Monster Cyclone Fani, a category 4 hurricane, was making landfall in eastern India on Thursday. Meteorologists predicted it would cause major storm surge and inland flooding all the way to Bangladesh, prompting a massive organized evacuation to prevent a similar cyclone Idai that devastated Mozambique the week prior. Indonesia is planning to move its capital inland as the mega city of Jakarta is sinking at a fast pace due over extraction of water from underground sources and rising sea as a result of climate change as glaciers in Greenland and Antarctica are melting at faster rate than previously calculated. But not all in the world is all doom and gloom as Japan crowned the new Emperor Naruhito as did Thailand this week in elaborate three days ceremony for the new King Maha Vajiralongkorn - both countries sought national renovation through their traditions.
And within this complicated, turbulent and at times a more pessimistic and darker outlook for the immediate future, Miuccia Prada proposed a new language through the clothes she showed for resort 2020 that encompassed the idea of simplicity but surely not one that espoused just basic and classic garmentz. Models walked around a series of light brown carpeted banquettes placed around the concrete columns now covered with light pink paint inside the old industrial piano factory refurbished in 2002 by the architectural firm Herzog & de Meuron. For the brand’s American headquarter in a serene parade of clothes that encompassed a new foundation both conceptually and commercially viable clothes – layers of cotton, gabardine and print on print patchwork in colorful spring hues - devoid of the excesses and decorations often deemed critical in the momentary digital era that influenced the kind of clothes designers put in their runway to maximize the likes and clicks endgame.
Guests were greeted upon arrival at the entrance of the former factory by a handful of screaming demonstrators from PETA protesting the use of furs which seemed ironic since the brand isn’t known for furs except for perhaps a fuschia pink long shearling coat and a few light brown or earth orange suede blousons. The few opening looks comprising of lean and long silhouettes of navy coats and loose jackets over long shirts and skirts set the tone for the rest of the show that underscored the backbone of the collection. These more simple silhouettes masked a much louder statement the clothes made as an alternative to choose from in contrast to the current mood in the world where many young and old alike are yearning for solace instead of combat. Here a white hand knit cable sleeveless sweater over a blue and white stripe cotton shirt and nude pleats long skirt, a white feather scarf around the neck, conveyed just the right mood for this moment.
Newness in simple clothes per Prada isn’t exactly basic garments but rather transforming these classics clothes – jackets, long skirts, sweaters, blouses, shorts, dresses – with subtle design touches like altering their proportions just enough for the eyes to catch in series of skirts and jackets or peasant blouses with a combination of slightly shorter/longer and straight/looser silhouettes and by layer on layer piling of a variety of print patterns fabrics upon each other like the yellow white ball anorak, circles blouse and floral knee length skirt. Decorations were restricted to plumes on skinny scarfs or light florals on sleeves of black gabardine jackets and on long white collarless cotton shirts. A ‘Maoist’ utility shirt collar patch pocket jacket pantsuit came in a variety of heavy cotton fabrics in monochrome pale blue and pale pink or a khaki version paired with long skirt and one made with greenish floral print cotton.
In a nod to the current DTC environment and the attempts to close the gap between what was shown and the power of immediate purchase, the classic Prada Bowling bag debuted in the Spring-Summer 2000 ‘Sincere Chic’ collection, got a new lease with new color ways such as black, tan and white leathers – all available for special orders at Prada.com.
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