Prada’s inner garment of what was once men’s undershirt is truly the freshest back-to-basics new beginning
Halfway through this season’s Prada show, Dave Gahan’s voice was heard singing “Let me see you stripped/Down to the bone” in the Martin Gore-penned Stripped (from Depeche Mode’s 1986 album Black Celebration). The song is one of four (the other three Leave in Silence, I feel You, and Behind the Wheel from other albums) that soundtracked the show, staged just hours after Russia aberrantly attacked Ukraine. It is doubtful that the war, predicted months earlier, influenced the Miuccia Prada and Raf Simons, but the aviator jackets and mannish coats that could be those worn over army uniforms had a premonitory feel about them. But it is the strip down to the decidedly mannish white singlet (‘vest’, in the UK)—traditionally worn as undershirt, and, yes, under military accoutrements too—that oddly underpins the magnificence and refinement of Prada’s autumn/winter 2022 season.
Who’d guess that Prada, still associated with the lady-like no matter how subversive they get, would not be using a camisole when an inner garment is required. A boyfriend’s top trending very soon? And, a re-acquainting with men’s underclothing brands such as Gunze and Schiesser? Prada has always leaned on the masculine (to the disapproval of tai-tais, who, as a stylist told us with a tinge of regret in his voice, “do not like Raf Simons”), but that inclination is always tempered with something feminine, as it is now. The ribbed singlet, while in some looks is worn singly, often goes under a sheer shift (sometimes underpants showing) or over a slim, horizontally paneled skirt. It is this visual dichotomy that Prada, to us, is often ahead of and leagues apart from others.
Increasingly, the partnership between Ms Prada and Mr Simons looks back at the brand’s ‘codes’ and bringing them back for re-imagining and re-enjoying. But they are not reprised wholesale, as Mr Simons says in a statement. “There are never direct recreations, but there is a reflection of something you know, a language of Prada.” Those notorious ‘ugly’ Prada prints of the ’90s, for example, in “puke” colours return in the form of knit sweaters, and paired with those narrow tri-paneled skirts. There is a veritable play of textures of fabrics, and density as well, which makes the compositions delightfully more complex than they really are. Or those full skirts, now even fuller, that Ms Prada herself is synonymous with. But the “language” that Mr Simons speaks of may not communicate to that many women here. The silhouettes, for many, is not feminine enough—the boxiness, the wide shoulders (even on the dresses), and the lack of the constricted embrace of curves! But if Kim Kardashian, attending the Prada show for the first time, can be seen in a baggy, leather, men’s boiler suit, why can’t more women here re-examine their supposed distaste for Prada?
For sure, there’s a palpable presence of Mr Simons’s distinct hand in the collection. He does look at womenswear quite differently, unlike, say, Kim Jones, for whom a more traditional approximation of feminine gravitas is what, to him, Fendi needs. The music of the Prada show again: they seem to be a selection that is more in keeping with Mr Simons’s own taste than what the house of Prada is usually known for. The harder, more industrial sound, more techno-retro, too, recalls the selections used in Mr Simons on shows. It does, however, cast Prada in a seductive past/present light, imbuing the clothes with a need-them-right-away nowness. As Mr Grahan sang in Dresses in Black (also from Black Celebration, but not used in the show), “As a picture of herself/She’s a picture of the world/A reflection of you, a reflection of me/And it’s all there to see if you only give in to the fire within.” That’s Prada, and we agree.
Screen grab (top) and photos: Prada
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