Wynn Las Vegas Magazine by MODERN LUXURY

Wynn - 2015 - Issue 3 - Winter

Wynn Magazine - Las Vegas

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62 Wynn PhotograPhy by antonio de Moraes barros Filho/WireiMage (Miuccia Prada); courtesy oF Prada (exterior, shoe) aspirational, replete with exquisite artisan detail and mas- terful tailoring, but it is also edgy, avant-garde, and often downright challenging. To parse Prada, we must look to the woman herself. From her very frst 1989 collection, Prada refused to do things the "correct" way. "By defnition good taste is horrible taste. I do have a healthy disrespect for those values," she noted. At the time, Milan fashion was noth- ing but good taste, if glitzy, with highly produced shows of va-va-voom corsetry, enormous hair, power shoulders, gilt buttons, and mini-miniskirts. "Fashion fosters clichés of beauty, but I want to tear them apart," she said. And amid the theatrical hyper-femininity, she did just that, showing minimal, muted long skirts, cropped pants, demure collars, and vintage silhouettes, all paraded on a beige carpet, hair close to the head, bare faces—and not a heel in sight. "I was very much criticized for inventing the trashy and the ugly," the designer said recently. "But the inves- tigation of ugliness is, to me, more interesting than the bourgeois idea of beauty." Indeed, the resetting of our collective eye began immediately, as Prada frst made us look twice. In a way, it's obvious why her iconoclastic vision should be so potent. Unlike many designers in major houses today, Prada has creative freedom. She works purely from her own aesthetic, alighting on whatever motif grabs her attention, whether it's fairies (2008), stripes and bananas (2011), or something more abstract such as Symbolism (Spring/Summer 2016). This collection she named—at the last possible minute, as is her wont—post-modest, post- industrialist, post-pop. "It was trying to analyze the concept between honesty, humanity, and simplicity, compared with the necessity of being bold, aggressive, and loud," she explained backstage. Well, yes, and, as the curator of the 2012 Prada/Schiaparelli show at the Met said, "Prada is more semiotician than designer. She's like the Umberto Eco of fashion." And yet she is thankfully less than deadly serious. Yes, it was Symbolism, she said, but "I don't like to simplify thoughts, so we chose stupid symbols, the most infantile, that worked graphically." Hence bunnies, space- ships, and big red arrows. Ugly, funny, sublime. Rabbits and rockets are reprised in the SS16 women's Miuccia Prada walks the runway during the Prada show as a part of Milan Fashion Week Womenswear Autumn/Winter 2014. below: Prada's fagship boutique in Milan. right: A shoe from Prada's Spring/ Summer 2016 collection. WYnn lUxURY

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