All Prada the Process: Are we in a position to assess Fashion’s New Order?

When it was announced, in February 2020 that Raf Simons was to join forces with Miuccia Prada as co-creative director, widespread excitement naturally ensued. It’s by no means an overstatement to describe Simons’ reputation within Fashion as colossal. Having helmed Creative Direction for the likes of Jil Sander, Dior and Calvin Klein, his résumé alone asserted that Simons possessed the stature to lead Prada. What remained to be seen, at that stage, was the degree of chemistry that could be forged with the Prada team, especially given his ‘outsider’ position.

After endless anticipation, the SS21 Womenswear show titled ‘Dialogues’ arrived as promised and left raising many questions. A key focus of Simons and Prada’s process was establishing guiding questions to lead the design, ascertaining “what matters?” and “what is meaningful?”. Such a preoccupation felt apt as a mirror to the time in which it exists. Their aim was to create garments that allowed people to ‘live better’ by privileging practicality for the women wearing them.

Raf’s go-to designs emerged almost immediately, with classics such as the oversized outerwear, generous knitwear, and large printed graphics. Of immediate recognition was the holey-turtleneck seen during his time at Calvin Klein. These cuts were tempered by signature materials, silhouettes and themes synonymous with Prada. It was undeniably intriguing to see Raf implement his inimitable style but the collection was always going to struggle to stand equal to the insurmountable expectations that had arisen. The collection appeared to forego the usual subtlety that the two tend to execute with such potency opting for a more visceral collision of styles that many appear to have enjoyed. Some have conversely suggested that the duo opted for a more conservative approach in design and concept than expected. What remains undeniable was the show’s commitment to evolution and innovation: note the use of an entirely new cast of models, marking a refreshing, righteous, declaration of inclusivity.

With Raf building much of his reputation upon the success of his menswear shows in the late 1990s to early 2000s, there were once again great expectations leading up to the FW21 Menswear presentation. The duo were keen to point out that they didn’t create the collection with a traditional narrative in mind. Instead, they wanted to go off ‘feeling’, leading to the garment at the heart of the collection: the long john. This central piece emphasised the shape of the body whilst offering it protection. Other features of note included oversized jackets with accentuated buttons, gloves with practical pockets and leather bomber jackets. Similar to the womenswear collection that came before it, opinion seemed split. Some followers were keen to state its superiority to the logo prevalence of the SS21 Womenswear show whilst others have questioned whether the chemistry between the two has yet to find a comprehensively harmonious blend.

A personal highlight thus far has been the beautiful show spaces devised by Dutch architect Rem Koolhaas and OMA/AMO. The first show was held in a singular room, drenched in yellow velvet with pronounced, mechanical chandeliers constructed from screens and cameras dotted around the space. The most recent show spread out across different dream-like rooms, with various textures and colours on show, and in a way, imitating the colour palette of the clothes. Many designers have been granted greater creative freedom in the presentation of their work post-Covid as constraints of a ‘traditional’ fashion show format are no longer deemed indispensable. These first two collections have served memorable locations that will be looked back upon fondly in the future. Combined with the electronic soundtrack created by journeyman musician Plastikman, Prada’s evolution has arguably been most strongly typified by the worlds it situates around the garments.

In a time where followers of fashion may feel more disconnected than ever before, fans were able to connect with the two, who hosted Q&A sessions after the shows, offering a rare opportunity of face-to-face interaction. The strongest fan questions probed the collection’s intentionality and perspective. Both of these sessions have offered considerable insight, giving fans a look into this new process in place between two of the most important fashion figures of the last 20 years.

Having had experience running Prada Archive, a world where many fans can discuss their opinions on Prada’s work, it seems people remain a little conflicted with what the duo have delivered, as though their febrile anticipation was bludgeoned by disappointment. However, it’s worth noting that the current dialogue that takes place on social media is one where people are too quick to judge—both Simons and Prada’s work has a knack for ageing superbly. Whilst I sympathise with the nay-sayers and somewhat share their perspective, I think it’s too soon to conclusively say whether it’s been a success or not. To their credit, they’ve demonstrated more than enough promise to justify hope for what’s to come. As Miuccia and Raf’s working catalogue thickens, the collections will find a healthier, more exciting symbiosis, and I’m keen to see it happen.

Nat Tong is the Founder of Prada Archive, an online platform showcasing an appreciation for Prada, both past and present.