An institution of the industry, Prada has evolved into a mechanism of reproduction whose only source of inspiration is, well, itself. Prada’s self-reference can be interpreted as evidence that this cultural force has reached a state of purity. It reflects the evolving zeitgeist of our times while remaining true to its historic sensibilities and retaining its unique authority to influence that same zeitgeist. Nothing attests to this process more than the Spring/Summer 2027 womenswear collection, which focuses on a familiar article of clothing known to all: the skirt. Its very form is re-contextualized through a myriad of artistic expressions, similar to how 20th-century art movements like Fauvism, Abstract Expressionism, and Pop Art broke through artistic ceilings. This is nothing new to the world of Prada. As Miuccia has mentioned, the skirt is like a T-shirt for her: a uniform of either minimalist or maximalist variety and the pencil skirt has been re-contextualized throughout Prada’s history.
In Prada’s Fall 1988 debut, we see it as a dark brown skirt paired with a white poplin shirt. The silhouette resurfaced in Spring 1996, worn by Kate Moss, in a white short-sleeved shirt and brown mesh-paneled skirt. The beloved collection also rendered the familiar form as a knee-length skirt with an overlapping front panel, covered in a green, brown, and cream geometric tile print. We see it again in Spring 2000, with the iconic red lip print in pleated form. Fall 2008 presented a navy blue, below-the-knee lace version that was completely see-through, finished with a structured frill at the waist. Spring 2012 transformed the silhouette into a high-waisted, dark-green leather pencil skirt bearing a 1956 Cadillac motif framed by flames. Even in the most recent collections, with the Raf-ification of Prada, we have seen the skirt take on a more architectural, suspended form.
Spring/Summer 2027 is an exercise in constraint and disciplined singularity, but in that lies its creative freedom. The collection is riddled with mutations of the signature Prada form while retaining its uniform essence. The first array of looks included linear skirts in muted pop colors, dressed up or down with bralettes or long-sleeved tops. The strength of the house’s outerwear was incorporated into the collection, as distressed leather jackets were paired with pleated floral skirts. Monochrome looks followed.
The art of subtlety was practiced through both soft and hard contrasts. Sheer, dainty skirts revealed another layer of pastel 60s skirts underneath, while embellished skirts carried the most exquisite floral embroidery. Prada loves to encode a trifecta. Later in the collection, looks were playful ensembles, almost doll-like, akin to the strong and expressive brushstrokes of Fauvism. The styling of the upper body oscillates between extremes: sensual through tube tops and reconfigured bra tops, and conservative through dress shirts and button-downs. One thing is for sure: the Spring 2027 Prada woman is one of elegance and sophistication, bold and tasteful in the expression of her femininity. There is a skirt for every kind of Prada woman. As the press release states: “Here, there is inherent beauty found in the survey of the familiar—in asking how many forms a known thing might assume, how many different possibilities may exist within.”
It is not only about the skirt. By practicing this repetitive visual language, Raf and Miuccia’s Prada demands discipline from its audience. Within the excess of postmodernism’s reproductions, it guides its audience toward patience and critical thinking when perceiving fashion. It becomes an imperative dialogue between creator and audience. This time, however, the designers ask the audience to appreciate process, repetition, and form, rather than merely discarding them for the next shiny silhouette or for the sake of shock factor. For us to demand novelty and newness in fashion, we must also develop lenses through which to pass judgment. Only then can we see the potential of a skirt, with all of its history and depth.
