Prada 2024春夏系列以轻盈飘逸的裙装表达身体的绝对自由，向经典剪裁理念发起挑战。从男士成衣汲取灵感的正装廓形，以结构美学理念进行崭新演绎，重新解读正式与严谨的传统。手袋和鞋履以Prada的标志性材料制成，并采用珍贵皮革进行点缀。
该系列再现并重新诠释了Miuccia Prada的祖父、Prada联合创始人Mario Prada于1913年设计的手袋。这款手袋最初采用真丝云纹面料，现以软羊革和Re-Nylon重新打造，并且包身的手工雕刻扣饰描绘出神话人物形象。
Mario Prada是一位旅行家，他对知识有着强烈的求知欲，对文化也有浓厚的兴趣，他在全球各地寻找珍贵的手工艺品，回来后将这些手工艺品打造成别具一格的奢侈品。
“Design duo Miuccia Prada and Raf Simons outdid themselves with their wonderfully weird spring 2024 women’s collection, which included some of the most gorgeous dresses to come down a runway in a while — shifts in pale blue, green, or pink silk gazar trailing layers of superfine organza like vapor behind them. […] And so the brand continues to be inventive today, always giving us something just beyond our grasp, in this case a gooey delight”.
WWD
“The collection offered a splintered vision, not only past, present and future but also stark juxtapositions of hard and soft, masculine and feminine, light and dark, work and play. […] But the toughness of the collection was also striking: sturdy worn barn jackets, patchworked black leather coats and dresses, broad-shouldered shirt jackets and tightly belted waists over rah-rah shorts. Pure film noir. In fact, the whole thing was extravagantly, evocatively cinematic in a way that Prada hasn’t been for a long while”.
BOF
“It’s not that a designer needs to reject history (theirs, ours, a brand’s) entirely — if you don’t learn from it, you are doomed to repeat it and yadda, yadda, yadda. But it needs to be remixed rather than reproduced, so that suddenly the familiar looks entirely different. That’s how progress happens. That’s what Miuccia Prada and Raf Simons do so brilliantly at Prada, and what they did again this season”.
NY Times
“All to be wrinkled, grasped, consumed, in the pink metal set, of dripping slime. A subtle perversion, after all, has always electrified Prada’s codes, and this is a very Prada collection, all made up of conjunctions of the masculine and the feminine, of girly flappers and schoolteacher cardigans, embroidery, and chunky belts, flowing dresses and neon shoes. […] The fashion show is an updated summary of Prada’s best”.
Il Sole 24 Ore
“What hasn’t changed is Prada’s ability to stage a talking-point show. […] But the raison d’etre, as always with Prada, was the clothes. On the one hand there was the light-as-a feather femininity with, at times, an almost flapper-girl edge. The contrasting masculine tropes ranged from the on duty (retooled grey and-black suiting, the blazer tucked into trousers or tailored shorts) to the off-duty (an outsize patchwork blouson jacket or leather-collared wax jacket). Not that Prada kept these two modes separate. Its aesthetic has long been about the juxtaposition of supposed wrongs into a whole new “right”.
The Times