The setting of Prada’s fall/winter 2018 runway show was quite literally a living, breathing ‘Pradasphere’ – riffing on the title of the Italian brand’s 2014 traveling exhibition and self-published book, by the same name. As show-goers were escorted up to the fourth floor of Rem Koolhaas’ latest, soon-to-be-open structure as part of the expanding Fondazione Prada, they were greeted by a dark abyss of railroad tracks, sprinkled with towering neon signs; a landscape of Prada filled with the brand’s fluorescent iconography. From bright bananas and monkeys, to flame heels and spiders, the surrounding imagery set a self-referential tone for the show to come, a continuation of themes seen in the brand’s pre-fall collection shown in Milan in January. The show opened with strong looks in black neon, a trademark material of the brand’s, and evolved into an exhilarating spectacle of iconic Prada emblems and textures; shaggy, fluorescent colored fringe, originally shown in black for fall/winter 2007, flame heels from spring/summer 2012, ID badges carried through from pre-fall 2018, and the return of Prada sport! There was texture mixing galore, industrial materials contrasted with delicately embroidered tulle, and heavy tweed bustiers atop feminine pleated dresses, representing a contrast between femininity and utilitarianism that has come to define the Prada woman over the past three decades. It seems for fall/winter 2018 Mrs. Prada had a glorious time digging into her own archive for inspiration, resulting in a feverishly modern collection of Prada staples reworked and remastered by the one and only Miuccia Prada.

References
- 1
- 2
Pierre Cardin
Sculptures Utilitaires, V-Desk

The MUSAC Contemporary Art Museum of Castilla y León
Mansilla + Tuñón

Ashley Bickerton
Tormented Self Portrait Susie at Arles No.2, 1988

Blair Thurman
Mask of the Special Red Death, 2009

Thomas Ruff
Substrat, 2002

Herzog & de Meuron
Rail Switchtower, Basel, Switzerland, Built 1998-99

Cindy Sherman
Untitled #70, 1980

Nylon Stockings
1960s

Jack Goldstein
Film still from 'The Jump', 1978

Arata Isozaki
Fuji Cabinet for Memphis, 1981

Blair Thurman
Opfikon (Memo from Turner), 2010

Thomas Ruff
Portrait (J. Renzel), 1988

Thomas Ruff
Portrait (P. Lappat), 1987

Gianfranco Frattini for Cassina
Sesann 2 1/2 Seat Sofa, 1970s

Justin Adian
Work from Come and Take It

Jack Goldstein
Film still from 'The Jump', 1978

Jack Goldstein
Untitled, 1986-1988

Kon Trubkovich
Untitled, 2010

Tullio D'Albisola
Miele Italiano Miele, 1930
References

Pierre Cardin
Sculptures Utilitaires, V-Desk
1 of 22

The MUSAC Contemporary Art Museum of Castilla y León
Mansilla + Tuñón
2 of 22

Ashley Bickerton
Tormented Self Portrait Susie at Arles No.2, 1988
3 of 22

Blair Thurman
Mask of the Special Red Death, 2009
4 of 22

Thomas Ruff
Substrat, 2002
5 of 22

Herzog & de Meuron
Rail Switchtower, Basel, Switzerland, Built 1998-99
6 of 22

Cindy Sherman
Untitled #70, 1980
7 of 22

Nylon Stockings
1960s
8 of 22

Jack Goldstein
Film still from 'The Jump', 1978
12 of 22

Arata Isozaki
Fuji Cabinet for Memphis, 1981
13 of 22

Blair Thurman
Opfikon (Memo from Turner), 2010
14 of 22

Thomas Ruff
Portrait (J. Renzel), 1988
15 of 22

Thomas Ruff
Portrait (P. Lappat), 1987
16 of 22

Gianfranco Frattini for Cassina
Sesann 2 1/2 Seat Sofa, 1970s
17 of 22

Justin Adian
Work from Come and Take It
18 of 22

Jack Goldstein
Film still from 'The Jump', 1978
19 of 22

Jack Goldstein
Untitled, 1986-1988
20 of 22
