For Spring/Summer 2027, Miuccia Prada and Raf Simons weren’t interested in making everything look perfect. In fact, much of Prada’s latest collection appeared to push deliberately in the opposite direction.
For example, clothes were exposed, displaced, wrapped and pulled away from their expected proportions, creating a wardrobe between precision and imperfection, sophistication and sensuality, and the familiar and the unexpected.
Opening Milan Fashion Week, Prada SS27 began by taking the pieces we already know and love and reconsider how they should sit on the body. This approach made the collection turn into an established line where wardrobe codes were present everywhere but rarely landed how they're expected to.
Bare torsos appeared beneath open outerwear, while delicate bralettes were paired with rigid knee-length skirts. Shirting, normally one of the most dependable components of the Prada wardrobe, was distorted and pulled away from conventional proportions. Some pieces looked carefully constructed, others appeared almost caught in the process of being dressed, as though the wearer had decided to stop halfway through.
The skirts were straight, wrapped and split constructions repeatedly appeared throughout the collection, with contrasting panels breaking up otherwise controlled silhouettes. Some felt almost architectural in their rigidity, while others shifted around the body with a looser sense of movement.
Leather, checks and lace moved through the collection alongside flashes of red, green, purple and mustard, preventing the clothes from becoming overly restrained. Tougher surfaces sat beside delicate ones, while familiar fabrications were pushed into combinations that didn't immediately feel obvious. There was sexiness here, certainly, but it wasn't straightforward. Prada's version came with friction.
It was sexy without becoming overtly seductive, sophisticated without feeling pristine and strange without abandoning wearability. Pieces that initially seemed contradictory began to make sense alongside one another precisely because contradiction was the point.
