While current worldly events have many major fashion houses eschewing the sartorial hallmarks of late-stage capitalism, Prada has no qualms in embracing power dressing. For Prada Fall 2022 Womenswear, Miuccia Prada and co-creative director Raf Simmons put forward a revamped take on power dressing, combining key sartorial characteristics of the 1980s with 1950s style silhouettes, creating a bold and somewhat cocky collection.




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Assured and assertive, Prada Fall 2022 Womenswear was made for real life, offering (somewhat) practical clothes for everyday wear. “I don’t know if it’s because of the pandemic and everything, but the idea of reality always seems to win,” Simons told Business of Fashion. “We don’t really want to just make pieces that are great in the context of a fashion show.” Following a similar line to the workwear oriented menswear show, the Prada Fall 2022 Womenswear collection is grounded in the reality of everyday life. But, while its menswear counterpart took on a more blue-collar approach, the womenswear collection is definitively white-collar, fusing boardroom staples of the 1980s like padded shoulders and cinched waists with 1950s style circle skirts or hybrid sheer floral skirts.
Ribbed tank tops reminiscent of men’s undershirts get a subtle upgrade courtesy of the triangular Prada logo and are paired with pencil skirts, some that fuse embroidered sheer fabric with satin and flannel or wool suiting fabric while others are sheer throughout, revealing boy leg underwear beneath; vastly oversized leather jackets and trench coats were juxtaposed against sheer skirts; double-breasted office jackets and coats were adorned with rings of colourful feathers or florals on the upper arms; and otherwise understated dresses in black took on dramatic proportions.
Described in the show notes as “elementally Prada,” the Prada Fall 2022 Womenswear show is for the true Prada woman; one who isn’t afraid to welcome power in a world that’s gradually shunning it.






































































































Words by Theo Rosen