On the runway, Prada and Simons challenged this idea of feminine perfection. They did it by redesigning little black dresses, stripping them of their usual sleekness until they resembled awkward, ill-fitted ’60s sheaths. Skirts were made with exaggerated, crumpled waists that erased the hourglass figure. They chose thick, rough fabrics instead of soft, touchable ones—materials that said “hands off” rather than “come closer.” Seams were exposed, edges left unfinished, and wrinkles were deliberately pressed into the garments, making them look either well-worn or like they’d just been thrown on in a rush. The models’ messy, tousled hair only added to the effect, suggesting a rebellious attitude toward traditional beauty.
After the Prada show, a photographer asked what Miuccia Prada and Raf Simons were exploring this season. When they responded that they were questioning femininity and asking, “What does feminine beauty mean today?” the photographer chuckled and joked, “Uh, double Ds.” It was meant as a joke, but it highlighted a real issue—the obsession with idealized beauty. In today’s world, achieving the “perfect” face or body is easier than ever, thanks to expensive cosmetic procedures and social media filters that distort reality.
Prada has long embraced the idea that “ugly is exciting,” and this collection was no exception. Their take on femininity tapped into a larger cultural conversation. Just look at Hollywood—Demi Moore is rumored to be an Oscar frontrunner for The Substance, where she plays an actress who chooses a radical, body-altering injection rather than aging naturally in an industry that offers few roles to women over 50. In Nightbitch, Amy Adams’ character is so consumed by motherhood that she literally transforms into a dog.
“When you think of classic feminine beauty, there are so many restrictions on the body—here, it’s free,” Simons explained. That wasn’t just evident in the unconventional shapes of floral house dresses or oversized coats with broad, masculine shoulders. Fur jackets paired with high heels—and nothing else—offered a different kind of liberation, embracing sexuality on the wearer’s own terms. Small details, like collars that dipped suggestively at the nape of the neck, felt designed for the wearer’s own pleasure rather than for others to admire.
But it was the shapeless dresses that made the boldest statement. Choosing to wear something that defies traditional ideas of femininity is, in a way, an act of rebellion. It’s a refusal to conform to outdated beauty standards. As Prada herself put it, “We just talk about which clothes make sense now.
Credit- Vogue | Prada | Nicole Phelps
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