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365 FW 2018 Man

Observia film

Observia FW18 man

About Observia

想像中的現實與對自我的幻想。最新一章《365》展示 Prada 2018 秋冬男裝系列,主題圍繞幻境與夢境、想像與現實等概念。男裝系列由荷李活新星重新演繹,在 Prada 2018 秋冬男裝展中蛻變重生。是次時裝展於「Prada Warehouse」舉行,一個現實中充滿幻想與夢幻之地。

此倉庫佈滿各種不同之物,如標示了過往系列含糊不清的符號的方盒和木箱,表現出 Prada 的多樣性。此企劃由三位年輕演員 Joe Alwyn、Nick Robinson 和 Algee Smith,以及演員兼導演的 Paul Dano 擔綱,這些主角除了探索 Prada 的多樣性,也展現了他們的多重身份。

試圖探討雙重角色,包括演員本身的不同身份,以及在這虛構環境中所喚起的內在自我,由 Willy Vanderperre 掌鏡的黑白肖像,將演員的形象展示在「Prada Warehouse」中。經探討後的一致性與個人特質,展現四位主角獨特的個性,在虛幻中展現真實。

Willy Vanderperre 掌鏡
模特兒:Joe Alwyn、Paul Dano、Nick Robinson、Algee Smith

Prada Invites

For the very first time, PRADA has invited four celebrated creative minds to each work on a unique item. For this occasion, the focus is shifted to the industrial side of the multi-faceted PRADA identity.

Ronan & Erwan Bouroullec, Konstantin Grcic, Herzog & de Meuron and Rem Koolhaas have each worked with the simple brief of creating an item using the Black Nylon fabric, the Prada Icon.

‘PRADA Invites’ manifests four radically different approaches that investigate the poetic, practical, technical and aesthetic aspect of nylon. 

Ronan & Erwan Bouroullec

“I’ve always liked the profiles of people – architects, painters and students – walking around with art folders; the movement of that rectangle, its clear-cut, fixed geometry contrasting with the moving bodies. This project takes that geometry and instils it in a shoulder bag, with its inside gusset, low fastening, elastic bands and eyelet, and use of a single colour, which produces a subtle graphical playfulness.”

Ronan Bouroullec

Konstantin Grcic

“The key reference for my proposal is the fishing vest, representing the idea of a bag (which is what the nylon material has been primarily used for) as a garment. My first thought was to recreate Joseph Beuys’ famous fishing vest in Prada Black Nylon. Later, I worked on two models, which interpret the theme in a more abstract way: Apron and Hood.”

Konstantin Grcic

Herzog & de Meuron

Language has lost its power, its power to persuade people with arguments or to enchant them with the poetry of words. Language was a weapon of enlightenment, used to construct arguments and meaning, and to probe truths – or at least a potential, critical truth.

Language could be refuted by language; arguments by other arguments. Working from inside out, critical language aimed to revolutionize the bourgeois and capitalist social order by liberating it from the conservative, repressive values of the past. 

Now language has forfeited its enlightening competence. It has lost its seductive power. There is nothing new, nothing critical, nothing true in language that cannot be turned into its opposite and claimed to be equally true. Language has become an empty vehicle of information. Truths, half-truths, and untruths rub shoulders as equals in our so-called information society. Language does not produce authentic content or deeper meaning because it has been deprived of credibility in embodying these values. 

Since it is no longer trustworthy, it has become impotent, reduced, fragmented, or relegated to the realm of academia.

Text is perceived as design, pattern, or decoration, comparable to the once potent symbols and signs, now tattooed onto human bodies without number. Language, words, entire passages as ornamental tattoos? The language that we encounter here is like an archaeological find, as fascinating to us as ancient scrolls or coins because we sense that its time is running out.

Herzog & de Meuron

Rem Koolhaas

In 1984, Prada was singlehandedly responsible for the return of the backpack. The backpack, extremely useful when exploring nature, became the preferred urban personal goods bag. In nature, the backpack contains sweaters, plastic raincoats, bananas, drinks, socks…All compressed in a single shapeless volume by the outline of the backpack. The shape of the backpack has the convenience of flexibility, the location – the back – the huge inconvenience that it is fundamentally inaccessibleto the wearer. To get access, you have to take it off – then spent time to extract what you are looking for from the interior dump that is the rucksack.

Today, waiting in line for a typical airport check of carry-on luggage, it is surprising to note how the shapeless container of the backpack, is inhabited by strict, orthogonal devices like the laptop, the charger, books, toilet bag, and how awkward it is to liberate these objects from their containment in the backpack – ropes, straps, velcro – all entry points seem mismatched and underdimensioned…

This project proposes a reinterpretation of the backpack, more suitable to the contemporary urban citizen. It is carried on the front; its contents are at any time accessible to the wearer. It is divided in compartments, dimensioned to accommodate the devices that enable modern life to unfold, easily unpacked through convenient openings.

The frontal position gives a more intimate sense of ownership – a better control of movement, avoiding the chain of oblivious collisions that the backpack inadvertently generates.

Rem Koolhaas

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