More than 2,500 crystals went into making Prada’s most iconic SS25 runway look
The high-low dichotomy of one of the most talked-about looks from Prada’s SS25 runway proves one thing, if you ask me—a delicate discourse is here to stay.
With Prada’s Milan runway show last September, which was characterised by imperfect ensembles and a sense of organised chaos, one garment was solidified in the house’s legacy—a dress that exemplified a powerful tenacity and the designer’s attention to detail.
I’m referring to the mirror dress, reminiscent of a dazzling disco ball. When styled beneath a bright yellow anorak on the runway, it formed the essence of an ideal high-low ensemble, striking a balance between statement-making and practicality—perfect for pre-party public transport. It truly embodies savoir-faire.
Friends at Prada have informed me that an entire day’s work went into creating this dress; it reportedly took at least 16 hours to construct, which is understandable given that it was made up of 2,700 embroidery components, including 144 mirrors and over 2,500 crystals in various shapes and sizes.
This dress represents a remarkable manifestation of craftsmanship: the industry performing at its peak. The body started with a weightless nude tulle, providing both shape and structure as a base for a stream of silver sequins sewn on with transparent thread. The manual embroidery applied in the second layer would likely be the most labour-intensive part of the process. Skilled hands were required to attach mirrors of varying sizes, interspersed with sparkling crystals, to create a delicate floral pattern. Stones were then added in a seemingly random yet meticulously planned sequence. These details, though intricate, were necessary to frame the mirrors so they projected outward, creating a three-dimensional interplay of flat surfaces and reflected light among the elements. Together, as they reflect or absorb light, these embellishments give the entire garment an added depth.
It was only at this stage that the piece was cut and shaped onto a mannequin, where it remained for four hours to ensure the fabric and structure were perfect before the sewing and lining processes began. I would argue that this is a true labour of love.
The show itself, Infinite Definite, which many of us at the Remix office are still gagging about, aimed to contrast the logical, algorithm-driven world with the unpredictable nature of human creativity and agency. Miuccia Prada and Raf Simons ultimately intended to honour individuality and transformation, blending elements from different eras to challenge traditional concepts of time and emphasise the power of free will and invention. It was never meant to be a critique but rather an invitation to open a dialogue that explores all facets of artistic expression in the industry.
Raf mentioned to us about the show’s looks, ‘They’re all means to express a message about your own authority, your own personal strength. They can transform your own perception of yourself.’
Beyond the conversation it fosters, what I think I love most about this dress—and its styling on the runway—is that, despite its meticulous design, it sends a powerful message to minimalists and sceptics alike: it’s impossible to truly be overdressed. And thank goodness for that.
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