The first thing that came to mind when Julia Nobis came strutting down the runway in a black shift dress, kitten heels, a 1960s clasp bag, and disheveled hair was female rage. But it was not just any rage—it was a rage simmering in a domestic space, as the clothes were reminiscent of 1960s tropes. The prim yet subtly disordered styling, the kitten heels, the structured bags, all evoked the image of a woman trapped within an idealized notion of femininity, now breaking free. It was evident not just in her presence but in the charged atmosphere, underscored by the music that left you wondering—what was the true story behind the women walking the runway of Miuccia Prada and Raf Simons’ Autumn/Winter 2025 collection?
What happens when the domestic space becomes a battleground? When a woman, expected to conform to a certain image, instead rebels? This collection seemed to ask these very questions, presenting a wardrobe that carried the echoes of past constraints while hinting at liberation. The juxtaposition of control and chaos, of polish and disorder, underscored a deeper commentary on femininity itself.
It’s empowering to witness a woman rage indelicately, to see raw emotion dismantle the expectation of composure. Lately, portrayals of female rage have been emerging everywhere—in television, film, books, and music. Prada and Simons bring this narrative into fashion, expressing it through clothes that feel almost deconstructed in their rebellion against conventional polish. Prada is always the one to make a statement about the state of the world—and in this case, this collection definitely felt like a sharp critique about womanhood, rage, and the strength of imperfection.
What does femininity mean today? How can it be defined? The Prada Autumn/Winter 2025 show by Miuccia Prada and Raf Simons poses these questions, sparking discussions about the collective perception of femininity, the concept of beauty, and how these notions are constantly evolving. Can femininity be both delicate and raw? Can it reject its traditional trappings while still carrying their weight?
The process of reduction highlights the construction of the wardrobe itself. The opening looks featured black dresses in unexpected materials, their silhouettes intentionally destructured and in motion. Hemlines were atypical, seams deliberately exposed, lending a sense of unfinished defiance. The austerity of the monochrome palette was offset by the unrefined nature of the garments. Proportions were altered, disrupting traditional relationships between fabric and body, making the wearer appear as though they were in a state of transformation—neither pristine nor fully unraveled, but somewhere in between, caught in the act of becoming.
Displacement, resizing, reconversion, recontextualization, and decontextualization—these are the forces at play in a collection where garments, emblematic of femininity, transform incessantly, both in shape and in the way they are worn. Fragments of clothing move across the body, liberated from their original function and language, inviting questions about their origins. As I was watching, I was left with a feeling of unease as the disheveled hair of the models moved around, and fur coats were covered with plastic—almost as if ready to cover up a murder. Their meanings shift with movement, and new silhouettes emerge from the interplay of distinct elements. The altered proportions modify the behaviour of the garments and their relationship with the body. It is a process of reduction that emphasises construction, with raw, exposed seams and unconventional materials playing a crucial role.
Glamorous touches in accessories—jewellery, bags, bows, and embellishments—stand in stark contrast to the lack of refinement in the garments. This divergence reflects the multifaceted nature of femininity, challenging its definition. Can femininity exist in contradiction? Can it be both polished and undone, both forceful and restrained?
The runway setting within the Deposito of the Fondazione Prada mirrors this interplay between rawness and refinement, structure and decoration. A metal scaffolding reconfigures the space, lined with a carpet designed by Catherine Martin. By laying bare these visual dichotomies, the environment itself becomes a reflection of the complex meanings embedded in the garments.
This collection was not just about dressing but about feeling—about clothing that mirrors the complexities of womanhood, strength found in imperfection, and the quiet, simmering power of rage expressed through fashion. These scenes and storylines are not about the anger itself but rather what has led a woman to speak, to act, to defend herself and others, to have the autonomy to express an unpalatable emotion. To be unattractive and merciless. Because sometimes, in order to change her world—for good or for bad—all a woman needs to do is open her mouth and let out a vicious, unbridled scream.
