In a complex macroeconomic market, few brands are capable of maintaining stability. Even fewer have managed to achieve growth in the fashion and luxury sector. Among the latter, Prada Group outperformed every expectation. According to the October 23, 2025 report, net revenues were up 9% year over year, marking 19 consecutive quarters of growth for the Group, with Miu Miu rising 41% over the first nine months (Prada Group).
The question comes naturally: is there a magic recipe for finding water in such a desert? In this article, we will try to identify four reasons behind the extraordinary success of the Milanese Group.
Nonconformism
Since her fashion debut in FW 1988, La Signora has been clear about her intentions: fashion is an instrument that serves people — not an artistic, theatrical, or impractical object. And for such a “living gown,” touching reality is inevitable.
We dress every day to feel better and express ourselves, conveying our personality and ideology. Miuccia knew this from an early age and, like a true feminist-fashionista would do, famously wore Saint Laurent tailleurs while distributing communist flyers.
Prada and Miu Miu were born from the work of a non-conformist who studied Political Science and was almost ashamed of being into fashion.
“I was a feminist in the Sixties, and can you imagine? The worst thing I could have done was to be in fashion. It was the most uncomfortable position.”
Hate on Canvas: Van Gogh and Miuccia Prada
The appeal of Prada comes exactly from these outsider roots. Hearing about Vittorio Sgarbi’s opinion on Van Gogh, Miuccia instantly came to my mind. The art critic declared that Van Gogh was the first artist who, when he paints, suffers instead of enjoying himself, endures instead of liberating himself; therefore, he has a conflictual relationship with the canvas and is modern in himself. He is also the first artist in whom ugliness prevails over beauty — the element of bad painting that becomes the key to contemporary art.
The comment describes precisely the novelty introduced by Prada. “You have to always work against what you did before, and even against your taste,” Miuccia once said, applying to fashion what Heraclitus said 2500 years ago in the theory of opposites, for which the unlike is joined together, and from differences results the most beautiful harmony. The spark created by being attracted to what we hate, and observing it critically, makes every garment ardent and alive.
“Fashion fosters clichés of beauty, but I want to tear them apart. If I have done anything, it is to make ugly appealing.” — Miuccia Prada
Introducing ugliness in a world of astonishing beauty seemed the most natural consequence, given the intrinsic contrasts behind the brand. La Signora is known around the world for her eccentric appearances and curious runway looks — now wisely styled by Lotta Volkova (Miu Miu). And young generations are obsessed with it. Why? In a world of Botox and contrived perfection, spontaneity and genuine personality feel almost radical. Hence, seeing a successful woman with a crooked nose, light makeup and ugly-chic heels smiling on her fashion show offers a rare sense of relief. Eventually, this transmits a message of self-confidence: we must be ourselves to be our best version.
Destroying and Creating
Prada was appreciated for its travel bags from an early age, but the brand became truly popular in 1984, with the rollout of the Pocono Nylon backpack.
“Suddenly, nylon seemed more intriguing to me than Haute Couture fabrics. I decided to introduce it to the runway, and it challenged — even changed — the traditional and conservative idea of luxury. I’m still obsessed with it,” says Miuccia Prada years later.
In a conservative age when accessories had to scream luxury, using a cheap, factory material was foolish, to say the least. And in fact, it took years to be understood. Yet, it was one of the most innovative fashion choices of the brand, pioneering modern fashion.
The backpack became a true must-have, that Tommaso Ebhardt properly defined in his book Prada as “a creative destruction,” using the words of the economist Joseph Schumpeter.
And like any respectable creative destruction, it required reinvention when sustainability became a priority. And Prada proved exceptional at adapting.
In 2019, the Group, guided by the young heir Lorenzo Bertelli, introduced Re-Nylon as a sustainable alternative to Pocono. The fabric features regenerated nylon (ECONYL®), obtained from recycled plastic waste, fishing nets, and textile fiber waste. By 2021, the material replaced all Prada’s virgin nylon, paving the way to a better future. Strategically speaking, the launch is particularly appealing to new generations, who are increasingly aware of environmental problems. This choice, along with other initiatives (i.e. Miu Miu Upcycled), solidly positions the Group to achieve long-term growth.
Synergies
The relationship between executives and creative directors is undergoing a debate today. Many argue that CDs lead the success of fashion companies; others think that managerial strategy drives profits, and creativity is just a façade.
As in several cases, truth lies in the middle. The balance between numbers and artistic expression is crucial in a healthy fashion firm. And Prada proved it more than any other brand.
It is difficult to imagine Prada without the current President Patrizio Bertelli, who turned the family company of luggage first into a fashion firm, then into a verticalized conglomerate. On the other hand, what would even Prada be without Miuccia?
The reality is that a bond — like the one between Patrizio and Miuccia — might be the best way to depict the ideal synergy between CDs and CEOs. What makes the work of a creative and a manager successful is, indeed, a slightly conflictual yet constructive relationship, full of respect and admiration.
By Camilla Stasia Padula
Sources:
https://www.prada.com/de/en/pradasphere/fashionshows/1988/fwwomenswear.html?page=2
https://www.vogue.com/article/elsa-schiaparelli-and-miuccia-prada-talk-to-her
