"When she creates, Miuccia Prada thinks big. She may actually prefer that I not use the word 'create' - 'makes' is maybe more accurate, less pretentious and more in keeping with Prada's view of herself. When discussing fashion, she talks of her work, and of her job. She is a woman obsessed with use, with usefulness and meaning - and, indeed, use is a word she uses often, when talking about her clothes, made as an antidote to muchness and meaninglessness and empty stylistic gestures."
"Prada is always fascinated by the histories of women, the notion of evocations of their clothes as testimonials to their lived experiences. And aprons are her self-confessed favourite garment, which have often featured in both her Prada and Miu Miu shows - though never as the primary thematic. Here, the apron wasn't just reproduced, ad infinitum, it was rethought and re-engineered. Near enough every look was topped with one, and no two were alike."
"The show began with near-direct mirrors of industrial clothes, leather or drill aprons strapped atop uniform inspired looks - the show opened with the German actor Sandra Hüller, method acting as a plant forewoman as she wound her way through a forest of guests perched on Formica tables, like an especially fashionably crowded factory cafeteria on a late 2.30pm Monday lunchtime."
Miuccia Prada prioritises usefulness over pretension, preferring the term 'makes' for her work. The Spring/Summer 2026 Miu Miu show, titled At Work, staged models as workers across factories, service, caregiving and the home. The apron served as the central, re-engineered motif, appearing on nearly every look in distinct forms. The collection traced industrial aprons, hausfrau housecoats in vibrant cottons layered over knits, and clinical nurse-style poplin aprons. The staging included Sandra Hüller embodying a plant forewoman, and the designs aimed to evoke women’s histories, effort, challenges and lived experiences through functional garments.
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