Leave it to Miuccia Prada, a lover of underground references and eccentric pairings, to join creative forces with 92-year-old artist Robert McGinnis, the enigmatic figure behind some of film’s most iconic posters, on Prada’s fall/winter 2017 Ready-to-Wear collection – and the artist’s first ever fashion collaboration.
McGinnis, culturally identified by his commanding illustrations of strong female characters that have graced the film posters and covers he’s produced over the decades, is responsible for the ladies gang eponymously termed “The McGinnis Girls.” While history may interpret these characters as provocative or overtly sexual, it’s just the opposite; McGinnis made waves through his work by portraying women as the real forces behind film, visually juxtaposing feminine figures as superior to any leading male.
McGinnis’s ubiquitous influence on Prada’s fall 2017 collection was felt everywhere from the show’s fabricated environment to the garments walking the season’s runway. Faux movie posters were plastered on the set’s surrounding walls, while covers of 1960’s pulp-fiction novels with names like “A Taste for Violence” and “Marked for Murder,” which originally featured McGinnis’s illustrations, were reimagined as prints, giving his “McGinnis Girls” new life as femme fatale fashion symbols. Babydoll dresses, sleeveless tops, and ostrich feather-trimmed skirts served as vehicles for his timeless illustrations, styled with Prada’s perfection and ease.
The collection read as a celebration of womanhood, it’s inspiration spanning the 1950’s, 60’s and 70’s. Crochet bralettes, with not an underwire in sight, felt like a nod to early female liberation. Patchwork coats, angora skirts, and glitzy embroidery followed suit. Seashell necklaces, and furry shoes fastened with large buttons added to the arts and crafts elements seen throughout the show, while oversized tweed coats and tromp l’oeil messenger bags left us yearning for the late 60’s and early 70’s.

References
- 1
- 2
Claude Viallat
Untitled no. 26, 1980

André Sornay
Paire de chevets, 1960

Richard Avedon
Harper's Bazaar, September 1965

Michelangelo Pistoletto
Amanti (Lovers), 1962

Jack Troy
Ceramics

Frank Lloyd Wright
Taliesin 2 Floor Lamp

Arakawa Toyozo
Hyobai, Ice Plum Blossoms, 1970

Carol Rama
Passionate, 1939

Charles Rennie Mackintosh
Chair, 1919

Flower Vase with Ears
Cypress Hedge design, Momoyama Period, Japan

Lucien Levy-Dhurmer
La Fileuse, 1902

Mario Ceroli
Profili

Mel Ramos
Chic from 11 Pop Artists, Volume I, 1966

Robert Mallet-Stevens
Wood and Leather Chair, 1930

Shimizu Uichi Pottery
Japan

Sigmar Polke
Dscjungel (Jungle), 1967

Taliesin apprentices assemble the roof of the Music Pavilion
Completed in the late 1950s

Vogue US
November 1962

Wendell Castle
Chest of Drawers

References

Claude Viallat
Untitled no. 26, 1980
1 of 20

André Sornay
Paire de chevets, 1960
2 of 20

Richard Avedon
Harper's Bazaar, September 1965
3 of 20

Michelangelo Pistoletto
Amanti (Lovers), 1962
4 of 20

Jack Troy
Ceramics
5 of 20

Frank Lloyd Wright
Taliesin 2 Floor Lamp
7 of 20

Arakawa Toyozo
Hyobai, Ice Plum Blossoms, 1970
8 of 20

Carol Rama
Passionate, 1939
9 of 20

Charles Rennie Mackintosh
Chair, 1919
10 of 20

Flower Vase with Ears
Cypress Hedge design, Momoyama Period, Japan
11 of 20

Lucien Levy-Dhurmer
La Fileuse, 1902
12 of 20

Mario Ceroli
Profili
13 of 20

Mel Ramos
Chic from 11 Pop Artists, Volume I, 1966
14 of 20

Robert Mallet-Stevens
Wood and Leather Chair, 1930
15 of 20

Shimizu Uichi Pottery
Japan
16 of 20

Sigmar Polke
Dscjungel (Jungle), 1967
17 of 20

Taliesin apprentices assemble the roof of the Music Pavilion
Completed in the late 1950s
18 of 20

Vogue US
November 1962
19 of 20
