Hasta La Ideas

Traditional craft and materials star in Prada’s new capsule collection

In the early twentieth century Mario Prada (Miuccia Prada’s grandfather) traveled the world in search of precious materials, exotic leathers and luxurious fabrics, but also to discover sophisticated craftsmen and manufacturers to realize his designs. The first Prada products (bags, suitcases, gloves, walking sticks, bottles and glasses) were made by Alsatian and Austrian leather artisans, Bohemian crystal-makers, English silversmiths, as well as by Italian artisans using materials such as rare ivory, tortoiseshell, ebony and precious stones and leathers from all over the globe.

This curious connoisseur’s spirit remains at the heart of Prada, and translates into a sort of antidote to homologation and globalization so often seen among its competitors. Using Mario’s original approach, Prada collaborates with many different artisans to produce its designs utilizing the traditional craftsmanship, materials, and manufacturing techniques of a specific region.

This tactic will be soon explicit in the new “Made in…” project, a series of local products with special labeling declaring the origin of each piece.

“Prada Made in Scotland” will be a collection of traditional tartan wool kilts from U.K.workshops using traditional manufacturing and weaving techniques.

“Prada Made in India” is the label for a collection of handmade garments from workshops that specialize in Chikan, one of the most ancient Indian embroidery. Items will consist of handmade ballerina flats, woven sandals and artisinal handbags.

A series of jeans produced by Dova, a leading denim manufacturer, will carry the label “Prada Made in Japan.” The trousers can be custom ordered in four different varieties of cloth and seven different washes, making every article one of a kind.

“Prada Made in Peru” is a line of alpaca wool knitwear from the most traditional workshops of Peru.

These collections will be in stores starting in 2011.

Experimental design duo Federica Castagno and Sara Petrucci of Acquacalda presented their stunning new collection Fisica Applicata at the Temporary Museum of New Design during Milan’s recent Design Week. Inspired by the study of applied physics, Castagno and Petrucci describe their simple, eye-catching design as “one applied art, with the aim to communicate and develop different themes and show unexpected connections in daily life.”

The Turin-based pair transform kitchen basics—like vases, bowls and shakers—into instruments of knowledge, experimenting with the physical design of the objects without affecting their original function. “Archimede’s Scale,” a simple graduated bowl on first take, also weighs ingredients when immersed in water; measurements on the exterior indicate buoyancy. By subtly toying with expectations of how things work and clear references to scientific imagery, the collection invites curiosity and interactivity.

“Mix In Glass” (pictured above left) uses the principle of atmospheric pressure to mix cocktails. Blocking the straw opening makes measuring the ingredients quick and easy—unstopping the straw releases the liquid into the glass and eliminates haphazard spills.

A wine dispenser, “One For All, All For One,” creates four uniform streams of vino, using Pascal’s Principle which dictates that a liquid in a container exerts even pressure, to simultaneously fill four glasses.

The laws governing connecting vessels also led to Communicating Vase and Vasco. Both have a transparent tube that indicates the water level in its companion vessel, thanks to perhaps the simplest rule of all that says liquids will adapt to the shape of their containers.

After taking a look at Italian design origins in one exhibit by designer Italo Rota and exploring production contradictions with curator Andrea Branzi’s “Serie Fuori Serie,” this time the Triennale Design Museum turns to another maestro, Alessandro Mendini, to conceive the latest installation “Quali Cose Siamo?”

Asking “what things are we?,” the exhibit journeys through collective and private memories, defined through over 800 objects on display. From gigantic to small and common to odd, the objects in the historic rooms of the Triennale offer both a sense of familiarity—like coffee machines and corkscrews—and surprise, such as with the Prada shoes or the Lenci ceramics.

A memorable demonstration of childlike attitude and lucid wisdom, Mendini explained “While preparing the exhibition, I thought about my life’s encounters with objects and people. I didn’t want institutional items, very well shown during the previous editions. Of course some objects are not to be forgotten, like the Olivetti Lettera 22, but I have chosen the one used by Indro Montanelli. The shift is clear, from the things to their unique stories. That is to say, a fascinating jump from critics to anthropology.”

Silvana Annichiarico, director of the Triennale, also created an interesting “path inside a path” entirely dedicated to children, who will receive a complimentary illustrated book where the character Frisello guides them through a sort of treasure hunt with the objects. Will the kids be able to find answers? And will the visitors be able to discover what things we are?

“This is an interrogative pathway,” concludes Mendini. “At the end, every guest will have some doubts cleared, but also some new legitimate questions.”

Check out more images after the jump.

Formed by Giovanni De Pol and six other young people living in Italy between Modena and Milan, Dead Meat clothing comes from a sort of Italian countryside version of a Warholian Factory with ontology as a main focus.

Seemingly more art oriented and consciously philosophical than market-driven, the resulting collection of graphics, comics, tees and other clothing reflects an intellectually pensive team focused on producing a high quality, stylish assortment of goods.

“I sell thousands of pieces of clothing and I diffuse my own personal verb. I, more or less, influence people. I don’t want to be overly serious because I really trust in what Pasolini called “The Depth of The Surface” but, you know, the world needs to follow an Idea of Equilibrium. I just would like to be a part of it,” De Pol explains.

Provocation? Narcissism? Culture? Their quest for equilibrium is subtly prevalent, expressed in their manifesto and by kitschy black-and-white drawings, collages of Kurt Cobain and Hitler printed on tees, Rorschach test-inspired military jackets, and by perfectly knitted holes and scars in pricey sweaters. Keeping the best hidden, the brand carefully prints the most artistic and experimental images on the inside of the clothes.

Dead Meat sells at an impressive roster of stores worldwide, including United Arrows in Tokyo, The Library in London and Florence’s Luisa via Roma. Prices begin around $125 for T-shirts.

In just a few short years, the small t-shirt brand Impure has become immensely popular among Italians and collectors alike. The graphic concepts revolve around living and imaginary icons, but the treatment of them speaks to the belief that no cultural phenomenon is pure anymore—an idea clearly underlined by the slogan, “pure clothes for impure people”.

Impure (also to be intended as “I’m pure”) finds motivation in everyday heroes who mirror change and embody the most authentic challenge to contemporary culture.

Indicated by their website (by the Rome-based agency Xister) and shirt design, Impure embraces paradoxes and subtle controversies. As a result, their tees generate surreal and memorable images, such as Obama as the best DJ, Gandhi as a fighter, or Einstein as sex symbol.

The complete collection today includes fleeces, hoodies, button-downs and denim. The label is also certified environmentally friendly through Impatto Zero, meaning that it compensates what it pollutes through the seeding and care of trees in Costa Rica’. Both men and women’s tees sell online starting at €49.