Prada’s Fall/Winter 2013 womenswear show teaches us that texture is key, particularly in cold weather dressing. The collection was defined through the unexpected synthesis of contrasting textures, patterns and materials, marrying nostalgia and modernity.
The primary notes of familiarity styled throughout a number of the show’s 48 looks were gingham prints – a nod to picnic culture and childhood pastimes – as well as leather and fur combinations, tweed, metallic accents and perfectly tailored collars. In classic Miuccia Prada fashion, the house’s creative director underscored these references through unique styling choices and silhouettes: exposed shoulders, exaggerated cuffs – sometimes even in luscious chinchilla – and halfway unzipped zippers, exposing the midriff. In particular, we see chocolate brown tweed under chocolate brown mink, soft cashmere cardigans under structured dresses and heavy outerwear marked with slivers of embellished cloth.
Through the lens of a film noir aesthetic, Miuccia’s collection creates a sense of ephemerally. In this instance, the models act as film stills, transforming the clothes into memories of specific moments. The intended effect was to generate feelings between what is seen on the screen and what occurs in real life, creating a mesmerizing visual narrative. Key looks emphasizing this aesthetic varied in form and focus. A baby pink gingham dress with white pearly buttons and a thick metallic silver waist belt, for example, beg comparison to a 1950s housewife, whose shell is pristine but has several layers hidden beneath. There was also a gun-metal crocodile jacket exposing the midriff, interrupted by a metallic belt and followed by a brown skirt embellished with puddles of black sequins. This look speaks for itself, much like the black and white silent films, which contain enough emotion to absolve the necessity of words.
Ending the show is a long transparent dress with caged sequins, a black waist belt and a just-below-the-knee matching mink coat: this gives us The Great Gatsby meets Casino. In addition, the handbags seen throughout the show are also in sync with the clothes: there is an uncanny attention to texture and pattern that is even extended onto the hand-held products, seen in a mélange between a picnic and doctor bag, tweed and crocodile bags, and an array of pouches. Overall, Prada’s Fall/Winter 2013 collection is a black and white movie starring a cool girl, a cool girl wearing Miuccia Prada’s designs.

References
- 1
- 2
Bruno Taut
Gartenstadt Falkenberg, Berlin, 1913-1916

Christian Dior
Fall/Winter 1960-61

Cindy Sherman
Untitled Film Still #21, 1978

Eugène Printz
Dessert trolley forming bar on wheels, 1930-1932

Andy Warhol
Silver Clouds, 1966

Vogue
February, 1941

Louise Bourgeois
Ode à l'Oubli, 2004

Josef Albers
Pale Orange, 1960s

Barnett Newman
Galaxy, 1949

Norman Parkinson
Model John Parsons, Vogue, 1948

Cindy Sherman
Untitled Film Still #35, 1979

Claes Oldenburg
Calico Bunny, 1997

Daniel Buren
New York, 1970

Domenico Gnoli
Shoe from the side, 1966

Domenico Gnoli
Lithograph of a Button, 1966

Eugène Printz
Desk, 1930-1935

Frank Lloyd Wright
Larkin Administration Building, 1906

George Ohr
Vase, Ceramic, 1900s

George Ohr
Two Handled Corseted Vase, Ceramic, 1895-1900

Josef Albers
Study For Homage to the Square, 1960

Mark Rothko
Untitled, 1967

Deniz Senyesil
Rain

References

Bruno Taut
Gartenstadt Falkenberg, Berlin, 1913-1916
1 of 22

Christian Dior
Fall/Winter 1960-61
2 of 22

Cindy Sherman
Untitled Film Still #21, 1978
3 of 22

Eugène Printz
Dessert trolley forming bar on wheels, 1930-1932
4 of 22

Andy Warhol
Silver Clouds, 1966
5 of 22

Vogue
February, 1941
6 of 22

Louise Bourgeois
Ode à l'Oubli, 2004
7 of 22

Josef Albers
Pale Orange, 1960s
8 of 22

Barnett Newman
Galaxy, 1949
9 of 22

Norman Parkinson
Model John Parsons, Vogue, 1948
10 of 22

Cindy Sherman
Untitled Film Still #35, 1979
11 of 22

Claes Oldenburg
Calico Bunny, 1997
12 of 22

Daniel Buren
New York, 1970
13 of 22

Domenico Gnoli
Shoe from the side, 1966
14 of 22

Domenico Gnoli
Lithograph of a Button, 1966
15 of 22

Eugène Printz
Desk, 1930-1935
16 of 22

Frank Lloyd Wright
Larkin Administration Building, 1906
17 of 22

George Ohr
Vase, Ceramic, 1900s
18 of 22

George Ohr
Two Handled Corseted Vase, Ceramic, 1895-1900
19 of 22

Josef Albers
Study For Homage to the Square, 1960
20 of 22

Mark Rothko
Untitled, 1967
21 of 22
