One of the most prominent features of the Prada New York Epicenter is the unobstructed sixty-meter north wall, a full city block in length. From the earliest designs, OMA planned the wall as a site for temporary wallpapers. Prada and New York design studio 2x4 develop treatments designed to inject new content into the store at regular intervals. The theme and colors of the wallpaper change with the seasons, providing both variety and an element of temporality.
Between the thing, and the symbol for the thing, falls the shadow: extrusions of two dimensional logos derived for the FW 2018 collection form an uncanny, seemingly empty, city of signs.
A collision of supple flesh and unyielding iron infrastructure confused by visual disruptions that merge the hard and the soft.
The wall as site for broadcast. A single surface shingled with posters and polaroids: a city of women, step and repeat.
Opaque women’s silhouettes overlay and interrupt a vibrant conversation creating a new moment: mute and contemplative.
Backlit film stills and cinematic frames form a disjointed narrative of discontinuous elements: an intertwined, fragmented conversation in color and light.
Silhouettes from the F/W'16 campaign are atomized utilizing a wildly eclectic library of objects that range from the specific – Prada products such as keys, books, and shooting stars – to the random – geometric forms, flowers, leaves, and feathers.
Anchored by fragments of face, body, and garment, the bodies decompose and reconstitute tapping into a common stream of elements that trails across the full expanse of the wall.
An encounter between hard and soft, figure and ground, body and drape. An undulating landscape of color, shadow, curves and geometries that disturbs the planar wall surface.
An intergalactic empire, accelerated to hyperspeed, visible through familiar windows and doorways, offering glimpses into a distant future.
Inspired by the architectural setting of the FW 15 fashion show and pulp sci-fi landscape imagery, Galactic Empire comprises a series of adjoining rooms that open onto alien desertscapes, unknown moons, and distant galaxies
Multi-point perspectives, drawn in black industrial duct tape over the blurred portraits of the existing Myopia wallpaper, break the 2 dimensional plane of the Epicenter wall: hard edged rationalism piercing pastel miasma.
The wall is investigated through the manipulation of focal length. Huge portraits waver in and out of sharp focus depending on the relative approximation to the surface plane. The blurriness suggests a deep space into which the figures recede creating a vague and indistinct border to the space.
The overall, slightly psychedelic palette relates to images drawn from the concurrent campaign.
From cool, hard concrete, a garden blooms: in this case a contrasting floral garland collage derived from the canvases of the Old Masters. The underlying wallpaper is festooned with holiday flowers
Inspired by the Fall/Winter 2014 advertising campaign, Brutalista is a photo collage of fragments from notable mid-20th century buildings composed in such a way as to contradict the real geometries and perspectives of the space.
The omnipresent concrete creates a uniform backdrop against which the collection stand out in vivid points of intense color.
The wallpaper for Spring/Summer 2014 is derived from In the Heart of the Multitude, a special project developed for the women's fashion show in Milan. Prada invited muralists Miles “El Mac” MacGregor, Mesa, Gabriel Specter, and Stinkfish, and illustrators Jeanne Detallante and Pierre Mornet,
to engage themes of femininity, representation and power directly on the walls of the show space. The portraits represent the multiplicity of guises that women assume in the course of a day, or a lifetime, mirroring the essential modality of fashion.
Prada icons are re-composed as a gleaming salon-noir in glossy black — the chromatic substrate of luxury – shot through with an iridescent sheen,
somewhere between crude oil and polished onyx, that emits an otherworldly glow from end to end.
In celebration of the première of director Baz Luhrmann's film adaption of F. Scott Fitzgerald's novel The Great Gatsby, Gatsby's Party served as the backdrop of an exhibition of costumes designed by Catherine Martin and Miuccia Prada for the film.
The image is a montage comprised of multiple film stills from Luhrmann's elaborately-staged extravaganza featuring the costumes worn, in various states of dishabille, by the partygoers at Gatsby's mansion.
The reclining nude -- staple of every form from the classical painting to the centerfold to the suntan-lotion billboard -- makes an extra-large appearance on Broadway,
stretching over 200 feet from fingertip to toe. The simple act of enlargement disintegrates the continuity of the form rendering the body into a landscape of flesh.
A collage of monumental spaces, modern and otherwise, composed primarily from photographs by Luca Zanier of political chambers worldwide. The grand spaces exhibit subtle colors and abstracted
gestures suggestive of their singular eras and trace the evolution of ornament from the lavish to the abstract.
In celebration of "Schiaparelli and Prada: Impossible Conversations" at the Metropolitan Museum in New York, Soft Opening compliments special window displayscomposed by Vogue Creative Director Grace Coddington,
and features images ofclassic Prada directed by Coddington and photographer Steven Meisel seductively tucked behind swathes of red velvet curtain.
If the perfect mirror is the essential element of the fashion boutique, the chrome surface of the automobile is its street-wise cousin. The world reflected in the bumper is transformed into visual riot, but what it lacks in veracity it makes up in dynamism.
Mirroring Prada's SS12 collection, Chromo is an imperfect simulation of the urban environment as captured in gleaming metallic.
Inspired by the illustrations adorning classic bodice-rippers and pulp fiction paperbacks, Stain features super-sized close-cropped watercolor portraits of Prada models in a swirl of color that borders on the lurid.
The collage is comprised of fragments of original paintings by illustrator Marcela Gutierrez recombined in a full-wall composition.
Drawing from the inspirations for the SS11 collection - The Three Caballeros, thetheatrical sets of Carmen Miranda and the art deco movie posters of Josephine Baker - Caryatides is compose of columns, caryatids, and crests set against a backdrop of Baroqu landscape paintings.
Elements from 17th-century still life paintings, art deco portraits, architectural ornamentation, and the SS11 collection come together to clad statuesque Prada modelsand to form heraldic shields, creating modern emblems of capitalism, grandeur, and classicism.
Inspired by Angela Lindvall's performance bof "Fever", and vaguely referencing classic jazz LP jackets, Almost Blue is a syncopated composition of image, form and typography.
Based on AMO's design for the Donna fashion show, and inspired by L'AnnÈe derniËre ‡ Marienbad, the 1961 film by Alain Resnais, Enfilade creates a series of ambiguous spaces that branch off from the main corridor of the epicenter. A receding series of
adjoining rooms are just visible through a number of ornate doorways suggesting the disorientating shifts of time and location that mark Resnais's evocative vision.
Referencing the classicb salon-style hanging of historic galleries, "New Masters" is composed of 100 paintings on canvas mounted directly on the Epicenter wall.
Depicting a landscape of flesh and vegetation, the original reproductions painted by young artists in China, create a recombinant image of overlapping fragments drawn from familiar old master paintings.
While the previous wallpaper experimented with the illusion of depth, No Relief adds real dimension to the wall using an impasto application of raw plaster. But unlike bas relief, wherein the 3-d form is realized against
a flat background, this effect is created by erasing parts of the printed images - both contemporary images of the collection andfragments of ancient sculpture - by dimensionalizing the background and leavin the foreground flat.
The Epicenter wallpaper project is an exercise in un-contextualization: The image plays against the architecture of the space. In this iteration, Annex, the wallpaper is hyper-contextual, the design refers
specifically to the design of the space, reconfiguring the architectural gestures into a highly distorted trompe l'oeil.
Designed in conjunction with the SS/08 Donna Show, Florid represents the somewhat perverse intersection between Hieronymus Bosch andAubrey Beardsley.
The image depicts an intense landscape of man-eating flowers, dragons, hybrid creatures and eerie fairies.
Damien Hirst agreed to design the wallpaper on the north wall of the Epicenter, extending the length between Broadway and Mercer Street.
The wallpaper features vskulls from the band The Hoursí cover, whichDamien Hirst designed. It was on view to thepublic starting from late August to the beginning of September.
From time to time some installations at the Broadway epicenter modify existing wallpaper. Such is the case with Notorious Women: Masked. A temporary installation designed for
Summer 2007, the portraits of the women from the previous installation were rendered clandestine with brightly colored, inappropriately romantic, summer patterns.
Prada uses the portraits of 10 notorious women, known both for their skill and their power. The portraits are done as classical oil paintings, by the artist Eric White, and then blown up to vast scale.
The 10 notorious women are Maria Callas, Elizabeth I, Nefertiti, Kiki de Montparnasse, Camille Claudel, Mata Hari, Simone de Beauvoir, Catherine the Great, Jane Austen, and Billie Holiday.
The wallpaper and store fixture wraps depict a brand manual for a fictional entity, the Guilt Corporation. The installation creates a sterile,
bureaucratic identity for that most human of emotions, and creates a striking backdrop for Prada's lush products.
The Futurama wallpaper and retail displays depicted a lurid landscape populated by strange super-human scale automatons who frolic nakedly through a hyper-colored edenic landscape.
The third wallpaper extended the pixelation theme. This time the image was made up of thousands of people in a North Korean stadium holding up colored cards to compose the likeness of a string of joyous women.
Rather than introducing a new theme right away, the secon wallpaper was simply a cancellation of the first. A huge scale moire of dots was painted directly on the surface.
The first wallpaper designed for the opening featured a gigantic floral pattern made up of extremely low-resolution fragments of film stills some banal, some semi-pornographic - derived from the short films playing on the ubiquitous displays.