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Miuccia Prada and Raf Simons decided to look at women’s fashion literally from the bottom up. The star of Prada’s Spring/Summer 2027 collection was the skirt — a garment the fashion house considers one of the most expressive and versatile elements of a woman’s wardrobe.

The idea feels particularly symbolic for Prada. Back in 2005, the brand presented Waist Down, an exhibition dedicated entirely to the skirt. Its curator, Kayoko Ota, noted at the time that fashion traditionally pays far more attention to the body as a whole or to the upper part of the silhouette, even though much of the body’s movement takes place below the waist, according to WWD.

More than 20 years later, Prada has once again chosen to focus exclusively on this part of the wardrobe. The result was one of the brand’s most accessible yet instantly recognizable runway shows in recent years.

At the preview presentation, Miuccia Prada repeatedly adjusted a pale pink silk skirt with a wavy hem and compared its rectangular shape to the frame of a painting.

“You are forced to put ideas into this frame,” the designer explained.

Raf Simons, meanwhile, recalled an old interview between Miuccia Prada and Charlie Rose. At the time, the designer said that a skirt for a woman was the equivalent of a T-shirt for a man.

For Simons, the skirt can be an answer to almost any situation: it can make a woman look sexy or glamorous, take her to work or accompany her through a day with the children.

The Milan runway proved his point. Skirts appeared in an array of interpretations, while the collection returned Prada to its signature combination of femininity, functionality and intellectual playfulness.

The runway once again featured elements that have repeatedly become signatures of the brand: deliberately “ugly” prints with psychedelic motifs, black nylon and other high-tech materials, feminine handbags and shoes, as well as generous crystal embellishments.

The decoration on the wide Velcro fasteners of the wrap skirts was particularly unusual. Prada described the construction as one of the most primitive yet functional forms of clothing in human history.

Instead of traditional suits, the designers opted for bustiers, cotton shirts and simple knitted sweaters — one of Miuccia Prada’s own favorite pieces.

At the same time, Raf Simons’ influence was unmistakable. The designer continued to develop the oversized leather jackets, coats and perfecto styles that have become characteristic of contemporary Prada, adding an underground rave mood and industrial aesthetic to the collection.

This was particularly striking in the graffiti-effect leather coats and pleated skirts — perhaps the only looks that could be described as complete outfits.

The sculptural satin bustiers also deserved special attention. Some were connected to cuffs worn on the arms, with miniature pockets attached to them.

Yet the show itself was built around the idea of freedom. Prada and Simons deliberately abandoned the traditional formula of fully coordinated looks from head to toe.

According to Simons, a completely predetermined outfit “doesn’t leave much room” for individuality. After a brief pause, however, the designer laughed and added: “Although maybe that’s exactly what we’ll do next season!”

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