A Quote by Thomas P. Campbell
Schiaparelli’s collaborations with Dali and Cocteau as well as Prada’s Fondazione Prada push art and fashion ever closer, in a direct, synergistic, and culturally redefining relationship.
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I really loved when Prada Sport came into fashion, which kind of created all the nylon which she had for quite some time. You also wanted a Prada bag, you wanted a Prada shoe, not that you don't today, but that craze for Prada accessories was really big. It was a really big deal.
The designers usually don't like to say until we're on the runway. Like when I did Prada last year, I couldn't mention doing Prada or even Tweet or take a picture and put it on Twitter saying I was backstage at the Prada show. And Dolce was the same thing. They like to keep a little surprise, I guess, a little secret for everybody.
I love vintage Chanel and Prada. When I was growing up, my mum had a Prada backpack, which she's now given to me. I love it because it reminds me of when I was little.
Because of the Prada name, I can do things that people normally would not care about in the culture. I can have an exhibit by some forgotten artist who I love, and because it's Prada, people will come see it.
Designing for me is a very complex process. There are many ideas that I want to express in one object, very often contradictory. The creative process in Miu Miu is completely different from that of Prada. Miu Miu is not as complicated and thought out as Prada. Rather than being young, Miu Miu is immediate Prada is very sophisticated and considered; Miu Miu is much more naive. The solution, when I am working on Miu Miu, has to come immediately, instinctively, spontaneously with whatever is available at the moment. If I think three times, I stop.
I love Prada. Not so much the clothes, which are for malnourished thirteen-year-olds, but I covet, with covety covetousness, the shoes and handbags. Like, I LOVE them. If I was given a choice between world peace and a Prada handbag, I'd dither. (I'm not proud of this, I'm only saying.)
You look for the way something is built. You see a Prada bag and you look at the stitching at the back. If it's a fake one, then they make it really cheap. If it's a real Prada bag and I will look at it, I will count every single stitch and make sure they are exact distance apart.
As a journalist, I cannot help imagining with excitement a new era with a face-off between Hedi Slimane at YSL and Raf Simons at Dior - a magnificent battle of style and wills to echo the Armani/Versace, Gucci/Prada or even Chanel/Schiaparelli face-offs of earlier years. But I remind myself that this is not a game of chess.
It is interesting how fashion filters down and we discover in the "Devil Wears Prada" that we're all prey to trends, even if we think we are not.
I'm a Prada freak and I think they have great eyewear. Even though I don't need glasses, I use them as a fashion accessory.
I'm a big Prada fan. I always think that they seem to fit me well.
My biggest challenge in making 'The Devil Wears Prada' was simply to maintain a tone of sophistication and reality. It's about the fashion world, or it's set in the fashion world, and that's a world that's easy to mock. It's easy to satirise people trying to lose weight and choosing between fancy clothes.
I don't like the fashion world. It's too nasty, too rip-off, too hard. And now it's all Gucci and Prada; it's very difficult to make your own business.
I have often been criticised for doing an about-face from one season to the next - as has my wonderfully inspiring lady designer whom I love so much, Miuccia Prada - but that is what I love about fashion.
I'm always jealous of people in the fashion business, especially women. I always feel like they look so light and chic. They figure out how to wear the minimal sort of outfit, whether it be the Prada uniform or a T-shirt with perfect-fitting Levi's and Birkenstocks.
I love 'The Devil Wears Prada.'
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