At the Fondazione Prada, Miuccia Prada and Raf Simons orchestrate an ode to feminine pluralities, where each silhouette reveals layers of memory, time and identity.

At the heart of the Fondazione Prada 's Deposito, <a href="https://www.lofficiel.com/hommes/dans-aperture-prada-met-en-scene-l-elegance-sensible-de-harry-styles" target="_blank" rel="noopener">Prada</a> 's Autumn-Winter 2026-27 collection stands out as a meditation on plurality. Conceived by <a href="https://www.lofficiel.com/fashion-week/miuccia-prada-ses-14-defiles-les-plus-emblematiques" target="_blank" rel="noopener">Miuccia Prada</a> and Raf Simons , it explores the act of dressing as a process of continuous transformation - throughout the day, through gestures, through moods.
Here, layering is not merely a stylistic device: it becomes a language. Garments are stacked with precision-rigorous tailoring, pragmatic sportswear, embroidered satin dresses-in deliberately contradictory compositions. Typologies shift and hybridize without hierarchy. A coat might conceal an archival dress, itself embedded within a minimalist silhouette. Each layer reveals another, like an intimate palimpsest.
These textile layers evoke the layers of existence. Personal histories and collective memories intertwine in patinated, deliberately altered materials, precious embroideries seemingly aged by time. The fabrics appear to have lived. They bear the traces of a past that surfaces-fragments, fractures, mutations visible from the outside, hinting at what lies beneath. The apparent simplification of the lines then acts as a setting to better reveal the complexity.

Fifteen women embody this shifting narrative. Their distinct and unique presence draws attention to individuality within these sartorial metamorphoses. Each silhouette becomes an expression of self-determination: choosing one's layers is choosing one's story. The clothes convey agency, an ability to shape one's identity through the lens of everyday life.
The space itself extends this dialogue between eras. Tapestries and paintings from the 16th and 17th centuries, Venetian mirrors and consoles from the 18th century, chairs, lamps and canvases from the 20th century populate the Deposito. These artifacts, from five centuries and divergent cultures, respond to the clothing through successive echoes. Like the clothing, they are imbued with layered meanings, silent intimacies, and infinite possibilities.
At <a href="https://www.lofficiel.com/fashion-week/chez-prada-l-honnetete-du-present-selon-miuccia-prada-et-raf-simons" target="_blank" rel="noopener">Prada</a> , plurality is not a dispersion: it is a construction. An architecture of layers where woman, far from being fixed, reveals herself to be multiple - changing, complex, sovereign.

Prada Masters the Art of Layered Transformation

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