Translated by Sofia Bohórquez

 

In this article, we will go through one of the most representative looks on the autumn/winter 1988 runway of the famous Italian brand Prada, under the direction of María Bianchi, commonly known as Miuccia Prada.

 

Unfortunately, the connection between fashion and totalitarian regimes is not uncommon, since these ideologies perceived clothing as a crucial aspect of population control. Nowadays, we know different figures that were sympathizers, just as Gabrielle Chanel’s history evidences, who acted as a Nazi spy; and the Galliano’s viral video, which showed sympathy with the same party.

 

To understand the relationship between Prada’s runway in 1988 and the Italian fascism, it is necessary to get into its history. The fashion house was born under the name «Fratelli Prada”, or “Prada brothers”, and, as the name suggests, the bothers Martino and Mario Prada were the ones who opened the first leather goods store at the Galleria Vittorio Emanuele II in 1913. Miuccia inherited the brand in the late 1970s, becoming the third generation of the family to do so. However, her history is different. Initially, she dedicated herself to the study of political science and, later, to theater. She was an active militant in the Italian communist Party and participated in the movement for the women’s rights. Miuccia, together with her husband, expanded the brand into new design areas, including fashion, with their first runway in 1988.

In the photos, we can observe how the influences from the military structures are present. It would be easy to assume that a reference to the fascist military uniform is an apology from the ideology. However, in the Miuccia’s case, with her knowledge and activism, we witness an ingenious presentation that, as opposed to what could be assumed, becomes in a clever and luxury taunt.

The references are clear in the photos, since this runway refers to numerous aspects of Italian daily life, including working women, housewives and military elements. In order to understand that this is not a tribute, we should take into account that on the Italian fascist agenda was a program with a commission called Ente Nazionale della Moda (ENM) that created a list of specific dressing codes for the feminine clothing. This program was intended to impose a “feminine” and “traditional” style. As is aptly resumed: “The new Italian woman was going to be a model of femininity represented by the knitted sportswear cuts that emphasized the body and would accept its place in the patriarchal family, dressed in handmade laces and embroidered marriage attire aprons.” This is in complete contrast with a military jacket for women.

The fashion critic Bliss Foster offers an acute observation when he compares the military jacket designed by Benito Mussolini with the reinterpretation by Miuccia Prada. In the case of the Mussolini’s jacket, this was designed to emphasize and exaggerate the masculinity, with pockets that resembled pectorals and a structure that stood out the “male” figure. This design reflected the traditional view of masculinity promoted by the fascist regime of the time, that sought to impose a strong and dominant image for men.

However, when we observe the jacket and the pockets created by Miuccia Prada, we notice a completely different approach. These elements are transformed to make it look more like the breast of the “feminine” silhouette. This election goes against the expectations and regulations imposed by the fascist regime and its fashion commission, the Ente Nazionale della Moda (ENM), that promoted a “feminine” and “traditional” style. 

The Miuccia Prada’s choice to transform the military jacket into something that goes against the established expectations is exactly a form of irony by the designer. With her trajectory and education in political sciences, theater and active militancy in the Italian communist party, Miuccia Prada possessed a profound understanding of gender dynamics and the politics of fashion. By transforming the military jacket into a garment that celebrates the “feminine” rather than the masculine figure, she is challenging in a subtle but impactful way the traditional view of the genre promoted by the fascist regime.

The reinterpretation of the military jacket, in essence, did not seek to praise or honor the fascist ideology, but it became a subversive act that questioned and made fun of the regulations that were imposed.

The Miuccia Prada’s unique approach to fashion design is translated into a distinctive way of representing the everyday life and questioning the conventional standards of beauty in the fashion industry. Prada has become known as the embodiment of the «ugly chic”. A term that challenges the traditional conventions of fashion by embracing elements that are considered unconventional or even “ugly”. This approach, in which the aesthetic is not completely disconnected from the “ugly”, is a bold declaration that goes beyond mere aesthetics.

In the fashion industry, where the conventional beauty is often elevated as the standard to follow, Prada stands out for embracing and consciously undermining these expectations. Miuccia Prada challenges the notion that fashion should exclusively be elegant or beautiful in traditional terms. Instead of adhering to the conventions of “beautiful”, Prada used fashion as a way to explore more profound and provocative ideas.

In the context of the 1988 military jacket, Prada uses military symbology not to glorify or idealize the fascist regime, but as a tool for artistic expression. By taking a symbol associated with military power and transforming it into something that celebrates femininity in an unexpected way, Prada raises questions about the genre regulations and challenges the expectations imposed by the fascist regime and the society in general.

Finally, this innovative approach to fashion demonstrates that clothing can be more than just an expression of personal style; it can be a way of communicating ideas, challenging social and political rules, and questioning the conventional perceptions of beauty and good taste. The Miuccia Prada jacket on the 1988 runway thus becomes a vehicle to transmit an important message about the women’s emancipation and the subversion of gender constructions, while challenging the idea that fashion should be limited to what is beautiful or conventionally attractive.