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Anita is wearing a wool crepe glaze with contrasting collar and suede boots by MIU MIU, Fall/Winter 2011

Miuccia Prada on the Changing Mode Industry and Importance of Bravery

Alongside an interview with Susannah Frankel, the designer has, for the kickoff time, pulled from the Miu Miu annal to dress a cast of powerfully individual young people, who are photographed by Jamie Hawkesworth and styled past Katie Shillingford

Pb Image Anita is wearing a wool crepe coat with contrasting collar and suede boots past MIU MIU, Autumn/Winter 2011

This article is taken from the Fall/Winter 2021 issue of Some other Mag.

If Prada is the elder statesman in the empire Miuccia Prada presides over with her married man, Patrizio Bertelli, Miu Miu is its intuitive, impulsive counterpart. Titled after the affectionate moniker by which the designer has been known past her closest friends and family unit since she was a child, Miu Miu has the sensibility of sibling rebellion. Each bears an echo of the other: Miu Miu's intellect is light-hearted compared to Prada's heavyweight approach; Prada questions luxury, whereas Miu Miu toys with its trappings. While also profoundly radical, Prada is more serious, the public face of Miuccia Prada and indeed the family unit dynasty – carrying the name of her mother, Luisa, who ran the company in one case her own father, Prada'south founder Mario Prada, stepped down. Miu Miu, which launched in 1993, is conversely just Miuccia Prada's. It is a place where she tin can express herself freely. Prada is at present co-creatively directed past Miuccia Prada and Raf Simons. Miu Miu is personal.

"The bear witness in the mountains was personal – exactly that," Miuccia Prada says. Entitled Brave Hearts, information technology was filmed in March 2021, with Europe in the throes of the third wave of the pandemic. With references to both Tyrolean and Highland dress, Miu Miu'southward Autumn/Winter drove also draws on the clothes codes adopted past its designer as a young woman. Those were anarchistic. "I had so much fun in the mountains, skiing in a skirt," she remembers. "I skied in a bikini also. I did it dorsum and then. It was perfectly normal. And the mountains are my favourite place in the world. I am in love with the mountains. I bask them at any moment, nether every circumstance. I don't know why."

Prada's clothing designs have e'er been drawn from her personal experience, personal history, personal tastes. She dressed in Saint Laurent every bit a rebellious, left-leaning student in the 1970s; later in the 1980s, butting confronting the direction of gimmicky fashion, she bought her dress from children's tailors and from suppliers of uniforms for nurses and chambermaids, before deciding to pattern her own. Miu Miu is of course no exception: it began life as a minor collection of minimal, vintage-inspired pieces, the sort of thing she might dream of wearing. If the sobriety of Prada reflected the life of a committed feminist and baron – albeit a creative one, with impeccably refined taste – Miu Miu spoke of the side of Miuccia Prada that grew upward wanting to wear pinkish when her mother dressed her in navy, that secretly hitched up her skirt as she left her firm to go out, and that skied in a bikini.

Miuccia Prada likes bravery – she is herself brave. And it is a quality she admires in others. "Bravery is something women ever need," she commented at the fourth dimension the collection was shown. "This talks about the fantasies of women, their imaginations and dreams of different places, different ideas. Following your dreams is courageous – that takes bravery and strength." Still, for Miuccia Prada, while women's fantasies are often the starting bespeak of a conversation, style is always seen in the context of information technology beingness in the first instance a service to men (at Prada) just to women at both Prada and at Miu Miu still more so.

Then, at the Italian ski resort of Cortina d'Ampezzo, against a backdrop of the Dolomite Alps, models walked through the snow in boots Рfrom ankle to thigh-high Рand chubby coats in teddy bear fur, bombers, jumpsuits and miniskirts in Miu Miu's signature matelass̩ leather and boudoir satins in a sugary colour palette that seemed as sweet as it was incongruous, every bit apparently frail as the look is ultimately trigger-happy. Juxtaposing clothing designed to protect its wearer from the elements with more than quintessentially feminine pieces Рthose same fantasies, evocative of an empowered sense of seduction Рoversized satin padded jackets were layered over lingerie-inspired slip dresses in featherlight silks or lacy sweaters and skirts embroidered with twinkling sequins. Striped, pop brilliant and pastel crochet plant nursery knits framed faces and fabricated for cosy cardigans, arm warmers, socks and tights. And yes, there was indeed a bikini of sorts: a bralet and skirt Рthe dimensions of the latter, an over-anxious mother might not unreasonably contend, are more than reminiscent of a belt. One can only imagine what Miuccia Prada's ain parents had to say on the matter of their girl skiing in her swimwear all those years ago now. Non that she would accept permit that stop her.

Idiosyncratically, sport has always been a passion for Miuccia Prada, long before the style globe caught upwards. She was amidst the first designers to put sportswear on the runway: for Prada'south final Bound/Summer show of the millennium she introduced Prada Sport, inspired by Bertelli's love of sailing and Prada's announcement of its involvement in the America's Loving cup in 1997. The red and white logo mirrored that of the lettering on the Prada Challenge boat, and the label, reintroduced in 2018, is now chosen Linea Rossa. Designer sportswear proved a rapidly expanding commodity across the board and Prada, with its luxe-industrial heritage, was well placed to capitalise on that. Clean shapes and technologically advanced fabrics with every bit pragmatic shoes and bags were shown alongside the chief collection, which was very much nearly both way and luxury in a more traditional sense: full, pleated canvas skirts and coats with wide, pleated ribbon edges, crumpled chiffon dresses, skirts and knickerbockers in tea-stained shades and richly coloured crocodile skirts and jackets all made an advent, sometimes embellished with saucer-sized mirror embroideries. The wilful contrariness of the Prada handwriting – the space somewhere between the real and the unreal, the functional and the fashionable, the earthly and the otherworldly – was already well established.

Miuccia Prada needs no introduction, just here are the basics of her upbringing and career, the elements that formed her and still frame her current status and state of mind. Born in 1949, she grew upward in Milan and left that city's Statale University with a doctorate in political science in 1970. A committed activist, she was a member of the Unione Donne Italiane, dedicated to establishing equal rights for women. She studied mime at the Piccolo Teatro before joining the family business in the mid-70s. She met Bertelli in 1978 and they married in 1987, a twelvemonth earlier she began designing her own wearing apparel. For her wedding, Miuccia Prada wore a dress made by the Ferrari sisters, designers of clothes for the children of Milan'due south elite, scaled up to her size. With Bertelli, she launched the famous Prada nylon backpack in 1984, debuted Prada women'south ready-to-article of clothing in 1988 and Miu Miu five years later on. Today, Prada is a multi-billion-dollar public visitor. It was floated on the Hong Kong stock exchange in 2011, yet remains under their control both creatively and financially.

To help differentiate Miu Miu from Prada, principally shown in its hometown, the characterization staged catwalk shows in each of the major fashion capitals until landing, lastingly, in Paris in 2006. At that place Miu Miu was first presented at 34 avenue Foch, a hotel particulier in a chichi residential arrondissement. From the start, Miu Miu exuded the spirit of the renegade debutante, all puffed sleeves, empire lines, pie-chaff collars and slightly off party dresses. The clothes perhaps owe a debt to the Ferrari sisters too, and to Cirri in Florence, which Miuccia Prada in one case said fabricated the best sailor dresses around. They ofttimes play with childlike elements, taking liberties with calibration past blowing up or shrinking details. When they are more than adult – in the Autumn/Winter 2011 collection of wide 1940s shoulders and mid-calf skirts, for example – models somehow still resemble immature girls dressed in looks far too former for them. There are mismatched graphic prints – of swallows in flying or kittens at play – and unlikely fabric combinations: paillettes on sludge-coloured wools. Elsewhere, 50s Americana meets 80s Anglophilia or 70s psychedelia, varsity jackets are worn over big knickers (Miuccia Prada calls them panties), leather is oversized, silvery and inlaid with everything from art deco florals to stars, and French terry towelling bathrobes double up as summer coats.

Such diverseness of fabrication, silhouette and thematic makes the fact that Miu Miu is so immediately identifiable and distinct from its sister, Prada, more than remarkable still. Across these pages the overview of Miu Miu is Miuccia Prada's own, having delved into her archives to select pieces that best show her vision of her characterization. The edit reflects both by and present tense: the pieces are chosen from the label'due south back catalogue but with the designer's current mood and viewpoint in mind. They are the styles she feels are relevant for at present. Miu Miu is e'er reactive: the shows are put together in a matter of weeks, sometimes even days. It is spontaneous, immediate, instinctive.

When we speak at the terminate of May, Miuccia Prada is lone. She is equally elegant and witting of the importance of good manners and humour as e'er, and a quietly wistful mood prevails, one that acknowledges that we are living in a world that remains frightening in its uncertainty. While the designer'due south circumstances – as she herself is the offset to admit – are privileged, in that location is a modesty to the conversation, if not quite so much to the surroundings. An opulent olive-green velvet covers the walls of the room she is working from and that same textile, in brown, a plump daybed. Pieces from the personal collection of modern art Prada and Bertelli have been building for a quarter of a century hang behind her – a fluffy white Pietro Manzoni Achrome like a lost cloud, a John Baldessari popular portrait of Bruce Lee, the eyes cut out.

Since the first lockdown in March 2020, she has been based here, abroad from the crowds and mainly focused on her job. As perceptive and aware of the world as she always has been, she is grateful for the time that has afforded her – time to work, time to watch and to read, fourth dimension to call up. Many column inches take been defended to her wardrobe in the past and that too has moved with the times. Today she is wearing an oversized white cotton wool T-shirt that information technology's somehow life-affirming to imagine her rolling out of bed in – and a pair of vintage diamond earrings that reach almost to her shoulders. Some things shouldn't alter.

And then as now, Miuccia Prada is the ultimate brave centre: a adult female for whom courage and hazard-taking are second nature – the driving force.

"I think bravery is very of import in general. Otherwise, why practise yous live? Y'all have to try to brand things, to exercise things" – Miuccia Prada

Susannah Frankel: Tin we talk first about the Miu Miu testify in the mountains?

Miuccia Prada: I'm not sure I would exercise it once again at present just at that point you didn't demand many people, which was a adept thing, and also in that location was so much snow. I said it's now or never. So everybody got excited. It was a long discussion considering of the difficulties of there being no physical show. That is much more circuitous for me but also more interesting. Yous accept to turn your ideas into a bigger picture show. If yous call directors, good film directors, they are not, I recall, very good at doing style, and fashion people, of grade, they don't know how to brand movies. So we had to improvise, to reinvent our jobs. It all came out of this idea of bravery. The mountains, the walking in the snowfall, the symbol of being brave. Dorsum then I was fixated on women beingness brave.

SF: You're e'er brave.

MP: I endeavour to be. I wanted to be. We decided to go, we dealt with whatever happened. We had very bad atmospheric condition but also very good weather.

SF: In 1 mode the collection was mountain advisable – the large trousers, the large boots, the Tyrolean references, the Highland references – but in another style it was almost a skirt covered in jewels. That'south very you lot. The conservative and radical, the appropriate and the inappropriate, often in one wait.

MP: That is what I always aim for and it comes instinctively.

SF: It'south about you.

MP: Yeah, it's me.

SF: You were 1 of the first people to actually combine high style and sport in the 90s with Prada Sport.

MP: I remember back then I never wanted to dress myself in sporty things. I didn't like them. Then I was always into inappropriate things. And I asked myself why when you do sport, or ski, do y'all have to become another person? I desire to keep my dear of manner, my ideas. I don't want to transform myself into someone else, into a sporty homo or a sporty woman, wearing what everyone else is wearing. That was the origin of information technology.

SF: And today you withal combine 2 apparently contrasting worlds. The idea of the couture gesture – the gloves are big woolly gloves but they're nevertheless long gloves, the hats, the jewellery – with something much more than apparently functional.

MP: That's something that I really similar. I like that when you do sport yous retain your spirit. So if you run, why shouldn't you wear a pair of earrings? Be covered in jewels, running forth?

SF: Y'all always work with extremes.

MP: I like very different things. At that place were men'southward things in that collection and and then there were feminine things. Probably I like the duality in myself. I can be very feminine, or very masculine, or both at the same fourth dimension. In general, in a pocket-sized environment I like to put on the richest pieces. I like opposites together. Why? I don't know. For instance, in the Fondazione, when we did the house in gold, it was non my idea, it was Rem'due south idea, only I thought it was genius because it represents what I like to the maximum. What do you lot practise in gilt? The poorest, most industrial, most old-fashioned dwelling. It's also well-nigh assessing the value of something by putting it with its contrary, making inexpensive things look or experience very rich and vice versa. I don't desire to say it's a political approach because the give-and-take carries so much weight but, yes, the point of view is to find the opposite between ii extremes, ever, and to attempt to improvise. I don't question myself about that. It comes and then naturally.

SF: Perhaps that'southward the recognition that women are non simple or straightforward.

MP: Yes, for certain. Information technology's non enough to be feminine. Put but, by mixing things you show the complication of life, the complexity all around usa. To be just i thing is boring.

SF: Do you recall bravery is particularly important now?

MP: I retrieve bravery is very important in general. Otherwise, why do y'all live? You have to try to make things, to do things.

SF: In the past we talked nigh the idea that, in the 2000s especially, you in detail seemed to be taking bigger risks than smaller, independent labels, bigger risks than the avant-garde.

MP: If you are small-scale – niche – you tin be avant-garde. It is very unlike in a conservative context. I struggle sometimes. And my husband tells me, y'all tin't pretend to be left-wing, considering the other ones are all rich, or bourgeois. Information technology is true that with Prada and Miu Miu I desire to make the impossible happen. We are a luxury group with concepts that are not only nearly luxury. In fact, I don't like the give-and-take luxury just I have ever appreciated beauty and sophisticated things. So it really is a constant effort.

SF: A constant fight.

MP: Yes, that too.

SF: Miu Miu especially seems to exist about female person rites of passage – most a girl becoming a woman, a girl on the cusp of womanhood. Of form, that's not actually about age at all but about spirit, and about the slight fragility – but too the exceptional dazzler – of that time in a woman's life, the fourth dimension when yous're a daughter working out what beingness a woman ways. That is something that continues, that comes up once again and again at all ages.

MP: That's right. That's great. It'due south true that Miu Miu is also about that fragility, the fact that you don't know who you are, who you desire to be. You desire to be beautiful, you want to be sexy – but you also desire to be nasty, intelligent and political.

SF: However brave you are – even so dauntless Miu Miu is – we are all vulnerable.

MP: I never recall about that but, yes, really Miu Miu is probably a lot about that.

SF: People always say Miu Miu is younger but information technology's non about being immature physically. It's near ...

MP: The mentality.

"People are thinking more about the past, nigh things that count, about the center, not well-nigh superficial things" – Miuccia Prada

SF: It is also the embodiment of the fact that you can exist xl, 50, lx, seventy, but you tin can even so flirt.

MP: I strongly believe in that. Apart from I don't become out in miniskirts, which if you have the courage to and you want to, so why not, but apart from that, when I dress I'grand not dressing like an old adult female. When you become one-time, information technology's non easy to take fun with how you apparel. When y'all are older, dressing is fifty-fifty more about bravery.

SF: One of the things that has inverse since you started designing dress is that you really can wear what you lot like.

MP: Truthful. Good taste, bad taste ... It'southward very subtle.

SF: This issue of the magazine is about hindsight, the thought of looking at the past to inform the future. That sentiment feels intense at the moment because the present is relatively placidity. Our present is lacking in outside experience, so people are looking back in a romantic way, though not necessarily a purely nostalgic way – information technology feels like something bigger than that.

MP: That has something to do with looking for meaning. I hear a lot of people proverb now that they don't want to go to stupid parties any more, that what they value is friendship, beloved. That, of course, is romantic. Nosotros are searching for something more complete, more true, non superficial.

SF: You have always said you honey superficial things.

MP: Possibly because I would like to be that person but actually I'one thousand not. Now people are thinking more about the past, about things that count, about the heart, not nearly superficial things. The word romantic makes sense.

SF: You accept Prada and Miu Miu. Miu Miu is approaching its 30th anniversary, Prada is more than a century old. You shoulder a huge legacy. How do yous feel now about that responsibility?

MP: I don't think about legacy. I know I should simply it's non what motivates me. Also because of our historic period, people say to me yous should enjoy what yous have done, celebrate your achievement. Listen, I'chiliad not like that. I'grand e'er thinking nigh what I can practise side by side. I don't think of myself equally someone who is aggressive but somebody told me recently, "You are a monster of ambition." In truth, I am very ambitious.

SF: Historically, Miu Miu comes at the end of the ready-to-wear flavor. It's reactive to what has come earlier information technology at the shows and is done quickly, in weeks rather than months. This situation must throw that slightly. The seasons are difficult to follow now.

MP: That's why in the end I am still showing in seasons. It took so much fourth dimension for the fashion world to get itself together, to facilitate the jobs of journalists and buyers and and then on. So now I find myself in a place where I can practise whatever I want, whenever I want. Only I don't know if that's right. In the offset place, you lose the sense of a season and with that, a little fleck, the sense of fashion. I empathise that it's exciting to be gratuitous but instinctively I decided to stick with the calendar. Otherwise it's going to be such a mess.

SF: Fashion is a community – you move from one identify to another as a group. The pandemic has left a vacuum.

MP: Yes, but going back to normal shows is perhaps like going backwards. Before, you did your job, your clothes, your show, then it was finished. This is the beginning of a whole different chapter and it's ten times the piece of work. Just I'g afraid that now just to go back to physical shows won't feel and then exciting. Maybe you should do both. But both is double the money and more than work again. We are discussing this all the fourth dimension. In the terminate, somebody said, "People like existence together. Who cares about the clothes? They only similar having fun, like at a concert, in a football stadium." It'southward more the idea of beingness with people. Everybody ever complains. But now that information technology is not possible people miss it.

SF: At present you piece of work with Raf at Prada, how has your work with Miu Miu inverse?

MP: It has changed. I decided that at Prada I wanted to work with someone else to create a new idea, to have more inspiration and to share, that'southward a priority. The priority is for Raf and me to practice something together. I'thousand very happy with that. So Miu Miu is now the place where I am completely myself. When I realise that, so I desire to do even more, to really concentrate, to inject more passion, more of what I like. The show in the mountains was exactly that. It was very personal. Considering of the location and the implications. For sure, Miu Miu is the only place where I am alone.

SF: Is there more than of a sense of your renegade spirit in Miu Miu?

MP: Absolutely. Information technology'southward what I similar in life. I have not e'er been able to be enough similar that perhaps. I was when I was immature, with my political ideas and activities, I kind of did it. Probably not plenty. Simply that'due south what I like.

SF: I think your son said to you lot that, as someone in a position of power, you lot're obliged to speak out and say things that become beyond fashion. Do you believe that?

MP: That's a big question. I always hated it in the past. I never wanted to reply whatsoever questions that weren't specifically related to what I do, related to art or manner. I didn't desire to talk about politics or whatsoever of the things that I care nigh nigh. That is partly out of a sense of decency, about being a rich way designer. Having said that, because of the influence we accept, we probably should speak out more. I should probably speak out more than. But that goes against my spirit and my thinking completely. I'g thinking about information technology, about how to try to speak to people more than.

SF: People often talk about a sure woman they pattern for. Is there a Miu Miu woman?

MP: Yous know that'due south something I don't similar. I design what I recall is correct. Information technology's theoretical. I never had a adult female in mind, I don't have an icon in listen. I practise like a renegade. Usually, every brand has its target. I don't. But I always said I do what I experience is correct and if I am in contact with reality, if I know people through reading, through movies, through coming together them, and so it volition work. The more than I am in contact with reality the more what I do makes sense. If it works information technology means I was connected and my thoughts were realistic. I'm trying to do something that is relevant, to interpret that into clothes, because that is my task and something that I am able to exercise. Y'all know that I am fanatical almost the life of people, that is the reason I love vintage. I love thinking about who the adult female was who wore something, about what their life was similar. People's lives. I like thinking about that a lot.

SF: You recently put exactly that idea into practice with Upcycled by Miu Miu, that idea of finding vintage clothes and letting them tell their ain story all while putting your marker on it.

MP: When I did my showtime show for Prada, I was very much criticised for appropriation. It was the 80s, the art world did information technology the whole time, but in manner it caused a scandal – a dress that was totally 60s, totally 70s. But I loved it because I like history, I like stories of periods, stories of women. I call back, OK, modernity, the future, but all our ideas come from what we saw, what nosotros heard, what nosotros read. Nosotros are our past. How can we pretend information technology doesn't exist? Now, with Upcycled, it's conscious and we want to build on it, simply in the start instance information technology came from a identify of naivety, from a love of vintage and the fact that vintage pieces entertain the people who wear them. It is a slice of clothing but it expresses a whole life – how was it worn, what was it worn for, what did its original owner do while they were wearing it?

SF: In fact, that'southward what nosotros love about clothes generally.

MP: Yes, because clothes are instruments for living, basically. To conquer or not to conquer, to exercise whatever you want. I e'er retrieve dresses have to exist useful.

SF: As a young woman you were active in the second wave of feminism. Do you think things are better at present for women than they were then?

MP: At that place's a long way to go. That is one of my biggest questions – how long does information technology take? Sometimes information technology seems similar nosotros're going backwards rather than forrard. Sometimes when you lot see movies well-nigh the suffragettes, you see how they really struggled. For certain in our countries, for people who are richer, more educated, things are better, just that's piece of cake for us to say. There are still things happening to women all over the world that are terrible – unbelievable.

"Miu Miu is the only place where I am alone" – Miuccia Prada

SF: The upheaval of the past 18 months has meant nosotros accept all been forced to admit a shift in our perspectives and change the fashion we look at things and how nosotros prioritise.

MP: I think so. Six months after the pandemic started, my son told me that if it finished now things would go back to how they were before just that if it lasted longer things would modify. I am very much inverse. I'm changed in general but mainly in thinking that anything I used to do in a sure style I should now do differently. I take an instinctive desire for modify, for non repeating things we did before.

SF: And when you're designing, thinking about bravery and about fighting, you're also dreaming.

MP: I always say that I don't like dreaming. If I dream about something I want to go far happen.

SF: For someone who sometimes thinks they are not ambitious that'due south quite an aggressive thought.

MP: Now my ambition at the Fondazione is doing science. Nosotros are preparing a show for the next biennale with the near important scientists in the world. It'due south about the human brain. I always want to do shows that are about faith, feminism, science, large subjects that are floating in our heads but that many of the states don't really understand. And they said they wanted to exercise it only if the Fondazione Prada in Venice becomes a permanent place for exploring ideas nearly neuroscience. So, yes, that's too ambitious.

SF: The thought of the same woman who grew up skiing in a skirt at present doing that is inspiring – uplifting. Can nosotros talk about Miu Miu as a community of women who shop but who also substitution and share ideas virtually culture, nigh things they are excited by and that they love? You accept Women's Tales, defended to supporting female person talent in film, Miu Miu Musings, conversations between women virtually issues that are culturally and socially pertinent, Miu Miu Society ...

MP: We do and that's very important to me. I love film and know that, even now, it is not so easy for women to intermission through, so if we can help nosotros should. I as well believe in giving women a voice, in projecting a feminine point of view. I take this idea that, during the day, our shops are shops, nearly shopping for mode. Then, during the night they are about a customs.

SF: Have you missed your teams during this period? Have you felt restricted?

MP: For the past xviii months, I have worked on Zoom. I don't know if I miss my teams physically because I am discussing with them all the time. Sometimes when I am at work, there are then many distractions, so many empty moments, so many boring moments. Now at home possibly I've found the excuse to do other things. And that is fantastic. I desire to be conscientious not to lose that privilege. Also, I can practice so many more than appointments. Before, you lot had to go to the office, to a bar. A ten-infinitesimal give-and-take might take two hours. This is easier, simpler. Likewise, I am lazy. I like staying home very much.

SF: So there is an chemical element of relief?

MP: I am happy hither. This pandemic has changed my mode of thinking on so many levels. I've had more than time to consider things. We were so afraid, there were so many difficulties – all the shops were airtight and everything was a disaster. We were forced to react, to find new ways of doing things, new ways of taking intendance of clients. When we were closed there was a real sense of solidarity betwixt human beings. Peradventure we had arrived at a point that was repetitive, generally decadent. When the world changes it signifies the rebirth of something, at that place is a new free energy.

SF: Do y'all take a sense of it beingness wonderful to spend your life making beautiful things?

MP: For sure. And at present I have much more time to practice my job and to practise it well. Before I was distracted. Fifty-fifty though I take barely any social life there were still too many distractions. And the thought that I could maybe stay in one place, for just 1 day, and think nigh wearing apparel – that was such a joy.

SF: You have been one of very few designers who have actually changed our aesthetic, changed the way people – women and men besides – dress. At the beginning, you had to fight to be understood, people described your work as ugly, and certainly it played with received notions of taste. Now though, with Prada and Miu Miu, there is an understanding, and a love of the things yous have washed and still practise. Do y'all feel proud of that?

MP: Of that, yes, I am proud. I recollect that if I accept achieved annihilation it is that. Merely information technology wasn't revolutionary. Information technology was subtle. Early on the avant-garde thought I was not advanced plenty, the classicists thought I was very disturbing. And I loved that. It is the in betwixt that interests me. In that sense, little by piddling, probably because I didn't come up from the fashion world, I inverse things. It was only in fashion that there was this obsession with beautification in a conventional sense. In art, in the movies, in books, those ideals were questioned. And I also thought that was and so old-fashioned, so bourgeois. Now it'south normal to question those values. I think I have contributed to that.

Hair: Paolo Soffiatti at Blend Management. Make-up: Luciano Chiarello at Julian Watson Agency. Models: Corinne at Street People Casting, Elena Burgin and Yu Shan Chen at Persona, Mira Nora Nagy at Why Non, Valeria Pavesi at Fabbrica and Anita Salinsky at Insubordinate Management. Streetcast models: Myrsky Kerko, Lucy Marega, Garfield Pagani and Ludovica Richiello. Casting manager: Julia Lange at Artistry. Casting associate: Olivia Langner. Additional casting of Anita Salinsky past Florinda Martucciello, Sara Casana and Mara Veneziano. Photographic assistant: Cecilia Byrne. Styling administration: George Pistachio and Fabiana Guigli. Production: Nicola Catterall and Sophie Hambling at Farago Projects. Local production: Alessandra Gabbetta, Eleonora Giammello and Alberto Angeloni at Hotel Product. Blackness and white printing: Peter at The Epitome. Retouching: Simon Thistle

This article appears in the Autumn/Wintertime 2021 issue of Some other Magazine which will be on sale internationally from seven October 2021. Pre-society a copy here.