PRADA. OBYCZAJOWY FENOMEN
Sama Miuccia początkowo nie chciała projektować ubrań więc partner musiał ją do tego wielokrotnie nakłaniać. Zaskakująco, inaczej niż w modzie, w biznesie do tej pory nie lubi ryzyka. Gdyby to zależało od niej pewnie nadal zajmowałaby się wyłącznie galanterią. Na szczęście Bertelli, nie bacząc na jej protesty, w końcu zagroził, że wynajmą zewnętrznego projektanta, jeśli ona nie chce mieć udziału w ekspansji marki. To przekonało ją ostatecznie. Zawsze stanowczo podkreślała, że ‚nie ufa ludziom, którzy twierdzą, że ubranie nie jest ważne’. Dowiadujemy się, że wyjątkowa zdolność Prady do nieoczywistych połączeń czy czasami wręcz ukochanie brzydoty, stały się tym co rozsławiło i odróżniło ją od innych projektantów. Ona nie chciała by jej klientki chodziły roznegliżowane, ale by emanowały ukrytym, niemal dziewczęcym seksapealem. Typ nieśmiałej bibliotekarki, w koronkowych podkolanówkach, przekształciła w prawdziwy kasowy hit. Obecnie Pradowie to na rynku już instytucja, porównywalna do dawnych mecenasów sztuki. Organizują wystawy, wspierają młodych artystów nie tylko z dziedziny mody, ale przede wszystkim promują nowe nazwiska z architektury, dizajnu i malarstwa. Są kolekcjonerami sztuki.
THE PRADA LIFE
Apparently the devil wears Prada. I think I don’t need to be a devil to appreciate unusual charm of Miuccia Prada projects. They are just like she – unobvious and very conceptual. Not everybody likes them, so they divide tastes and evoke discussions. But for Prada it’s not a reason to worry, because like my professor of contemporary architecture used to say : ‚If something is liked by all it means that there is nothing special in it’. Miucca seems to create her designs according to this principle and her clothes are some kind of moral phenomenon.
Author of the book – Gian Luigi Paracchini tries to present a complete life history of the designer. Even as a child Miuccia wore herself differently than the rest, what proved her uncommon aesthetic sense. When she grew up she actively participated in the family business, based on selling high quality bags. However, meeting entrepreneurial Patrizio Bertellego in 1977 became a turning point in her career. At first like in a good novel the relationship began from a common dislike and swipes ( Prada accused him of copying her products) and turned into not only a business partnership, but also personal relationship. With completely different characters, they have created a fashion empire that we know today. Biography is a rich in facts story not only about the brand. It is primarily a record of extensive Prada – Beretelli actions.
At first Miuccia didn’t want to design clothes itself so Beretelli had to push her a litte. Surprisingly – unlike in the fashion – she still doesn’t like to take a risk in the field of business. If it depended on her she would probably work in gallantly to this day. Fortunately, regardless of her protests Beretelli threatened to hire a designer if she didn’t start to participate in the expansion of the brand. This convinced her eventually. She constantly emphasized that she ‚don’t trust people who say that clothing isn’t important‚. We learn that the unique ability to non-obvious connections or sometimes even love for ugliness became what glorified and marked out her designs from the others. She didn’t want her clients to get naked, but to emanated with hidden, almost girlish sexappeal. Shy librarian type of girl in lacy knee socks has evolved into a true blockbuster. Currently Prada is an institution, in the market compared to the old patrons of the arts. They organize exhibitions, supporting young artists (not only in the field of fashion but above all), promote new names in architecture, design and painting. They are collectors of art.
Paracchini is not a fashion journalist, which unfortunately can be felt in the pages of this biography. About fashion writes with obvious affection, but because of his unprofessional attitude sense of what is truly important to the reader happens to be lost. Devotes two chapters to the America’s Regatta Cup, which although are important for Bertelli (he was a captain in the struggle) in the marketing way of the brand are only a marginal episode. Clearly is too difficult for him to write with proper discernment about what is most important : Miuccia projects. He jokes that the concept of knee socks reminds him groups of young girls, not fashion accessories. Fortunately, good jurnalism workshop saves the book and the struggle goes maybe not smoothly, but at least unscathed. This is a book full of concrete and although it is sometimes written too dry, reporter style it contains a lot of valuable information. And those in the case of the mysterious Miuccia Prada who doesn’t like interviews are at a premium.