Let's Talk About Prada
check out the rest of the collection here
With slicked back hair, sharp cheekbones and a silky dress layered over a turtleneck, Natasha Poly opened Prada and ushered in Act 2. Earlier this year the menswear and women's pre-fall show, Act 1, introduced Miuccia's inspirations (works from German creatives) and this season expanded on them. This collection was decidedly less luxe or in Prada's own words, "The opposite of rich." (style). Last season's shaggy fur coats and layers of fur scarves were replaced with patterned coats, brightly colored shearling and a red fur dress. This time around the looks were less put together yet far from disheveled. There was a sense of ease and effortlessness. Thin silk scarves were intentionally tucked into the collars of sheer thigh-grazing dresses and chevron print sweaters were layered under and over bold prints. Yet under the art-deco prints and red fur lined shearling this collection was darker than the last, which is fitting considering Prada's primary source or inspiration. One of his films which she cites as an inspiration, The Bitter Tears of Petra von Kant, directed by Rainer Werner Fassbinder, explores the life and relationships of fashion designer Petra. The film's influence can be seen through the collection, from the models' heavy handed clumped mascara to the shaggy carpet the film's protagonist retreats to with a liquor bottle. Then there are of course the theatrical elements, Petra von Kant, originally based on a play by the director and a majority of it takes place in one room decorated with Poussin's Midas and Bacchus, the cast is entirely female. The protagonist is troubled and sadistic but still glamorous on the surface. I think one of the best quotes I found while poring over reviews of this collection was this one via BOF: "This collection felt like a continuation of Prada’s life long exploration of sensuality and subjugation. Her sartorial offerings push her fans to question their limits." I saw the sensuality and subjugation in Fassbinder's characters, and the way he pushed limits in his work and she took that and created her own story with it. What I loved about this collection besides the clothes obviously, was the way it made me think about the clothes and the story behind them, rather than just looking at them. The only issue I took with this was the casting.
With slicked back hair, sharp cheekbones and a silky dress layered over a turtleneck, Natasha Poly opened Prada and ushered in Act 2. Earlier this year the menswear and women's pre-fall show, Act 1, introduced Miuccia's inspirations (works from German creatives) and this season expanded on them. This collection was decidedly less luxe or in Prada's own words, "The opposite of rich." (style). Last season's shaggy fur coats and layers of fur scarves were replaced with patterned coats, brightly colored shearling and a red fur dress. This time around the looks were less put together yet far from disheveled. There was a sense of ease and effortlessness. Thin silk scarves were intentionally tucked into the collars of sheer thigh-grazing dresses and chevron print sweaters were layered under and over bold prints. Yet under the art-deco prints and red fur lined shearling this collection was darker than the last, which is fitting considering Prada's primary source or inspiration. One of his films which she cites as an inspiration, The Bitter Tears of Petra von Kant, directed by Rainer Werner Fassbinder, explores the life and relationships of fashion designer Petra. The film's influence can be seen through the collection, from the models' heavy handed clumped mascara to the shaggy carpet the film's protagonist retreats to with a liquor bottle. Then there are of course the theatrical elements, Petra von Kant, originally based on a play by the director and a majority of it takes place in one room decorated with Poussin's Midas and Bacchus, the cast is entirely female. The protagonist is troubled and sadistic but still glamorous on the surface. I think one of the best quotes I found while poring over reviews of this collection was this one via BOF: "This collection felt like a continuation of Prada’s life long exploration of sensuality and subjugation. Her sartorial offerings push her fans to question their limits." I saw the sensuality and subjugation in Fassbinder's characters, and the way he pushed limits in his work and she took that and created her own story with it. What I loved about this collection besides the clothes obviously, was the way it made me think about the clothes and the story behind them, rather than just looking at them. The only issue I took with this was the casting.
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