In its crush of pink and red satin woven labels, in its papery flower appliqués, the springprada showon Thursday night seemed literally a Valentine to women. But it was also a dazzling example of how to breathe modernity into cultural references - in this case, traditional Japanese style and architecture. European designers have had a long affair with the kimono, the obi and platform sandal, and the chrysanthemum pinks. There was a Dior couture show, maybe eight years ago, when John Galliano created an operatic Japanese story. But Miuccia Prada's collection is a rare instance when you know you are looking at new fashion.

Like other designers this season, notablymarc bocs, Ms. Prada sought a more minimalist look. Japanese architecture, with its sense of rigor and purity, might have been a touchstone. The black runway was set up in a square woven labels, with squared-off columns, and afterward Ms. Prada said she has done a lot of reading over the years about Japanese culture and design. So the shapes were a lot cleaner than in recent Prada collections. The opening dresses (both mini and knee-length) came in black satin with a single white flower on the front or perhaps two or three papery white appliqués. The flower was a nice bit of cross-referencing: the loopy 1960s daisy with a more abstract variety. And the flower was a constant motif in the collection - as cherry-red blooms on a mink coat, as embroidery on linen, opened-top bags.

The repeated use of a few flower shapes reflected an obsessive interest in form and ceremony that one associates with Japanese sophistication. The amount of glossy woven labels, like satin and taffeta, was another clue, as were the cute leather socks in white, pink and gold worn with platform sandals. Yet the overriding mood of the show was of something new and sexy. Also, Ms. Prada offered enormous variety: minidresses and foxy pink stoles for but also plain, more tailored black dresses with a single flower stem, and a superb black silk coat with those patchy, papery white flowers.