Raf Simons and Miuccia Prada's creative duo propose a rich dialogue between two disciplines for Prada's new proposal, presented at Milan Fashion Week once again, joining forces with film director Nicolas Winding Refn, in a narrative in which everyday life and human intimacy are captured in a raw and dark but no less realistic way.
Miuccia and Raf have made it clear throughout their joint collections that one of their concerns and purposes beyond presenting looks in a fashion show is to build a narrative, in which the viewer feels involved in the story and can understand the spirit of Prada from the inside, becoming part of it. For this, they are always open to collaboration with various creatives, and this time the chosen one has been the prestigious film director Nicolas Winding Refn, known for films like Drive or The Neon Demon, who has served as a conductor agent between the firm and the audience and who, through several filmic shorts portraying modern femininity and collaborating with the usual mastermind behind Prada's locations, Amo, has designed a dark and eerie catwalk, which has been the ideal location to show an equally gloomy collection.
The corporate spirit is again present; it is already the house's insignia, so is a palette of muted colours, predominantly black, white, and grey, but without forgetting specific sources of colour, very present mainly in the accessories but also making up several looks. This time, the change and the main focus are on the garment finishes and small details that completely transform a simple collection into one full of symbolism. Blouses, skirts, and dresses present openings, openings that are not like the usual, polished, and planned ones. On the contrary, they seem to be torn in a moment of frenzy, leaving irregular cuts and loose threads in between. The scenery, made up of black paper walls torn in strategic places to form windows as a frame for the screens, makes perfect reference to the garments.
Another of the perhaps most innovative details are the intentional creases and rifts marked on several of the outer garments, pants, or even knitwear, positioned in areas such as the inside of the elbow, the bottom of skirts and pants, or the area from the waist to the hip, places where wrinkles are common after wearing the garments for a long time. This is an excellent method to capture in garments the concept that the creatives wanted to convey, capturing the beauty of human gestures, ineffably imprinted on clothes over time in a way that may not be conventionally beautiful but is closely linked to the human essence full of imperfections, flaws, and coincidences.
Another way to talk about human nature is to mix clothes used in the purest intimacy, such as sleeping gowns of vintage aesthetics or light, fluid, and transparent garments, with others strictly for the street, such as leather jackets, trench coats, and coats. In this way, the accessories also run throughout the collection, between human dualities that somehow complement each other, all coincident in capturing the memories, the passage of time and the intrinsic beauty of the imperfect.
The corporate spirit is again present; it is already the house's insignia, so is a palette of muted colours, predominantly black, white, and grey, but without forgetting specific sources of colour, very present mainly in the accessories but also making up several looks. This time, the change and the main focus are on the garment finishes and small details that completely transform a simple collection into one full of symbolism. Blouses, skirts, and dresses present openings, openings that are not like the usual, polished, and planned ones. On the contrary, they seem to be torn in a moment of frenzy, leaving irregular cuts and loose threads in between. The scenery, made up of black paper walls torn in strategic places to form windows as a frame for the screens, makes perfect reference to the garments.
Another of the perhaps most innovative details are the intentional creases and rifts marked on several of the outer garments, pants, or even knitwear, positioned in areas such as the inside of the elbow, the bottom of skirts and pants, or the area from the waist to the hip, places where wrinkles are common after wearing the garments for a long time. This is an excellent method to capture in garments the concept that the creatives wanted to convey, capturing the beauty of human gestures, ineffably imprinted on clothes over time in a way that may not be conventionally beautiful but is closely linked to the human essence full of imperfections, flaws, and coincidences.
Another way to talk about human nature is to mix clothes used in the purest intimacy, such as sleeping gowns of vintage aesthetics or light, fluid, and transparent garments, with others strictly for the street, such as leather jackets, trench coats, and coats. In this way, the accessories also run throughout the collection, between human dualities that somehow complement each other, all coincident in capturing the memories, the passage of time and the intrinsic beauty of the imperfect.
