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Seditious Simplicity - Prada Resort 2020

November 26, 2019 9:43

An ode to the preciousness of everyday life, an expression of the lifestyle, a part of the here and now. Reality. The Prada Resort 2020 campaign is all about the beauty of life, reality and today.

Since the Prada Resort collection proposes an alternative view of the classical, namely the concept of simplicity as rebellion, the extraordinary in the ordinary, the new in the familiar, this is where a new perspective and another aspect of the term "fashion advertising" can be found. The Prada 2020 Resort Campaign is no longer a static, distanced image that is viewed while browsing pages or through the computer screen. It is integrated into everyday life and breaks through traditional ways by eliminating these barriers. It's going on idiosyncratically, not just on the pages of magazines, but as something that needs to be experienced and lived. Captivating paper images put together fragrant flower bouquets of florists in the most important fashion cities around the world - London, Milan, Moscow, New York, Paris, Shanghai, Tokyo - in unexpected, unknown and unpredictable locations.

Everyday places are filled with beauty, romance, poetry and history.

The two photographers selected by Prada to document this collection are known for their contrasting but equally powerful depictions of personalities and humanity. New York-based Drew Vickers is known internationally for composed, serene and elegant portraits that sensitively emphasize the gentle and delicate human emotions in his motifs. The photographs reflect both the feeling of the collection - a portrait of fashion - and those portrayed. Prada has decided to juxtapose them with the work of Japanese photographer Keizo Kitajima, known since the 1970s for his real and dynamic street photography.


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The employees in the boutiques, in the design studio and in the backstage area at fashion shows wear white lab coats, as was common in the ateliers of the great couturiers, e.g. Christian Dior, and is still common today. The fashion shows for the high-priced fashion sometimes took place in the context of the Paris Prêt-à-porter shows in unconventional locations, up to shabby surroundings (construction site, metro station, dining room of the Salvation Army etc.). The boutiques are kept in plain white and gray. Margiela originally selected unspectacular locations such as a residential area in Tokyo and did not publish the addresses of the boutiques in order to require the customer to make an effort to find the store at all. The first Margiela store opened in Tokyo in 2000 and the first European boutique was inaugurated in Brussels in 2002. In 2008, a boutique opened in a basement on the edge of Munich's Maximilianstrasse. This was followed by participation in numerous exhibitions, including "Radical Fashion", which was shown in 2001 at the V&A Museum in London. In 2010 there were 36 own stores worldwide.  In 2015 there were over 50 stores worldwide, including boutiques, that only carry the MM6 collection.

The company followed a very restrictive communication policy. The designer can neither be photographed nor interviewed. Only his creations should speak for themselves and the designs should be perceived as the overall performance of the team. That's why the team always shows up in white doctor's coats after the fashion shows - nobody should stand out.

By recycling old fashion, separating, recoloring, reversing seams and zippers, both the origin and the artificial of the art of tailoring are shown. Margiela puts together what doesn't belong together: by hand, jeans turn into skirts, old army socks become pullovers. Baptized by the press as deconstructivism, this current is defined by an abrupt collision of different materials, which at first glance appear inharmonic in the sense of conventional viewing habits. Margiela herself rejects the term "deconstructivism". He resurrected clothes in a new form, he told ELLE in 1991.

Margiela was the unofficial 7th member of "Antwerp 6", a generation of fashion designers who all completed their training at the Royal Academy of Arts between 1980-1981 and shaped the "style of the Belgians". However, it does not belong to the actual group, but it became known in a similar period.

The Japanese "Street Magazine" dedicated two special editions to "Maison Martin Margiela", which were published in book form in 1999. Nicolas Ghesquière (Balenciaga) is a big fan of Maison Martin Margiela.

In July 2014, fashion critic Suzy Menkes exposed Matthieu Blazy via Instagram as Head of Design, after which he deleted his Instagram account and changed his profile in a career network. He left the company on October 1, 2014.

To this day, Margiela pieces, especially in the fashion industry and all fashion lovers, belong to the sanctuaries in every repertoire and archive. Getting vintage pieces from other designers may be possible, but Maison Martin Marginal Archives are a real hunt and that says it all about this art.