showreport

PRADA SS24

For the Spring Summer 2024 collection of Prada, Miuccia Prada was clear: it’s about the clothes. Speaking to reporters backstage, the designer expressed her animosity towards the cryptic conversations about her creations. Thankfully, the collection had plenty of clothes worth talking about.

 Despite the assertiveness of Prada’s statement, there was a fun act in the show. The slow dripping slime was revived from the menswear collection shown in June. That wasn’t the only similarity between the presentations - the emphasis on silhouette and movement was another common denominator. Like in the men’s show, light blazers with bold shoulders were smoothly tucked in A-line shorts. 

 However, the show had a much lighter - dare we say feminine - feel. The fringe featured in the menswear collection was now embellished with crystals. Movement was explored in different ways, but most strikingly in shift dresses with panels of silk organza that flew tenderly as the models walked (an effect that has made the internet name them “jellyfish dresses”).

 The show ended on an emotional note when Prada and Simons were joined by Fabio Zambernardi for their finale bow. Zambernardi is leaving his position as design director after four decades with the brand.


Words by Pedro Vasconcelos

BURBERRY SS24

With his new collection for spring, Daniel Lee presented a playful and inspired play on one of the house’s most recognisable signatures – the knight on a horseback logo.

The detail was explored in the form of prints covering dresses and shirts – which sat on the body in the most elegant way – as well as more straightforwardly in the show’s final look: suit trousers (worn sans shirt) cinched with a belt with an oversized buckle, which is sure to become a bestseller item.

The desire to experiment with house codes was also present in Lee’s take on outerwear – particular standouts included trench coats with a dropped waist and a shearling military-inspired jacket in the now instantly recognisable Burberry blue.


Words by Martin Onufrowicz