When fashion historians in 500 years from now look back at the Prada label at the beginning of the 21^st century, they will look at the design co-chair of Raf Simons and Miuccia Prada. And ultimately, they will realize that the two iconoclast designers got together for reasons of smart succession and to engage in a game of Hegel’s dialectics where their exchange of philosophical design arguments involves a contradictory process between opposing sides. There is Miuccia’s penchant for the uniform and Raf’s love for the couture gesture which Prada ultimately abhors. Their conversations about life, the world, the arts and fashion in general are the backbone of the new Prada. While the result is sometimes underwhelming compared to the old Prada and pragmatically commercial like in yesterday’s show, it represents the ultimate best outcome for such an experiment. Two intellectuals collide and it becomes apparent that their design process is about rejection of ideas. To strip down to the core, only let the parts which speak the truth prevail. So, to look at workers and their uniforms especially nurses who do good for people became the guiding light of an elegantly whispering collection of couture volumes and basic, but collar-coordinated separates.

The silhouette?

The couture volume back is becoming a part of the Prada design canon now. Most dresses and cabans had an exaggerated shape. There was also a deft play with length as the short mini bombers over floor length dresses created alluring frictions.

Some highlights?

As the last men’s show introduced the shirt dress for men in brown suede this time the tight, body-fitting shirt version came in nice white with a small breast pocket and epaulets. The pencil skirts as beloved by Prada herself came with flower appliqués and were paired with simple crewneck sweaters.

Is less more?

This new minimal direction strips away all the ‘isms of Prada. Signature prints, quirky shoes, perverse chic and the intellectual challenge of ugly chic.