After a five-year hiatus, Prada is back on the Resort schedule with a small presentation in Milan’s Galleria Vittorio Emanuele II. There, to a crowd of editors and celebrities, Miuccia Prada sent out a collection that juxtaposed sporty references like tracksuits and tube socks with crystal and feather adornments in sherbet colors. The brand also revived an iconic collaboration, proving in the process that there are many tenets of being a Prada woman.
Even though the 2018 collection was inspired by sportswear, the collection really reminded me of the roaring 20’s with a hint of European streetwear. What I loved about the looks were the laced skirts and the jackets with the puffed shoulders.
The show opened with Kris Grikaite in a black skirt suit pulled off the shoulder, followed by Natalie Westling in a modernized tracksuit with slouchy, pouf sleeves. Polished details like voluminous ruching or tailored stripes continued throughout, with Mrs. Prada herself stepping out for her bow in trousers, rather than her typical pencil skirt.
Rem Koolhaas’s firm OMA redesigned the gallery space with mirrors, meant to reflect the differences between real and “manufactured” moments. If that sounds heady, consider this: The window-lined gallery provided the perfect photo op for front row stars like Courtney Love, Susan Sarandon, and Bianca Jagger.
We have Mrs. Prada to thank for starting the marabou feather trend with her Spring 2017 show—and she continued to use the trim today, dotting feathers along jacket cuffs and dress hems. Some models wore headdresses of three erect feathers that called back to Prada’s Spring 2014 ready-to-wear collection—one that also featured sportif themes—while others swapped feathers in favor of chain mail neckpieces.
This Prada collection was decidedly short on prints, forgoing Prada’s kitschy graphics for a collaboration of deco designs by James Jean. If those seem familiar, it’s because Jean is the artist behind some of Prada’s most fantastical pieces from Prada’s Spring 2008 fairy-tinged collection. This time around, Jean continued to use undulating black lines, working the word Prada into flowers petals and winding stems.