Prada offers a fresh take on spring taking cues from the 60’s and 70’s counter culture and mashing it up to create a clash between two opposites Ugly Pretty vs Pretty Baby. Opening her show was a decidedly modern, sporty look in the designer’s favorite black and brown color combination. Sweet details such as tiny bows, rows of large buttons, super-short boy bangs, and peter pan collars filled the show, tempering the “Lolita” sex appeal. Knee-high socks and a babydoll dresses gave way to semi-sheer layers and provocative cutouts in many of the garments. While Super short mini skirts were paired with sensible, lady-like peacoats.
Other looks consisted of transparent tulle skirts paired with elongated shirts that peeked out from beneath the bottom of skirts. Though much of the collection reads as overwhelmingly girlish with oversized sequins and drop-waist dresses, there’s a sense of toughness that’s apparent as well — in the form of crown-like studded headbands, (every model wore an oversized headband) multiple metal buckles, and the leather brogues on their feet. “I wanted to break the rules of the classic,” said Prada. “To discuss a wish of freedom and liberation and fantasy, and, on the other side, the extreme conservatism—the duality out there.”
Offsetting the 60s mod aesthetic is the use of colorful tie-dyes in the latter half of the show for a not-so-subtle political hint. The vibrant flower-child prints were presented as modern, sporty silhouettes delivering a refreshing take on the 70’s iconic print. Last season’s biker short trend was also given an update as a slim, modern bermuda short. This time though, rendered in technical fabrics for a streamlined effect. Even the model’s hair and makeup had a 60’s vibe somewhere between the sinister “A Clockwork Orange” and that of “It girl” Twiggy.