
Reflecting on 9/11 and its Profound Impact on Fashion and Life

By Miuccia Prada


By Miuccia Prada
On the morning of September 11, 2001, a phone call interrupted the usual fashion week buzz. My colleague, Mickey Boardman, reached out, but his message wasn't about the recent Marc Jacobs show, as I had anticipated. Instead, it was news that would irrevocably alter our perception of reality.
The night before, the final event of the spring 2002 New York collections, the Marc Jacobs show, unfolded on a West Side Pier. The atmosphere was charged, marked by heat and significant delays. PR teams distributed water to an increasingly impatient audience. However, the designs showcased that evening would be utterly overshadowed by the following morning's events.
From my window, I could see one of the Twin Towers, still standing, yet grotesquely marred by a gaping, burning hole, resembling a fractured piece of a pie. I immediately contacted my close friend and fellow journalist, Michael Musto, rousing him from sleep. I relayed the gravity of the situation, to which he, mistakenly, inquired if our publication, The Village Voice, had ceased operations.
Despite the world quite literally being in turmoil, I found myself instinctively ironing my clothes that day. It was an act of retaining normalcy amidst the unthinkable. I recall wearing a skirt reminiscent of Dries Van Noten, paired with a relaxed gray sweater, possibly from Eskandar or Shirin Guild, over a lace camisole—my typical attire from a quarter-century ago. Dressed, I walked to The Voice office on Cooper Union, unsure of what else to do.
Equipped with my transistor radio, a necessity in the pre-smartphone era for me, I headed south towards Washington Square. A young man approached me frantically, asking for updates on the news, his fiancée's safety a paramount concern.
Upon meeting Musto at The Voice, we sought refuge at the Manatus Diner on Bleecker Street, a place known for its perpetual openness, which remained true even on that catastrophic day.
Soon, every lamppost would be adorned with missing persons posters. The streets would be awash in a sea of paper, remnants from countless destroyed offices. A foul odor would pervade the air for months, a constant reminder of the tragedy.
The fashion shows scheduled after Marc Jacobs' event were promptly canceled. Major fashion houses such as Donna Karan and Ralph Lauren later presented their collections in more subdued settings.
Vogue and Style.com collaborated to organize 'An American View,' a unified presentation for young designers whose career aspirations were now hanging by a thread.
Even years later, I vividly recall the sudden realization that our collective sense of purpose, our dedication to our professions, had crumbled under the weight of overwhelming contradictions. The subjects we passionately covered, meticulously analyzed, and wrote about now felt incredibly insignificant, almost absurd. As a relatively new fashion reporter then, I was immensely enthusiastic about covering New York Fashion Week, even if the typical Village Voice reader wasn't eagerly awaiting my commentaries on Miguel Adrover or Imitation of Christ. Suddenly, the fragility of life itself became starkly apparent; the comforting illusion of safety and security in our city had dissolved.
Yet, amidst the despair, fashion also offered a sliver of hope, a promise of brighter days ahead. Who could endure a world devoid of all joy? Why not, in our own small ways, resist the encroaching darkness? Personally, I coped with my emotions as I always did during crises: I shopped. A few days after 9/11, I finally decided to purchase the velvet Fendi bag, adorned with its distinctive brown 'F' pattern, which I had admired for months at the Fifth Avenue Fendi store. I had visited so often that I couldn't recall which salesperson had assisted me. Such details no longer mattered; most of the staff were in tears.
However, tears, fears, and even the deepest sorrow eventually recede. Slowly, the world—both the fashion industry and the broader global community—adjusted to a new reality. The frantic pace of fashion week resumed in subsequent seasons, with shows once again scheduled on September 11th, and surprisingly, no one seemed to flinch. Still, upon returning home from a demanding day during the New York shows this week, your mind filled with images of delicate garments, slender models, and even more delicate high heels, you might glance out of the taxi window and catch sight of the illuminated skyline—two brilliant beams of light ascending where the Towers once proudly stood.
About the author

Head of the Prada fashion house and intellectual designer known for defining modern minimalist and innovative fashion.

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