Plus: a Tom Ford debut.
Before joining the Cut in 2015, she was fashion critic at the New York Times from 1999 to 2014.Photo-Illustration: by The Cut; Photos: Max Mara, Getty ImagesPhoto-Illustration: by The Cut; Photos: Max Mara, Getty Images
More than anything else, the Prada spring show on Thursday was a continuation of that original story, told in new ways and with references to the Prada company that reached back to the 1920s. On the soundtrack was Bernard Herrmann’s stirring score to, the 1958 Hitchcock thriller about a woman who imitates another in an elaborate murder plot and a cop’s obsession with her.
Simons did say, “Miuccia and I were talking a lot about how we can challenge ourselves.” One way was with design that looks more fluid — clothing shapes, like the opening shifts in ultra-feminine hues of pale pink, blue, and ivory silk overlayed with wafting bits of tulle or possibly nylon.
From the beginning of her career, as Sischy pointed out in a 1994 article, Prada liked to mix different traditions, values, and associations. That was something completely new in Milan fashion then, as other brands tended to be very systematic in their approach. That difference again came through, more strongly, as Simons and Prada combined, say, a barn jacket in drab, dark cotton with a silver beaded shift or paired a black leather patchwork dress with a many-pocketed leather fishing vest.
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