Without black bras, just underwired bra cups hidden under knitted polos
By now, midway through Milan Fashion Week (after New York and then London), we know ‘sexy’ is a big theme. The navel is exposed, the bra is free to breathe. It is, therefore, interesting—to say the least—to see how Prada would interpret the seemingly inescapable post-pandemic (we are being optimistic here) sexy. This is Prada’s first IRL show after Raf Simons joined Miuccia Prada as co-designers last year. But it isn’t a one-city show even when it is a one-city fashion week. What happens in Milan does not stay in Milan. In fact, it is happening elsewhere too—Shanghai, to be exact. Yes, two shows were happening at the same time, for the first time in fashion week history. On both sides, large video screens, set in portrait orientation, revealed what was happening on the other, and how the same outfit on two different woman would look. Prada is Prada, no matter where you are.
Against a soundtrack of the neo-sexy speak-sing (not rap!) Misericord by the Brighton post-rock/ambient duo Insides, comprising Julian Tardo & Kirsty Yates, Prada shows that sexy could be something not seen elsewhere. This is sexy that won’t score on the Met Gala red carpet (or whatever the year’ colour is) and at the Video Music Awards’. Neither will it win any star/celebrities extra pages in magazines dedicated to such stuff. Prada’s premise for sexy is simple: the mini-shirt. But these aren’t your mother’s mini-skirts nor the denim shreds you are used to wearing. These are more tailored, better shaped, cuter. And what is in front is not the same as in the back. There are the short-front-long-backs and the many with a quirky train! Could this be for whoever has the ends to roll the wearer in? A pre-mating ritual? Or just excess, non-functional fabrics waiting to be caught between MRT doors?
As impractical as these misplaced selendangs are, they are the little off-beat touches that often make many followers regard Prada with wonder. We watched the show again. And again. Each time, the lengths of fabric in the rear are not the same. Some appear to be a length of silk fashioned into a skirt, with a centre-back seam, leaving the rest of the fabric tailing; some appear to emerge from the waist, like the 15th century’s narrow aprons shifted to the rear; and some one side of the tail of a flat bow left to float as the wearer strides forward. Amazingly, not one model trips or has the fabric panel caught ungainly between the legs! These are far more appealing (and camp?) than beauty pageant sashes.
And the skirts go with almost anything too. Ms Prada and Mr Simons team them with sweaters, shell tops (with boning to mimic—but not effect—corsets), shirts, leather motorcycle jackets, and oversized car coats with lacing as fastening. The tops, in fact, are especially strong this season. A sure hit: sweater-knit pullovers and polos, with under-wired bras seemingly molded onto the fabric. That’s sexy! The one-pieces are standouts too, particularly the waisted shifts. Appealing are those with square necks and fold-down flaps along the horizontal that are in the shape of Prada’s inverted triangle logo, these days used to ingenious effects. Minimal, Prada is also saying, can be sexy too.
In their third outing as co-designers, Miuccia Prada and Raf Simons proved that two together can design one brand. And that their ideas can come together synergistically to great and desirable effects, allowing the brand’s strength in simple shapes, unexpected details, and off-beat colours to not wane. For the customary end-of-show bow, both designers appear and receive the applause in Milan. Would it not be terrific if two of them can be in the different cities in which the shows were staged?
Screen grab (top) and photos: Prada