Whether you are familiar with Mary Shelly’s haunting yet inviting diction, or one of the various visual iterations of Frankenstein, there is an undeniable nostalgia in Miuccia Prada’s Fall/Winter 2019 Women’s ready-to-wear collection. The soft grunge aesthetic nods towards the trope of the stereotypical Frankenstein character: a feared creature who yearns for romantic attention; Miuccia presents us with exactly that. The show begins with a structured- strapless-black-dress-chunky-boot combo on a electric candle lit runway to the tune of anxiety-driven music.
Through the use of sleek, structured cuts and metal accents, the audience takes note of this interplay between romance and edge. In particular, the 3D, often wilted, flower accents are the perfect mélange between fragility and perseverance that we are all too familiar with. As we continue to be both intimidated and intrigued, padded shoulders are introduced, an obvious homage to Frankenstein’s visual trademark. Repeated usage of red also acts as a palette cleanser, while ashy, loose fabrics make us think of the moment between life and death.
But what would Prada be without a utilitarian flair? Miuccia updates the theme with countryside, fur-shop-esque coats, padded, army green, pocketed jackets and doctor bags. The models’ slicked hair and circular spectacles give us punk rock chic meets art historian. There are also darling capes that are reminiscent of Little Red Riding Hood.
Overall, Prada's Fall/Winter 2019 women’s collection reminds us of information we’ve seen before, but in the best way possible. It is the bedtime story that upon second thought seems more like a nightmare. It is romantic, thrilling, seductive and serious all at once.

References
- 1
- 2
American Vogue
June, 1943

Eileen Gray
Portable Dressing Table from Villa E1027

Bonnie Cashin
Dress Ensemble, 1964

Agustín Hernández Navarro
Praxis Studio, 1970
Miguel Berrocal
Five Italian Micro Figural Puzzles, 1970
Richard Linder
Triptych, Changing Sexuality, 1975
The Bride of Frankenstein
Movie Poster, 1935

Walter von Nessen
Age Lamp, 1935

Edith Head
Portrait

Rene Herbst
Fauteuil, 1940s

Isa Genzken
Rose II, 2007

Marta Hoepffner
Komposition mit Flaschen, 1945
Adolf Rading
Interior
René Herbst
Fauteuil en Tube Laqué, Coussin de Cuir, 1928

Saul Leiter
Postmen, 1952
British Vogue
February, 1960

WAAC
Women's Army Uniforms, 1940s

William N. Copley
Confiture de Circulation, 1960
William Pereira
Geisel Library, San Diego, California, 1968

References

American Vogue
June, 1943
1 of 19

Eileen Gray
Portable Dressing Table from Villa E1027
2 of 19

Bonnie Cashin
Dress Ensemble, 1964
3 of 19
Agustín Hernández Navarro
Praxis Studio, 1970
4 of 19
Miguel Berrocal
Five Italian Micro Figural Puzzles, 1970
5 of 19
Richard Linder
Triptych, Changing Sexuality, 1975
6 of 19

The Bride of Frankenstein
Movie Poster, 1935
7 of 19

Walter von Nessen
Age Lamp, 1935
8 of 19

Edith Head
Portrait
9 of 19

Rene Herbst
Fauteuil, 1940s
10 of 19

Isa Genzken
Rose II, 2007
11 of 19
Marta Hoepffner
Komposition mit Flaschen, 1945
12 of 19
Adolf Rading
Interior
13 of 19

René Herbst
Fauteuil en Tube Laqué, Coussin de Cuir, 1928
14 of 19
Saul Leiter
Postmen, 1952
15 of 19

British Vogue
February, 1960
16 of 19

WAAC
Women's Army Uniforms, 1940s
17 of 19
William N. Copley
Confiture de Circulation, 1960
18 of 19
