Listen. Are those the dissonant musical strains of German avant-garde theater, or the sound of Miuccia Prada “on trend”?


“Act 2,” Prada’s small black invitation beckoned discreetly. Shethus gave notice that, unlike spring’s remarkable high-intensityportrait session, this show would connect back to her recent men’scollection with references (by her own admission vague) to Germanavant-garde culture as indicated by the music: selections of Kurt Weillperformed live, and on the soundtrack, Barbara Sukowa, who starred asthe chanteuse-prostitute in Rainer Werner Fassbinder’s “Lola.” The setwas held over exactly from men’s: an austere gray industrial stagesurrounded by metal scaffolding. The musicians occupied several pitswhile the models negotiated the surrounding elevated walkways.

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