28 February 2025 |
Miuccia Prada and Raf Simons question traditional femininity and beauty.
Femininity and all of its trappings have always been top of mind for Miuccia Prada. Whether it’s full skirts worn with crisp blouses, as is Mrs. Prada’s uniform, ribbon bedecked dresses with boots, or oversized headbands over little skirts, twisted ladylike pieces with a dash of intellectualism have become synonymous with the brand. And yet, there’s always room to poke at the concept more. It’s this desire to tease and unravel that brings us to fall 2025. Mrs. Prada along with Raf Simons began their show notes with a thought exercise, asking what does femininity and beauty mean today and how this perception can change over time.
It’s a timely question in a world where how one dresses and applies makeup is scrutinized, dissected, and politicized. “To work in this difficult moment is really tough,” Mrs. Prada said backstage to the Associated Press, adding, “What we try to do are clothes that make sense for women today.” What makes sense? A classic little black dress made voluminous and practical — a symbol of femininity that then gets reimagined. From the opening parade of LBDs, the looks segue into less expected takes on the silhouette. Perhaps you’d like it in red or pale blue, tossed over a button down and jeans? Or maybe a perverse take on a 1950s housecoat, in all of its bright floral glory?
Better yet, why not deconstruct a dress completely and split its bits up. The floral print from said fifties housecoats pops up again, as a slinky tank. Skirts take on an undone feel, as if it was hacked off halfway through the basting process, with waists that have deliberate raw seams. Some were long, others were short, and yet others were hiked up over the chest, repurposed as a strapless mini silhouette. No matter the look, they were all loose and voluminous, indicative of a woman who rails against constriction and wants to be free in her clothes.
Mrs. Prada and Simons mention in the show notes that they wanted rawness contrasting against glamour and refinement. That could be seen in the set, with metal scaffolding across the space while the floors were covered in a printed carpet designed by Catherine Martin. The same idea was also reflected in the accessories. Wire eyewear called back to the scaffolding while giant baubles dangled from the ears and across the neck. Bows adorned coats, heels, and bags. Collectively, it was a reflection on the multitudes of femininity and its modern day contradictions — a fitting statement for the first few months of 2025.
