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Milan 2013: architect Rem Koolhaas has unveiled a collection of rotating, sliding and motorised furniture for US furniture brand Knoll (+ slideshow).
Designed by Koolhaas’ architecture studio OMA, the Tools for Life collection includes a table with a top that rises and falls at the press of a button, a chair that can be adjusted in the same way and a counter made of three swivelling stacked blocks (above and below).
Article source: http://www.dezeen.com/2013/04/08/tools-for-life-furniture-by-oma-for-knoll-at-prada-milan/
Keep the first look—blue sweater, untucked red shirt, houndstooth slacks—in mind while you reflect on Miuccia Prada’s comment that she considered today’s presentation “one of the most sophisticated I’ve ever done.” Surely she was having us on. If that look was sophisticated, then Harry Styles is the new Cary Grant. But wait. As Miuccia went on to explain herself, her logic became clear. “Simplicity is so difficult. To make perfect something that is normal and classic is much harder.” And make no mistake, Prada was in pursuit of perfection this season. The perfect sweater, the perfect shirt, the perfect fabric. It took nearly three months just to get right the perfect shades of red, blue, and yellow. “You want to wear everything,” Miuccia enthused, “and that is really what fashion is.”
The word “normal” stands out there. These were, on the whole, distinctly normal clothes, worn in a distinctly casual way by distinctly normal young men, with a few recognizable professionals and some older faces thrown in for good measure. “Normality can be provocative,” Miuccia insisted. “Banality is the reality of life. I don’t like a fantasy about life.” But don’t forget that this “normality,” in all its checked-shirt-camel-coated innocence, had been studiously crafted by highly sophisticated minds. There was an element of signature Prada perversity in that.
Innocence, perversity, banality: Head back to the collection armed with that gleesome threesome and another vision—a peculiar hybrid of the fifties and the nineties—began to insinuate itself. The velvet-trimmed coat collars, the ruffled shirts, the drainpipes, and the thick-soled brogues had a Teddy Boy tang. But it was mixed in with something that felt like Prada menswear from an earlier time. The clue was the nudge of knowingness that often makes you feel with Prada that you might be missing the point. Never mind. “In six months, we will say the opposite,” said Miuccia, all too versed in the sui generis rhythms of the fashion industry.
Articles source: http://www.style.com/fashionshows/review/F2013MEN-PRADA
While we’re still not entirely convinced that The Great Gatsby is ever actually going to be released (we’ve been hearing about it for over two years now), we’re getting hopeful.
The latest evidence that it’s coming soon? Vogue Australia’s May issue features Karlie Kloss decked out in looks designed by Miuccia Prada and Tiffany and Co. for the movie.
The issue also includes an interview with Miuccia Prada herself, in which she dishes about the wardrobe collab with Gatsby director Baz Luhrmann and his wife, costume designer Catherine Martin. The cover was shot by Arthur Elgort.
We dug around and think the dress Kloss is wearing looks an awful lot like the one Mulligan wears in the film, but with a slightly different bow placement–it may even be the same dress turned around backwards. Mulligan told American Vogue of the Prada costumes that one in particular had “this extraordinary weight to it” that was “like wearing chain mail or armor.” Could this be it? It certainly looks heavy.
We’re ready to see the film now, movie powers-that-be. Thank you.
Article source: http://fashionista.com/2013/04/karlie-kloss-wears-prada-designed-dresses-from-the-great-gatsby-in-vogue/
Those of us at Prada’s Fall ’13 menswear show in Milan this January walked in to find a fully furnished apartment, what Miuccia Prada called the “ideal house.” Its furnishings came courtesy of her longtime collaborator, Dutch architect Rem Koolhaas and his firm OMA, which also works on Prada’s stores (or in company parlance, epicenters). OMA’s new collection inched nearer to reality at Milan’s Salone del Mobile this week, where OMA’s partner in the venture, the design company Knoll, unveiled the new range, dubbed Tools for Life. The Prada furnishings, it turns out, were prototypes; nothing that baby pink or plastic spiked seems likely to make it to production. But no doubt there are Prada obsessives out there who will be glad to replicate Mrs. P’s ideal house in their own. Prada, for her part, didn’t collaborate on the line: This does not mark the debut of Prada Casa. But she did lend OMA and Knoll the Prada HQ on Via Fogazzaro for their press conference yesterday.
You can read the full article here