The ancient frieze inspiration is nearly undeniable for this campaign (Though it is far more evident in the larger group shots), and the concept provides the Prada spring collection with a graceful, celestial quality that wasn’t apparent in the dark, sinister, and absolutely nerve-wrecking ambiance of the runway show (I’m looking at you, Katie Fogarty and Yulia Kharlapanova). The composition’s complexity reminds me of Spring 2008, when we were faced with “multiple” images of Sasha Pivovarova that confused many to no end. Yet for this campaign, there is a strong sense of balance, as the simplicity of the backdrop seems to “purify” even the harshest details. I think perhaps it is a little too “whitewashed,” but when you compare it to the marble friezes of old, I guess it’s at least an understandable reference.
Like many other modeling industry followers, I was also nervous at the notion that
Anna Maria Jagodzinska would not appear in the campaign despite previous reports. However, those fears can now be suppressed, as she is without doubt in this one. But is it truly wise to use models with nearly identical looks within such a stoic setting? I think yes, for many of us neglect the fact that campaigns, especially in these ambivalent economic times, should attempt to showcase the clothing as literally as possible. Through using a generic look for the human figures, the emphasis can be on the collection instead (A similar strategy as that of the Yves Saint Laurent Rive Gauche Fall/Winter 2008 show). And as I am a fan of all the cast girls, I’m not going to complain that they’re each receiving some incredible exposure instead of being forced to step aside for a seasoned veteran.