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Campaigns

365 FW 2018 Man

Observia film

Observia FW18 man

About Observia

想像上のリアリティ:自分自身のファンタジー。広告キャンペーンプロジェクト「365」の新たな一面として、幻想と夢、想像と現実がコンセプトとなったプラダ2018年秋冬メンズコレクションの広告キャンペーンが発表されました。ハリウッド俳優のニューウェーブによってメンズコレクションに新しい命が吹き込まれました。プラダ2018年秋冬メンズファッションショーが行われたファンタジックな「プラダ ウェアハウス」は、人が存在しながらも、妄想や蜃気楼のような場所です。

この倉庫には、様々な意味に捉えられる魅惑的なボックスと木枠が収められ、過去のプラダのコレクションから受け継がれたシンボルにより区画されています。解釈の多様性を語るアイデンティティに満ちた空間です。ジョー・アルウィン、ニック・ロビンソン、アルジー・スミスの3人の若手俳優と俳優兼監督のポール・ダノ。主人公達は、複数の顔を持つプラダのアイデンティティと彼ら自身のアイデンティティを見出します。

架空の環境の中で俳優が見せる自分自身と役柄の2つの役割を探求しながら、キャンペーンは「プラダ ウェアハウス」に存在する俳優のイメージと、ウィリー・ヴァンデルペールが撮影したモノクロのポートレートとを並列させています。均一性と個性というコンセプトを探りながら、4人の主人公それぞれの明確なパーソナリティが光輝き、真実をイリュージョンへと導きます。

 

写真と映画:ウィリー・ヴァンデルペール
モデル:ジョー・アルウィン、ポール・ダノ、ニック・ロビンソン、アルジー・スミス

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