Autumn de Wilde’s The Postman Dreams for Prada

A simple brown leather bag, featured for only 4 seconds in this short, acts as the star alongside a whimsically clumsy American postman, who finds comfort with the bag’s soft leather. The short has a very restrained color palette between blue and brown, most frames composed with a near perfect balance of the colors: The sky and the band in the establishing shot, the postman’s uniform and the boxes in the close shot, and most clearly in the colors of the postman’s booth. This restraint in composition reflects Prada’s relatively understated approach to brand as seen in their line of fashion films that barely feature their product or name outside of the title cards (Anderson 2013). Our only glimpse of The Galleria Bag is when we see the postman’s dream, and the only clear Prada logo is emblazoned on the side of the postman’s cart.

In a sense, we’re able to relate back to Guy Debord’s arguments on the spectacle in fashion (Debord, cited in Evans 2003 p. 67). The focus of this short is not the product that it sells, but the short itself. This creates a cult of personality around Prada, using the product to sell the brand rather than the reverse that we may be used to. Realistically, we could easily replace the bag with a competing product without harming the narrative, but everything surrounding it: The composition and acting, humour and whimsy can only be Prada.


Anderson, W 2013 PRADA presents “Castello Cavalcanti” by Wes Anderson, 14th November 2013, viewed 14th September 2015,

Evans, C 2003 Fashion at the edge: spectacle, modernity and deathliness, Yale University Press, London p. 67