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Prada

Fall 2022 RTW Menswear

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Properties

Date: January 16, 2022
Location: Milan, Italy
Looks: 49
Brand: Prada
URL: wwd.com

Critic Reviews

By Sandra Salibian for WWD

For those who remember pre-pandemic fashion with nostalgia, seeing Jeff Goldblum and nine other actors such as Kyle MacLachlan and Asa Butterfield walking the Prada runway instantly triggered a sweet memory: The brand’s iconic fall 2012 show that saw the likes of Willem Dafoe, Gary Oldman and Adrien Brody parading to loud cheers.

At the time, the A-list cast sported severe tailoring evoking vintage military attire as the collection was a riff on powerful men and investigated how fashion can telegraph authority. Ten years later and with Raf Simons as co-creative director with Miuccia Prada, the fashion house’s object of exploration shifted to empowerment.

In addition to the changes that occurred in the past decade, the conversation between these two strong creative voices sparked a new take on “clothes that make people feel important,” as Prada put it — more pragmatic, quotidian and neatly pointing to the future rather than referencing the past.

The models emerged from a futuristic tunnel before stepping into the Fondazione Prada’s Deposito venue, this season designed by architectural studio AMO to resemble a movie theater.

Striding with a decisive pace in front of the audience, these characters looked powerful in their combination of sartorial staples and workwear — both elevated and given equal importance and dignity.

“The collection celebrates the idea of working — in all different spheres and meanings,” Prada said. “It is a practical, everyday thing. But here, you are formally important. You are not casual. And through these clothes, we emphasize that everything a human being does is important. Every aspect of reality can be elegant and dignified,” she added.

Hence double-breasted coats and blazers were given a couture-like treatment with furry arm bands in tech mohair, charming hourglass silhouettes that enhanced shoulders’ proportions, and hidden buttons that heightened the polished effect.

These elements also informed utilitarian outerwear and the evolution of last season’s bomber jacket, here rendered in a longer version with a belt cinching the waist.

In the same spirit the designers upgraded lightweight overalls and workwear separates, crafting them from tech silk fabrics and sleek leather. They further put them in the spotlight through color, ranging from delicate pastel tones to bold hues of tangerine and canary yellow.

“They replace the traditional historical shirt/tie/bow tie and give a new energy and reality, a younger attitude also,” Simons asserted.

Cue young actors Thomas Brodie-Sangster, Louis Partridge, Ashton Sanders, Damson Idris, Tom Mercier, Jaden Michael and Filippo Scotti, wisely tapped to be included in this updated cast and model the duo’s latest spin on wardrobe classics.

It’s yet to be seen if men will return to offices covered in furry details, or mechanics will fix cars in Prada silk attire, but with these new faces — and Tom Holland as its latest advertising campaign’s star — the brand’s triangle logo looks set to further infiltrate the movie biz.

By Luke Leitch for Vogue

Watching Jeff Goldblum close this show was worth the admission alone. Clad in a dark, furry mohair hemmed and elbowed overcoat, dark big-break pants and dark chisel toe shoes, his walk was at first linear and direct. Then one arm came up at his side and undulated, snakily. The other arm followed, as if seeking counterbalance. He veered rightwards in front of the first photographers’ pit, and as he did so, shot a sharp, hawky gaze—eyes narrowed—90 degrees to his left. The applause rose as he headed with woozy intent to the vectored tunnel that led backstage. A man on the edge, Goldblum worked it.

Which was the appropriate climax for a collection named Body of Work that approached the hierarchy of workwear as its baseline assignment while echoing against the body of work of both its designers. Inevitably, for instance, the starry cast here recalled the classic Prada fall 2012 collection whose protagonists included Willem Dafoe, Gary Oldman, Tim Roth, Jamie Bell and Adrien Brody. Backstage that day Miuccia Prada described it as “a parody of man power.” Oldman called it “two-minute theater—a short blast of performance.”

Goldblum apart, this 10-year anniversary sequel featured Thomas Brodie-Sangster, Asa Butterfield, Damson Idris, Tom Mercier, Jaden Michael, Louis Partridge, Ashton Sanders, Filippo Scotti and show opener Kyle MacLachlan. Similar too to that original, this show employed its cast to role play masculine archetypes whose relative status by occupation was both delineated and disrupted by their uniforms. As Prada said in a pre-written quote released after the show: “We were thinking about meaningful fashion, pieces that make sense. Clothes that make people feel important.” She added: “The collection celebrates the idea of working—in all different spheres and meanings. It is a practical, everyday thing. But here, you are formally important. You are not casual.”

Also not casual were certain parallels with Raf Simon’s fall 2012 collections both for Jil Sander and, to a lesser extent, his own brand. As at Sander then, at Prada today one masculine category was framed in hulking leather trench coats, in a fit oversized to infantilize—or at least deauthorize—as at the ten-year-gone Raf show. There were also hugely cinched waists on lengthened bombers and field jackets, and preening, relishably ostentatious furry mohair trimmings—most successfully served on an oversized orange MA1. Whether these details served to emphasize the dignity of work through the elevation of its uniform (as the notes today had it) or acted to parodically undermine the self-importance of conventional masculine status systems (as Mrs. Prada put it a decade ago) depended on where (and maybe when) you were coming from.

As at the Prada fall collection of a year ago, these facades all shared a similar base undergarment that rested between them and the body within. This year’s update on last year’s knit long john was, said Simons, “lightweight material overalls, deux-pieces, referring to the idea of work, movement, activity and leisure.” Expanded in volume and rematerialized in leather or treated silk, these overalls were sometimes also given star facade billing. Thus, overall versus furry mohair trimmed executive overcoats encompassed the vocational span of this finely performed and highly Pradafied spectrum of modern workwear.