AD5604 CONNECT. RELATE. PRADA RESEARCH BOOK

CONNECT RELATE PRADA

THIS BOOK WILL HOST THE INS AND OUTS OF PRADA, DISSECTING AND ANALYSING PRADA’S ABILITY TO PRODUCE COLLECTIONS THAT INDUCE FEELING, FORMING A NEW FLUID CONNECTION BETWEEN MATERIAL, CONCEPT AND THE CONSUMER. FABRICATING A NEW NARRATIVE THAT FOCUSES ON CONNECTION, FEELING AND REAL LIFE, GROUNDING THE CONSUMER. FORECASTING ITS FUTURE AND PRADA’S NEW CONNECTION TO REALITY. RESEARCHING THE FUSION OF MIUCCIA PRADA AND RAF SIMONS AND THE OUTCOME. TAKING AND APPLYING MY RESEARCH TO PRODUCE A NEW CAMPAIGN, OFFERING A NEW APPROACH FOR PRADA THAT FOCUSES ON REALITY WHILST STAYING TRUE TO THE KEY INGREDIENTS OF PRADA.

THE SENSATION THAT WE KNOW TO BE PRADA FIRST GRACED THE WORLD IN 1913 (PRADA, 2023), IN THE FORM OF A LEATHER GOODS COMPANY. (SABANOGLU, 2022) FOUNDED BY THE GRANDFATHER OF CURRENT HELM MIUCCIA PRADA, MARIO PRADA AND HIS BROTHER MARTINO . TOGETHER OPENING THE VERY FIRST PRADA STORE IN MILAN. STARTING OUT WITH TRUNKS, TRAVEL ACCESSORIES AND BAGS, STILL SOLD STILL TO THIS DAY. ALTHOUGH THE PRADA FRANCHISE CAME FROM HUMBLE BEGINNINGS, IT DIDN’T TAKE LONG RISING THROUGH THE RANKS. ESTABLISHING A NAME FOR THEMSELVES IN NO TIME AT ALL. BECOMING HIGHLY A REGARDED BRAND RECOGNISED BY THOSE OF THE UPPER CLASS. A LARGE CONTRIBUTION OF THIS EARLY SUCCESS WAS THE RECOGNITION THAT CAME WITH BECOMING AN OFFICIAL SUPPLIER OF THE ITALIAN ROYAL HOUSE (PRADA, 2023), JUST 6 YEARS AFTER THE BRANDS CONCEPTION.

Figure 1. Original illustration of Mr Mario Prada and the first Prada store in Milan. By Prada.

LIKE MANY OTHER FAMOUS FASHION DESIGNERS, MIUCCIA PRADA ENTERED THE WORLD OF FASHION VIA A VERY NON TRADITIONAL ROUTE. FIRST EXPRESSING AN INTEREST IN POLITICS BEFORE SHE DID DESIGN. STUDYING IN THE UNIVERSITY OF MILAN, IN 1973 SHE EARNED A DEGREE IN POLITICAL SCIENCE. (NOLEN, 2023) POSSIBLY RESPONSIBLE FOR MIUCCIA’S ANALYTICAL WAY OF THINKING.

BY 1975, PRADA BECAME A REAL FAMILY AFFAIR. WITH MIUCCIA PRADA DEVOTING HERSELF TO ACCESSORIES DESIGN. (PRADA, 2023) CONTINUING THE TRADITION OF PRODUCING HIGH- QUALITY ITEMS FOR THE FAMILY BUSINESS, MIUCCIA DESIGNED THE VELA BACKPACK IN 1984. THE FIRST PRODUCT OF AN INNOVATIVE LIGHTWEIGHT NYLON BAG RANGE, WHICH WAS AN IMMEDIATE SUCCESS. STILL PROVING TO BE A STABLE SOUGHT AFTER PIECE TO THIS DAY. WITH A REVIVAL OF ITS OLDER COUNTERPART, PRADA RELEASED THE “RE-NYLON RE-EDITION 2000 MINI BAG” IN 2020. THE NYLON DESIGNS STILL JUST AS POPULAR AS THEY WERE 40 YEARS AGO, GAINING THEIR PLACE ALONGSIDE THE FENDIS AND BIRKINS.

(DAVENPORT, 2023) HARPERS BAZAAR REPORTED THAT THE PRADA NYLON BAG GENERATED OVER 4.2 MILLION VIEWS ON TIKTOK. (DAVENPORT, 2023)

MIUCCIA TRANSFORMED HER FAMILY’S MODEST LEATHER GOODS COMPANY INTO ONE OF FASHIONS MOST FAMOUS HOUSEHOLD NAMES. PROVING HER ABILITIES AND LOVE FOR HER WORK, MIUCCIA PRADA BECAME THE HEAD OF THE FAMILY’S LUXURY GOODS COMPANY IN 1978. EXPANDING PRADA’S GROWING PRODUCT RANGE, PRESENTING THEIR FIRST WOMEN’S SHOE COLLECTION IN 1979. (PRADA, 2023) FOLLOWED BY THE INTRODUCTION OF A WOMENSWEAR LINE IN THE LATE 80’S. DEBUTED IN 1988, PRADA DESCRIBED HER WOMEN’S WEAR AS, “UNIFORMS FOR THE SLIGHTLY DISENFRANCHISED” PUSHING PRADA FROM THE SMALL LEATHER GOODS COMPANY IT STARTED AS, TO NEW VENTURES.

THE EXPANSION OF PRADA

THE SUCCESS OF PRADA’S GLOBAL PRESENCE CAN BE PARTIALLY ATTRIBUTED TO PATRIZIO BERTELLI. FIRST APPOINTED TO THE BOARD IN 2003 (PRADA, 2023), THEN BECOMING EXECUTIVE DIRECTOR, ALONGSIDE WIFE MIUCCIA PRADA. THEIR PARTNERSHIP SAID TO PRESENT THE MARRYING OF CREATIVITY WITH BUSINESS. BERTELLI’S ROLE INVOLVED CONTROLLING PRADA’S ENTIRE SUPPLY CHAIN. HIS STRONG FOCUS ON DETAIL AND QUALITY RESULTED IN THE REINTERPRETATION OF PRADA’S BRAND IDENTITY, REACHING A CONTEMPORARY AUDIENCE. TAKING THE LEGACY OF PRADA IN A NEW DIRECTION.

Figure 2. Portrait photograph of Miuccia Prada. By Prada.

PRADA NOT ONLY EXPANDED ITS REACH AND MARKETING APPROACH, WE ALSO SAW THE EXPANSION OF PRADA STORES ALL OVER THE WORLD. AGAIN ESTABLISHING ITS PRESENCE THROUGH ITS DNA, THE PRADA STORES FEATURED WALL PAINTED IN A LIGHT GREEN. THIS COLOUR BECOMING KNOWN AS THE “PRADA GREEN”. ALONG WITH THE CHEQUERED BLACK AND WHITE FLOORING, THE GREEN COLOUR BECAME DISTINCTLY RECOGNISABLE AS PRADA. 1983 SAW THE LARGE EXPANSION OF PRADA’S RETAIL SPACES, SHOWCASING THIS NEWAESTHETIC FROM LONDON TO NEW YORK. THE EARLY 90’S SAW INTERNATIONAL EXPANSION, WITH PRADA MAKING FOR ITS STORES IN THE USA, CHINA, AND JAPAN. (PRADA, 2023)

THE EXPANSION OF PRADA

RAF SIMONS

PARALLEL TO MIUCCIA, RAF DIDN’T INTEND ON, NOR DID HE HAVE ANY DESIRE TO BECOME A GLOBAL SENSATION. BOTH MIUCCIA AND RAF TOOK A NON-TRADITIONAL ROUT INTO THE FASHION INDUSTRY. BEGINNING HIS CAREER IN THE CREATIVE INDUSTRY AS AN INDUSTRIAL DESIGN GRADUATE OF THE ROYAL ACADEMY OF FINE ARTS IN ANTWERP, BELGIUM. WHERE HE WAS MENTORED BY HEAD OF FASHION AT THE ROYAL ACADEMY OF FINE ARTS, LINDA LOPPA. SIMONS WAS FIRST EXPOSED TO THE WORLD OF FASHION WHEN MENTOR AND FRIEND WALTER VAN BEIRENDONCK TOOK HIM TO PARIS FASHION WEEK. IT WAS HERE THAT SIMONS CAUGHT THE FASHION BUG, AFTER WATCHING MARTIN MARGIELA’S COLLECTION ON THE RUNWAY. (THOMPSON, 2023) THE BELGIAN FASHION DESIGNER DREW INSPIRATION FROM HIS EXPERIENCE IN PARIS AND THE APPROACH OF MARTIN MARGIELA.

SIMONS WENT ON TO LAUNCH HIS OWN LABEL AND PRODUCE HIS FIRST MENSWEAR COLLECTION IN 1995, RAF BY RAF SIMONS. INJECTED WITH YOUTH CULTURE REFERENCES AND PERSONAL INTERESTS FROM TECHNO TO GOTH AESTHETIC. (THOMPSON, 2023) SETTING A NEW STANDARD AND PRESENTING NEW MENSWEAR STYLES THAT CELEBRATED CULTURE AND FOCUSED ON SILHOUETTE. HIS WORK DESCRIBED AS, “SIMONS LITERALLY MASHED TOGETHER THE MESSINESS OF YOUTH AND THE SQUEAKY CLEANLINESS OF LUXURY FASHION” (RABKIN, 2022) AS A SELF-TRAINED MENSWEAR DESIGNER, WITH NO CLASSIC TRAINING OR TRADITIONAL UNDERSTANDING OF WOMENSWEAR. AS A RESULT SIMONS WASN’T TAUGHT THE TRADITIONAL STRICT GENDER BOUNDARIES IN FASHION, RESULTING IN HIS UNCONVENTIONAL APPROACH. HIS DESIGNS ALWAYS CHALLENGING GENDER BOUNDARIES.

Figure 3. Raf Simons Spring 2017 collection. Photography Virginia Arcaro.

RAF SIMONS SPRING/SUMMER

Figure 4. Raf Simons SS22 Collection. Runway images by HypeBeast.

WITH AN UNDERSTANDING OF 3D DESIGN, RAF DEVELOPED HIS TRADEMARK FEATURES INCLUDE ELONGATED TORSO, LONG ARMS AND OVERSIZED CUFFS. FROM HUMBLE BEGINNINGS, SIMONS QUICKLY BUILT A REPUTATION AS ONE OF THE MOST SOUGHTAFTER DESIGNERS IN THE INDUSTRY. CATCHING THE EYE OF SOME OF FASHIONS MOST ESTABLISHED HOUSES, INCLUDING JIL SANDER AND DIOR. AND THIS IS WHERE RAF BECAME KNOWN AS THE PARAMEDIC OF THE FASHION INDUSTRY. REVITALISING BRANDS, BRINGING THEM BACK TO THE FOREFRONT OF THE FASHION SCENE.

RAF’S HISTORY WITH SOME OF THE BIGGEST NAMES ONLY BOOSTED HIS ALREADY SUCCESSFUL CAREER EVEN FURTHER. AS WELL AS THE HUGE FAN BASE SURROUNDING HIS OWN LABEL, WITH HIS DESIGNS AND COLLECTIONS BEING SEEN ON HIGH STATUS CELEBRITIES. INCLUDING TRAVIS SCOTT AND ASAP ROCKY, ACQUIRING NEW CONSUMERS, HELPING RAF REACH A YOUNGER AUDIENCE.

MUCH LIKE MIUCCIA, RAF’S INVOLVEMENT WITH OTHERS IN THE CREATIVITY IS PREVALENT. IN PARTICULAR HIS INVOLVEMENT OF THE EDUCATION OF THE NEW GENERATION THAT WILL BE DRESSING US. LECTURING AT THE UNIVERSITY OF APPLIED ARTS VIENNA BETWEEN OCTOBER 2000 AND JUNE 2005. IN ADDITION TO THIS, THROUGHOUT HIS CAREER HE HAS COLLABORATED WITH MANY OTHER DESIGNER BRANDS FROMADIDAS TO FRED PERRY. FURTHER DIVERSIFYING HIS WORKANDABILITIES.

ONE KEY ASPECT OF PRADA’S METHODS HAS REMAINED THE SAME THROUGHOUT THE DECADES. THE CONNECTION THAT PRADA HAS WITH THE CREATIVE INDUSTRY, INVOLVING ITSELF AND SURROUNDING ITSELF WITH CREATIVE PEOPLE FROM ALL BACKGROUNDS AND ALL ARTISTIC PRACTICE. FROM THE COLLABORATION AND CREATION OF THE LG PRADA SMARTPHONE, FIRST LAUNCHED IN 2007. TO THE PRADA MARFA, 2005. (A PERSONAL FAVOURITE CREATIVE VENTURE) A PERMEANT, ARCHITECTURAL INSTALLATION BY SCANDINAVIAN ARTISTS ELMGREEN & DRAGSET. THE INSTILLATION IS A DIRECT COPY OF ONE OF PRADA’S RETAIL STORES, SHOWCASING THE FAMOUS PRADA GREEN, ACCORDING TO PRADA, FOLLOWING PRADA’S EXACT AESTHETIC CODES. (PRADA, 2023)

ART IS A CLEAR PASSION OF MIUCCIA PRADA’S, SEEN THROUGHOUT HER CAREER. ALTHOUGH SHE IS SAID TO NOT LIKE “COLLABORATIONS”. AS SHE EXPLAINED TO THE NEW YORK TIMES, HER REASONING BEING THAT THE INTENT BEHIND THE COLLABORATIONS ALWAYS SEEM TO BE MONEY FOCUSED NOT ACTUALLY SHOWCASING THE ARTISTS OR THEIR DESIGNS. (FRIEDMAN, 2021) EVEN SO HER INVOLVEMENT WITH THE CREATIVE INDUSTRY IS PREVALENT. FROM BEGINNING AS A MIME, DESIGNING COSTUMES FOR THEATRE, FILM AND MUSIC, TO HER INVOLVEMENT IN EDUCATION. RECOGNISING THE IMPORTANCE OF THE NEXT GENERATION OF CREATIVES. THIS LOVE FOR THE CREATIVE INDUSTRY AND THOSE IN THE INDUSTRY REFLECTED HER DECISION TO PERMANENTLY COLLABORATE WITH DESIGNER RAF SIMONS, INVITING HIM INTO THE WORLD OF PRADA.

CONNECT RELATE PRADA

GREAT MINDS THINK ALIKE

WITH THE ADDITION OF RAF ON THE SCENE, ONCE AGAIN PRADA OPENED A NEW DOOR, HEADING IN A NEW DIRECTION. RAF JOINED MIUCCIA AS CO-CREATIVE DIRECTOR OF PRADA IN 2020. A POETIC DECISION IF YOU ASK ME, WITH THE COMPANY BEGINNING WITH MIUCCIAS GRANDFATHER AND HIS BROTHER. 2 CREATIVE MINDS ARE ALWAYS BETTER THAN ONE, ESPECIALLY WHEN THE LEGACY OF A GLOBAL LUXURY FASHION COMPANY IS ON YOUR SHOULDERS… OF COURSE, THE REASONABLE EXPLANATION WOULD BE THAT MIUCCIA PRADA IS PREPARING FOR HER EXIT AFTER MORE THAN 44 YEARS, ENLISTING THE HELP OF RAF TO EVENTUALLY TAKE OVER. (BUT WERE ALL IN DENIAL…SO WILL ROMANTICISE THE TRUTH AND STICK WITH THE FIRST OPTION) RAF WAS BROUGHT ON BOARD THE PRADA SHIP NOT TO SOLO STEER THE SHIP OR BE THE CAPTAIN, BUT TO SHARE RESPONSIBILITIES THAT COME WITH DIRECTING A WORLDWIDE LUXURY FASHION COMPANY. ACCORDING TO PRADA, THE TWO WILL SHARE EQUAL RESPONSIBILITIES, DESIGN, AND SHAPE FUTURE COLLECTIONS TOGETHER. (PRADA, 2023) AND SO FAR SO GOOD, AS HYPEBEAST REPORTS THAT THE COMPANY HAS SEEN A 21% YEAR OVER YEAR INCREASE IN SALES, REPORTING RECORD- HIGH ANNUAL REVENUE. (KELLY, 2023)

THERE IS ONE UNDERLYING THEME THAT BOTH MIUCCIA AND RAF HAVE MADE A STAPLE WITHIN THEIR PREVIOUS COLLECTIONS, AND THAT’S UNIFORM. A THEME THAT THEY BOTH ADOPTED INTO THIS NEW PRADA COLLECTIVE DESIGN PROCESS. EXECUTED THROUGH CLEAN, MINIMALIST PIECES WITH HEAVY CHARACTER. FROM SKIN-TIGHT BUTTON UP UNITARDS TO INTENTIONAL CREASING. ALONG WITH THE BEGINNING OF THE USE OF A DISTINCTLY RECOGNISABLE DESIGN ASSET INTENSIFIED WITHIN THE MENSWEAR F/W 2021 COLLECTION, TITTLES, “POSSIBLE FEELINGS”. THIS NEW ADDITION OF HEAVY DIRECT LITERAL SYMBIOTIC REFERENCES, USING THE PRADA TRIANGLE SHAPE THROUGHOUT THE COLLECTION. A LITERAL RESPONSE TO CREATING A INSTANTLY RECOGNISABLE EMBLEM IN A NEW WAY INCREASING BRAND AWARENESS THROUGH THE ITEMS SOLD WITHOUT PLASTERING THEIR LOGO ALL OVER THE ITEMS, THEREFORE ADDING TO THE ITEMS LUXURY STATUS.

CONNECT RELATE PRADA

CONNECT RELATE

Figure 5. Prada ‘Possible Feelings’ campaign images A/W 21 By prada.

THIS DIRECT AND AGGRESSIVE USAGE OF THE PRADA EMBLEM WITHIN THE ACTUAL PRODUCT DESIGN. MAKES THE LOGO A PART OF THE CLOTHING, AS ITS INTEGRATED INTO THE BODY OF AN ITEM, INTERTWINING AND FUSING BRANDING AND DESIGN TOGETHER. A NEW FORM OF BRANDING PRESENTED BY PRADA, AS OPPOSED TO JUST ADDING THE LOGO ONTO A PIECE OF CLOTHING. A METAPHOR FOR THIS NEW FOCUS ON CONNECTIVITY AND RELATION. SUBTLY COMMUNICATING THE COLLECTIONS OVERARCHING AIM OF CONNECTING TO REALITY AND DEALING WITH EMOTION, CONNECTING WITH THE PANDEMIC THAT WAS FILLING THE WORLD WITH DREAD AND FEAR AT THE TIME.

GREAT MINDS THINK ALIKE

COLLECTIVE WORK

SS 2023 – WOMAN AND MAN

A REPRESENTATION OF LIVES, THE SPRING SUMMER 2023 COLLECTION IS NOT JUST A BODY OF WORK, THE MODELS WERE NOT JUST THERE TO SHOW OFF THE DESIGNS. BUT BE A PART OF PRADA, BUILDING A STORY, THINKING OF THE MODELS AS THE CHARACTERS AND PRADA AS A LIVING ENTITY. PRESENTING THIS IDEA THROUGH WELL THOUGHT DESIGN DETAILS. REFLECTING FRAGMENT OF LIFE AND LIVING. NOT ALLOWING THE CLOTHING TO WEAR THE MODEL BUT THE NEW IDEA OF A PARTNERSHIP AND CONNECTION BETWEEN THE TWO. WITH FINE DETAILS DISPLAYING THIS RELATIONSHIP, INCLUDING INTENTIONAL CREASING. A LITERAL SIGN OF WEAR. POSSIBLY MIMICKING THIS NEW OBSESSION WITH SECOND HAND, VINTAGE CLOTHING TAKING THE WORLD BY STORM. AS WELL AS TRADITIONAL ITEMS SUCH AS THE UNITARD, REFLECTING ON THE HISTORY OF FUNCTIONALITY WITHIN CLOTHING. DESCRIBED AS “EVER-UNFOLDING” BY PRADA, AN INTRICATE METAPHOR THAT ASSOCIATES BOTH LIFE AND MATERIAL. (PRADA, 2023) CREATING FLUIDITY BETWEEN LIFE AND MATERIAL, BECOMING ONE.

Figure

6. Touch of crude

SS 2023 collection runway images by Nicolas Winding Refn.

POSSIBLE FEELINGS FW 2021 CAMPAIGN

TOUCH, FEEL, PRADA - “CAMPAIGN EXPLORING THE LANGUAGE OF SENSATIONS.”

MIUCCIA AND RAFS FIRST COLLECTION AS CO-CREATIVE DIRECTORS. SHOWCASING THE WOMAN AND MEN’S FALL/WINTER COLLECTIONS FOR 2021. THE CAMPAIGN EXPLORED EVOKING FEELING THROUGH FASHION. THE OVERARCHING MESSAGE BEING A CALL FOR CONTACT IN A TIME SO HEAVILY RESTRICTED, REFLECTING CURRENT EVENTS OF THE TIME. A WORLDWIDE LONGING FOR COMFORT ADDRESSED BY PRADA THROUGH THE USE OF TEXTURE TO EVOKE THE SENSES OF AN ITEM’S ROUGH/SOFT/HEAVY/SMOOTH MATERIAL AND FUNCTIONAL DESIGN TO PROVIDE A SENSE OF REASON, PROVIDING A SYNTHETIC FORM OF CONTACT TO THEIR CONSUMERS.

COLLECTIVE WORK

Figure 7. Prada SS23 collection show space by AMO.

PRADA NEXT GENERATION

“DESIGN IS OFTEN DISCONECTED FROM THE REAL WORLD WITHIN THE LUXURY INDUSTRY”

PURPOSE

BUILDING ON THE FOCUS OF CONNECTION AND THE PLEASURE OF FUNCTIONALITY, FROM PREVIOUS COLLECTIONS. IGNORING GLAMOUR, AND THE HIGH STATUS THAT COMES WITH THE LUXURY FASHION INDUSTRY. BRINGING BACK BASIC FASHION STAPLES

UNIQUE TO PRADA, THROUGH THE IDEA OF INVESTMENT PIECES. CREATING A UNIFORM, THAT CONSUMERS CAN BUILD UPON, LEAVING THE CONSUMER TO APPLY THE CLOTHING. THIS UNIFORMED APPROACH ALLOWING FLEXIBILITY, WITH ONE PIECE BEING OPEN TO AND ABLE TO EXPRESS DIFFERENT THINGS, DEPENDING ON THE PERSON WEARING IT. TAKING A TRADITIONAL APPROACH OF THE ROLE OF CLOTHING AGAIN. RESPONDING TO THE CALL FOR AUTHENTICITY, THE CAMPAIGN WILL BRING THE FOCUS TO FEELING AND SENSES, GROUNDING AND CONNECTING THE CONSUMER TO REAL LIFE. THE CAMPAIGN WILL CONSIST OF 3 DIFFERENT SHOOTS, INCLUDING 3 IMAGES IN EACH SET.

THE SHOOTS WILL ALL BE AT DIFFERENT LOCATIONS AND WILL BE USED AS INDIVIDUAL SETS OF 3 AS WELL AS A 9-PART SERIES TOGETHER. LAID SIDE BY SIDE TO FORM A NEW ABSTRACT NARRATIVE OF FEELING AND SENSES. REFERENCING THE FW 21 PRADA CAMPAIGN, FEELS LIKE PRADA. PROMOTING THE REJECTION OF LIVING OUR LIVES THROUGH

TECHNOLOGY, INSTEAD LIVING IN THE MOMENT, AND ACCEPTING THE EVERYDAY. ESPECIALLY IN TODAY'S CLIMATE OF UNCERTAINTY AND THE COST-OF-LIVING CRISIS, ENCOURAGING THE CONSUMER TO ONLY LIVE BY THEIR MEANS… CONNECT

WITH THE DRIVER OF THE CAMPAIGN BEING THE IDEA OF VERSATILITY IN AN EVERCHANGING CLIMATE, THE PROCESS OF PICKING ITEMS FROM EXISTING COLLECTIONS WAS KEY AND VERY SELECTIVE. AVOIDING OVER PRODUCTION AND CONSUMPTION, PROMOTING EXISTING LINES. PICKING SELECTIVE PIECES THAT GIVE THE CUSTOMER A STAPLE WARDROBE THAT THEY CAN BUILD UPON, WITH ADAPTABILITY AND FUNCTIONALITY AT ITS HEART. WITH THIS AT HEART, IT WAS IMPORTANT THAT THE PIECES FEATURED IN THE CAMPAIGN BE ACCESSIBLE TO ALL GENDERS. REJECTING THE ADOPTION OF A BINARY SYSTEM IN FASHION, INSTEAD INCLUDING GENDERNEUTRAL DESIGNS, LEAVING IT UP TO THE CONSUMER AND THEIR IDENTITY. ELIMINATING ALL EXTERNAL FACTORS, AGE, SIZE, CULTURE AND GENDER.

PRADA TANK TOP F/W 22

A PIECE THAT HAS STOOD THE TEST OF TIME. EVOLVING FROM A TRADITIONAL LAYERING ITEM ORIGINATING IN THE 1900’S TO BECOMING THE KEY TO BEING A 90’S “IT GIRL”. (PULLAR, 2022) THE EPITOME OF VERSATILITY, THE TANK TOP BECAME SOMEWHAT OF A CULTURAL SYMBOL AS REPORTED BY MARIE CLAIRE (PULLAR, 2022), DUE TO THE TANK TOPS GENDERNEUTRAL APPEAL TO THE QUEER COMMUNITY. THEN QUICKLY BECOMING ONE OF 2022’S VIRAL PIECES, CROPPING UP EVERYWHERE FROM THE STREETWEAR SCENE TO BEING SEEN ON CELEBS LEFT RIGHT AND CENTRE. CO-DIRECTORS RAF SIMONS AND MIUCCIA

PRADA WANTED TO CONVEY THE HISTORY OF PEOPLE NOT THE HISTORY OF FASHION, THROUGH THE USE OF THE TANK TOP WORKED INTO MOST LOOKS FEATURED IN THE F/W 22 SHOW. MIUCCIA PRADA HERSELF

HIGHLIGHTING THIS AIM THAT THE TANK IS PART OF THE PEOPLE’S HISTORY – NOT FASHIONS. (PULLAR, 2022) AGAIN, DEDICATING A COLLECTION TO CONNECTION TO THE REAL WORLD NOT A FARFETCHED UNATTAINABLE NARRATIVE. SHOWING THEIR DEVOTION TO THEIR MISSION OF AUTHENTICITY.

IDENTIFICATION

Figure 8. Prada cotton tank top by Prada.

PLEATED RE-NYLON SKIRT

I WANTED TO INCLUDE AN EXISTING PIECE THAT WOULD IGNORE GENDER BOUNDARIES. SOMETHING THAT IS TYPICALLY KNOWN AND SEEN AS FEMININE BUT FOR IT TO THEN BE PORTRAYED IN A VERY MASCULINE WAY THROUGH THE CAMPAIGN. A SIMPLE BASIC PIECE OF CLOTHING THAT CAN BE UTILISED BY ALL GENDERS. A TIMELESS PIECE AGAIN REFERENCING A MORE TRADITIONAL DESIGN FROM OUR HISTORY, WITH THE RETRO STYLE SUSPENDERS. AS WELL AS ADOPTING THE SUSTAINABLE APPROACH, THROUGH THE GARMENT’S MATERIAL, RE-NYLON – “A SUSTAINABLE FABRIC OBTAINED FROM RECYCLED PLASTIC MATERIALS IN THE OCEAN.” (PRADA, 2023)

THE PRADA TOWEL

RESPECTING THE MAIN INTEREST OF SUSTAINABILITY WITHIN FASHION AND GOING BACK TO THE BASICS OF WHAT YOU NEED FOR EVERYDAY LIFE, THE PRADA TOWEL WAS A MUST. ESPECIALLY FOLLOWING THE INSPIRATION OF PHOTOGRAPHER PIETER HUGO’S WORK DURING LOCKDOWN, THAT FEATURED ONE OF HIS CHILDREN WRAPPED IN A TOWEL. I LOVED THE RAW, RELATION TO REAL LIFE THAT HE HAD MANAGED TO CAPTURE AND KNEW THAT I WANTED TO RECREATE THE IMAGE THROUGH A PRADA LENS.

Figure 9. Figure 9. Pleated Re-Nylon Skirt by Prada.

THE SIGNIFICANCE OF INVOLVING OTHER CREATIVE ARTISTS WITHIN THE CAMPAIGN PROCESS WAS VERY CLEAR TO ME AS SOON AS I BEGAN MY RESEARCH. I WANTED TO CREATE SENSE OF COMMUNITY AND CONNECTION WITHIN THE CAMPAIGN. NOT JUST PERSONAL CONNECTION BUT A STREAMLINE STORY TO EVERYTHING INCLUDED AND EVERYONE FEATURED.

I FIRST BEGAN MY RESEARCH LOOKING THROUGH DIFFERENT I-D MAGAZINES FROM 2020 – THE PRESENT DAY FOR INSPIRATION. TO INCLUDE IN THE COLLABORATIVE STORY TELLING PROCESS.

CONNECTING THE CAMPAIGN TO OTHER CREATIVES

MUCH LIKE RAF AND MIUCCIA’S APPROACH TO THEIR F/W 2021 COLLECTION, THIS ISSUE OF THE MAGAZINE CREATED STORIES THROUGH STYLING, PHOTOGRAPHY, AND ANECDOTES. CREATING A SENSE OF PERSONAL PARADISE WITHIN EACH PAGE. THESE STORIES BASED UPON PLACES, PEOPLE, EMOTION, AND PERSONAL INSPIRATION.

THE POWERFUL IMAGES CAPTURED BY ZOE GHERTNER AND STYLED BY ALASTAIR MCKIMM TELL A STRONG STORY AND CONVEY A FEELING OF DISCOMFORT.

THE IMAGE ALERTING THE SENSES WITH THE ADDITION OF ROUGH SAND, AN ANNOYING ITCHY FEELING. A SYMBOL OF THE WIDESPREAD FEELING OF DISCOMFORT, IRRITATION AND DAZE BLANKETING THE GLOBE.

CONNECT RELATE PRADA

I-D - ARTIST IN RESIDENCE

THE SIGNIFICANCE OF INVOLVING OTHER CREATIVE FOR THE MAGAZINES 40TH ANNIVERSARY. I-D INCLUDED THE WORK OF SOUTH AFRICAN PHOTOGRAPHER PIETER HUGO. AGAIN WITH THE IDEA OF “REAL LIFE” AND CONNECTION IN MIND, I TOOK INSPIRATION FROM HUGO AND HIS PHOTOGRAPHS OF HIS CHILDREN FEATURED. A REAL-LIFE REFLECTION OF HOME LIFE WITH TWO CHILDREN, DURING THE GLOBAL LOCKDOWNS. IGNORING THE GLAMOURISATION OF SPENDING TIME AT HOME WITH THE FAMILY, SHOWING THE GOOD, THE BAD AND THE UGLY. COMMUNICATING RELATABILITY AFTER EXTREME DISCONNECTION FROM THE REAL WORLD.

CONNECT RELATE PRADA

1. An artist’s conduct in his life:

– An artist should not lie to himself or others

– An artist should not steal ideas from other artists

– An artist should not compromise for themselves or in regards to the art market

– An artist should not kill other human beings

– An artist should not make themselves into an idol

– An artist should not make themselves into an idol

– An artist should not make themselves into an idol

2. An artist’s relation to his love life:

– An artist should avoid falling in love with another artist

– An artist should avoid falling in love with another artist

– An artist should avoid falling in love with another artist

4. An artist’s relation to suffering:

– An artist should suffer

– From the suffering comes the best work

– Suffering brings transformation

– Through the suffering an artist transcends their spirit

– Through the suffering an artist transcends their spirit

– Through the suffering an artist transcends their spirit

5. An artist’s relation to depression:

– An artist should not be depressed

– Depression is a disease and should be cured

– Depression is not productive for an artist

– Depression is not productive for an artist

– Depression is not productive for an artist

6. An artist’s relation to suicide:

– Suicide is a crime against life

– An artist should not commit suicide

– An artist should not commit suicide

– An artist should not commit suicide

7. An artist’s relation to inspiration:

– An artist should look deep inside themselves for inspiration

– The deeper they look inside themselves, the more universal they become

– The artist is universe

– The artist is universe

– The artist is universe

8. An artist’s relation to self-control:

– The artist should not have self-control about his life

– The artist should have total self-control about his work

– The artist should not have self-control about his life

– The artist should have total self-control about his work

9. An artist’s relation with transparency:

– The artist should give and receive at the same time

– Transparency means receptive

– Transparency means to give

– Transparency means to receive

– Transparency means receptive

– Transparency means to give

– Transparency means to receive

– Transparency means receptive

– Transparency means to give

– Transparency means to receive

10. An artist’s relation to symbols:

– An artist creates his own symbols

– Symbols are an artist’s language

– The language must then be translated

– Sometimes it is difficult to find the key

– Sometimes it is difficult to find the key

– Sometimes it is difficult to find the key

11. An artist’s relation to silence:

– An artist has to understand silence

– An artist has to create a space for silence to enter his work

– Silence is like an island in the middle of a turbulent ocean

– Silence is like an island in the middle of a turbulent ocean

– Silence is like an island in the middle of a turbulent ocean

12. An artist’s relation to solitude:

– An artist must make time for the long periods of solitude

– Solitude is extremely important

– Away from home

– Away from the studio

– Away from family

– Away from friends

– An artist should stay for long periods of time at waterfalls

– An artist should stay for long periods of time at exploding volcanoes

– An artist should stay for long periods of time looking at the fast running rivers

– An artist should stay for long periods of time looking at the horizon where the ocean and sky meet

– An artist should stay for long periods of time looking at the stars in the night sky

13. An artist’s conduct in relation to work:

– An artist should avoid going to the studio every day

– An artist should not treat his work schedule as a bank employee does

– An artist should explore life and work only when an idea comes to him in a dream or during the day as a vision that arises as a surprise

– An artist should not repeat himself

– An artist should not overproduce

– An artist should avoid his own art pollution

– An artist should avoid his own art pollution

– An artist should avoid his own art pollution

14. An artist’s possessions:

– Buddhist monks advise that it is best to have nine possessions in their life:

1 robe for the summer

1 robe for the winter

1 pair of shoes

1 begging bowl for food

1 mosquito net

1 prayer book

1 umbrella

1 mat to sleep on

1 pair of glasses if needed

– An artist should decide for himself the minimum personal possessions they should have

– An artist should have more and more of less and less

– An artist should have more and more of less and less

– An artist should have more and more of less and less

15. A list of an artist’s friends:

– An artist should have friends that lift their spirits

– An artist should have friends that lift their spirits

– An artist should have friends that lift their spirits

16. A list of an artist’s enemies:

– Enemies are very important

– The Dalai Lama has said that it is easy to have compassion with friends but much more difficult to have compassion with enemies

– An artist has to learn to forgive

– An artist has to learn to forgive

– An artist has to learn to forgive

17. Different death scenarios:

– An artist has to be aware of his own mortality

– For an artist, it is not only important how he lives his life but also how he dies

– An artist should look at the symbols of his work for the signs of different death scenarios

– An artist should die consciously without fear

– An artist should die consciously without fear

– An artist should die consciously without fear

18. Different funeral scenarios:

– An artist should give instructions before the funeral so that everything is done the way he wants it

– The funeral is the artist’s last art piece before leaving

– The funeral is the artist’s last art piece before leaving

– The funeral is the artist’s last art piece before leaving

19. Life after death

INTRODUCING THE IDEA OF STREAMLINE CONNECTION MEANT THAT THE CAMPAIGN NEEDED COMPELLING VERBAL CREATIVES. SOMETHING QUOTABLE, TO MAKE THE CONSUMER THINK AND CONNECT THE DOTS BETWEEN ASSETS OF THE CAMPAIGN. PERFORMANCE ARTIST, BODY ARTIST, ENDURANCE ARTIST, FEMINIST ARTIST. MARINA ABRAMOVIĆ EXPLORES ALL ASPECTS OF LIFE THROUGH ART. PUSHING THE BOUNDARIES THROUGH HER WORK, EXPLORING THE MENTAL AND PHYSICAL LIMITS OF THE BODY, THE RELATIONSHIP BETWEEN THE PERFORMER AND AUDIENCE AND THE POSSIBILITIES OF THE MIND. ALWAYS MARRYING CONCEPT WITH PHYSICALITY AND FEELING.(LISSON GALLERY, 2023) EXPOSING THE INNER WORKINGS OF HER MENTAL STATE, HIGHLIGHTING HER TRANSPARENCY AND RAW NATURE OF FEELING, THROUGH HER MANIFESTO PUBLISHED IN 2011. “AN ARTIST’S LIFE MANIFESTO”. THE CORE OF THE CAMPAIGN, THAT GROUNDS THE LISTENER, ENHANCING THE STORY BEHIND THE CAMPAIGN.

CONNECTION TO CHARACTER

VISITING LECTURER EDEN LOWETH OF THE FORMER ART SCHOOL, INSPIRED ME TO INCLUDE THE PEOPLE THAT I LOVE WITHIN MY WORK. FOLLOWING A LECTURE ON THE BRAND ART SCHOOL AND ITS DIFFERENT APPROACH TO FASHION AND ITS INCLUSIVITY AT THE TIME. ART SCHOOL WAS A BRAND THAT LIKE PRADA BEGAN WITH TWO, EDEN AND HIS PARTNER TOM. THIS IDEA OF PERSONAL CONNECTION WITHIN THE WORK YOU PRODUCE REALLY SPOKE TO ME AND THE PROJECT I KNEW I WANTED TO EXECUTE. SOLIDIFYING AND DEEPENING THE FEELING OF CONNECTION AND FEELING. ALL 3 OF MY MODELS ARE OF SOME RELATION TO ME. USING THE PEOPLE THAT I LOVE GAVE ANOTHER DIMENSION TO THE STORY AND MINDSET OF WHICH I APPROACHED THIS CAMPAIGN. ESPECIALLY INCLUDING MY PARTNER WITHIN MY WORK, JUST AS EDEN DID. EVOKING A FEELING OF FAMILIARITY AND COMFORT, SURROUNDED BY AND INCLUDING THOSE THAT I LOVE. ACHIEVING THIS CIRCULAR PHENOMENON OF CONCEPT TO FEELING, JOINING TOGETHER HARMONIOUSLY. AN EMBODIMENT AND RECREATION OF MARINA ABRAMOVIĆ AND HER WORK.

EXPOSURE

TAKING PRADA DOWN OFF ITS UNATTAINABLE, OUT OF REACH PEDESTAL. THIS CAMPAIGN WILL NOT ONLY BE PRESENTED IN BIG CITIES BUT IN LOWER KEY, LOW STATUS AREAS AND METHODS AS WELL. FOR EXAMPLE, THE CAMPAIGN COULD BE PROMOTED ON BUS STOPS AND STREET SIGNS. BELOW I HAVE MOCKED UP THIS PROPOSAL, MAKING THE CAMPAIGN MORE ACCESSIBLE AND LESS GLAMOROUS BUT STILL HOLDING TO ITS QUALITY AND STATUS, JUST MAKING IT MORE CASUAL FOR THE EVERYDAY, REAL LIFE.

VISIBLE DURING EVERY DAY LIFE.

PROMOTIONAL FILM

ALONGSIDE ALL 3 SHOOTS I ALSO PRODUCED A CREATIVE FILM FOR THE CAMPAIGN. AS WELL AS FILMING INDIVIDUAL SHORT FILMS FOR EACH SHOOT. HIGHLIGHTING THE SHOOT LOCATION AND ATMOSPHERE TO MAKE THE VIEWER TAKE A MOMENT. EACH FILM AND SHOOT HAVING THEIR OWN FEEL AND FOCUS OF THEIR OWN INDEPENDENT NARRATIVE, YET HARMONISING WHEN JOINED TOGETHER.

THE RELATION TO REAL LIFE

VIEW THE RELATION TO REAL LIFE FILM AT https://youtu.be/tYgjo84wFdU

CONNECT RELATE PRADA CAMPAIGN

CONNECT RELATE PRADA

REFERENCES

Davenport, R. (2023, March 17). History of the Hero: Prada nylon bags. Retrieved from Harpers Bazaar: https://www. harpersbazaar.com/uk/fashion/what-to-wear/a40543946/prada-nylon-bags/

Friedman, V. (2021, January 15). When Raf Met Miuccia. Retrieved from The New York Times: https://www.nytimes. com/2021/01/15/style/fashion-raf-simons-miuccia-prada.html#:~:text=Miuccia%20Prada%3A%20You%20know%2C%20I,really%20enjoy%20working%20together%2C%20though.

Kelly, D. (2023, March 09). Prada reports record high annual revenue. Retrieved from Hypebeast: https://hypebeast. com/2023/3/prada-2022-financial-report-highest-sales-strong-profitability-miu-miu

Lisson Gallery. (2023, March 20). Marina Abramović. Retrieved from Lisson Gallery: https://www.lissongallery.com/artists/ marina-abramovic

Nolen, J. L. (2023, February 23). Miuccia Prada. Retrieved from Britannica: https://www.britannica.com/biography/Miuccia-Prada

Nolen, J. L. (2023, Feb 03). Miuccia Prada. Retrieved from Britannica: https://www.britannica.com/biography/Miuccia-Prada Prada. (2023, March 06). A journey through our story . Retrieved from prada Group : https://www.pradagroup.com/en/group/ history.html

Prada. (2023, March 18). board of Directors. Retrieved from Prada Group: https://www.pradagroup.com/en/group/corporate-governance/board-of-directors.html#:~:text=Patrizio%20Bertelli%20is%20Executive%20Director,Prada%2C%20 until%2026th%20January%202023.

Prada. (2023, March 22). Pleated Re-Nylon skirt. Retrieved from Prada: https://www.prada.com/gb/en/women/ready_ to_wear/skirts/products.Pleated_Re_Nylon_skirt.21H936_1WQ8_F0002_S_231.html?utm_campaign=GoogleShopping_UK&utm_medium=CPC&utm_source=Google&utm_content=Shopping&s_kwcid=AL!8549!3!566301612421!! !u!325418298164!&gclid

Prada. (2023, March 25). SS 2023 Woman and Man. Retrieved from Prada: https://www.prada.com/gb/en/pradasphere/ campaigns/2023/ss-woman-man.html

Pullar, J. (2022, September 02). A Runway Show & A Cultural Reset: Inside The Tank Top’s ‘It Girl’ Renaissance. Retrieved from Marie Claire: https://www.marieclaire.com.au/prada-tank-top

RABKIN, E. (2022, November 9). WHAT RAF SIMONS MEANS FOR FASHION. Retrieved from HIGHSNOBIETY: https:// www.highsnobiety.com/p/raf-simons-fashion-legacy/

Sabanoglu, T. (2022, June 21). Prada - Statistics & Facts. Retrieved from Statista: https://www.statista.com/topics/3533/ prada/#topicHeader__wrapper

THOMPSON, H. (2023, JANUARY 9). RAF SIMONS: THE MAN WHO REDEFINED MENSWEAR. Retrieved from COG-

GLES - FASHION: https://www.coggles.com/life/fashion/raf-simons-the-man-who-redefined-menswear/

IMAGE REFERENCES

Figure 1. Original illustration of Mr Mario Prada and the first Prada store in Milan. By Prada. Retrieved from https://www.pradagroup.com/en/group/history.html

Figure 2. Portrait photograph of Miuccia Prada. By Prada. Retrieved from https://www.pradagroup.com/en/group/history.html

Figure 3. Raf Simons Spring 2017 collection. Photography Virginia Arcaro. Image courtesy of dazeddigital.com. Retrieved from https://www.dewmagazine.com/raf-simons-spring-2017-menswear/

Figure 4. Raf Simons SS22 Collection. Runway images by Hype Beast. Retrieved from https://hypebeast.com/2021/9/raf-simons-spring-summer-2022-collection-paris-fashion-week-info

Figure 5. Prada ‘Possible Feelings’ campaign images A/W 21 By prada. https://www.selfridges.com/FR/en/features/articles/selfridges-loves/raf-simons-miuccia-prada-menswear-aw21/

Figure 6. Touch of crude SS 2023 collection runway images by Nicolas Winding Refn. Retrieved from https://www.prada.com/us/en/pradasphere/fashion-shows/2023/ss-womenswear.html

Figure 7. Prada SS23 collection show space by AMO. Retrieved from https://www.prada.com/us/en/pradasphere/fashion-shows/2023/ss-womenswear.html#

Figure 8. Prada cotton tank TOP by Prada. Retrieved from https://www.prada.com/gb/en/products.cotton_tank_top.UJT109_11ZM_F0009_S_222.html

Figure 9. Pleated Re-Nylon Skirt by Prada. Retrieved from https://www.prada.com/gb/en/women/ready_to_wear/skirts/products.Pleated_Re_Nylon_skirt.21H936_1WQ8_F0002_S_231.html