Latest news with #FondazionePrada
Yahoo
23-05-2025
- Entertainment
- Yahoo
Fondazione Prada Introduces 1.5 Million-euro Film Fund
MILAN — While tariffs looming over the film industry have led the conversation on the opening day of the Cannes Film Festival, Miuccia Prada has quietly upped the ante of her commitment and support to the seventh art. On Wednesday, Fondazione Prada revealed the creation of the Fondazione Prada Film Fund, a 1.5-million-euro yearly effort aimed at supporting independent cinema and works of high artistic value, further enhancing the cultural institution's 20-year commitment to the field. More from WWD Skin Care Pioneer Ole Henriksen Announces 'The Glowing Man' Biopic in Cannes At the Cannes Film Festival, Chanel Seeks More Than Red Carpet Credits A New Documentary Dives Behind the Scenes at Akris 'Cinema is for us a laboratory for new ideas and a space of cultural education. For this reason, we have decided to actively contribute to the realization of new works and to the support of auteur cinema,' Prada, who is president and director of the foundation, said in a statement. 'For over 20 years, the Fondazione has been investigating these languages in different ways, thus advocating a free, demanding and visionary idea of cinema. Through this fund we intend to deepen and broaden a dialogue with creation and contemporary experimentation.' The fund will debut in the fall via a call for entries. Each year, a jury will select 10 to 12 feature films with no geographical or genre restriction, basing its picks on criteria including quality, originality and vision. The jury will decide the specific financing for each movie selected, addressing films in three different phases such as development, production and post-production. The ultimate goal is to support heterogeneous works in terms of language, production scale and artistic vision to contribute to the plurality and vitality of contemporary cinema. The project has been developed by Paolo Moretti, curator of Fondazione Prada's Cinema Godard program, director of the Directors' Fortnight at Cannes Film Festival from 2018 to 2022, head of the cinema department at ECAL — or École cantonale d'art de Lausanne — and director of Cinémas du Grütli in Geneva. He collaborated with Rebecca De Pas, a member of the selection committee at the International Film Festival Rotterdam and codirector of FiDLab — an international coproduction platform — from 2009 to 2019. This is the latest initiative in a long streak of film-related projects the cultural institution has launched to explore the art of filmmaking tracing back to the early 2000s. For instance, from 2003 to 2005, Fondazione Prada partnered with the Tribeca Film Festival in New York, founded by Robert De Niro, Jane Rosenthal and Craig Hatkoff, presenting the preview of a film selection in New York and Milan, such as Chinese director Wong Kar-wai's feature film '2046.' From 2004 to 2006, in collaboration with the Venice Biennale, the foundation launched a film recovery and restoration program, involving a selection of forgotten or misunderstood Italian genre films shot between the '50s and the '70s; Chinese works distributed before the 1949 Revolution; rare films belonging to Japanese popular production, and Soviet musical comedy films from the 1930s to the '70s. Other projects through the years have ranged from Francesco Vezzoli's 'Trilogia della Morte' video installations inspired by two works by Pier Paolo Pasolini and presented in Venice and Milan to Alejandro G. Iñárritu's 'Flesh, Mind and Spirit' in 2009, featuring a selection of films that marked the director's education and artistic vision. This initiative paved the way for the 'Soggettiva' series of movie selections that has involved filmmakers such as Pedro Almodóvar, Danny Boyle and Ava DuVernay and artists such as John Baldessari, Damien Hirst, Goshka Macuga and Luc Tuymans, to name a few. The Fondazione Prada outpost in Milan itself is filled with movie references, starting from its highly Instagrammed café Bar Luce, designed by Wes Anderson and referencing two masterpieces of Italian Neorealism like Vittorio De Sica's 1951 film 'Miracle in Milan' and Luchino Visconti's 1960 movie ' Rocco and His Brothers.' In 2018, the cultural institution's Milan location launched a regular screening program in its movie theater, mixing classics, experimental works, previews and rare and restored movies. Masterclasses and public meetings with established and emerging figures on the international film scene — including Anderson and Almodóvar, as well as the likes of Spike Lee, Luca Guadagnino, Dario Argento, Alfonso Cuarón, Joanna Hogg and Xavier Dolan, to name a few — further contributed to drawing crowds to the movie theater. As reported, in 2023 Fondazione Prada renamed the theater Cinema Godard to pay permanent tribute to the French New Wave pioneer Jean-Luc Godard. The move followed in the footsteps of Fondazione Prada becoming the only international institution to host two permanent projects by the late Franco Swiss director. Both were specifically conceived for the Milan venue and personally supervised by the filmmaker during their installation in 2019. For 'Le Studio d'Orphée,' Godard relocated his atelier and recording and editing studio to Fondazione Prada, setting a living and working space bringing together the original technical equipment used for his last films from 2010 to 2019, as well as furniture, books, paintings and other personal items from his studio home in Rolle, Switzerland. Here, visitors have the opportunity of attending the screening of his 2018 feature film 'Le Livre d'image' in the physical place where it was created. For the elevator of Fondazione Prada's Torre tower, Godard conceived 'Accent-soeur,' an audio installation combining the soundtrack of 'Histoire(s) du cinema,' an eight-part video project the director began in 1988 and completed in 1998 that narrates the complex history of 'the seventh art.' Currently, American director, writer and visual artist Miranda July's research project 'A Kind of Language' is on display at Fondazione Prada's Osservatorio outpost in Milan's landmark Galleria Vittorio Emanuele II shopping arcade. Running until Sept. 8, the exhibition investigates the creative process that precedes a film's realization, showcasing storyboards and other preparatory materials. Up next is an immersive exhibition conceived by Iñárritu that will open Sept. 18 and run through Feb. 26, 2026, and which will delve into the cultural and cinematographic dimension of the director's first feature film 'Amores Perros,' released in 2000. Best of WWD Salma Hayek's Fashion Evolution Through the Years: A Red Carpet Journey [PHOTOS] How Christian Dior Revolutionized Fashion With His New Look: A History and Timeline Cannes Film Festival's French Actresses Whose Iconic Style Shines on the Red Carpet [PHOTOS]
Yahoo
23-05-2025
- Entertainment
- Yahoo
In ‘Bonjour Tristesse,' Fashion Is a Main Character
PARIS — Forget about Charli XCX: This year's summer style icon might just be Jean Seberg. The U.S. actress with the pixie haircut is back in the spotlight thanks to two films: Richard Linklater's 'Nouvelle Vague,' which premiered at the Cannes Film Festival, and 'Bonjour Tristesse,' a new adaptation of French author Françoise Sagan's seminal coming-of-age novel. More from WWD Bethann Hardison Launches Foundation to Advance Young Talent Chanel and Tribeca Festival Announce 2025 Artist Awards Program Fondazione Prada Introduces 1.5 Million-euro Film Fund While Zoey Deutch plays Seberg in Linklater's black-and-white ode to the birth of French New Wave cinema, rising actress Lily McInerny reprises one of Seberg's most famous roles in the remake of 'Bonjour Tristesse,' which marks the feature film debut of Canadian writer and director Durga Chew-Bose. Seberg, who died in 1979 at the age of 40, played the lead character Cécile in Otto Preminger's 1958 adaptation of the book — a stylish affair that featured gowns by Givenchy, jewels by Cartier and accessories from Hermès. McInerny said she didn't see the original movie until after shooting was over. 'That was an intentional choice, so as not to even subconsciously try to mimic her incredible origination of Cécile,' she told WWD in an interview. 'Our films differ in many ways. Durga is truly a writer in her own world. She's working with the original text of the novel. She herself is very intentionally not trying to recreate anything that Preminger touched, so we both are big fans of the film and appreciate it very much, but they're very distinct in their styles,' she said. Watching Seberg navigate the plot, which chronicles the destructive behavior of a free-spirited 17-year-old and her playboy father, proved intense for the 26-year-old actress. 'I felt very emotional, and I felt very attached, and I felt very close to Jean Seberg in that moment, and it was almost like watching a distant relative or a friend I knew, or a weird sort of dream of myself,' McInerny mused. 'To have that connection with someone so glowing and untouchable as Jean Seberg, it was so cool.' For costume designer Miyako Bellizzi, the project was an excuse to indulge in her passion for period films and vintage fashion, which influenced the overall look of the film. 'I collect '30s, '40s, '50s clothes just in general. I have an archive of it all,' said Bellizzi, who was working concurrently on 'Marty Supreme,' which has garnered advance buzz for the '50s-era costumes she designed for stars Timothée Chalamet and Gwyneth Paltrow. 'From the very beginning, Durga and I always spoke about how we miss the beauty of old films and how, in a lot of more classic films, the way that costume design was approached was different to how it is now,' Bellizzi said, citing the work of legendary costume designers like Adrian and Edith Head. 'I mourn films that have good taste in clothing. It's one of my biggest pet peeves in contemporary films,' she added. 'I really wanted to showcase that, you know, bring it back.' The fact that one of the main characters in 'Bonjour Tristesse' is a fashion designer was the icing on the cake. Chloë Sevigny plays Anne, whose arrival at the family's holiday villa on the French Riviera sets in motion a deadly cycle of jealousy and retribution. Known for her work on movies including 'Good Time' and 'Uncut Gems,' Bellizzi relished the change of register. 'Most of my films are very male-heavy, and this is the first time I've had three women and it's so fashion-forward,' she said of working with McInerny, Sevigny and Nailia Harzoune, who plays Elsa, the father's girlfriend. Infused with a strong design sensibility, the film is a fashionista's delight as it revels in obscure references, rather than the splashy resortwear that is often the default wardrobe option for films and series set against a Mediterranean backdrop. 'We could do the 'White Lotus' of the south of France,' said Bellizzi, adding that the idea was discarded in favor of something more timeless. 'I wanted it to just be super classic.' She used Renaissance Renaissance, the Lebanese label founded by Cynthia Merhej that has twice reached the semifinals of the LVMH Prize, as the stand-in for Anne's fashion label. Sevigny wears several looks by the brand, in addition to vintage Yohji Yamamoto and Jean Paul Gaultier, and accessories by Sophie Buhai. Merhej also designed a key look for McInerny: a '50s-inspired pouf dress that symbolizes Cécile's transition from tomboy to ingenue. But a lot of her clothes in the film are authentically vintage: Bellizzi and McInerny got an early start on wardrobe prep by scouring secondhand stores in New York City. 'She lives down the street from me, so I'd be, like, 'Hey, let's go shop,'' Bellizzi recounted. 'She's so tiny that all the greatest, coolest vintage pieces fit her like a glove.' That includes a yellow swimsuit that was a nod to the one worn by Seberg in the original film. McInerny spends much of her time on screen in bathing suits and bikinis, but said she didn't feel self-conscious. 'That was never a hesitation for me,' she said. 'Stepping away from the film, I was like, 'Was I too covered up?' Because we're on the beaches of France, it's quite common to be topless.' Part of her confidence came from the fact that she's known Chew-Bose since she was a child. Part of it was knowing that Bellizzi had her back. 'Miyako really prioritizes an actor's comfort and confidence in the clothes that she's dressing you in. It goes a really long way in terms of our performance,' she said, adding that it's important to surrender personal hangups. 'Understanding your character thoroughly, you'll also understand what makes them feel confident and what makes them feel attractive, and that might be different from what you yourself would [wear] in your daily life,' she added. On the red carpet, McInerny has developed a close relationship with Celine since making her big screen debut in 2022 in the indie drama 'Palm Trees and Power Lines.' She collaborated with the French brand on her look for the 'Bonjour Tristesse' premiere at the Toronto International Film Festival. 'I came to them with an image from the original Preminger film of Jean Seberg in this classic black party dress. It was one of my favorite costumes from the original film,' she recalled. 'To have anything custom designed for me would be a dream come true, let alone something so intimate and closely attached to this project so dear to me, and they came back to me in a couple of weeks with this gorgeous sketch of the dress that I ultimately wore to our debut,' McInerny said. She noted that Zouzou, former creative director Hedi Slimane's final fragrance for Celine, was billed as an homage to Sagan and Seberg. 'It felt very organic and meaningful to know that everyone behind the scenes and beyond was as passionate about the history we were stepping into,' the actress said. 'That's our greatest hope, that it transports you to an era of style and film that sometimes gets overlooked these days.' Launch Gallery: How 'Bonjour Tristesse' Channels Jean Seberg's Enduring Style Inspiration for Summer 2025 Best of WWD Celebrity Style at Coachella Through the Years: Taylor Swift, Amy Winehouse and More [PHOTOS] From John Galliano to Paul Smith, Designers Who've Created Christmas Trees at Claridge's The Most Over-the-top Hats From the Royal Ascot Races Through the Years
Forbes
11-05-2025
- Entertainment
- Forbes
How 'Typologien' at Fondazione Prada Explores German Photography
Heinrich Riebesehl "Menschen Im Fahrstuhl" (People in the Elevator, 1969), Berlin Heinrich Riebesehl, by SIAE 2025 We live in an age defined so much by image-making. We, even the least of us digital natives, communicate through image, real or constructed, and are documented constantly—too often without our knowledge or consent. Which makes the latest exhibition at Milan's Fondazione Prada all the more poignant. 'Typologien: Photography in 20th-Century Germany' is a fascinating exploration of the photograph and place, of image-making as both historical record and social commentary. Focusing on 25 diverse photographers working throughout the 20th century in Germany, 'Typologien' examines how photography has been used to express collective, social, political and personal ideas. Fondazione Prada, by Rotterdam-based Office for Metropolitan Architecture (OMA), functions as the fashion house's cultural hub Nargess Banks Opened in 2015 (the Torre building joined in 2018), Fondazione Prada functions as the fashion house's cultural hub. The design, by Rotterdam-based Office for Metropolitan Architecture (OMA) and led by the maverick architect Rem Koolhaas, is pretty spectacular. Built on the site of a former early 20th-century gin distillery in Largo Isarco, an industrial area in Milan, the buildings blend old and new, industry and art, for a complex and dynamic space that brilliantly communicates its place as a platform for open discourse on arts and ideas. (As a side note, for anyone interested in culture, a trip to Milan should include a visit to Fondazione Prada.) Karl Blossfeldt "Adiantum pedatum, haarfarn, junge, noch eingerollte Wedel" (Maidenhair fern, young, still curled fronds), Courtesy Berlin University of Arts, Archive Karl Blossfeldt Collection in cooperation with Die Photographische Sammlung/SK Stiftung Kultur, Colognecourtesy Berlin University of the Arts, Archive – Karl Blossfeldt Collection in cooperation with Die Photographische Sammlung/SK Stiftung Kultur, Cologne The 600-plus images on show at 'Typologien' are organized typologically rather than chronologically, with the curatorial direction inviting us to view this turbulent time in Germany's history—and the role and scope of photography—through multiple lenses. Though varied in approach, the works on show here are united by a shared intent: to classify, to order, to make sense of the world through image. The architecture certainly adds another layer of intrigue. These are clear, quiet spaces, a system of suspended walls offering geometric partitions to instigate unexpected dialogues between artists and artistic practices—and time. August Sander "Sekretärin beim Westdeutschen Rundfunk in Köln" (Secretary at West German Radio in Cologne, 1931) Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archive, Cologne; SIAE, Roma, 2025 The idea of 'typology,' a system first used in 17th and 18th-century botany to classify and study plants, found its way into German photography in the early part of the last century. And while typology is by nature a rigid, formal framework, it's somewhat allowed for surprising connections between German artists across generations, and through to the digital age. The exhibition opens with Karl Blossfeldt (1865–1932), one of the first artists to adapt the classification system used in botanical studies to photography. His detailed plant atlas also represented a clear moment for 'New Objectivity,' the movement born during the Weimar Republic to promote clarity and documentation of realism, with photography seen as a medium to explore the very idea of typology. Isa Genzken Ohr 1980 Galerie Buchholz Courtesy the artist and Galerie Buchholz Isa Genzken, by SIAE 2025 Particularly intriguing is the space dedicated to August Sander (1876–1964). The photographer made a portrait of society through its people with his utterly brilliant 'People of the 20th Century' project grouping individuals—from farmers to bakers, artisans to artists, and the bourgeoisie—into social types. It's an incredible document on class and identity in Germany between the wars, capturing the brief, though culturally and politically significant moment, that was the Weimar Republic before its disappearance. Sander's portraits inspired generations of photographers, including the influential duo Bernd and Hilla Becher and their Düsseldorf School successors. Thomas Struth Musée du Louvre IV, Paris 1989 Thomas Struth / Courtesy ZKM | Center for Art and Media Karlsruhe, Karlsruhe Elsewhere we encounter Hans-Peter Feldmann (1941–2023), who caught on camera everyday objects and historical events with a strange mix of humor and systematic cataloguing and documentation. In his series, he invented personal yet very political typologies and adopted a deliberate snapshot approach with a commercial aesthetic. In another space, Gerhard Richter's 'Atlas' (1962–present) unfolds as a sprawling so-called private album, composed of found imagery—snapshots, pornographic material, press clippings, historical photographs. Among them: stark documentation of Nazi concentration camps, the Red Army Faction, and German reunification. Richter seems to reject the notion of typology altogether, pushing instead the idea of visual equivalence to its limits, exposing how images (regardless of weight or meaning) can be trivialized through repetition. The result is a deeper awareness of a suppressed collective memory. Hilla Becher "Studie eines Eichenblatts" (Oak Leaf, 1965) Estate Bernd & Hilla Becher, represented by Max Becher, courtesy Die Photographische Sammlung/SK Stiftung Kultur – Bernd and Hilla Becher Archive, Cologne, 2025 In the 1970s and 1980s, in dialogue with their mentors Bernd and Hilla Becher, artists like Andreas Gursky gradually moved away from black-and-white purism, embracing color and exploring banal themes through portraits, cityscapes and cultural landmarks. Around the same time, Isa Genzken engaged directly with photography, subverting the traditional portrait by focusing instead on physiognomic detail to examine individuality and typological categorization. 'Only through juxtaposition and direct comparison is it possible to find out what is individual and what is universal, what is normative or real,' explains curator Susanne Pfeffer, art historian and director of Museum MMK für Moderne Kunst in Frankfurt. 'The typological comparison allows differences and similarities to emerge and the specifics to be grasped. Unknown or previously unperceived things about nature, the animal, or the object, about place and time become visible and recognizable.' Andreas Gursky "Untitled XVIII" 2015 Atelier Andreas Gursky Andreas Gursky, by SIAE 2025; courtesy Sprüth Magers Pfeffer speaks of how the unique and the individual are being absorbed into a global mass. 'The internet allows typologies to be created in a matter of seconds. And yet this is precisely when it seems important—to artists—to take a closer look. When the present seems to have abandoned the future, we need to observe the past more closely. When everything seems to be shouting at you and becoming increasingly brutal, it is important to take a quiet pause and use the silence to see and think clearly. When differences are not seen as something other, but turned into something that divides us, it is crucial to notice what we have in common. Typologies allow us to identify remarkable similarities and subtle differences.' 'Typologien: Photography in 20th-Century Germany' is on at Fondazione Prada in Milan from April 3 to July 14, 2025. Read my highlights from Milan Design Week 2025; see what's happening at the 24th Triennale Milano here, and read my year in art.
The Independent
27-02-2025
- Entertainment
- The Independent
Prada reconstructs femininity starting with the little black dress fit for a global 'black moment'
Prada opened its runway show during Milan Fashion Week on Thursday with its take on the little black dress, reflecting what Miuccia Prada called 'a very black moment' in world affairs. 'To work in this difficult moment is really tough,' Prada said backstage. Sidestepping overtly political discussion, she added: 'What we try to do are clothes that make sense for women today." Liberating women Prada's Fall-Winter 2025-26 collection aimed to liberate women from strictly feminine forms. In that way the little black dress series and other runway looks were loosely constructed, not body-hugging. Co-creative director Raf Simons said liberation was in itself an act of resistance. 'You cannot be liberated if you don't take a risk. There needs to be more resistance,' he said. The black numbers gave way to girlish knit dresses in Alice-in-Wonderland oversized proportions, layered over trousers for winter days on the playground. Pajamas made a now-familiar shift to daywear, with button tops tucked into sleeper skirts. Raw seams were intentionally revealed on garments. Waistlines were gathered as if by basting, and could be moved from the waist for a midi-skirt or over the bust for a minidress. 'I would also say that we have rejected a lot of construction," Simons said, specifically construction that restricts movement. Gestures of glamour It's a mix-and-match world at Prada and just about any of the pieces work as separates: Short-sleeve and tube knitwear tops were bedecked with baubles, like found treasures. Men's shirts scrunched messily at the waist, as if they came untucked. Staples were glammed up with faux fur stoles and fur lapels on coats, blazers and a striking lime green poncho. Prada VIPs American actress Hunter Schafer was among the front-row guests, invited in a show of support, the designers said. The trans actress posted recently that her new passport had been issued with a male gender marker. As usual, crowds of fans waited opposite the Fondazione Prada show space to shower adoration on VIPs. Other front-row stars included actresses Juliette Binoche, Gal Gadot, Maya Hawke and Chen Haoyu, along with Japanese singers Jo and Harua and Korean singer Karina. Is Prada shopping? Milan is abuzz with speculation over whether an Italian company might step forward to buy the rival fashion house Versace. Market speculation has focused on the Prada Group, which besides its namesake brand owns Miu Miu, the footwear brands Church's and Car Shoe, and Marchesi 1824 pastry shops. "I think it is on everybody's table," Prada said with a chuckle when asked about the Prada Group's interest.
Associated Press
27-02-2025
- Entertainment
- Associated Press
Prada reconstructs femininity starting with the little black dress fit for a global ‘black moment'
MILAN (AP) — Prada opened its runway show during Milan Fashion Week on Thursday with its take on the little black dress, reflecting what Miuccia Prada called 'a very black moment' in world affairs. 'To work in this difficult moment is really tough,' Prada said backstage. Sidestepping overtly political discussion, she added: 'What we try to do are clothes that make sense for women today.' Liberating women Prada's Fall-Winter 2025-26 collection aimed to liberate women from strictly feminine forms. In that way the little black dress series and other runway looks were loosely constructed, not body-hugging. Co-creative director Raf Simons said liberation was in itself an act of resistance. 'You cannot be liberated if you don't take a risk. There needs to be more resistance,' he said. The black numbers gave way to girlish knit dresses in Alice-in-Wonderland oversized proportions, layered over trousers for winter days on the playground. Pajamas made a now-familiar shift to daywear, with button tops tucked into sleeper skirts. Raw seams were intentionally revealed on garments. Waistlines were gathered as if by basting, and could be moved from the waist for a midi-skirt or over the bust for a minidress. 'I would also say that we have rejected a lot of construction,' Simons said, specifically construction that restricts movement. Gestures of glamour It's a mix-and-match world at Prada and just about any of the pieces work as separates: Short-sleeve and tube knitwear tops were bedecked with baubles, like found treasures. Men's shirts scrunched messily at the waist, as if they came untucked. Staples were glammed up with faux fur stoles and fur lapels on coats, blazers and a striking lime green poncho. Prada VIPs American actress Hunter Schafer was among the front-row guests, invited in a show of support, the designers said. The trans actress posted recently that her new passport had been issued with a male gender marker. As usual, crowds of fans waited opposite the Fondazione Prada show space to shower adoration on VIPs. Other front-row stars included actresses Juliette Binoche, Gal Gadot, Maya Hawke and Chen Haoyu, along with Japanese singers Jo and Harua and Korean singer Karina. Is Prada shopping? Milan is abuzz with speculation over whether an Italian company might step forward to buy the rival fashion house Versace. Market speculation has focused on the Prada Group, which besides its namesake brand owns Miu Miu, the footwear brands Church's and Car Shoe, and Marchesi 1824 pastry shops.
