The show took place in the Prada-owned?Osservatorio,?the foundation’s new photography gallery nestled under the glass and iron domes of the cathedral of consumption: the Galleria Vittorio Emanuele II. The location was fitting; given Miuccia’s devotion to fashion and art. It was also where Prada first opened the original store – by?Miuccia Prada’s grandfather Mario – in 1913.
Bianca Jagger, Courtney Love and Susan Sarandon were some of the notables who were spotted in the front row and were joined by around 80 other distinguished guests (all wearing Prada, of course).
The collection was – to nobody’s surprise – a well-rounded, cohesive, and contemporary approach to resort/cruise collections. It was feminine and bold, strong but gentle; a visually pleasing cocktail for the soul. Crystal, sequin and feather adornments, largely in a sorbet palettes, decorated the garments. Knee-high were a high focus-point for many of the looks, as were v-necks and swooping hemlines;?which were cleverly, yet subtly, branded with Prada’s signature triangular logo.
“I wanted to work on contemporary, which means somehow sport, but to bring it into a kind of metamorphosis, into elegance”, Miuccia commented on her work. “How to make sport elegant and vice versa,? she said. ?I wanted it to feel modern”, she continued.
Backstage at the show, Miuccia tackled the cruise/resort collection debate to eager journalists and fashion insiders: what is the difference between a cruise and resort collection? As long as you’re earning enough money, maybe there is no difference to the regular cruise or resort collection shopper, but Miuccia did say that she doesn’t like the manner in which these collections are described and to her, a show is simply a show.
“I don’t like the word cruise, or resort, or any of these types of descriptions,” she said. “So old-fashioned. Like maybe useful, but really, they are not real or interesting. For me, a show should just be a show.”
Take a look at the full collection in our gallery above.