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Prada

Spring 2023 RTW

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Properties

Date: September 22, 2022
Location: Milan, Italy
Looks: 55
Brand: Prada
URL: wwd.com

Critic Reviews

By Booth Moore for WWD

Instagram perfect? Who needs it.

With an assist from Hollywood director Nicolas Winding Refn, Miuccia Prada and Raf Simons showed a collection for the Be Real generation, giving fashion the creative jolt it needed this season.

Many of those in lockdown during COVID-19 could relate to the storyline, a dark twist on the domestic bliss that wasn’t always that.

It also seemed like a wink to all the hot young things walking the runway back in February in their party clothes, sexy tank tops, bedazzled skirts and logo streetwear, and wearing it front row at the show on Thursday.

Be afraid Chiara Ferragni and Fedez, be very afraid! If you haven’t already, you, too, will come to identify with the look of sleepwalking through the day, feathery eyes wide shut, in a state of barely-keeping-it-together deshabille.

But what deshabille it was — lacy house dresses with the triangle Prada logo, gorgeous pastel gossamer knits, and coats with filmy lace overlays were more sexy, neo-grunge dream than nightmare.

The designers tapped the Danish director to frame the collection in the cinematic moodiness he’s known for in his films “Drive” and “Neon Demon.” He added a layer of storytelling that helped inject emotion into the clothes with his theme of domestic voyeurism, and the physical environs to match, featuring dark papered walls and windows flickering with fragments of his films, a neon snippet of a kitchen here, a yard there.

There was an energetic, creative richness to the collection, too, which conveyed the feeling of being one step in the world and one step at home.

The tailored uniform of best intentions was creased and twisted into a beautiful dissonance, the dream of dressing up deflated, sending silk flowers scattering on a white satin cocktail frock, and color-saturated paper dresses ripping up one leg.

Or, for days when you just don’t want to think about it, there was a crisp poplin take on a union suit — the Prada WFH uniform.

This was Miuccia at her best, channeling not just a woman’s experience but a non-gendered human’s into the inclusive show, too, and reflecting this moment in time when it can be hard to summon up the energy to get out of bed, even if it’s just to go to the home office. (Or to summon up the energy to get out of bed after a night of revenge partying.)

She lent an element of touch to every piece, which is true luxury, while Simons brought his flair for the spontaneous gesture onto satin minidresses folded like haute bed sheets, and black evening dresses and coats with crushed bows trailing off the back.

Watching the two interact back stage, it was clear theirs is still a happy marriage.

By Nicole Phelps for Vogue

The Prada Fondazione was covered in black craft paper for today’s show. Cut into the set walls were windows behind which short videos by the director Nicolas Winding Refn of Drive fame played: clips of a coat on a wooden dining chair, an empty kitchen, women in repose on couches. Were these scenes of domestic bliss? Knowing our protagonists, and understanding the two years we’ve all been through, that doesn’t seem likely.

Instead, what Miuccia Prada and Raf Simons seemed to be after was some sort of truth—peering behind the curtain for a glimpse of reality or its close verisimilitude. “There is a sense of the life of women,” Miuccia Prada said in a prepared statement. “Life and humanity crafts the clothes—not superficial embellishment, but traces of living, leaving marks. This idea of clothes shaped by humanity excites us.”

The first look, in its corporate anonymity, seemed to belie that statement. Where’s the humanity in a dour gray top coat and lighter gray button-down onesie? But before long, the layers came undone. The boxy tailoring of that coat, for example, was replaced with an old-fashioned nightie, the familiar logo triangle embroidered on its tulle neckline.

Picking up on the craft paper of the set, they used paper—“the most simple, modest material”—for dresses whose color and print didn’t quite meet the edges. These were the most thought-provoking pieces in the collection. The white outlines at necklines and hems gave the sleeveless shifts an unfinished, work-in-progress quality, like an artist made clothes out of a freshly painted canvas, rather than putting it in a frame. Knit sweaters and skirts, meanwhile, came pre-creased in places, and the skirts’ slits were left raw-edged, with the slips underneath following the same almost ragged lines. The white nighties and peignoirs over black briefs and the icy silk duchesse dresses tapped into beloved parts of the house archives.

Trained for decades to see Mrs. Prada as fashion’s fortune teller, a mostly silent arbiter with an outsized influence, we come to Prada shows eager to know how we’ll want to dress next season. On that topic, the house founder and her partner had a new idea, and it goes back to that skinny legged, stripped of all excesses all-in-one. Many designers are thinking wider and fuller for spring—the overwhelming vibe is go big or go home. But here the silhouette was tapered to the ankle and punctuated with a boxy coat or jacket and chunky cowboy boot mary janes. A new Prada uniform? In his own comments, Simons said, “more than any other collection, this one is filled with different views… different bodies of work, within a single body of work—shifting between disparate form languages.” The early adopters will have been taking notes.