Anthony Vaccarello and Juergen Teller present a simple yet alluring sixties spirit campaign!
It blossomed in the spirit of Rive Gauche – YSL Rive Gauche. The new YSL campaign for Autumn/Winter 2020 orchestrated by the current artistic director of the house, Anthony Vaccarello, definitely plays with accents of photos that have become iconic. Like the founder of Yves Saint Laurent himself, posing flanked by his two muses, on the opening day of the famous Yves Saint Laurent Rive Gauche boutique revolutionized fashion for a long time!
It was in 1969 that Yves Saint Laurent revolutionized ready-to-wear. A less exaggerated vision of luxury that froze the YSL allure in everyone’s mind!
Captured by the revolutionary Juergen Teller – we owe him the revolution of fashion imagery operated in the 90s – the YSL campaign for the coming season holds well in this more anti-conformist spirit.
Camped by Grace Hartzel, the Saint Laurent woman exudes a bohemian spirit. The scarf tied in the hair is reminiscent of the one adored by Loulou de la Falaise! As for this ash blonde, and this stretched fringe, we can guess without hesitation the silhouette of Betty Catroux.
A photographic composition in black and white which freezes a little more the idea of a timeless and frankly dynamic style – YSL style.
“Saint Laurent is dangerous elegance” according to the current artistic director of the house, Anthony Vaccarello.
Paris, September 2019. The Trocadéro Gardens once again hosted the highly scripted fashion show of the Saint Laurent house. There, with the Eiffel Tower in the background, the YSL women set off in the pouring but poetic rain. All in legs, the goddesses of the night sported the iconic gimmicks initiated by Yves Saint Laurent in the last century. The Tuxedo, of course, but also and above all the hippie-glam inspiration!
It must be said that the revolution brought by Mr. Yves largely consisted in magnifying the gimmicks-fashion of a street then bolting of freedom. We thus find the turbans and the bohemian spirit Rive Gauche so worn by Loulou de la Falaise. But this time, it’s combined with other key YSL fashion effects that Anthony Vaccarello thinks about them. The bohemian dresses here embrace the see-through effects, when the iconic blouse of the house does not reappear on the shoulders of Freja Beha, in a version quite close to the original.
The emphasis on seventies opulence is alongside the very contemporary simplicity of elegantly low-cut tank tops, when they are not downright transparent! This is the whole point of such a house – to handle with elegance and refinement the sulphurous to distinction. As Anthony Vaccarello sums it up, “Saint Laurent is dangerous elegance.”
The esthete that was Christian Dior has long been inspired by the heritage of French fashion – notably from the time of the court. The bow, icon of Dior, takes from that.
The Duchess of Fontanges, Christian Dior And The Bow
As we know, Christian Dior’s fashion owes a lot to his childhood spent in Granville. There, where, the last traces of the Belle Epoque could be read on the dress of elegant women. A few rare photos of the Dior family show all the romanticism of 1900s fashion. However, one photo catches the eye – one of a young Christian Dior wearing a bow. This tie could have been harmless if, years later, it was not at the heart of Monsieur’s sewing.
Cultivated and inspired by French heritage, Dior has indeed drawn more than one tics of its couture in this repertoire. The knot, like the corolla line, is directly linked to his fascination with courtly pageantry. The Duchess of Fontanges, a fashion icon of the time, would therefore have inspired her with all the charm of knots. She herself left her name to posterity in what is called a fontange. In this iconography, Dior also identifies Marie Antoinette’s passion for bows and ribbons; of crazy delicacy.
In these bows, there is all the sophistication that Christian Dior wants, after the war, to give to modern women. “I like bows to finish a neckline, garnish a hat, close a belt. Small, big or huge, I like them in all styles and all materials” he once said.
Miss Dior And The Bow
However, before appearing in the very couture of the house of Dior, the knot was seen for the first time in an advertisement. An illustration by René Gruau for the launch of Miss Dior features a swan sailing delicately, a lovely black bow around its neck. Immediately, the knot came to symbolize Miss Dior.
Inspired by the design, it was in 1950 that Christian Dior decided to change the appearance of his bottle – now the houndstooth print engraved on the bottom of the bottle, a bow twists the appearance. The bottle as we know it today was born.
Between 1948 and 1949, the bow began to enter Monsieur’s seam. The New Look having already made its revolution with strict but fluid lines, the knot actually softened the Dior allure even more. With lily of the valley, the knot becomes essential to Christian Dior – feminine and frivolous, it most often signs cocktail dresses and evening gowns of unaffected preciousness.
The Bow In Dior Couture
It is nevertheless to Yves Saint Laurent that we owe the Dior bow for having become iconic. The young couturier, replacing Dior who had just died in 1957, quickly organized an even more romantic vision.
His vision of a feline and romantic woman finds in the bow an obvious signature – often used in combination with another emblem of the house, the bow becomes the “Noeud Dior”. Embroidery, flying lines, frills, ruffles and tumbling flowers magnify truly sublime drapery with bows.
Later, it was John Galliano and his theatrical, baroque vision, which was once again inspired by the court, which breathed new life into the Dior bow. Extravagance and provocation mingle and make the knot an icon exploring the extremes. Very daring, Galliano styled bows are cut in new materials and fabrics, such as plastic or denim.
In 2009, for Spring/Summer, Galliano dedicated an entire collection to the Dior bow. The result? A plethora of wildly sophisticated dresses, demonstrating the effectiveness of the Dior touch – the bows here are huge!
A year later, it was in jewelry that Victoire de Castellane made the bowone of the most desired trims. The Tralala ring celebrates the romantic spirit of Dior and above all its passion for bows. This time, it is entirely encrusted with diamonds that the bow serves a new symbolism: that of the love bond.
Succeeding the brilliant Galliano, Raf Simons and Maria Grazia Chuiri will both have a slightly more minimal vision, bringing the bow out of the silhouettes to punctuate the accessories. Moreover, it was in 2012 that it came to brighten up the Lady Dior icon for the first time.
In her search for the essential, in her journey into the codes and roots most dear to Dior, Maria Grazia Chiuri offers the bowto flourish on simple pieces. For the Haute Couture Spring/Summer 2017 collection, bows are wrapped in memorable shoes.
The romanticism of the Dior woman is something to recall, walking carried by the delicacy of the Dior Bow.
Her smoky eye and casual hair epitomize everything Bardot style. A style that comes first from an attitude – incandescent and spontaneous – which has set up a number of pieces in icons!
In the preface to the book which celebrates Le Style Bardot , by Henry-Jean Servat, Brigitte Bardot writes: “I dressed as I did my hair, as I liked it at the time. I wore elegant dresses from top designers, but also lovely unconventional bohemian outfits, things that I found by chance and that were becoming fashionable! I am proud to have created a style that never goes out of fashion since I have never been in fashion! “
Because this is the essence of the fashion icon that was Brigitte Bardot – the audacity of a woman against the grain of conventions, especially women.
Brigitte Bardot Style And Fashion Houses
If the Bardot style and first that of the effortless , the icon of the 60s and 70s was also dressed by the couturiers of his time.
Bardot and Les Couturiers
Bardot and the couturiers is first and foremost a story of the times. In the 1950s and 1960s, it was indeed to the house of Christian Dior and its New Look that the young Brigitte Bardot turned.
Discovered in 1949 in the front page of ELLE magazine, Brigitte Bardot often plays the role of models. That same year, for the house of Dior, she embodied a voluptuous and very elegant femininity in this dress signed by the hand of Monsieur. A dress called Miss Dior.
Because at the dawn of the 60s, it is in dresses and skirts with infinite ruffles that Brigitte Bardot likes to be seen. For ceremonies, galas or receptions in the four corners of the world, the woman who has not yet sent the conventions of the upper middle class to waltz shows herself in Dior creations.
A vermilion red dress, like in 1957 for a gala in Munich. It was not uncommon to see Brigitte Bardot around the legendary Dior boutique at 30 Avenue Montaigne.
The other favorite couturier of Brigitte Bardot is Pierre Balmain. With the Jolie Madame line , she relies on this outstanding couturier to embody some of these roles. As in 1956, in the film “La Mariee Est Trop Belle”.
But now, the thunderous 60s heralded the advent of a whole different Bardot. Figurehead of an emancipation which sent the codes of the bourgeoisie and the pieces that go with them waltz, Brigitte Bardot will carry new couturiers well in phase with their time – she becomes BB.
Having become a global phenomenon with the film “Et Dieu Créa la Femme” by Roger Vadim in 1956, Brigitte Bardot will embody rather than initiate the Youthquake.
This is how she will in turn feature couturiers of the caliber of Yves Saint Laurent, or Paco Rabanne. Paco Rabanne who, in 1966, tailor-made a dress for him from his favorite industrial material.
With Yves Saint Laurent, Bardot shares a taste for simple but emancipating pieces. The tuxedo , the pea coat and so many other icons of the house, Brigitte Bardot will make her iconic pieces. In 1968, she appears in Saint Laurent at the premiere of Shalako, in London.
But it is to the couturier Jean Bouquin that she entrusts her style from the mid-60s – a more groovy and hippie style that accompanies her from Saint Tropez to the cinema screens!
She writes: “The one who knew better than anyone how to dress me, to crumple me, to show off me, to disguise me, to strip me, to sexify me, to adorn me and to confuse me.” The unique, the only, the irreplaceable Jean Bouquin.
These sumptuous fabrics that he twirled around my body, goddess adornments, spider-like silks Jean covered me with “scarves-dresses”, Indian “mini-maxi”, Afghan chains, “pants- skirts”, in soft and tangy colors. He was the inventor of this extravagant so-called hippie fashion that I wore with so much joy, which stuck to my skin for so many years and which is now back in force in all the newspapers in my fashion!
The Vichy And Jacques Esterel
Speaking of its fashion precisely, it is to Brigitte Bardot and Jacques Esterel that we owe the enthronement of the gingham. And what an enthronement! Designated the most beautiful woman in the world, Brigitte Bardot has seen her actions be scrutinized and copied around the world.
Incarnation of the incandescent woman, free and out of category, her marriage in June 1959 to actor Jacques Charrier obviously made the front page of the press. But now, leaving the town hall that day, Bardot once again capsized the conventions with a very unconventional wedding dress.
Cut in a pink and white check print, topped with a small English lace Peter Pan collar, lined with a loose petticoat – Bardot’s wedding dress is then a gingham print dress. Until then reserved for tablecloths and other traditional table linens. Brigitte Bardot and Jacques Esterel have created a new aesthetic revolution.
The dress came from the workshops of the Faubourg Saint-Honoré of Jacques Esterel. He said that he wanted a piece as refined and daring as those of Marie-Antoinette. “I designed a dress that reminded me of the little shepherdesses of the 18th century.”
And if Bardot-style daring is now recognized around the world for having laid the foundations for a fashion and an attitude that has become the norm, it has not always been well received.
This Brigitte Bardot herself confided in one of them. “At the Elysee, among others, in 1967: invited by General de Gaulle to a reception of arts and letters, I arrived with my hair down, in trousers and military jacket of operetta with frogs. His wife couldn’t see me. “
Never mind, Brigitte Bardot had become BB all over the world. At the cinema, in 1963, in ‘Le Mépris’ by Jean-Luc Godard, she made the headband an icon of the 1960s. An icon of the modern style itself, since even today many of her pieces which passed to the era for stylistic daring have become timeless basics.
Above all for his street clothes that the Bardot style is anchored in the collective memory.
Bardot Style In The City
Thigh High Boots, Repetto And Bardot Collar
In the city surely more than on the screen, the Bardot style has established itself as the model to follow. Speaking of model precisely, before becoming one, Brigitte Bardot intended to become a principal dancer. Having trained as a ballet dancer at the Paris Opera, Brigitte Bardot inspired a ballerina who has become iconic.
It was at her request that Rose Repetto imagined the legendary BB ballerina, also called Cinderella. A ballerina that Bardot initially intended for her role in ‘Et Dieu Créa La Femme’, by Roger Vadim. A ballerina which is the first Repetto creation intended to be worn in everyday life. Bardot wore it well every day!
“She was the spark that started it. People wanted to have the same product as her. She has become a symbol of the emancipation of women. It broke with the codes of the time” declared Jean-Marc Gaucher, current CEO of Repetto.
In the same vein, it was Bardot’s adoration for wide-necked collars that imposed fashion, along with his name to this sensual line. Bardot collars were indeed the very attribute of the Bardot style – sensually revealing the neck and shoulders, they underlined the Bardot fiery without ever exaggerating it.
This is not the only attribute of the Bardot style to the city. On her, a simple t-shirt looked crazy. In fact, she was often seen simply dressed in jeans and a t-shirt – walking barefoot in the streets. A casual chic that finds, perhaps, an even more resounding echo in the thigh-high boots.
A true cultural phenomenon, Brigitte Bardot has popularized more than one piece. When Serge Gainsbourg wrote to her to see her perform the song Harley Davidson, he played it in thigh boots. But Bardot did not wait for Gainsbourg to put them on.
She appeared already dressed in these boots, real shoes of the female emancipation of the 60s! But it is really Brigitte Bardot’s Riviera style that has widely spread the idea of a woman who “doesn’t need anyone” to decide how much her body is exposed.
The Riviera Style At La Bardot
And this is what Brigitte Bardot left as a legacy to women around the world. Her Riviera style which, we can say, was sketched in 1953 in “Manina, La Fille Sans Voiles” by Willy Rozier.
Released in 1953, the film greatly contributed to democratizing the bikini. Because until then, on French, Italian or Spanish beaches, women saw themselves controlling the length of their swimsuits. Banned in 1949, it is gradually rehabilitated in the face of the enthusiasm caused by this film. Before Ursula Andress in “James Bond against Dr. No”, Brigitte Bardot had already imposed the bikini on the screen!
And in the city – accustomed to Saint Tropez since her childhood, Brigitte Bardot contributed to the advent of the small fishing village in high place of the jet-set. In 1956, she embodied all the ardor of the young girls of her time in “And God created woman”. The Riviera style was born.
Because, in the city as on screen, Brigitte Bardot has made corsair pants, sailor sweater and barefoot her iconic outfit for strolling through the Provençal village. By dint of stolen photos, or editorials, like the one made in Saint Tropez by Willy Rizzo, in 1958. Her eminently sensual silhouette in such simple pieces ended up making a School.
We can no longer imagine a holiday locker room without these essentials.
Finally, Brigitte Bardot remains a source of contemporary inspiration for fashion houses, girls and women around the world. Casual and casually glamorous, she embodies the emancipated woman in a mixture of sophistication, masculine-feminine and laissez-faire, all in all very French.
Andrea Della Valle, younger brother of Diego Della Valle, knew how to bring the taste of the sneaker to the taste of luxury, at a time when it was something quite different.
Andrea Della Valle, Hogan And Luxury Casual
Andrea Della Valle shares with is brother Diego Della Valle the craftsmanship of the family house as a heritage. And he says it himself, whether we are talking about Tod’s or the Hogan house, we first seek to convey the taste and passion for ancestral craftsmanship.
“We are the third generation: our company is not just a business for us, it represents our family tradition, our roots.”
Andrea Della Valle, The Visionary Of Casual Luxury
When Andrea Della Valle founded the Hogan house in the 1980s, it was with the idea of defending casual luxury. As a true visionary, he has managed to combine relaxation and exquisite leatherwork. And that is the Hogan house that embodies it.
It must be said that Andrea Della Valle inherited the same sense of observation and anticipation as her brother Diego Della Valle. His many trips to New York and the United States will somewhat put him on the path to the next aesthetic revolution to come. A revolution where it is no longer a question of radical liberation but of liberating the allure and elegance of too rigid shackles.
He says: “When Hogan was created in the 80’s the fashion world was changing and our brand was the first to launch the concept of luxury sneakers, a concept so relevant in fashion today.” And the concept that lies behind this idea of luxury basketball is none other than that of casual luxury.
This is undoubtedly why Hogan pieces quickly gained a timeless value, It is the heritage of the Tod’s group that Hogan was able to draw.
Andrea Della Valle has managed to link heritage and innovation around contemporary pieces because they are revolutionary. The Hogan clientele has never wavered since.
Cool, relaxed elegance is now the real DNA of the house founded by Andrea Della Valle.
Andrea Della Valle, The Man Behind Hogan Basketball
“Functional luxury: that’s what Hogan has always been. A philosophy that combines aesthetics and versatility with quality, which knows how to be formal in the city, in the office, and casual chic on weekends – in Hong Kong as in Milan, London, Shanghai, New York” confided Andrea Della Valle at the bend of an interview.
It was a 1986 that Hogan launched the “Traditional” sneaker. An aesthetic revolution.
Indeed, Andrea Della Valle is not wrong when he says: “We invented luxury sneakers.”
Inspired by cricket sneakers, the Hogan Traditional was designed for an urban lifestyle. The idea came to Andrea Della Valle while he was in New York. On the streets of Manhattan, he notices that men and women move from home to work in sports sneakers; then once at their destination, they trade them for town shoes or pumps.
Andrea Della Valle has the idea of a basketball sober and elegant, light but highly luxurious.
Rich in the craft initiated by his father and grandfather in the Marche region, Andrea Della Valle has been able to draw on a heritage in shoe making to inject it into a definitely contemporary piece. The workshops of the Tod’s group, in Brancadoro, were obviously put to contribution.
Since then, the Hogan sneaker continues to renew itself. Sometimes classic, sometimes daring, its designs forge this new idea of luxury, each season a little more free without ever losing any of its relaxed aura!
If Tod’s with its loafers the Gommino were already an icon at the time, Hogan was not slow to rise to the rank of essential – the luxury sneakers becoming an icon of a certain lifestyle. Urban and downright chic.
First in the luxury sneakers market, Hogan is without a doubt a house apart in the matter. It is the Hogan Interactive icons that best tell this story.
Hogan Interactive Icons, First Luxury Sneakers
The Vision Of Diego Della Valle
The emblematic CEO of Tod’s is assisted by his brother, Andrea Della Valle. It was he who had the idea in the 80s to launch a sneaker, but of luxury. After having traveled for the umpteenth time in the United States, he notices the habit of New Yorkers who go to work in sports basketball. Once in front of the offices, they swap their suits/basketball for a silhouette completed this time with shoes city.
It must be said that in the 80s, Diego Della Valle can assure full confidence in his visions, and those of his brother. This, since a decade earlier, it was once again by noticing the shoes of the pilots of a rally which Diego Della Valle attended in the United States, that the idea of the iconic Gommino came to him.
So, in 1986, in Manhattan, Andrea Della Valle was convinced of it. Basketball will prevail in the world of elegance. Like his brother before, he sends the raw idea to the family workshops in Brancadoro, in the Marche region. And as for the Gommino, the sneakers signed by the Tod’s workshops will set new luxury standards.
The Tod’s group thus founded Hogan and, from the first collection, it was the model in white canvas mounted on a light and inflated rubber sole that attracted attention. Called Hogan Interactive, we recognize these sneakers with the imposing H that stings the shoe. The icon is in the process of being enthroned.
The Iconics Hogan Interactive
We know the iconic H from the house of Hogan for having been the first luxury sneakers designed for city life. In 1986, the house of the Tod’s group, in fact innovated around a pair of sober but luxury sneakers. A clever blend of Italian refinement and practicality essential to urban life.
Canvas sneaker with its eight metal eyelets and its contrasting sole. Launched in 1997, strong and proud of its modern and sophisticated elegance, the iconic H sneaker from the house of Hogan is easily acclimated to style and quality. audacity of the time.
Inspired by the world of cricket, it is suitable for all circumstances. From days-off to unexpected trips, the Hogan quickly conquered its stripes as a sneaker icon.
Concise and precise, the H sneakers, designed as the first example of casual luxury, travel towards all styles with incredible versatility.
Through the seasons and inspirations, Hogan Interactive assures its status as an icon a little more.
Without a fashion show, the Tod’s company introduced its crafts in a video featuring its workshops, and the vision of Walter Chiapponi.
Tod’s Moccasin S/S 2021 Version
To introduce its S/S 2021 collection, the Tod’s house has chosen to anchor its point at the heart of its emblematic know-how. In a video to watch here , the current artistic director of the house highlights the talent of his workshops, and his vision for the S/S 2021 season.
The house of Diego de la Valle center, and his remarks on ever more exquisite pieces, ever more precise. And the absolute icon of the house of Tod’s, the Gommino moccasin, obviously wins by being reinvented.
In innovative materials, here it is presented in a fascinating twist mixing with the craftsmanship so specific to the Tod’s house, surprising colors, and an all Italian elegance.
The T signature, somewhat absent in recent seasons, came back to stitch a belt in a vein that is as luxurious as ever, ever so detached. The ideal accessory for the summer season, the Gommino stands out once again for its lightness and the muted luxury of its craftsmanship.
A strong piece from the Tod’s universe which is best described here, but which we once again find worn with allure for both Men and Women Tod’s.
What to balance the silhouettes imagined by Walter Chiapponi. Tod’s silhouettes from Spring/Summer 2021 which exudes the casual elegance specific to the house – silhouettes cut in its favorite materials, tinted with sparkling colors and ultimately cool!
Walter Chiapponi signed the continuity of a refined but uninhibited vision of elegance – punctuated by a harmony where exquisite materials sign an easygoing style – Dolce Vita way.
Pomellato introduces ‘La Gioia’, the first fine jewelry collection that enchants the iconic codes of the Italian house with sensual volumes and unusual gems.
Pomellato, The First Fine Jewelry Collection
Since its founding by Pino Rabolini in 1967 in Milan, Pomellato has never ceased to shake up the sometimes conservative codes of jewelry. With its daring attire, studded with colorful gems and damn splendid, the Pomellato house is recognized for having set new standards in the work of gold and stones.
In 2020, here is “La Gioia”, the first fine jewelry collection from the most unique silversmith in Milan.
With “La Gioia”, Pomellato Enters Fine Jewelry
The Pomellato house is iconic for its gold pieces with particular curves, and its free and shimmering colors. The Nudo rings or the little Orsetto capture all the spirit.
Powerful, creative and daring, Pomellato jewels this time distill their faticiousness in even more magnified versions!
Entering into fine jewelry, Pomellato, on the contrary, did not abandon their nonconformism.
“La Gioia by Pomellato truly expresses who we are, the deep identity of Pomellato who is not an elitist jeweler. This collection reflects a form of Italian art de vivre where we do not distinguish between everyday jewelry and ceremonial jewelry, between those we wear and those we leave to the trunk. In Italy, the beautiful is not scary, it sublimates life!” said Sabina Belli, CEO of the house.
With around 165 pieces that are as many necklaces, rings, bracelets and earrings, La Gioia introduces a sublimated vision of Pomellato DNA. The love of color and unusual gems; the taste of curb chains and XXL links – but above all, the irresistible appeal of irregular gem-set, perfectly mastered.
Cut in the large workshop of Casa Pomellato, the pieces of the fine jewelry collection of the house reveals all that the impertinence of Pomellato is exceptional. When it is coupled with such craftsmanship, it can only give birth to even more frenzied icons!
The iconic Nudo rings find a more sophisticated aura here – the Tango chains and famous hard stones of Ritratto win to be enchanted in a craftsmanship of excellence that can only serve the sparkling imagination of Pomellato.
The first Pomellato fine jewelry collection finally marks the meeting between the chic and the joyful Pomellato. Creations to be worn in a lively and radiant way! This is fine jewelry by Pomellato: inevitably flamboyant and sublime.
Miuccia Prada signs a radical collection for S/S 2021. A collection where Prada revived the minimalism and the purity of a radically chic but functional wardrobe.
The Prada S / S 2021 Collection
Due to the global pandemic, Prada had to adapt to a new format to present its S/S 2021 collection. It is in a film lasting 11 minutes that they were able to distill their vision for next season. But instead of an individual vision, Miuccia Prada preferred to invite 5 artists to each imagine a filmed act from this collection.
The film, entitled ‘The Fashion Show That Never Happened’, thus presents a multiple but organic vision around the idea of clothing as practical and authentic. Sublime but functional. The essence of Prada style in short.
The film, to watch here , intersects the visions of Terence Nance, Joanna Piotrowska, Martine Syms, Juergen Teller and Willy Vanderperre on the work of Miuccia Prada.
What a job! Signing a S/S 2021 collection as a return to the roots of the Prada man, the Prada wardrobe aims first of all to introduce impeccable pieces where the graphic line and exquisite materials define a look dominated by simplicity. A collection like a return to the purity and essentials of the work of a designer.
“The clothes in the collection are simple – but with the idea that simplicity is a remedy for unnecessary complication. We are going through a period that requires rigor, it is a time for reflection. What do we do, what is fashion for, why are we here? How can fashion serve a community?” asks Miuccia Prada.
And in the key pieces of the Prada S/S 2021 wardrobe, it is once again the Pocono that revives the iconic allure of the house. On an impeccably tailored suit, the Pocono represents the specific Prada touch – between functionality and inventiveness a bit avant-garde, it allures the Prada man with a futuristic zest.
Another icon of the house, the Linea Rossa line in turn reinforces the Prada approach for next season around a futuristic aesthetic with 60’s accents. All this, again, in raw shades flirting with powder pink, white and intense black.
What serve a little more the radical purpose of Miuccia Prada. She says it again: “I think our job as fashion designers is to create clothes for people. That’s really the value of our work – to create beautiful, smart clothes. This season, we focused on this idea: we are talking about clothes, to give value to the pieces.”
Initiated in the 1980s, the Pocono has in turn brought Prada into the contemporary era, while projecting fashion into the era of it-bags.
Prada, A House Of Perpetual Reinvention
When in 1978, Miuccia Prada inherited the house founded by her grandfather, she did not hesitate to put it on the path to modernization. Taking fashion with it to unexplored territories.
“I have always wanted to mix industrial ways of producing things with past heritage, with artisan tradition.”
The Bag That Changed Maison Prada
It was in 1984 that Miuccia Prada revolutionized the house, fashion and leather goods. The secret of this revolution is a bag. The Vela bag, more exactly. A style of backpack available initially in black and brown, which happens to be worked in a nylon specially designed and imagined by Prada. A water resistant nylon called Pocono.
Marked with a distinctive metallic Prada seal, and not with its logo. The bag clashes with the very history of the Prada house which, it must be remembered, was the leather goods manufacturer for the Italian royal family.
A luxury bag cut in nylon therefore, it took the boldness of Prada’s pretty ugly concept to impose it on the world. Because the Vela is very different from the shiny and bling bags of the time.
Nylon as a material then used for military tents, Prada had just brought fashion into the era of it-bags. And this, from a bag that redefines the very terms of luxury.
The Vela would become the best-selling bag of an era, and signaled the Prada turn for the avant-garde!
“Suddenly, nylon seemed more intriguing to me than Haute Couture fabrics. I decided to introduce him to the podium and he challenged, even changed, the traditional and conservative idea of luxury. I’m still obsessed with it,” says Miuccia Prada years later.
And it is true that on the podium, the Pocono has never gone unnoticed.
The Pocono, Iconic Prada Material
For the fall 1994 collection, Miuccia Prada took the Pocono out of the Vela bag to spread all the cachet in quite luxurious silhouettes.
It is this collection that spread the concept of ugly chic. Jackets and cardigans, dresses and skirt-tailored sets. This collection was enough to make Pocono the iconic material of Prada. An ingenious and stunning material which marvelously marries the diversion of the codes of the upper bourgeoisie.
The modern history of Prada is undoubtedly linked to that of Nylon Pocono. It was in 1980 that she had the idea of developing this material a bit less snobbish, and less off-putting than high quality leather. Durable, waterproof, practical and daring. Critics salute; the fashion world is in turmoil – and the Pocono has become essential.
Its message too – today we divert the materials and conventions of luxury. At the origin of the monochrome look, the Pocono thus accompanied minimalism, both in the cut and in the monochrome. A minimalism born in response to the maximalism of the 80s.
And we clearly notice the quirky but timeless elegance of the Pocono. For Fall/Winter 2018/19, Prada praised this key material that has established the house in the pantheon of fashion.
“I have a passion for nylon – to death. Nylon is the emblem of an industrial aspect and when we started to make it, it was completely new ”explained Miuccia Prada backstage at her men’s show in January 2019.
Clean lines, luxurious fabrics and avant-garde athleisure Prada. Prada’s story is also that of Pocono and Linea Rossa.
A material that has made Prada a highly coveted name and style.