プラダ 2024年春夏コレクションは、身体を包み込むウェアの基本である身体の自由さを追求し、クラシックなテーラリングの概念に挑戦するふんわりとしたファブリックを使用した軽やかなドレスで表現しています。メンズウェアを想起させるフォーマルなシルエットを、厳格なフォーマルスタイルの典型的な形状を再考したアーキテクチュアルなフォルムに再解釈しています。プラダを象徴する素材で仕立てたバッグとシューズは、プレシャスなレザー装飾が魅力です。
今コレクションでは、1913年にミウッチャ・プラダの祖父である創業者のマリオ・プラダが考案したオリジナルのハンドバッグを再現し、再解釈しています。元はシルクモアレが使用されていたスタイルを、ナッパレザー(羊革)とRe-Nylonで一新し、神話上の人物をかたどった手彫りの留め具をあしらっています。深い知的好奇心と文化への関心をもつ旅行家であった創業者のマリオ・プラダは、世界中を旅して貴重な芸術品を調達し、帰国するたびに独自のラグジュアリーアイテムを作り上げました。
“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