Prada S/S 2025 Milan

[avonlea002]

Oh please, Miuccia and her pretentious show notes. Just design a good collection and stop with the philosophical farts.

 

[lhhbl]

wtf was that opening look and model?
this is ALL bad (except the bags which I quite liked).

 

[FashionPower]

Offensive show, those huge shades and the avant garde Cardin x Courreges headpieces / shades looked like a reject from Ghesquiere's worst 80's disco nightmare shows.

 

[IsabelMarantBoy]

He never existed. It was the magic of Patrick van Ommeslaeghe.

That sadly makes so much sense. I have always been in love with his early Jil Sander days, especially FW/07 and S/S09.

I had high hopes he could bring some of that glacial minimalism to his work at Prada (or even his CK days), but oh well

I will say though, I do love that green fur trimmed housecoat! Give me that with some kitten heels and chandelier earrings

 

[jeanclaude]

So the collection was inspired by algorithms? Well, it looks instead like it was inspired by malware and a virus hacking Prada, in order to create this mess!

 

[tourbillions]

can we just go back to the cars collection or maybe the flowers one. I wont be surprised if Gen Z's only know Prada as a boots with mini wallets seller.

 

[Creative]

can we just go back to the cars collection or maybe the flowers one. I wont be surprised if Gen Z's only know Prada as a boots with mini wallets seller.

I loved the gold one and the guipure 🥺 or fall 07, that was to cry for

I really miss that kind of boldness. For me, her 2002-2009 years were the best. After 2010 everything went downhill.

 

[lookatme]

I loved the gold one and the guipure 🥺 or fall 07, that was to cry for

I really miss that kind of boldness. For me, her 2002-2009 years were the best. After 2010 everything went downhill.

Agree. For me, Prada Spring 2013 was the last great, memorable show.

Ever since then, she kind of lost it. Was that when she lost Manuela? After Spring 2013, she couldn't get herself out of the cartoony aesthetic that was such a hit in the monkeys and bananas show. It worked for a little bit after with the cars show and the spring Japanese flower show, but it got totally played out at the sporty street art show. It was unbearable by the comic strip collection.

Then Raf came along.

 

[nationalsalt]

To be fair Spring 2011 was pretty memorable, for the wedge espadrilles if nothing else. But Fall 2007 will always be my favourite too. Alas...

 

[nationalsalt]

Agree. For me, Prada Spring 2013 was the last great, memorable show.

Ever since then, she kind of lost it. Was that when she lost Manuela? After Spring 2013, she couldn't get herself out of the cartoony aesthetic that was such a hit in the monkeys and bananas show. It worked for a little bit after with the cars show and the spring Japanese flower show, but it got totally played out at the sporty street art show. It was unbearable by the comic strip collection.

Then Raf came along.

I've sometimes wondered if I'm simply looking back at the mid-2000s - early-2010s collections I "grew up with" in my formative years of becoming interested in fashion with rose-tinted glasses, because I've often thought the same. I'm glad (/sad) to know others agree. That period really was the best!

Ever since then, the collections have looked so much less distinct from one another; they really just blur into one. Such a shame.

 

[Creative]

I've sometimes wondered if I'm simply looking back at the mid-2000s - early-2010s collections I "grew up with" in my formative years of becoming interested in fashion with rose-tinted glasses, because I've often thought the same. I'm glad (/sad) to know others agree. That period really was the best!

Ever since then, the collections have looked so much less distinct from one another; they really just blur into one. Such a shame.

I don’t think that’s the main reason though. I really believe the world of fashion peaked at that time. It was before the social networks. Everything was more… elevated. Talent was valuable. They still did shows/garments for the sake of beauty (Theyskens) and real experimentation (Ghesquière). It was made for a few connoisseurs. After 2010 that luxury really exploded and became show business.

 

[GivenchyHomme]

I actually liked this collection—it felt like their most refined work to date. When you break it down, there are some great individual pieces that are both wearable and sellable. The presentation style was quite similar to Miu Miu, and it’s clear they’re trying to bring some of that energy to Prada. I’m curious to see how Miu Miu will look after seeing this collection. The biggest flaw was the rehashing of old accessories, which came off as lazy to me. Overall, though, I think this is the best they’ve done as a team. The Cardin-esque accessories didn’t add or detract from the collection, so I didn’t mind them. I also liked the bucket hat with the visor that resembled a Power Rangers helmet. For next season, I hope they dial back the styling tricks and let the clothes stand on their own. With that being said, I think they're finally onto something.

 

[Frederic01]

Cathy Horyn's Review :

MILAN FASHION WEEK SEPT. 20, 2024

Prada Pushes Fashion Forward With Its Collection
“Every look was made on a person,” Raf Simons said of the collection created alongside Miuccia Prada.

By Cathy Horyn, the Cut’s fashion critic-at-large since 2015.

Prada’s new collection goes everywhere: It’s kinky; it’s prim; it goes to the past and then yanks you back to the present. But anyone who follows fashion knows by now that. My neck got sore watching yesterday’s show because whenever a model came whipping around a bend in the maze-y runway, the person’s style expressed a uniquely different attitude, often taking in neutral gender. You almost couldn’t keep up with the changes. But the reason that people know what Miuccia Prada and Raf Simons did in Milan — the reason the applause was thunderous — is the reason the brand is consistently high on the Lyst Index, which measures popularity based on shopping and internet traffic.

Creatively, Simons and Prada go further than most designers.

Information — the sheer volume of images and ideas that sets apart our age — is the subject of their latest work. The designers considered how algorithms direct our choices then framed the show, Prada said, as “a dialogue” with this reality rather than a critique. “I was very, very nervous for this show, much more than usual,” Prada told reporters afterward. From the start of her fashion career, in the late ’80s, when she made some clothes for her family’s leather-goods firm, Prada declared her own terms. In the ’90s, she felt free to switch up the house’s style from one season to the next, in contrast to the standard practice of maintaining a consistent image. Prada meant disruption before that term was in vogue.

But this latest change is significant. Like other designers, Prada always presented clothes in thematic groupings, often showing many variations of a style for emphasis, and she continued to do that when Simons became her co–creative director. Near the end of the pandemic, they made a collection of satin miniskirts with the couture touch of trains. And they showed you a lot of them. Later, they did the same with leather jackets, presenting multiple versions. By doing that, they effectively owned the look, and of course, that’s partly how they recharged Prada, raising its sales in the process. Like most designers, they also tended to show a concise edit of shoes and accessories on the runway.

Well, they broke up that practice on Thursday. There were 49 models in the show and, as best as I could tell, 49 different styles of shoes and almost as many choices of bags. “Every look was made on a person,” Simons said. The individuality of the looks relates to the haute-couture tradition, where everything is made for an individual’s body, and Prada and Simon slyly referenced couture with seating cubes draped in aqua satin and with a few embellished dresses, including one with glossy black feathers and worn with a loose, orange windbreaker.

But that’s as far as the couture connection went. This was ready-to-wear with a huge dose of sportswear, including stretch pants with clingy polo shirts and a red cotton bomber jacket with tailored pants. Those seemingly conservative styles were juxtaposed with vintage-looking pieces, notably porthole skirts and visor-brim hats that recalled the ’60s. In between was a fetish-looking black leather shift embellished with silver rings, low-riding skirts with metal links fastened to a leather belt, and sedate town coats in a leopard pattern or tweeds with fake-fur collars. It sometimes felt like the Tenenbaums had taken up residence at the Prada Foundation.

The show was exhilarating to watch, partly because you quickly realized you couldn’t predict what was coming next around the curves of the runway. Which is like the sensation of being bombarded with information online, or walking in the street of a large city. Simons and Prada said they liked the idea of people projecting themselves in their style as “superheroes” — the extreme-looking sunglasses helped make that point — and that, as Simons said, the message was “about your own authority, your own personal strength.”

That authority once belonged mainly to designers. Indeed, in the mid-19th century, dress designers became an all-powerful force because of their new artistic authority. Marketing and branding quickly followed, sealing the loyalty between women and fashion houses (and magazines). That relationship has changed dramatically in this century.

It was great to see Prada and Simons not only address those cultural changes but also break out of their own patterns.

Will they continue in this vein? Probably not, but I think this show gave them an opening to other possibilities. Did the extreme mix of styles add to the information overload? I think not. The designers and their team, which includes those who do styling and casting, firmly guided the aesthetics and added looks that may actually reach a wider audience. Above all, the show reflected the reality and speed of this moment. I should also note that Prada is able to take such a leap forward because it has the industrial capability, the side of the business long managed by Miuccia Prada’s husband, Patrizio Bertelli. But the point is they put both sides, creative and production, to maximum use.

THE CUT

 

[Frederic01]

SYSTEM MAGAZINE

 

[LadyJunon]

SYSTEM MAGAZINE

Wow, designing ugly pretentious clothes ages you horribly.

 

[Lola701]

Ok beyond the « intellectual » explanations, is the supposed to challenge our perception of Prada? Of style? Of what?
The problem with me is that the result is not convincing despite how much the intention is interesting.

It can be a styling exercise: you mix the pantsuits from FW2012 with the shoes from SS2011 and a shirt from spring 2005. That way, in a way, you challenge the perception of those pieces while projecting a certain idea of timelessness within the Prada vocabulary.

For me here, the problem is the continuous in between. It’s not innovative or inventive, it doesn’t have humor and it doesn’t look clever. It looks very gimmicky and in the end people will buy the shoes because they have already an emotional attachment to them: those shoes reminds us great Prada collections. Those clothes not, and even more styled that way.

 

[PDFSD]

SYSTEM MAGAZINE

my god Raf needs to shut up like Mrs Prada speaks with more charm and simplicity and he chimes in like he is a dance mom ...FFFFF off dude...

also how he puts and on her back at every show exit is like dude she can walk stand on you own feet hands off

but i still like the collection it feels fresh and upsetting people so classic prada

 

[PDFSD]

my god Raf needs to shut up like Mrs Prada speaks with more charm and simplicity and he chimes in like he is a dance mom ...FFFFF off dude...

also how he puts and on her back at every show exit is like dude she can walk stand on you own feet hands off

but i still like the collection it feels fresh and upsetting people so classic prada and hope a start to new way of doing shows for prada more options more ideas people make up their own minds

 

[helmutnotdead]

I am late to the party as usual and even tho initially I thought wtf???? but oh well I think I really like it. And to be honest I can't even find a sensible reason to find it attractive. But I haven't felt this way with Prada in a long time: the collection made me feel something. And at this point of my life I'd rather embrace it right now instead of hating the show and then falling in love. To be clear I'd like to add that I don't even think this is remotely genius but I think it perfectly did the job: I keep thinking about some details and some garments even a few days after they presented it. It's quite hilarious that after 4 years working together they kind of keep doing the same things every season: the best part of the show is clearly Miuccia's stuff and every stupid aspect of the show has Raf's touch. I really really liked the absurdity as a whole, loved the fur details, love the dress on Ilya, the colors are great and I feel like they somehow are pushing my taste. It made me feel inspired to play again with clothes and how I want to look and be perceived. I wish it wasn't that obvious conceptually speaking but great job.

ps: cancelling all the very well known Prada girls and only booking Julia Nobis and giving her the best look of the show was a sort of statement imo. very very special touch.

 

[ghostwriter10549]

Cathy Horyn's Review :


THE CUT

“Every look was made on a person”

Huh... Really? The models seemed very in sync, like the same tribe. Is this supposed to be a requiem for individuality or urge for it?

However, I’m afraid to say that I liked it, even though, seeing the clear reference to Courrèges, it lost some creative value for me. The clothes aren’t bad, but the whole discourse and fake intellectualism make everything insufferable.