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This is not a collection to big up. Miuccia Prada said her Miu Miu show was about “the small human body in the vastness of the world. To symbolize—and to give value to our small body, small conceptually. I wanted to create with humanity, with gentleness, with poetry, with romance,” she added. “Because we are small in the world, but we are enough.”

Perhaps she was telling us to touch grass, too. Moss and twigs evoked woodland underfoot. The clothes seemed as grounded in familiar territory as a Miu Miu wardrobe could be: 1970s or ’70s-ish trouser suits and mini-shifts; gray pencil skirts and simple fitted shirts. Cozy fake fur-lined jackets and cropped nylon anoraks. Trapper hats or battered tweed trilbies.

Stripped-back to fundamentals in a classic palette of black, gray, camel, and burgundy, here were Miu Miu certainties in a horribly uncertain world. Reality dressing is not so much a theme as a need being met by many designers recently. We look to Prada, of course, to provide us with a philosophical guide to that. This time, she described her reductionism, her resolute withdrawl from too-muchness as intended to reassure: “That you have your body and your mind should be enough.”

Underpinning all of this is the longevity of Miu Miu. The wild commercial success of the brand, sailing through all financial headwinds since the pandemic, has largely been due to its popularity with new shoppers who likely have little idea of Miu Miu’s history. But the burst of recognition when Chloe Sevigny appeared on the runway in a jacket and dress-set with furry hems was a reminder: She first walked for Miu Miu in 1996, 30 years ago.

The knee-length pencil skirt and the peach vintage-y camisole are two items which Prada, through Miu Miu, imprinted on the way the ’90s generation dressed. Her revival of the revival resonated fondly with older watchers: all this still looks good. It looked especially so when Prada permitted herself to break into some decorative signature 1920s-ish lingerie shift dresses with panels of sparkle-embroidered chiffon floating over scalloped-edge underlayers. In these dresses Gemma Ward, Kristen McMenamy, and finally Gillian Anderson closed the show—and the fall 2026 runway season as a whole. Grown women as well as young ones ended this round of shows, a small gesture but a positive one. As Prada remarked “I’m reinforced by the idea that still we exist. Whatever happens, we are here.”