The Spring/Summer 2025 Miu Miu show by Miuccia Prada is a point of embarkation for a sequence of multidisciplinary events examining the brand’s cultural dialogues with groundbreaking women artists and filmmakers across 13 years. Through the Spring/Summer 2025 collection itself, an intervention by Goshka Macuga for the Miu Miu runway show, and an installation at the Palais d’Iéna as part of Art Basel Paris 2024 exploring Miu Miu Women’s Tales and collaborations with artists, Miu Miu investigates its own conversations across the mediums of art, cinema, and fashion. Since its inception, the scope of this exchange has been to investigate the experience of vanity, to analyze how women see themselves, through their own gaze.
Vanity and deceit connect. As part of her artistic intervention, Goshka Macuga produces ‘The Truthless Times,’ a physical newspaper whose production is reflected in a narrative film short, both exploring ideas of truth, misinformation, and manipulation. The audience is seated within a representation of printing presses – machinery of information, presumed fact – the plurality of elements within the space both proffering tools to dissect and decipher the concept of truth, and underscoring the profusion of information that characterizes contemporary reality.
If Fall/Winter 2024 proposed a vocabulary of clothing across a panorama of lived experience, the Miu Miu Spring/Summer 2025 collection evolves to examine early youth as a period of absolute truth. Before dissimulation is learned, each individual is honest to themselves, to their ideals. And as a reaction to an era of overstimulation and overinformation, simplicity in clothing may offer clarity and precision, and serve as an honest frame of character.
A white cotton dress is a starting point. Pieces drawn directly from wardrobes of ‘infancy’ are prototypical items, pure in form and role. A collaboration between Miu Miu and Petit Bateau reimagines their classic pieces for different ages.
Unschooled gestures in dressing fundamentally alter classic items, as if purpose is rediscovered. Integrity remains intact. Chemisette dresses in cotton are pulled down and folded around the body, their forms shifted, from utilitarian to bustier dresses with a dishonest glamour. Sweaters are wrapped into tops, shirts twisted – wrong ways of wearing, to find something new.
Elements are transposed and combined with a sense of impulse. Things becoming other, their displacement changing their purpose, shifting their truth. Elements shift between pieces, and items that look like nylon are silk. Hyper-classic items stand in contrast, emphasizing the manipulation of normality. They also underline the Miu Miu aesthetic as its own established body of work – a true Miu Miu uniform, gradually established, now fully realized.
In a further continuation, Miu Miu continues to build its world of diverse and fierce individuals, true characters inhabiting its clothes. Drawn from across all walks of creativity, the cast this season includes Charlotte Cardin, Alexa Chung, Willem Dafoe, Cara Delevingne, Noen Eubanks, Amelia Gray, Sunday Rose Kidman-Urban, Lena Mantler, MINNIE, Little Simz, Eliot Sumner, and Hilary Swank. Many actors, used to presenting alternate visions of imaginary realities, here they walk in their own truth.
