Prada plumps for a deluge of decorative detail
Understatement does not play well on the catwalk. It registers even less convincingly on microblogs.
Fortunately for the world’s luxury fashion labels, many of whom are grappling with “challenging “ conditions in the Chinese market, maximalism is back.
This is a fashion philosophy dear to Italy’s heart, but also one that its tradition of craftsmanship can execute outstandingly. At Prada every item was saturated in decorative detail. Sometimes the embellishment took a sly detour, disguising itself almost as utility clothing. Box pleated, calflength tweed skirts were straight out of Prada’s beloved Miss Marple-chic. But the back panels were white leather and the pleats were piped, fringed and had contrasting inserts. Miss Marple by way of the swanky Via Montenapoleone. Boxy, slightly oversized jackets, another Prada staple, came in pale taupe, tan suede or striped leathers and tweeds with slouchy half belts at the back… so far, so discreetly expensive. Relatively.
Then came the irrational exuberance: tulle coats and skirt suits smothered in appliqued red or lime flowers or scored through with strips of metallic snakeskin tulle, dropwaisted dresses flecked with large plastic sequins, metallic Barbarella boots. This was cat and mouse glamour: at times Miuccia Prada seemed to be doing her best to veil it – literally, beneath layers of net, albeit net speckled with micro pom-poms. At others she hauled it centre stage and let it run riot, allowing stripy crocodile bags to co-ordinate or clash with her clothes, piling on glitter-ball drop earrings and gold lipstick. If Marie Antoinette came back to life, she’d wear the lot. The rest of us should remember that a little irrationality goes a long way.