This time last year, Miuccia Prada’s show was a display of plastic fantastic: clothes in shiny, rubbery materials worn by models who climbed the vertiginous steps of the extension to the Fondazione Prada. The mood was physically and mentally dark.
For summer 2020, all was calm and voluptuous. The overall effect of the large empty area within the Prada arts space was as if it were draped with a cloth of gold, although it was actually produced by gilded pillars and a follow-up of gold-dusted clothes.
The sparkle was applied with a light hand – a glitter gulch was not seen at all on the sober, streamlined clothes.
“It’s about simplicity and the idea that the person is more important than the clothes,” said Miuccia Prada, who had climbed up flat tiled steps to look down on the area as it emptied of an audience that included Nicole Kidman, wearing a ladylike dress with an autumnal floral print.
Often beautiful and graceful, this was nothing to do with Prada’s early ugly aesthetic. Instead, there were neat, double-breasted coats that could have been from an earlier era. The same classic feeling applied to tiered dresses in layers of chiffon, knitted tops with a geometric pattern and a full-on double-breasted suit jacket.
Adding, as always, a quirky element, the designer sent out a slim skirt decorated with beading in the swirling shape of classic wrought ironwork.
But why this tilt towards the classic and the past?
“Of course, the past is always very important – at least for me,” Miuccia explained.
What she, personally, had chosen for sultry Milan day was a classic, dark, double-breasted coat.
https://www.instagram.com/p/B2kOihDnoHm/?utm_source=ig_embed&utm_campaign=dlfixMiuccia Prada is a woman of surprises – and this show was exceptional for its calm and charm, even if the brilliant but contrary designer had managed to give classic an edge.