It may seem unlikely that a collection filled with kitten and puppy patterns would make up such a sophisticated looking runway show, but this is exactly what Miuccia Prada accomplished for Miu Miu Spring/Summer 2010. Born from the simple elegance of trousers and button downs, Prada’s mature palette is then intertwined with youthful motifs and playful iterations of classic cuts and silhouettes.
Dogs and cats weren’t the only patterns decorating the fine Miu Miu materials that graced the runway for spring/summer 2010, coupled with them were birds, flowers, and nude female figures; many of them often appearing together within one look – delicately applied to bags and platforms – or even juxtaposed on a single garment. Furthermore, between the collection’s highly styled opening looks and latter embellished baby-doll dresses, somehow, lies a sophisticated neutrality that meets the eye through streamlined pants and preppy collars.
From there, Prada was able to tease expectations by showing otherwise familiar silhouettes reinterpreted through unexpected cuts, finishes, and methods in layering; criss-crossing and peek-a-boo techniques felt to wink at the collection’s overall sense of curiosity and playfulness. Through these paradoxes, the garments themselves seemed to communicate a conversation around age, maturity, and the grey area between adolescence and adulthood.
If the show’s opening looks struck a chord with Miu Miu’s fresh-faced fanbase, the second act was sure to satisfy the brand’s youthful yet sophisticated devotees. Veering away from simple patterns and straightforward silhouettes into the world of sequins, rhinestone embellishment, and volume, Prada introduces a feeling of regality that demands attention. As the show concludes, it becomes apparent that Miuccia’s objective for Spring/Summer 2010 was to evoke feelings of the little girl present within every woman. Perhaps this girl is at odds with the maturity, power, and sophistication we strive to emulate as adults, or perhaps she drives it.

References
- 1
- 2
Cecil Beaton
Baba Beaton, 1927

Francis Picabia
La Femme au monocle (Woman with Monocle), 1925–26

Jean Cocteau
La Belle et La Bête, 1946

Elsa Schiaparelli
Sequined Evening Blouse, Fall/Winter 1938-39

Georges Braque
Oiseaux (Birds), 1962

Mae West
Performance Shoes, 1950-59

Alberto Giacometti
Le Chat, 1951-55

Cecil Beaton
Paula Gellibrand, Marquesa de Casa Maury, 1928

Domenico Gnoli
Striped Shirt Lapel, 1969

François-Xavier & Claude Lalanne
Cocodoll Bed, 1964

George Ohr
Vase with in-body twist, 1905

Georges Braque
The Birds, 1953

Gustav Klimt
Garden with Roosters, 1917

Line Vautrin
Ètincelle Mirror

Louis Süe and André Mare
Chandelier, 1920

Max Ernst
The Beautiful Season, 1925

Salvador Dali
Silver-gilt cutlery, 1957

Travis Banton
Mae West as Tira the Lion Tamer in 'I'm No Angel', 1933

References

Cecil Beaton
Baba Beaton, 1927
1 of 19

Francis Picabia
La Femme au monocle (Woman with Monocle), 1925–26
2 of 19

Jean Cocteau
La Belle et La Bête, 1946
3 of 19

Elsa Schiaparelli
Sequined Evening Blouse, Fall/Winter 1938-39
4 of 19

Georges Braque
Oiseaux (Birds), 1962
5 of 19

Mae West
Performance Shoes, 1950-59
6 of 19

Alberto Giacometti
Le Chat, 1951-55
7 of 19

Cecil Beaton
Paula Gellibrand, Marquesa de Casa Maury, 1928
8 of 19

Domenico Gnoli
Striped Shirt Lapel, 1969
9 of 19

François-Xavier & Claude Lalanne
Cocodoll Bed, 1964
10 of 19

George Ohr
Vase with in-body twist, 1905
11 of 19

Georges Braque
The Birds, 1953
12 of 19

Gustav Klimt
Garden with Roosters, 1917
13 of 19

Line Vautrin
Ètincelle Mirror
14 of 19

Louis Süe and André Mare
Chandelier, 1920
16 of 19

Max Ernst
The Beautiful Season, 1925
17 of 19

Salvador Dali
Silver-gilt cutlery, 1957
18 of 19
