MILAN: As the models walked down the steep runway in dresses as dark as pitch, just a nude-toned neckpiece suggesting something edgy underneath, the Prada collection seemed a world away from last season's subversive flutter of fairies.
Then came the first shot of arsenic and old lace: the lace worked in flowers, crunchy or transparent, with the kicker in the sexual charge coming literally from underneath in the case of transparent panels showing and revealing clinging underpants and alabaster white thighs.
Or there were the more familiar Prada tricks, like bra straps closing a dress over a pristine white blouse or shoes bandaged to the foot as leather petals like torn skin covered the toes.
"I still don't understand why I like lace - but it is such an accompaniment of women, through childhood, marriage and being a widow," Prada said backstage. She admitted that innocent white lace was not part of her fashion vocabulary. Sky blue and a flash of bright orange was the farthest the designer got from the boudoir glamour of beige lace or the mysterious darkness of a very merry widow, whose bag was even made of lace flowers.
It was a remarkable show, powerful in its presentation as the models descended the ramp, but above all original, inspiring and intensely Prada in its mix of the prim and the perverse.
You could imagine a provincial wife dressing for cocktails in a gilded lace suit, the skirt - like all the hemlines - decorously over the knees. But there was a strong subversive element, from a cotton shirt with a breast-plate front to a nude body suit that filled in the space between different lacy pieces. As if in a Fellini movie, there was a clerical hint to the buttoned-up collars and a sense that Prada was unleashing on the fashion universe both a lace revival and erotic dreams.