Founded in 1872, Pirelli is one of the world’s leading tire manufacturers, with 19 plants in 13 countries and a commercial presence of over 12,500 stores in over 160 countries.
Specialized exclusively in tires for cars, motorcycles, and related services, it is the only one in the industry to be a “pure consumer tire company”.
the company boasts a distinctive positioning in the High Value tires, products with a high technological component in which it has over 1,900 approvals thanks to a consolidated partnership with the most prestigious manufacturers.
Active in motorsport since 1907, the company is also present in over 460 motor and motorcycle championships, including the Formula 1 World Championship, of which it is the exclusive supplier since 2011 and represents a constant challenge in terms of technological innovation.
To achieve the highest levels in terms of performance, safety and containment of environmental impacts, the company has always been strongly committed to Research & Development. In particular on High Value tires, an area in which, over the last three years, it has invested an average of 7.4% of the relative revenues, one of the highest levels among the world’s largest producers in the sector.
The combination of Pirelli-clothing was born in 1877 in the factory founded by G.B. Pirelli for the processing of rubber, which kicks off the production of sanitary ware and haberdashery: overcoats, capes, coats for travelers, coachmen and soldiers. Technical, reliable, well designed and realized garments.
Over time, the Pirelli brand acquires a more and more glamorous aura: first with the famous calendar, and in more recent years with a communication strategy that involves great photographers and plays the cards of irony and sex appeal (as the image of sprinter Carl Lewis in start position and with stiletto heels, made by Annie Leibovitz in 1994).
Following the launch of the first calendars, according to a market research, the three adjectives that the public attributed to Pirelli were: glamor, sexy, fashion.
At the end of the 90s, the project was born to create a series of clothing and accessories that was no longer just technical, but also distinguished by a strong reference to the Pirelli world (the tread as a graphic inspiration, rubber as leitmotiv material) and a high design content.
In January 2002, the first lines of footwear for men and women under the PZero brand were presented. They were inspired by the technical sailing shoes in which the sole resumed the design of the tire tread created for Ferrari, the PZero, from which it took the name.
The success is such that, the following year, a line of clothing will be launched by Allegri and subsequently the watches were produced by Sector Group. These licenses were then followed by that of the glasses with De Rigo and that of children’s shoes.
The distribution was entrusted to multi-brand stores and to the Flagship Store in Milan. Among the foreign markets: France, England, Sweden, Spain, United States.
Afterwards, PZero brought back the production of sneakers and also the clothing industry.
In 2016 Pirelli PZero takes the name of Pirelli Design which is born as a natural evolution of the previous Pirelli PZero.
In keeping with their focus on the Prestige and Premium car segments, its objective is to enhance the Pirelli brand by developing targeted design projects that take advantage of the company’s technological know-how, together with selected partners representing the excellence in each sector of reference, in order to offer unique, iconic and unrepeatable products.
With this spirit, in 2017, collaborations of excellence were born, such as the one with the Maison Roger Dubuis, pure and extreme expression of the watchmaking manufacture with a strongly sporty spirit.
Together with Pirelli Design, Roger Dubuis conceives the Excalibur Spider, a collection of limited-edition 8 and 88-piece watches featuring a strap made from the blend of a Pirelli tire that has competed and won car races in major competitions. motorsport.
This collection will be followed in 2018 by Excalibur Spider Skeleton Automatic in elegant black titanium with intense blue or white-white accents of your choice. In these last Pirelli special editions with the Caliber 820SQ, the skeletonized and fluted titanium bezel with black DLC coating is completed by a overprinted crown of blue or white rubber, coordinated with the blue or white stitching of the strap.
To seal the union are the legendary motifs of the tread that reproduce the trace of the Pirelli CINTURATOTM Intermediate tire.
In February 2017 Pirelli Design presents the first Sport Carve Ski with rubber.
It is a ski in a limited series that guarantees a high level of performance with more pronounced sidecuts than normal to better adapt to the different snow conditions ensuring speed and maneuverability.
This ski was born from the partnership between Pirelli and Blossom, a leader in the “hand-made” construction of highly performing skisin compliance with the great artisan tradition of Val Chiavenna.
Within the sandwich construction of the ski, characterized by the superimposition of layers of various materials, they inserted an anti-vibration rubber layer that allows to damp up to 60% the energy of the stress suffered by the ski during the descent.
The end result is a ski that allows the skier to have excellent performance in both short and long-haul corners. As a result, skiing is safer, more fluid and more precise, guaranteed by the exceptional stability of the ski.
Identified by the iconic P logo of the long episode, it is presented in 7 colors inspired by the colors used by Pirelli to distinguish the competition tires. Each color is made in a limited and numbered series of 110 pieces in honor of the Pirelli Motorsport anniversary that in 2017 turns 110 years of activity.
In mid-2017, Tecnorib, one of the leading companies in the sector and already licensed for the PIRELLI inflatable boats for several years, launched the new PIRELLI 1900 model at the Cannes Boat Show, the new flagship that completes the range of inflatable boats. PIRELLI brand.
The new boat collects the legacy of the models that preceded it, enhancing their experience, know-how and technology, but adding for the first time to the strongly sporty DNA a liveability from a large yacht.
The Pirelli 1900 is immediately recognizable by a new unique design element reported on the rubber dinghy tube: the tread pattern of the Cinturato ™ Blue Wet wet tire, used in the highest track competitions. A true tribute to the expertise gained by Pirelli in terms of tires from “extreme wet”.
Clothing for Cycling
In the second half of 2017 at Eurobike, Pirelli Design presents the capsule collection of cycling clothing developed with Castelli, the first brand to bring innovation in cycling clothing and Italian company with more than forty years of history that is used to test the its products with the greatest professional cyclists.
The company returns to the cycling world not only with P ZERO Velo bike tires but also with a special clothing line dedicated to the most experienced cyclists, who seek maximum performance not only in the choice of their tires but also in their garments, in which they seek maximum quality and also style.
The new garments are inspired by the P ZERO Velo tires and feature a color code that recalls the language of its treads: silver for Road Racing, red for the Chrono and blue for the Four Season. The flagship product of the collection is the Aero Race 5.1 Jersey. The fabrics used on the front and rear showed a saving of 22 watts in the wind tunnel compared to a normal cycling jersey at 40 km / h. But it’s not just aerodynamics, it’s also comfort and durability.
Pirelli Design and Motorcycle MV Agusta Brutale 800 RR
At the end of 2017 the company was officially selected as the sole tire supplier for all motorcycles produced by the Schiranna company. This means that all the models currently in production, and those that MV Agusta will commercialize in the future, will fit Pirelli tires as original equipment.
The collaboration between two top-of-the-range and Made in Italy companies has been sealed with a limited edition of a very successful model, the Brutale 800 RR, customized by the Castiglioni Research Center in collaboration with Pirelli Design, the specialized Bicocca laboratory in the design of design projects with excellent partners.
The result of this synergy is the “Brutale 800 RR PIRELLI“, as this version of the naked varesina was truly exclusive for the set-up, components and production in very few units and was presented at the EICMA in November 2017.
The customization of this limited edition model focused on components and colors. The saddle, for example, was created specifically for the Brutale 800 RR PIRELLI and stands out for the matching stitching with each of the two color versions proposed. The support of the front optical unit is painted black, as well as the rear frame.
The tires obviously also play an important role: compared to the standard model with DIABLO ™ RED III original equipment tires, the Brutale 800 RR PIRELLI is fitted with DIABLO ™ SUPERCORSA SP tires in sizes 120/70 ZR17 front and 200/55 ZR17 rear with the 6 “back circle specific for this model.
The colored tires (optional) will be respectively with red or blue band, depending on the chromatic version to which they are combined.
Company that specializes in sailing wear, and which has a shark as its logo. Paul & Shark was founded On March 4, 1957 at the Maglificio Daco mill, which was founded in 1921, and was re-opened by Gian Ludovico Dini. Then, nine years later changed its name to Dama S.p.A. The company’s products were shipped worldwide due to partnerships with Christian Dior and Balenciaga.
In 1957 the company renamed to the now known, Paul & Shark. At the start of the 1970s Paolo Dini, the eldest son of Gian Ludovico, was in a sailmaker’s workshop in Maine, where the sail from an old 18th-century clipper caught his eye. The inscription read, “Paul&Shark”. At this time, the brand launched into the sports fashion sector with a collection inspired by the world of sailing and based on elegance and performance.
In 1978 the famous C0P918 pullover was born. It is a sailing sweater that would go onto become an icon of the Paul&Shark style. The pullover is known for its special packaging, which is a metal can used on board ships as a multi-purpose container. This product was the start of a whole new water repellent knitwear collection.The brand quickly became apart of Italian fashion with high-performance technical materials, and most have been patented by Paul&Shark.
The total look of the brand includes pants, Bermuda shorts, swimsuits, and also jackets, blazers, socks, shoes, and umbrellas. Also, knitwear, using a hi-tech machine washable wool called superwash, and more recently a “total easy care” yarn that dries in a domestic spin-drier. The most recent new lines have been for golf, yachting, and items for divers to wear before and after diving.
In 2010 Paul&Shark signed a joint venture with Reliance Group to enter Indian market, later, company opened a 1,100 sq ft store in the capital city’s luxury mall DLF Emporio. Meanwhile, Andrea Dini, owner and CEO of Paul&Shark also said its biggest challenge in India is to engage with its discerning consumers.
Later, in 2013 Paul&Shark made its debut in eyewear market and launched a new sunglass collection called Floating sunglasses, made from lightweight polypropylene frames which don’t sink in water.
In 2014 the brand’s global expansion plan is continuing, several new stores were opened during this period: two stores opened in Moscow at Galereja Moskva, Paul & Shark’s largest flagship store is opened in Turkey Instanbul, several new opening in Italy for Paul & Shark include major cities and luxury tourist destiny. Alongside the store opening, Paul & Shark also set its goal to entirely renovated and redesigned existing stores following the latest retail store concept of the brand.
Paul & Shark Technology
Over the years, Paul&Shark company has put lots of efforts on its research department in order to get better technology that could be adopted for its tech wears. Result to date, Paul&Shark owns several unique technologies including the typhoon, which is a very innovative technique that was exclusively patented by Paul&Shark. They did this by adopting ultra-soft membrane and revolutionary manufacturing process, Typhoon collection provide best waterproof and windproof performance in any weather condition, and guarantee maximum comfort at all times.
The E.M.W Shield is one mobile phone pockets in garments that Paul&Shark designed for protect body from electromagnetic waves emitted by mobile devices. Paul&Shark’s latest research has brought out 3 in one compact technology which allows 3 threads twisted into one single yarn to give garments more resistance.
Events and Exhibitions
The most important event for the inauguration of Paul&Shark was the first Milanese showroom, which took place on January 16, 2015. The sportswear luxury Made in Italy brand officially opened its new space in Via Ciovassino 3, in the heart of the Brera district during Milan Men’s Fashion Week. The guests admired both the new showroom covering an area of 1,000 square metres and the Paul&Shark Autumn/Winter 15-16 collections and accessories presented thanks to the theatrical set-up inspired by the world of water.
Art and fashion blend the magic of light with water in the Blue Typhoon installation, created by the designer Moritz Waldemeyer for Paul & Shark. The brand takes inspiration from the excellence of design by presenting the artwork of the eclectic artist during Design Week 2015, with an exclusive event heldin the elegant spaces of the Milan showroom.
Paul & Shark celebrated 40 years of international success with the exclusive event Project 40. The celebratory party took place during Milan Menswear Fashion Week in the brands showroom space in the heart by Brera. Thanks to the collaboration between the fashion brand of luxury sportswear and Wallpaper, the most appreciated design magazine in the world, fashion and design were the main ingredients of the evening in pursuit of the most sophisticated luxury.
Reflecting the strong and decisive personality of the brand, the new Paul&Shark flagship store in Jakarta, which opened on November 24, 2016 already in the Christmassy mood, definitely lives up to its name. The concept is characterised by large illuminated niches that alternate with glass structures in the classic Paul&Shark colors; blue and optical white, a bold contrast between present and future. Situated inside the Pacific Place Indonesia in Jakarta, the boutique covers a surface area of 85 sqm and houses the men and women’s collections.
In January 16, 2017 Paul & Shark presented the new Autumn Winter 2017/18 collection and the special FREEZETHEMOMENT project in its showroom in Milan. An extreme adventure that marks the profound changes that are taking place today: Paul&Shark presents the new collaboration with Alex Bellini, the Italian explorer who will set off to face a new solo challenge by climbing the biggest and most impenetrable glaciers in the world.
Alex journey will be followed and recorded day by day by Paul & Shark on its social media channels (Instagram, Facebook, Twitter and Youtube) and on its dedicated website freezethemoment.it. The -40 capsule Collection (three technical jackets, a fleece and a pair of trousers designed to withstand arctic temperatures and the extreme conditions of the glacier) will dress Bellini during the expedition. The departure is set for 20 January from Jokulheimar in Iceland, and will continue on foot to Snaefelia, the last outpost west of the Vatnajökull glacier. To recreate the atmosphere of Iceland s glacier, the guests had a chance to admire the collection nestled in display cases and totems that looked like glaciers, as well as being immersed in a charming atmosphere created by a soft haze of smoke and blue lights.
At the moment, Paul & Shark is available in 73 countries with over 280 mono brand stores worldwide. The company is family-owned and now is runned by Andrea Dini, the third of his generation. The brand is specialized in luxury sportswear within numerous new and high technology garments and is considered green, as its energy is provided by solar panels.
Emilio Pucci (1914-1992) is an Italian designer who was born in Naples, but his father was of Russian extraction. After studying social sciences at the University of Athens in Georgia, and then in Portland, Oregon, he signed up as an officer in the Italian Air Force in 1938. Having continued his studies with a Doctorate in political sciences at Florence University, he fought courageously in World War II.
His introduction to fashion came about quite by chance in 1947 amidst the snow of Zermatt, where he was training with the Olympic ski team. Toni Frissel, a well-known photographer for Harper’s Bazaar, immortalized Pucci in a shot with a female friend for whom he had improvised a ski outfit.
A year later Pucci’s first collection of sportswear appeared on the cover of the same magazine. His outfits were bought up immediately by the department store Lord and Taylor, and were given the label “Emilio” in the USA. The American market welcomed Pucci’s comfortable and practical fashion.
Emilio Pucci is highly influenced by Sicilian mosaics, heraldic banners, Bali Batiks, and African motifs. Therefore, he invented a unique style, recognizable for its printed textiles, first stylized, then geometric. Also, for his incredible use of color, which brought together shades in unforeseen combinations. His prints were designed to be shown off at their best when seen in motion on Pucci’s dynamically cut dresses.
In 1949, he launched his first beachwear collection in Capri, based on black and white prints created by Guido Ravasi of Como. The collection was a success, so in 1950 Pucci decided to open a boutique on the Canzone del Mare at Marina Piccola. His clothes were cut and assembled in the family home in Florence, where he had set up a small workshop in order to cope with the influx of requests.
In 1951 his designs appeared in his first Italian runway show, organized by Giovanni Battista Giorgini at Villa Torrrigiani on Via Serragli, Florence. The show was attended by America’s most important buyers. From then on, Pucci would be present at every Florentine fashion show until 1967, the year in which he began to show in his own building on Via dei Pucci. In 1953, his palette of colors became suddenly more daring, printed on shirts, pants, scarves, and dresses in jersey, silk, and synthetic fibers.
Neiman Marcus Fashion Oscar
This range was big news on the international fashion stage, and won Pucci the 1954 Neiman Marcus Fashion Oscar for best designer of the year. Among his most famous were his Sicilian collection of 1956, inspired by the Sienese Palio in 1956, and his Botticelli collection of 1959.
From the very beginning of his fashion career, Pucci was interested in experimenting with materials. In 1953, with Legler, he produced synthetic velvets for sports pants, and in the same year he worked with cotton producers Valle Susa to create printed wally pliss. In 1954 Pucci made famous a new jersey for the production of lightweight, crease-proof clothing.
This was produced by Mabu of Solbiate and Boselli of Como, and made out of very fine silk organza. In 1960 he patented a light, comfortable elastic fabric called emilioform composed of Helanca synthetic and shantung silk. From this Pucci produced his Viva ski-pants and his famous outer-space style Capsule.
First Haute Couture Collection
In 1962, having become increasingly influenced by the Orient, he produced his first haute couture collection. This was notable for its rich fabrics and the workmanship of the embroidery, which included Swarovski crystals attached by hand to the palazzo pants which were already so much in vogue by that time.
In 1966 the first Pucci fragrance, Vivara was launched, followed by Miss Zadig in 1974 and Pucci in 1977. Meanwhile in 1968 he had become involved in the creation of menswear, having signed an agreement with Ermenegildo Zegna. Having invented the “total look” ahead of time, Pucci had signed licenses on all sorts of accessories and other items; from lingerie for Formit, to porcelain with Rosenthal; from rugs for Dandolo Argentini to Parker pens. In 1971 he even designed the emblem for NASA’s Apollo 25 space mission. His clothes were sold in no fewer than 51 countries.
In 1980, Pucci’s daughter Laudomia joined his design team, and in 1992 took over her father’s business when he passed away. In the early 2000s the movie Isn’t She Great? is released in which the famous American writer Jacqueline Susann, played by Bette Midler, is such a Pucci fanatic that she even has “Emilio” curtains in her pink study. She wears Pucci from head to toe, and even has a dog called Pucci Poo. The fashion world cannot ignore Puccimania. Katell Le Bourhis, adviser to Bernard Arnault and responsible for the dress collection at the Metropolitan Museum, visited the archives at Palazzo Pucci and was struck by the profound influence of “Emilio.”
Pucci Acquired by LVMH
In April, Cristina and Laudomia Pucci di Barsento — owners of the prêt-à-porter label Emilio Pucci, signed an agreement with LVMH, which acquired 67% of the business. Arnault had listened to Le Bourhis’s advice. The Managing Director of LVMH was the young Catherine Vautrin, who had been on the board since 1998. Laudomia Pucci continues to co-ordinate design and brand policy, whilst the production side of the business is incorporated into the Fashion and Leather division of the Arnault Group, chaired by Yves Carcelle.
In April 2002 Christian Lacroix was appointed Artistic Director of Emilio Pucci. Nobody, possibly, other than the “arlésien” with his Mediterranean spirit, could better take on the legacy of the “Prince of Prints.” Thanks to Lacroix, the shades and combinations of colors of the fashion of an innovative and gifted artist live on. Pucci’s exuberant, optimistic and at the same time highly glamorous vision of life was to be seen both in his ready-to-wear and beachwear collections.
Matthew Williamson includes the prints that made Emilio Pucci famous during the ’50s and ’60s in spring summer 2006 collection. He reinterprets them in a modern key on shorter dresses, with more sharp and geometric lines. In the same year, the House of Emilio Pucci works with Omas to create a ballpoint pen in three limited versions, creating an elegant perfect pen for writing thanks to the fantasies created by the Maison.
In 2007, the Maison celebrates sixty years and hundred years from the designer’s birth: that year the House launches an ephemeral makeup collection resulting from a partnership with Guerlain, and a new version of the Vivara fragrance, originally created in 1964. A year later, the brand opens an online store.
In 2009 Matthew Williamson leaves Pucci and Peter Dundas becomes creative director. His style is recognizable from cuts, colors, details and prints enhancing the female silhouette. Later, in 2013 new boutiques opens in Italy and the House plans to open boutiques globally in the fashion capitals. After the ownership of LVMH, Pucci has plans to step out to seek and join the “big boys club” of the luxury apparel labels.
Exhibitions and Events
From April 5 to July 27, 2014, the Victoria & Albert Museum in London organizes an exhibition on the birth of Italian fashion brands, also celebrating the case of Emilio Pucci. The Maison also participated to a LuisaViaRoma and Adidas charity project, customizing the FIFA ball for the World Cup.
In 2014, during Pitti Immagine Uomo, Vogue Italy organizes an event to celebrate Italians designers from Florence, where the name of Emilio Pucci is celebrated with photo shoots from the Vogue Italy archives. Moreover, Emilio Pucci creates the installation “Monumental Pucci”, featuring an iconic print depicting the Baptistery of Florence.
Creative Director: Massimo Giorgetti
In April of 2015 Massimo Giorgetti is named creative director of the brand. He is the young and talented founder of the brand MSGM. He was elected creative director of the fashion house to create a new future for the brand, a pop soul of a tradition of quality.
On the occasion of the earthquake in central Italy of 24 August 2016, the celebrities come together to support those affected by the disaster. The event “Support from Fashion”, in support of the citizens of Amatrice, is organized in Florence. Pucci and other designers put some of their creations for auction to donate the proceeds to the earthquake victims. Always in 2016, Emilio Pucci and Illy come together to create a collection of coffee cups. The objects of design are part of the Illy Art Collection series, which includes hand-drawn exclusive prints, depicting landscapes dedicated to Florence, Milan, and New York.
In April 2017, to tribute the 50th year of Componibili designed by Anna Castelli Ferrieri in 1967, Pucci started a collaboration with Cartel. Together they designed a special version of this iconic storage modules by using brand’s archive print “Campanule” which fully represent the spirit of Emilio Pucci.
At the same time, to strengthen brand’s presence in Asia market, the company opened a new boutique in Korea, located at the Galleria East Luxury Hall in Seoul. With the new opening Emilio Pucci now has a consolidated presence in Asia, operates in major cities like Hong Kong, Kuala Lumpur, Bangkok, Tokyo, and Beijing. In addition, Pucci is presented all over the world in more than 50 countries, also offering its product through its online flagship emiliopucci.com. Brand’s distribution network extends to the world’s most relevant fashion capitals including Milan, New York, Rome, Paris and London, as well as luxury resort destinations such as Portofino and Saint Tropez.
Cesare Paciotti is a shoe designer from Italy born in 1958, but he did not start the business that bears his name. The shoe business, which was first named Paris, was founded in 1948 by his parents, Giuseppe and Cecilia Paciotti, in Civitanova Marche. The company specialized in high quality handmade shoes.
At an early age Cesare learned from his parents the mastery of Italian shoemaking and created sketches and prototypes. He went to DAMS University in Bologna then inherited the business from his father in 1980. At this time, they renamed the business Cesare Paciotti and he became the creative director, while his sister Paola managed the company matters.
First Shoe Collection & Menswear
In the beginning of the 80s he created his first shoe collection. Also, his men’s line, with its nonconformist designs and outrageous advertising campaigns, stood out in what was a traditional and conservative field. Innovation and high quality are combined with strong geometric shapes and the prolific use of metallic accessories. At the same time Gianni Versace, Romeo Gigli and Dolce Gabbana, asked them to craft their shoes.
At the beginning of the 1990s he launched a women’s collection and the highly recognisable stiletto heel, creating extremely feminine shoes. A few seasons he created a range of handbags, cases, backpacks, hats, and overnight bags. In 1998 he launched a range of eyewear. In 2001 the year closed with a turnover of €49 million, an increase of €13 million from the previous year.
The brand’s strong personality is symbolised by the dagger, whose hilt bears the designer’s initials creating an unmistakable logo for the maison.
In 2002 the brand launched the new collection “Paciotti 4Us”. The brand was one of the 40 Italian exhibitors participating in WSA International in Las Vegas, one of the most important fairs for the US shoe market. Launch of a handkerchief shaped bag called Ebe, like the “servant” of the gods charged with pouring out ambrosia at banquets. Ebe was in canvas, chamois leather, tassel and straw, with a leather or rattan handle.
In February 2003 The New York Fashion Institute of Technology Museum celebrated Cesare Paciotti’s shoes, along with Gucci handbags, and hundreds of other designer pieces, in the exhibition Italy, in the Life Styles. From May to August Cesare Paciotti’s more classic footwear was featured at the Metropolitan Museum of Art in New York in Goddess. This was an exhibition exploring and underlining the influence of Classical dress on fashion of the last three centuries, through a collection of hundreds of garments, prints, and photographs from 1800 to the present day.
A Hard Time
Over the years, Cesare Paciotti’s lines expanded further: in 2007, jewelry and watches made their debut, then a collection of underwear and swimwear in 2008. The intense activity of public relations led Cesare Paciotti to join numerous celebrities, who became testimonials for the campaigns of the brand. In the meantime, the expansion of the retail network continued with the opening of stores and in-franchising stores in China, Dubai and Riyadh, Saudi Arabia.
But in 2013 the Paciotti company goes into crisis. This crisis is connected to the collapse of the internal market and a huge sum that the company should have received by usual Italian customers that did not pay their debt with Paciotti because of the recession. Two-thirds of the company were based on the turnover in sales in Italy, but the local market, with the collapse in sales, was greatly reduced.
After a strong period of deep recession, the Paciotti company feels the need to continue its activities relaunching the brand, despite the financial blockade that has suffered in recent years. The company has had the support from the suppliers, who trusted Paciotti even in such a delicate moment.
In October 2017, Paciotti collaborated with Slovenian-Italian stylist Ada Kokosar, and launched a capsule collection called Paciotti by Midnight. This collection is inspired from Cinderella’s glass slippers and Marie Antoinette’s lavish style. All of this collection are covered in PVC, which allow you to wear these satin shoes in the rain.
Today, Paciotti S.p.A. aims not only to a growth in sales in the Italian market, but also in foreign markets, such as Russia and East, whose revenues have increased 32-65%. In addition to a revival in new markets, there has also been an internal restructuring, with 120 employees in Civitanova Marche, a few flagship stores and a particular attention to e-commerce, with sales increased by 3.5%. The Paciotti family has decided to invest everything to save the house, symbol of luxury shoes made in Italy.
The origins of Prada begin in 1913 when Mario Prada, Milanese luxury craftsman, opened a shop at Galleria Vittorio II in Milan.
Prada is innovative in the field of travel goods, accessories, and luxury goods. The branded uses refined materials, high quality craftsmanship and state of the art design for its products. The brand has quickly become a point of reference for leather accessories and items precious from all over the world.
Thanks to the quality of its creations, Prada meets the demand of the most demanding, experienced clients of the international market, and of high society. In 1919 Mario became an official supplier of the Real Casa d’Italia, obtaining the right to include the coat of arms and the Sabaudi knots in his own brand. (Source: “Prada”, edition 2009, Prada Arte project).
On the other hand, Mario Prada ideas made it clear, his goal was to:
“Collapse the shortage of objects that participated in the adventure of stylism, but with detachment; They were fashionable, and unable to go fashionable in the course of a season.”
Miuccia: The Rebellious and Ingenious
Mario’s granddaughter, Miuccia Prada, is an ex-jury of the good bourgeoisie, a sixty-year-old passionate about theater and mime, enrolled at the Small Theater School and the Udi (Union of Italian Women) of the Communist Party.
In 1978 Miucca became part of the family business. Together with her partner and husband, Patrizio Bertelli, they transformed the brand into a world-class luxury goods Made in Italy business. After Miucca took over, the brand begins to compete with Louis Vuitton, Chanel, Hermès, Gucci.
The company becomes highly industrial, and at the end of 1997 Prada can rely on:
8 establishments with 1184 direct employees;
119 single-store shops, of which 94 are directly controlled;
A total turnover of 1,147,202 billion lire.
The stages of this ascent to the top of international fashion are marked by Miuccia’s creative intuitions and Patrizio Bertelli’s clever business strategies and communication.
The Eighties: Nylon and American Success
In the early 1980s, Nylon handbags arrived in a patented material, Pocono, originally used for military parachutes. Bags are identified by the iconic logo: an inverted metal triangle inspired by the closure of Mario Prada’s trunks, which soon become objects of worship. In 1979 the first shoe collection was launched.
In 1983 he opened the first Green Store in Milan, designed by architect Roberto Baciocchi. It is characterized by a particular shade of light green that will soon be recognized worldwide as Green Prada. From this moment on, Prada opens a network of Green Stores all over the world, the color remaining so unique. (Source: “Prada“, edition 2009, Prada Arte project).
In 1988 the big jump in women’s clothing took place. The decade of the most spectacular hedonism and consumerism of the century. Opposed to “minimalism”, Prada’s fashion is actually the conceptual elaboration and aesthetic disorder of our time, but without any abstraction.
The return to Milan
Prada is Miucca, a bourgeois and schismatic girl who has become a character, with her stage in New York. She turns naked legs even at 10 degrees below zero, wears woolen socks with sandals, and wears a second-long chiffon skirt over rough tweed, which invented her wind-jacketed jackets.
Only after becoming a “case” in the United States and the Anglo-Saxon press, the Prada-Bertelli reported collections on the Milanese catwalks. The Italian journalists who, before the American trip, left empty whole files of the fashion shows in Melzi d’Eril , are left outside the door of the new Via Maffei.
There is a scandal in print, with accusations of censorship. But, the name Prada becomes popular far beyond the fashion world. Also, because the couple follows the common passion for contemporary art, and become collectors to patrons.
The Nineties: The Foundation and the Big Acquisitions
1993: Prada Foundation was founded, followed by the first exhibitions: Eliseo Mattiacci and Nino Franchina. In the same year the Men’s line and Miu Miu, the independent brand created specifically for Miuccia, were created.
1995: The Prada Foundation, a Milan art space, hosts artists such as Anish Kapoor, Michael Heizer, Louise Bourgeois, Dan Flavin, Laurie Anderson, Sam Taylor Wood, Mariko Mori.
1997: Patricia Bertelli, a sailor expert, decides to sponsor and take part in the 2000 America’s Cup in New Zealand.
The choice is to support the new line Prada Sport, a research laboratory for new materials, forms, and behaviors.
June 1998: Prada becomes an important shareholder of Gucci, and listed on the New York Stock Exchange. However, in January 1999, with 34.4% of Gucci by the French group, LVMH (Louis Vuitton Moet Hennessy), Prada surrenders its shares to Bernard Arnault. In six months the brand achieved a surplus of 192 billion Lire to invest in the increasingly international brand development.
In the following years:
The purchase of the majority of Helmut Lang;
Participation in De Rigo (glasses);
A minority stake in Church’s, English shoes;
Then the big hit, the purchase of Jil Sander (75 percent of ordinary shares and 15 of those listed on the Stock Exchange);
Finally the winning public offering of the Church’s majority and the alliance with Bernard Arnault and his Lunch for the holding of the Fendi brand. It is the end of August 1999.
The Epicenter Project.
In 1999, the brand inaugurated a unique project in collaboration with AMO, the think-tank of Office for Metropolitan Architecture (OMA) and the architect Rem Koolhaas. Miuccia Prada and Patrizio Bertelli entrust AMO with the task of analyzing world shopping trends, conceptualizing new products and applying their findings to new types of stores. Thus, the project of three Epicenter projects, designed outside the type of Green Store, is designed to become a true experimental laboratory.
Strong with an identity that transcends the simple brand, the company continues to affirm its originality in new and unexpected ways. He is among the first to collaborate with visionary architects such as Rem Koolhaas and Herzog & de Meuron, winners of the prestigious Pritzker Prize. The Epicenter of New York, Tokyo and Los Angeles, so different from the classic concept of the store, are the result of A careful analysis of the dynamics of the market in contemporary society and of revolutionary architectural innovation. In these boutiques are exposed luxury goods that are the result of extraordinary technology and design, alongside a multitude of exclusive activities and events. (Source: “Prada”, edition 2009, Prada Arte project)
From 2000 to 2005
A New Venue for Collections
At the beginning of the year, the company is recognized by Interbrand among the 100 most important brands in the world. Starting in 2000, Prada presents its collections in Fogazzaro Street, Milan, in a former industrial establishment. The building, renovated for this purpose, is constantly being reconfigured, giving rise to new architectural environments. In order to enhance the concept of collections, in fact, unique movies, videos and sound settings are projected. (Source: “Prada“, 2009 edition, Prada Arte project)
A joint venture with LVMH, called Lvp Holding Bv, is formed in July for the acquisition of 51% of Fendi’s ordinary shares. In October, the acquisition of 100% of Azzedine Alaia’s shares will take place. The Eyewear and Beauty collections debut.
The 2000 Budget
Consolidated sales grew 56.6% compared to 1999. Gross margin increased by 49.8%. Net income was down 184 billion lire (-42.7%). However, the 1999 figure is influenced by the gain on the sale of Gucci shares to the LVMH, net of which the profits would be 134 billion.
The debt remains high, but it is not due to financial mismanagement, but from the many acquisitions carried out in 1999 and 2000: Church’s, Helmut Lang, Jil Sander, Fendi (joint venture with LVMH) and Azzedine Alaia. Significant ratio of net debt to net equity improved in 2000, thanks to Prada Holding’s capital increase of €260 million.
The budget of the Jil Sander House, which accounts for 10% of total turnover, showed a turnover of €134.8 million. The markets with the largest competitive presence is Germany and American. In Italy, the brand is present in Milan, with a showroom in Piazza Castello.
Acquisitions of 2001.
February: Acquisition of 70% Santacroce.
April: Acquisition of 51% of the company Car Shoe, a brand created and patented in 1962 by the Lombard artisan Gianni Mostile, shoe manufacturer for motorcycle enthusiasts. The value of the operation was not known.
July: Acquisition of 70% of Genny, a Marche company led by Donatella Girombelli. Rumors add up to $100 billion to $120 billion in sales, a figure that must be taken out of the high debt.
November: Agreement with LVMH for the sale of 50% of the Prada Group’s holding in Lvp Holding BV (holding Fendi’s shares owned by LVMH and Prada) for a value of €295 million. Prada and LVMH had purchased 51% of Fendi in 1999, paying $425 million. The figure serves to lower the indebtedness of the Italian Group.
The Epicenter of New York
After three years of research, Prada opens the first Epicenter in New York, at Broadway’s Guggenheim Museum SoHo. Rem Koolhaas and OMA create a scenic spectacular design of a wooden wave linking the ground floor to the bottom. With suspended and motorized hanger cages that move along a network of ceiling mounted rails, and a real stage that Gets out of the wave to host special events. The project has an immediate success and remains one of the most prominent contemporary Prada stores worldwide.
One of the most important features of the New York Center is the northern wall that extends for a whole block, reaching the length of sixty meters. From the earliest designs, OMA conceived the wall as a kind of canvas on which to apply temporary wallpaper. Prada and New York Design Studio 2 × 4 have created different wallpaper to produce ever-newer content. Almost at the same time as the opening of the New York Center, Prada started designing the second Epicenter, located in Tokyo, with the Swiss architects Herzog & de Meuron. (Source: “Prada”, 2009 edition, Prada Arte project)
The long-awaited listing on the Milan Stock Exchange is postponed due to the unfavorable time. The multiple acquisitions made in recent years have exacerbated the debtor situation of the Group, which, in order to face it, is considering issuing. It paves the €700 million bond in favor of Prada. The demand from investors was five times higher than the availability. The €700 million will be used: 300 for capital increase and 400 for repayment of debts.
Financial situation in 2002
March: Debut in Moscow, in the central Tretyakov Passage, the first single-member in Russia. Group Partner is Mercury Distribution.
June: A joint venture was established with the Puig group for the creation and distribution of perfumes and cosmetics marked by the Prada brand. With the purchase of the remaining 25% of Jil Sander, Prada has total control of the German brand.
August:. The remaining 24.29% of Genny Spa is found. The Genny and Byblos brands, to which Ozium is added, are present in the high-end prêt-à-porter and in other product lines including leather goods, glasses, and perfumes through contracts License.
September: Fabio Zambernardi is the design director of the Prada and Miu Miu brands for clothing, footwear, and accessories lines. The limited edition GTS Chrono-Automatic IWC for Prada watch is launched.
Prada and Miu Miu’s direct sales outlets total 160. Group revenues amounted to €1.57 billion. The business volume has maintained a balanced geographical distribution: 26% Italy, 25% rest of Europe, 23% North America and 26% Japan and Asia-Pacific area. Historical brands Prada and Miu Miu contributed 83% of total revenues. Consolidated net income is €27 million.
Prada points to Japan: The Epicenter of Tokyo
March: An agreement was reached for the distribution of Prada glasses with the company Avante-Garde Optics (Luxottica Group) in the USA, Canada, and Puerto Rico. Bertelli announces Group plans for the year. Investments will fall from €130 million in 2002 to €100 million, and will be channeled mainly in the relaunch of younger brands.
Debut a new flagship store in the Ginza district of Tokyo. The third in the Land of the Levant. For the occasion, Prada has produced a Limited Edition Series (2000 copies) exclusively for the Japanese market.
The new Epicenter Prada debuted in Tokyo, designed by architects Herzog & de Meuron. The six-story building, located in the Aoyama district, is one of the city’s most recognizable architectural works. The green glass façade protrudes from a diagonal grid that forms the structure, while it houses commercial areas, lounges and spaces for events. (Source: “Prada”, edition 2009, Prada Arte project).
July: A ten-year license agreement with Luxottica Group, a world leader in the optical industry, for the production and distribution of sunglasses and watches with the brands Prada and Miu Miu, begins. The deal contemplates the acquisition by Luxottica of the 100% production and distribution companies of the Prada Group, for a total value of €26.5 million.
The Epicenter of Los Angeles
In 2004, it opens the flagship store of Hong Kong. Miuccia receives New York’s International Award from Cfda.
After the success of the New York Center, OMA plans a new space on the historic Rodeo Drive in Beverly Hills. In some respects, the new project is the reverse of New York: a wave rises from the road level, rises to the second floor and goes down again. The facade is made up of a single aluminum plate. Many of the inner walls are made up of a special resin sponge that gives an unusual ‘porous’ appearance to the spaces. (Source: “Prada”, 2009 edition, Prada Arte project)
In the same year, the brand expanded its activities by sponsoring Luna Rossa, a sailboat participating in the America’s Cup, and the consequent introduction of the ad hoc technical clothing line the following year.
In April, an agreement was reached with Aedes. This will give rise to Real Estate International, which acquires Prada Group real estate assets for an estimated value of about €100 million and with a capital gain of €30 million of Prada.
Meanwhile, Helmut Lang’s acquisition is completed. The brand headquarters in New York are moved to Milan, while opting for the suspension of Genny’s clothing line, acquired three years earlier.
Departures and the Launch of the First Perfume
In 2005, Simonetta Ciampi was appointed design director for bags and accessories. In the following period, the Prada Group became lighter. With the sale of Helmut Lang, Jil Sander (2006) and Azzedine Alaïa, which returned to 100% in the hands of the Franco-Tunisian designer, while investors entered Banca Intesa, a 5% stake. This involves the incorporation of the Lamos shoe factory and in conjunction with the announcement of the start of the auction.
Also in 2005, for launching the first female fragrance, Miuccia Prada invites filmmaker Ridley Scott, and her daughter Jordan, to collaborate on the production of a short film. To represent the complexity of the feminine essence, Jordan chooses an ancient 1st-century poem entitled “Thunder Perfect Mind”, which illustrates the countless facets of the female psyche. “Thunder Perfect Mind” is shot by father and daughter in Berlin, and has Daria Werbowy, protagonist of the different female roles of wife, virgin, mother, daughter, and lover. (Source: “Prada”, 2009 edition, Prada Arte project)
From 2005 to 2010
In March 2007, Prada launched Prada Phone by LG, the first fully mobile touch screen phone. More than a million pieces sold in 18 months of presence on the market. The process of asset optimization gives its fruit: Prada S.p.A. Closes 2007 with record profit of €127 million, up 65.8% over the previous year.
At the beginning of 2008, during the New York Fashion Week, Trembled Blossoms is presented. In line with Prada’s creative process, Tremclothing, bags, and packaging. The Trembled Blossoms movie is presentedbled Blossoms is born out of contradictory ideas. The interweaving of Miuccia Prada’s many inspirations, ranging from Art Nouveau to Hieronymus Bosch’s paintings, are perfectly restored by surreal designs by artist James Jean, which stimulate the creation of wallpaper, animated shorts, printed fabrics, at the New York Center in the fall of 2007, accompanied by a live performance by the Coco Rosie group, which made up the soundtrack of the film.
The film is subsequently screened during a series of exclusive events in the Epicenter of Los Angeles and Tokyo. (Source: “Prada”, edition 2009, Prada Arte project).
An animated short film, entitled Fallen Shadows and directed by James Lima. Inspired by the collection by Steven Maisel in the campaign with Linda Evangelista, features an innovative technique of overlapping digital and traditional images: a hand-painted backdrop makes the background a new generation animation created entirely on the computer. (Source: “Prada”, edition 2009, Prada Arte project).
Prada and Contemporary Art
The Waist Down Show
Among the projects for art, Waist Down, is an itinerant exhibition that collects and exhibits the most original and significant models of skirts created by Prada from 1988 to today. The show is conceived by Prada and AMO as a modified event from time to time based on the exhibition space intended to accommodate it. The inauguration of the exhibition takes place in 2004 at the Tokyo Interstate, the second location is the famous Peace Hotel in Shanghai.
In 2006, Waist Down moved to New York City Center in SoHo to continue at the Los Angeles Downtown in Beverly Hills and finish with the inaugural installation of the Prada Transformer in Seoul. Each evolution interprets and conforms to the different exhibition spaces, mixing activities and features of the event with the culture of the host city. With Tokyo in 2004, Shanghai in 2005, New York and Los Angeles in 2006, and Seoul in 2009. (Source: “Prada”, edition 2009, Prada Arte project).
Subsequently, the Prada Transformer project is an installation housed for six months next to the historic Gyeonghigung Palace in downtown Seoul, capital of South Korea. It will combine several disciplines within a single building, gathering the various facets of Prada while respecting its autonomy and uniqueness.
Designed by Prada, in collaboration with architect Rem Koolhaas, tetrahedron has been conceived to host four events dedicated to art, cinema, fashion, and the world of culture. Each event has a distinct planimetry: hexagonal, rectangular, cruciform, and circular. Compared to any typical exhibition space that suits everything, the Transformer literally overturns, adapting its appearance to the features of each event.
In recognition of the cultural value of this cutting-edge project, the President of the Italian Republic Giorgio Napolitano wanted to include the Transformer on his state trip to Korea. This is the only case in the history of the Republic, where a private building is included in the program of the official visit of the Head of State.
The America’s Cup
The Prada Group’s horizons transcend the boundaries of fashion: art, architecture, cinema, culture. Also, major challenges such as the America’s Cup are an integral part of the core values of the brand. Passionate and competent sailor, in 1997 Patrizio Bertelli launched an Italian challenge to America’s Cup, the most important sailing international competition. The ‘Red Moon’ boat wins the Louis Vuitton Cup, the Challenger selections for the 2000 America’s Cup, thus winning the right to challenge the New Zealand defender, which will then be defeated in a fierce final. But ‘Luna Rossa’ will remain a national phenomenon, an icon that has written one of the most important pages in the history of Italian sports. Never before had a sailing event been so followed in Italy.
A few months later, the new Prada Foundation in Milan, curated by Rem Koolhaas, opens to the public in May 2015. An area of 17,500 square meters in an industrial complex of the early twentieth century. In the field of art and culture, the Foundation is considered a true reference world-wide. The attention and interest of Miuccia and Maurizio Bertelli for the contemporary art world lead to the decision to open a space where presenting exhibitions realized in full collaboration with Italian and international artists.
“Prada Foundation is an initiative that aims to receive and retransmit the deepest mental provocations of the art of our time.” Miuccia Prada.
Over the years, the Prada Foundation has explored several research subjects, opening up to issues related to areas such as architecture, philosophy, science, design, and cinema.
From 2011 to Today
Fondazione Prada in Venice
Starting June 2, 2011, the Foundation opened a new exhibition space Ca ‘Corner della Regina”. A prestigious eighteenth-century building overlooking the Grand Canal in Venice, after an important conservation restoration intervention. This impressive historic building, which was made available by the Venice Civic Museum Foundation for 6-12 years, has inaugurated a complex and articulated exhibition that reflects the multifaceted activity of the Foundation.
As of June 24, 2011, the Group placed 20% of its shares on the Hong Kong Stock Exchange, recording an initial valorization of the company at €9.2 billion, with the offer covered 3.5 times the available shares.
The “24 Hour Museum” Project
In 2012, Prada launches the “24 Hour Museum” project, conceived by Francesco Vezzoli, in collaboration with Rem Koolhaas’s AMO study. The installation for the “24 Hour Museum” has proposed three distinct moments, each inspired by a particular type of museum space: historical, contemporary, and forgotten. In the three areas, Francesco Vezzoli has imagined a “museum that is not there.” Where he exhibited his homage to the eternal feminine, and the interpretation of classical sculptures that allude a contemporary feel.
In the tradition of collaboration with artists and multiple approaches to the creative process, Prada intervenes to create a new project of linguistic and visual experimentation. The whole exhibition lasts 24 hours, a stage for a great party Baroque.
The Exhibition “Impossible Conversations”
Also in 2012, the Costume Institute, the Metropolitan Museum of Art, hosts the exhibition Schiaparelli and Prada: Impossible Conversations. From May 10 to August 19, 2012 (preceded on May 7 by the Gala Benefit Event), the exhibition explored the unexpected affinities between the two Italian stylists belonging to different epochs.
Taking inspiration from Miguel Covarrubias’s “Interview impossible” for Vanity Fair in the 1930s, curators Harold Koda and Andrew Bolton gave rise to unreal conversations between these two women. Suggesting, new keys to reading their innovative work.
Elsa Schiaparelli’s and Miuccia Prada’s icons are presented in galleries. Along with 8 videos that simulate a series of conversations between the two stylists directed by Baz Luhrmann to illustrate how in their work they have explored similar themes through very different approaches.
Prada for “The Great Gatsby”
In 2013, Miuccia Prada collaborated with costume designer, Catherine Martin, to create a collection of over 40 exclusive evening cocktail dresses by Miu Miu and Prada for “The Great Gatsby” by Baz Luhrmann. A special show of selected costumes was exhibited at the New York Center from May 1 to May 12, then moved to the Tokyo Expo Center from June 14 to June 30, and finally moved to the IFC Mall in Shanghai from 11 to 21 September 2013.
The show, “Catherine Martin and Miuccia Prada Dress Gatsby”, combines evening dresses, hats, footwear, and jewelry with sketches, scene photos, backstage footage, and movie trailer. Also, mannequins wore the looks of each character accompanied by video from both the film and behind the scenes. Curated by New York’s 2 × 4 studio, the show was designed to change at each stage in order to reflect the unique features of each city that hosted it.
The Prada Gallery and Journal Projects
In 2013 Prada acquires an entire sky-earth portion of a property in Galleria Vittorio Emanuele II overlooking the Ottagono and overlooking the historic store dedicated to female collections.
The project “The new Prada Gallery” is being developed in several phases. The first one sees the opening in 2013 of the new Prada Man shop on the ground floor of the palace. The spaces are entirely restored according to the aesthetic and architectural apts of the historic store of 1913.
The next phases of the project include the opening of a dining area on the mezzanine floor and the opening of exhibition spaces devoted to the Prada Foundation.
Also, in 2013 is the launch of Prada Journal, a literary competition in collaboration with Giangiacomo Feltrinelli Editore and Luxottica. The literary competition also arises from the curiosity of exploring innovative languages through forms of expression that converge on the written word, creating an independent platform of interest and an unusual editorial search reserve. Prada Journal had two more editions in 2014 and 2015.
Two New Short Film’s
In 2013, Prada presents Cannes’s short film “A Theraphy”, written and directed by Roman Polanski, starring Ben Kingsley and Helena Bonham Carter. The author of The Pianist and Carnage has imagined a somewhat weird psychoanalytic sitting where Tim Burton’s wife interprets a rich and bored lady, gripped, while Kingsley is her analyst.
In 2014 another film collaboration: an 8-minute short film directed by critically acclaimed American director, Wes Anderson. Cavalcanti Castle is perfectly located in Anderson’s authoritative universe, only this time in Italy. It’s September 1955, and Jason Schwartzman just went to slam with his racing car against a statue of Jesus. The result is a popular story about cases of fate in a typical ‘Andersonian’ style.
Close to its first centenary, is a holding company employing more than 7800 employees and distributing its products through a network of 353 stores in more than 70 countries.
Acquisitions of 2014
In March, Prada SpA announces the acquisition of 80% of Angelo Marchesi Srl, owner of the Milanese pastry factory founded in 1824. The same year is the acquisition of the historic tannery Mégisserie Hervy at Isle, near Limoges. The acquisition was carried out jointly with Conceria Superior SpA of Santa Croce, a long-time industrial partner of the Prada Group. The aim of the operation is to ensure the recovery and revival of a productive structure which is an example of excellence in the tannin tradition of lamb skins and in particular of “plongé” tassels, with the aim of preserving its precious craft know-how.
Also in 2014, the launch of the Pradasphere project, an exhibition dedicated to the Prada brand and curated by the 2 × 4 studio in New York. The first edition is hosted by Harrods in London for a month. The exhibition follows the multifaceted obsession of the brand through fashion, art, architecture, cinema, sports and more, forty showcases, a pop-up store, video installations, and the elegant Marchesi pastry shop. The second edition of Pradasphere took place in Hong Kong, in a space specially created for the occasion.
After the acquisition of Angelo Marchesi Srl, in September 2015 Pasticceria Marchesi presents at the space, via Monte Napoleone 9. This is the first place after the opening of the historic Milanese coffee. Marchesi Monte Napoleone remains faithful to its style and its impeccable quality, offering a wider range of products. Designed by architect Roberto Baciocchi, the new shop extends over an area of 120 square meters and the interiors reinterpret the atmosphere and charm of Via Santa Maria at Porta 11 / a.
Within a year, Pasticceria Marchesi opened a third shop in the heart of Milan, within the emblematic Galleria Vittorio Emanuele II, a symbol of the city. At the new space, located on the mezzanine floor of the building that houses Prada Man. You can access via stairs or elevators from both Galleria Vittorio Emanuele II and the Prada store. The new Marchesi space is spread over an area of 250 square meters and reinterprets the atmosphere and fascination of the historic shop of Via Santa Maria alla Porta. Located in a charming setting marked by numerous arch windows, overlooking the beautiful frescoes and precious floors to the mosaic of the Gallery.
The Restoration of the Last Supper by Giorgio Vasari
On November 4, 2016, Giorgio Vasari’s restored the masterpiece in Santa Croce, fifty years after the Flood. Thanks to the commitment of Opificio delle Pietre Dure and the contribution of Prada, Getty Foundation, and Civil Protection. The ceremony takes place in the presence of the President of the Italian Republic Sergio Mattarella and Patrizio Bertelli, Managing Director of the Prada Group, Irene Sanesi, President of the Opera of Santa Croce, Marco Ciatti, Director of the Dure Stone Store, and Antoine Wilmering, Getty Foundation Senior Program Officer.
Giorgio Vasari’s Last Supper, which water and mud swept through this museum’s hall on November 4, 1966, has been preserved for decades in a Superintendency depot along with many other flooded works. After fifty years, thanks to new technologies, the restoration and the painting have been relocated to the Cenacolo. Thanks to the new technology, the Structure of Pietre Dure and the support of Prada, Getty Foundation and Civil Protection to make this possible. The Return of the Last Supper to Santa Croce is a virtuous example of patronage that has seen together in more than ten years. Thanks to Prada, who made it possible to intervene on the painting, the Getty Foundation for wooden support, and Civil Protection who allowed studies and surveys.
The Past Forward Project
Past Forward is a multi-platform film project born in 2016 by the collaboration between Miuccia Prada and US director and screenwriter, David O. Russell. Acclaimed for films such as American Hustle, The Fighter, and The Positive Side. Russell has imagined Past Forward as a dreamy, surreal, and silent landscape with an eclectic cast that re-plays scenes in variable combinations. The result is an unreliable story, a parallax view in which scenes, characters, costumes, genres, and even multiple endings, repeat and turn away. Rejecting the logic of conventional fiction. Russell represents his characters as elements of a complex collage, leaving the spectator the task of decoding what experience, memory, dream, and understanding overlap and differences between them.
Prada Opens Observatory
In December 2016, the Prada Foundation opens Osservatorio, a new exhibition space dedicated to photography and visual languages. Located at Galleria Vittorio Emanuele II in Milan. Observatory is a place of exploration and investigation of the trends and expressions of contemporary photography. The constant evolution of the medium and its connections with other creative disciplines and realities. In a historical moment, in which photography is an integral part of the global digital communication flow, the Prada Foundation, through Osservatorio’s activities, questions the cultural and social implications of current photographic production and its reception. It extends the repertoire of modes and tools with which the Foundation interprets and relies on the present.
Located on the fifth and sixth floor of one of the central buildings, the Osservatorio is above the octagonal, at the level of the glass and iron dome covering the Gallery created by Giuseppe Mengoni between 1865 and 1867. The environments, rebuilt in After World War II following the bombings that struck the center of Milan in 1943, they underwent a restoration that made available an 800 m2 exhibition space developed on two levels.
The Shaping Conference at Creative Future
In March 2017, the Prada Group presented to Milan “Shaping to Creative Future”, a conference organized in collaboration with the Yale School of Management and the Politecnico of Milan School of Management. The event explored new possible connections between sustainability and innovation. This led to a confrontation between entrepreneurship, culture, and the international academic world. During the first day, at the Prada Foundation, teachers from both universities met with representatives of companies and associations to work out a critical perspective that was the focus of discussion on the next day. The following day, at Prada’s headquarters, entrepreneurial personalities, and spokespersons of international organizations met at a plenary conference, enriching the debate with inspirational insights and personal experiences.
Sports shoe company. It is said that it was John Charles, a center-forward for Juventus in the 1950s, who referred to a handmade sports shoe as a pantofolo d’oro: “It’s not a shoe, it’s a slipper… a golden slipper.” About ten years earlier, in his small shoemakers’ workshop in Ascoli Piceno, which had belonged to his father and before that to his grandfather since 1886, Emidio Lazzarini had invented a shoe that perfectly fitted the sportsman’s foot. First used by wrestlers, then by the local football team Ascoli Calcio, the secret of the Pantofola d’oro was its calf-leather sole, so supple that it could be bent in half with the lightest of pressure. They were ideal for the feet of the Brazilian Garrincha, who suffered from a congenital deformity, but who, thanks to a pair of Pantofola d’oro, was able to play for his country in the 1958 World Cup. Also, the Russian giant Yascin, who wore a size 47. Their true consecration came in the 1970s and 1980s, thanks to champions like the footballer Johann Cruyff and cyclist Francesco Moser. The expansion of the footwear industry and of big international brands present a company of craftsmen like that of Lazzarini with a challenge to which they can only respond by offering the highest quality. These days Pantofola d’oro make luxury sports shoes for football, five-a-side, and free time, still using the patented sole made from 18 different components, and the upper, which is shaped for at least two days. Their products are sold through about 200 shops in 40 countries worldwide, with the main outlets being in France and England. They have distributors in Australia, the United Arab Emirates, and Iceland.
Dutch department store. They have expanded into Belgium with their P&C label. Their motto “La mode, c’est belge” is justified by the fact that they buy in many articles from Belgian companies. Peek & Cloppenburg was started by Dutch pioneers in Amsterdam in 1869, producing men’s clothing. In 1961 its production increased after a merger with Lampe, who produced women’s and teenage clothing.
Gordon (1912). American photographer. He worked mostly in the field of social documentary photography, but occasionally also in fashion. He did a feature on the model Bettina in Paris at the end of the 1940s which appeared in Life magazine. In 1962 Life published his reportage about fashion in Hollywood.
Women’s monthly. Launched in 1932 with the title Per voi signora, per i vostri ricami e la vostra casa (For you madam, your embroideries and your home), it was edited by Angelo Vergani. It presented drawings, photographs, and patterns for knitting, crochet, and embroidery designs for the house, bed-linen and clothing. It changed its title to Rivista di moda, ricamo e lavori femminili (Fashion, embroidery and feminine crafts magazine) in 1935 under the editorship of Mario Soresina, championing exclusively home-produced Italian fashion. Its last issues were published in 1947.