Raf Simons's Prada debut questions the link between humans and technology
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Raf Simons'due south Prada debut questions the link between humans and technology
Prada has long been celebrated for its singularity, but its new co-creative manager, Raf Simons, could change that, equally the Milanese powerhouse label showed in its Spring/Summer 2022 drove.
Prada showcased its Spring/Summertime 2022 show via a pre-recorded video that was streamed online. (Photo: Reuters)
When Prada announced the appointment of Raf Simons equally co-artistic director in February this year, granting him "equal responsibilities for creative input and decision-making" alongside Miuccia Prada, picayune could anyone take imagined the circumstances of their debut.
It took place non before a alive audience in the bowels of the Fondazione Prada in Milan, where Ms Prada has shown her collections since early 2018, but via a pre-recorded video that was streamed online on Th (Sep 25) afternoon and followed, unusually, by a live audience Q&A.
Viewers were invited to submit questions ahead of time in a democratic departure from the cloistered interviews that typically occur between fashion critics and designers backstage postal service-evidence.
In the show notes, the designers called it "a dialogue", "the first case of myriad possibilities" and "a fundamental examination of the significant of Prada", a €2.six billion (S$four.one billion) revenue brand whose artistic influence has long outpaced its financial might.
Models, none of whom had always walked a testify before, paced through a room carpeted and curtained in tints of yellow and overhung with photographic camera rigs and screens displaying each model'due south name. They were a nod to the relationship betwixt humans and applied science, something Ms Prada said they wanted to explore to reflect the electric current period, when technology had become indispensable to daily life.
The looks were pared-back and referential, drawing more than in mood and palette from Ms Prada'south early, minimalist years in the late 80s and 90s than the more retro-feminine, colourful styles she has favoured in the new millennium.
Archival prints, including the kitchen-tile Formica prints from Spring/Summertime 1996, reappeared on tops and skirts; roomy coats, cut from recycled nylon and duchesse satin, were clutched in the style of Ms Prada's debut prove for the label, in 1987. Tried-and-true Prada silhouettes – the full pleated skirt belted over a slim jumper, the sleeveless shift clothes, the boxy tunic over slim trousers – returned.
These were combined with pieces that drew from Simons'due south own body of work, and were hitherto excluded from the Prada dictionary, including floral-stencilled hoodies designed by artist and longtime Simons collaborator Peter De Potter, and T-shirts and jersey turtlenecks picked with holes and stamped not-so-discreetly with the Prada proper noun.
Indeed, the Prada logo was played up to a degree hitherto unseen before in its runway collections, taking centre stage on T-shirt fronts and nylon backpacks slung from models' shoulders.
Together, it was an impressive synthesis of both designers' piece of work. Simply in its accent on logos and streetwear silhouettes – 2 things that are, yes, selling at the moment – it also stripped Prada of its singular artful. In other words, information technology made Prada look a lot more like other brands.
That could be a proficient affair for the acme line, which in recent years has lagged that of larger rivals such as Louis Vuitton and Gucci, two brands that take embraced streetwear and logomania. But it may not be a proficient matter for fashion.
By Lauren Indvik © 2022 The Financial Times
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Source: https://cnalifestyle.channelnewsasia.com/obsessions/raf-simons-prada-spring-summer-2021-236436
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