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The temporality of Prada, and of fashion as a whole, is vital to Miuccia Prada’s method of working. Unlike comparative designers, there are relatively few obvious signifiers of Prada fashion – in the way that, say, Schiaparelli is associated with the padded shoulder, Lacroix with the poufed skirt, Dior with the cinched waist. Is there a single silhouette that Prada owns? A specific decorative device? No. But that isn’t a criticism. Miuccia Prada’s signature is psychological rather than physical. Her clothing is ultimately about discomfort – aesthetic, ideological, somewhat ephemeral. It is ephemeral because the ugliness Prada provokes with this season becomes the new beautiful. Her shifting aesthetics and erogenous zones influence fellow designers and mass-retailers, and sometimes have an impact across the larger realm of popular culture.

Prada’s championing of ugly can be seen as an expression of Susan Sontag’s ultimate Camp statement: it’s good because it’s awful. However, Prada is rarely Camp – and never sincerely Camp. That’s because there is an artfulness to the ugliness Prada shows us, an intellectual backbone. Her collections are never accidentally bad taste. Miuccia Prada knows exactly what she is doing – namely, upheaving our aesthetic axes, our idea of what constitutes ‘ugly’ and ‘beautiful’, on a six-month basis.

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Miuccia Prada - the master of ‘ugly’  (via arabellesicardi)

i’m just going to be obnoxious about miuccia and little mix tonight 

(via reichsstadt)

(via reichsstadt)