were marked by a positive dash towards a boarding school aesthetic, from ironically ripped uniforms reduced to mini-miniskirts to geek chic eyeglasses, Miu Miu's SS24 had a slight feeling of tragedy.

At this point in the show, the collection was made more sombre by looks that explored a total black look in pencil skirts and lace inserts, while immediately afterwards the interceding of a piece of classical music and a few stiletto heels gave the show a lighter feel. Concluding the show was not Gigi Hadid, in a brown bomber jacket and a below-the-knee skirt supported by a large belt with a buckle, but a model wearing a black cape held in place with one hand, Miuccia Prada's signature style, bringing to mind a graduation gown. Is a storm coming? Is the sky falling? This was the title of a fashion show that, exploring «a logic of today's beauty, exploding and shrinking,» brought to Paris the same emotional charge of an adolescent in the grip of his own emotions, too big and too strong to be explored with serenity, like a stormy sea.