miuccia prada interview

I’m wondering how that relationship has evolved and what it’s like for your business to work so closely with an architect. . And at the same time that he’s involved in the bigger projects, like the museums, I think he is also interested, with his OMA team, in keeping his eye on the smaller projects like the fashion show spaces. Sonnet Stanfill, curator of 20th-century and contemporary fashion at the Victoria and Albert Museum in London, recently caught up with the designer in her Milan studio to discuss her passion for fabrics, the curiosities of golf clothing, and the notion of sweetness. Thinking about the future of the label and your legacy and passing the baton to the next generation, where would you like Prada to be in 20 years? I don’t have any kind of preference. Photographed side by side with her current season, it’s difficult to tell which designs are old and which new. . And it’s strange that it’s not recognized. Hear her roar. Cartoon car prints might be the least expected motif for the elegant pintucked blouses, high-waisted pencil skirts, and silk car coats comprising Prada’s Spring 2012 women’s collection. STANFILL: Do you think it’s because of changes with Italian manufacturers, the textile producers, and the artisanal quality? Underneath, she’s wearing a crisp white shirtdress, legs bare despite the cold, with kitten heels from her latest collection. I would say that clothes are an excuse for living in the world. PRADA: I would say there is no Prada woman. She describes selling as “definitely an important part of our job, but it’s not our instinct. But it’s not that the dress transforms a person.”. But we are fashion, a strong component of the country’s economy. PRADA: Yes, and fun. “Actually, I think they are very contemporary,” says Prada of clothes she designed more than 20 years ago. But do you think, in the current economic climate, that that is going to disappear in Italy? I have my work and I have the art foundation, and I try to do the best I can in every single aspect. I knew it was such a difficult subject that if I didn’t have the right concept, then I wouldn’t do it. I don’t think there is another profession that is so open to so many possibilities. Anyone you admire, either today or from another generation? . “Many works of Prada don’t look old because it’s never a trend for a trend’s sake. PRADA: No, absolutely not. Fashion is her weapon of choice, and she knows how to force a double take. It’s a joke, but at the same time, it contains different, subtle truths. Miuccia Prada interview: Fondazione Prada, Milan Her unique vision of beauty dominates fashion – now she's setting her sights on art. It’s about a woman’s role as a symbol of possibilities.Miuccia Prada. Especially for women, because there’s so much against us, still.” Later, in her office, she picks up the subject again. So back to Prada and the bigger picture. When I talk with people, I don’t even see what they are wearing . “I was searching,” explains Prada, “because I hated all the bags that were around. PRADA:[laughs] No, but it’s true, because fashion people are open and generous. PRADA: What also came to my mind was the word sweet. STANFILL: Do you have an idea of what you would like Prada to be doing in 10 years, in 20 years? PRADA: Yes, it’s going to disappear quickly. Just as that urinal sculpture changed what could be considered art, Prada’s nylon challenged the very notion of what she describes as “the traditional, conservative idea of luxury”. PRADA: The next generation is here already. I wanted to try to push some freedom into the men’s clothes. Add to that nylon dirndls and jogging shorts, as well as satchels, bum bags and many new iterations of the famous rucksack, slashed with studded red leather straps. “We are still here. As it’s announced that Raf Simons will become co-creative director of Prada, revisit British Vogue’s interview with Miuccia Prada for the March 2018 issue. STANFILL: I think you achieved that very successfully. At that time, with the politics of the period and feminism and so on, to deal with beauty and fashion as a subject was so uncomfortable, but I did it because I liked it so much. . PRADA: Today, yes, it is international. PRADA: I’m afraid that it will soon disappear because, as I told you, it’s really a struggle to produce. For spring, it is the idea of traveling freely and taking risks . That is the process of my job, the doubt, the discussion,” she says. But perhaps more fascinating is how a woman whose personal identity has long been embedded within the political realm, but whose public role is designing and selling clothes, is now reconsidering “how you can coexist between making a successful company and democratic thinking,” she says. They do for themselves. As it’s announced that Raf Simons will become co-creative director of Prada, revisit British Vogue ’s interview with Miuccia Prada for the March 2018 issue. Through the Fondazione Prada, established in 1993, Prada and her husband, Patrizio Bertelli have acquired an ever-expanding collection of more than 700 works by artists varying from Walter De Maria to Michael Heizer and have acted as early champions for next generation stars such as Francesco Vezzoli and Carsten Höller. I’m not interested in that. Also, for the fall-winter 2011 season, the show was held on a set that represented a private and closed space—actually the interior of a house. Luxury could be abstract. I will make that the mission of my exhibition. It no longer had to be about thread count, or how many crystals were sewn on to an object. I had the same spirit in mind for the women. For all their quirk, there’s a provocative assertiveness to her designs. Let’s hope that these people don’t have to close down their businesses. “It’s a beginning,” Miuccia declared when Duscher Tang from Shanghai asked, “Are you doing subtraction or addition?” However, the collection that preceded the interview was indeed a … They were so formal, so lady, so traditional, so classic.”. Miuccia Prada slips off her mannish grey coat in the concrete surrounds of her Milan office. PRADA: Everybody knows that I don’t have a muse. Prada has also become a power player in the worlds of contemporary architecture and art. Do you mean art projects? Slogan T-shirts aren’t Prada’s style. I would also say I try to make all that I do more intelligent and introduce intelligence through what I do. i do what i think is right.Miuccia Prada. Little by little, it started coming together. We talk about what smart women should look like. But what is unique are these little clusters of businesses that feed each other, and so the story may be that that’s the heritage. STANFILL: I think there are still traditions when it comes to the locations of manufacturing. What are your plans for the palazzo? PRADA: It’s a very easy relationship. So I felt really uncomfortable until probably a few years ago. “A clever woman can also be super-sexy, super-naked, she can be whatever she wants. PRADA: Now I’m comfortable because I see that my work is an instrument for so many other things and that people love fashion in general. The most powerful example of Prada’s “wrong chic” are the dresses she fashioned in the 1990s from industrial nylon, a fabric that had never been used in high fashion before. “Of course, I loved it,” she says. I would say since forever. STANFILL: So even if the location for manufacturing is Italy, the destination is the rest of the world. It’s an arrestingly honest sentiment, and one that likely speaks to Mrs Prada’s position as a cultural oracle. “Be seen, be heard” could be a Prada motto. PRADA: Usually they are Italian or French, but some of the French producers are in great difficulty—and so are some of them here, too. She has collaborated with architect Rem Koolhaas’s Office for Metropolitan Architecture on Prada’s avant-flagship stores in New York and Los Angeles, and Koolhaas has designed a museum and cultural center for the foundation in Milan that will be unveiled in 2013. “When they talk about millennials, it’s because somebody wants to sell something to them, and I think it’s deeply disrespectful,” she says. No, I recognize it if it’s something particularly nice and interesting. Who cares if no one reads it — but it’s there,” she says. Namely? It was Bertelli who prompted her to design clothes as well as bags, saying he’d hire someone else if she didn’t. Punk is a state of mind, an approach to life and a constant, restless questioning of the status quo. “We should take this opportunity to change – but change will not happen without a great deal of effort from everyone.”. I would never be able to express them in one word,” she says. PRADA: I always loved aesthetics. Miuccia Prada slips off her mannish grey coat in the concrete surrounds of her Milan office. Interspersed with the can-do utility of her nylon pieces were prints featuring the work of feminist cartoon artists, depicting female superheroes battling evil forces.

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