For Prada Multiple Views SS21, a singular statement is replaced by the perspectives of many: multiple views, by a multitude of global creatives.

The collection suggests the approach: different views, for a collection that proposes several interpretations of the Prada man and woman. Five image-makers interpreted the new collection creating each a short film from their own point of view.

Congruent yet individually delineated, the collection proposes five chapters, which in turn are interpreted by five image-makers and artists.

Prada Multiple Views video frame

Each of them proposes a film capturing a facet of the Prada collection, distinct and definite in its creative statement and ideology, a point of view on Prada. These inherently and fundamentally echo the traditional fashion show, where each observer has their own physical and ideological point of view on the collection.
The five films are identified as chapters.

Chapter 1 is Willy Vanderperre‘s interpretation. He said it “felt like an honest collection. Stripped from fashion ideas, which turns that idea into fashion again.”

Chapter 2 is by Juergen Teller, who said: “I enjoyed looking at Miuccia‘s vision and trying to make sense of it as honest and direct as possible.”

Joanna Piotrowska created Chapter 3 (b. 1985, Poland). She explained that: “Gesture and physicality are an essential non-verbal form of communication and play a big role in the conceptual and compositional aspects of my work.”

Martine Syms‘s interpretation developed into Chapter 4. She commented: “Since the collection pieces have a 60s feeling to them, I tried to include several references to cinema culture and surveillance/sousveillance from that time period to the present.”

The author of Chapter 5 is Terence Nance. He said: “I have no words through which to decode what the meaning is and was and will be but it may be about ‘time’.”
In the collection, attention is drawn back to clothes – simple clothes, with a use and a value, a longevity and a place within people’s lives.

As times become increasingly complex, clothes become straightforward, unostentatious, machines for living and tools for action and activity.

The silhouette for men is sharp and narrow, fitted, with technologically innovative fabrications of Prada nylon and stretch materials juxtaposed with traditional suiting; for women, the same fabrics are given couture volumes and treatments.

Ilona Catani Scarlett

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