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Last week New Scientist magazine published its prediction that we would hit four degrees of climate change, and its apocalyptic vision of what that might mean.
The curators of the festival chose films that were full of emotion; in more or less the same way, Miuccia Prada tries to send on her runways designs that may reveal hidden emotions, complex narratives or well-conceived meanings to the discerning critic.The glimpses we get of “mothers new gown” and her empty bedstead stand in implicit reference to what it might be that mother is out doing, while the The Cat tries desperately to distract the children from thinking about it.Now whether or not you think this is an excessively close reading, you must admit, it adds a bit of engaging frisson to one’s 87th repetition of the book. Seuss is that there’s so much there to play with, even for the grownups.published by Skira), Nina Simone and Sigmund Freud - engaged in a riotous battle with classical figures was maybe an allegory for all of us, with the designer suggesting we should maybe try and know the past and history to understand the present and foresee the future.Knowing history has always been an advantage for Prada and it worked well in the collection as Miuccia remixed capes and recreated them in denim, proving that an officer's coat can still work pretty well in our times once it is de-contextualised and a sailor's top in leather can provide a new perspective on a classic uniform; dresses from the '40s were also reinvented as backless draped satin and velvet ensembles, and sexed up by adding high heels and diamond-patterned woollen tights.