How does an individual’s past grow and morph into his present without nostalgia? This is the question that Kris Van Assche, creative director of Dior Homme, poses for this season.

"The idea of ‘the hybrid’ is intrinsic to the collection,” says Kris Van Assche. “Today, people don’t just fit into one box, they fit into many and all at once. There might be an idea of the new wave or skate that somebody has grown up with, but it is what those things and people have grown into now that matters. Traces of memory and tradition can still exist, but these happen without nostalgia: This is the hybridisation of now.”

In the ritual show square, lit by stark, red neon to the thud of electronic body music, an idea of rites of passage is played out in a palette of black, red and white.

Silhouettes are in turn a combination and exaggeration of volumes and shapes; Noble materials are contrasted with or made into the everyday; Grand Maison traditions come up against militant subversions; Prototypical ideas of luxury are questioned and tempered by new techniques and tastes.

Just as the Rob Roy Macgregor Tartan became the all-American buffalo plaid – the touchstone red and black pattern in various fabrications for this season – So too oxford bags could be seen to have transformed into voluminous ‘workwear’ skater pants. Traditional fair isles knits and subverted, couture embroidery techniques are used to almost disruptive effect, while dior florals from the archive become a symbol of provocation rather than prettiness or preciousness.

Yet there is also a sense of celebration as well as rebellion in the collection, highlighted by the filmic backdrop of dancing figures. In willy vanderperre’s movie – a specially commissioned project for the show – the same boys who appear on the catwalk are also the stars of the film, revelling in this moment in time.

“The collection is about taking elements of the past, but bringing them into the present and reflecting on where we are now, in the situation of today,” explains Kris Van Assche. “It’s a moment in time for a contemporary generation.”

Dior Homme

ANTONIO ORTEGA SS 2016 Paris Haute Couture


All frequent travelers know that their encounters can be just as unusual as they are rich, and touch them deeply. Diverse encounters tell the story of audacity, humanity and creativity.

Antonio Ortega’s new couture collection for spring-summer 2016 shows that luxury in today’s world, the real luxury, lies in the chance to express oneself, the chance to embrace the richness of encounters. This collection was inspired by encounters with three women, all exceptional artisans: Señora Inés and Señora Camerina Teresa, both virtuosos in the art of crochet, and Véronique Loupe, who excels in making lace. The evocative power of these meetings brought the designer back to the images and emotions of his childhood: a grandmother, draped in her shawl, happily knitting for hours on end.

The collection thus captures these emotions, those memories and borrows images such as a landscape in which the Earth and sky are one... A day passes, seasons, storms, a landscape of air and water, pasture and earth become successively threatening, joyful, disturbing, and calm; all is transformed over time. Antonio Ortega cuts slices of the sky to construct his clothing landscapes, blending camaïeu, shine, contrast – be it tormented or ever so slight – and chiffon, silk crepe, cotton, tweed, riveted leather, taffeta, feathers and rhinestones to form a collection for the seductive, sensuous woman.

Forms are fluid, flowing over the body, asymmetric and overlapping, or allowing the briefest glimpses of a body, exposing color, shine and form. The know-how of these women artisans lends deep meaning to these clothes, infusing them with a rich history of fortunate encounters.

Antonio Ortega


Prada Men’s and Women’s Fall / Winter 2016 Fashion Show

The division between the role of the audience and actor is blurring: all have become players in the
same secular ceremony of the fashion show. 
No longer relegated to passive observer, the spectator is now an active participant in the events 
unfolding in front of them. 
The assemblage of recorded impressions and digital reactions inserts itself into the once autonomous 
narrative of the fashion show. 
The statement of the collective spreads. The mass of fragmented instant data is uploaded and 
critiqued by a multitude of voices.
This consumption of images is like a public trial, a contemporary transposition of the Auto-da-fé [(a) ritual of public penance of condemned heretics. (b) title of the English edition of the novel by Elias Canetti, Nobel for Literature in 1981 and author of Crowds and Power (1960).]

For the 2016 Fall Winter Prada show, AMO takes inspiration from the traditional public stages and 
places of civic ceremonies. 
Placed around the periphery of the room, a system of balconies and tribunes defines the central 
space. Similar, yet different they create an imbalanced symmetry (3). A raised viewing platform is 
inserted into the middle of the room, dominating the catwalk. 
This assemblage of structures breaks through the building, expanding into the surrounding streets 
and urban domain. A new entrance, marked by a ceremonial gateway, creates an oneiric (4) passage 
from street to show. 
Guests gather on the balconies, tribunes and central platform in crowds according to a series of 
spatial hierarchies. No longer bystanders, they become active participants in the ritual unfolding 
around them. 

The OSB wood cladding counters the simplicity of the structures. An irregular pattern of red and dark  patches covers the surface, while dramatic lighting enhances its uneven texture. The dark and enigmatic chiaroscuro atmosphere is enhanced by a theatrical use of lights.

Prada Group


BE@RBRUCK "Gremlins" X MUVEIL by Kim Songhe

On February, 2016 BE@RBRUCK will be releasing a special "Gremlins" X MUVEIL by Kim Songhe edition. GALLERY MUVEIL will be accepting pre-order from January 20th until February 7th. 100%, 400% and 1000% in fluffy version will be the available sizes. Each of them is embroidered with a "Gizmo" pendent pearl necklace, the most lovable gremlin in the movie.  

About Kim Songhe:

Kim Songhe ( to Kim Son ) / Chandelier artist
Born in Tokyo in 1982 . Nationality Korea .

Oda design after the vocational school graduate, and started design activities. 2005, chandelier work that was exhibited at select shop "Loveless" is attracting attention. Later, especially in the production using the technique of collage off-the-shelf items such as stuffed animals and American Toy, it handles many well as display of shop space. Those works that can be expressed even as "junk collage" is integrated in a strange balance to have like a messy, evoke the side to watch the innocent sense. The exhibition works, etc. San Francisco and Seoul Museum of Art in 2009. Recently, we focus on Dharma and beckoning cat, good luck, such as rakes, it has announced a work full of euphoria. Kim Songhe was born in Tokyo in 1982. After graduating from Oda Design Collage, she started design activity. In 2005, the work of chandelier displayed at the Loveless store in Aoyama attracted the attention of many people eyes. Since then, she has produced many shop displays. Her chandeliers are made by pasting ready-made products such as retro stuffed animals and American toys. These works described as "junk collage" are mess at first glance, but are unified in a strange balance, witch will recall the innocent feeling of them. In 2009, She exhibited works at the museums in San Francisco and Soul. Recently, announces her works using traditional lucky fortune charms, such as DARUMA, MANEKINEKO and KUMADE. .


"Fondazione Prada - Milan | “Flesh, Mind and Spirit”


Fondazione Prada in Milan presents “Flesh, Mind and Spirit”, a selection of 15 films chosen by Academy Award-winning director Alejandro González Iñárritu, recently awarded three Golden Globes for The Revenant, in collaboration with Elvis Mitchell, film critic and Curator at LACMA of Los Angeles. The screenings are free, upon booking, and will be held at Fondazione Prada’s Cinema every day, except Tuesdays, until February 1st, 2016

Elvis Mitchell, co-curator of the festival, will introduce the scheduled screenings from until Monday 18 January. On Saturday 16 January, Marco Bellocchio will attend the screening of I pugni in tasca (Fists in the pocket, 1965) at 9pm, followed by a Q&A between the film director and the public. 

Presented for the first time in 2009 at the Prada Transformer, designed by OMA in Seoul, the film festival extends the research Fondazione Prada has sustained in the realm of cinema for more than a decade. Between 2003 and 2006 important collaborations with international institutions such as the Tribeca Film Festival and the Venice Film Festival were developed. In 2004 the groundbreaking program of the Tribeca Film Festival travelled outside the USA for the first time and audiences in Milan were offered the opportunity to attend the screenings of selected films from the festival, along with talks and Q&As with directors and actors. In the following years, a vast film restoration project was initiated in collaboration with the Venice Biennale, with the aim to rediscover forgotten or overlooked cinematographic heritage. 

From 2004 to 2005, during three editions of the Venice Film Festival, the retrospectives “Italian Kings of the Bs: The Secret History of Italian Cinema”, “The Secret History of Asian Cinema” and “The Secret History of Russian Cinema”, all curated by Marco Müller, were presented in Venice and subsequently travelled to Milan, London, New York, Melbourne and Tokyo. In addition to this, in the past years Fondazione Prada has realized special commissions by artists such as Steve McQueen and Tobias Rehberger, who have employed cinematographic imagery and languages to conceive exhibitions and site-specific projects. 

With the opening of its new Milan venue last May, Fondazione Prada has strengthened its commitment to this artistic discipline. The Cinema building was inaugurated with “Roman Polanski: My Inspirations”, a documentary-interview in which the film director retraced his creative path, accompanied by a selection of his own films as well as masterpieces from the past. Director Wes Anderson, on the other hand, conceived Bar Luce at the new site, where he recreated the atmosphere of a typical Milanese cafè, reminiscent of Italian popular culture and aesthetics from the 1950s and 1960s and of the cinematographic iconography of masterpieces such as Miracolo a Milano (Miracle in Milan, 1951) by Vittorio De Sica and Rocco e i suoi fratelli (Rocco and His Brothers, 1960) by Luchino Visconti. 

Fondazione Prada will continue to investigate new practices through which a visual arts institution can relate to cinema, in addition to the organization of film festivals. Further research in this direction will be presented in “Belligerent Eyes”, a film school in which new educational perspectives in filmmaking and film studies will be promoted and stimulated. The project, to be hosted at Fondazione Prada Venetian venue Ca’ Corner della Regina from May to September 2016, will engage an international network of academics, professionals and a selected group of students from disciplines as different as filmmaking, architecture, journalism and digital cultures. 

Its aim is to challenge the traditional norms related to education in the field of cinema, reflecting on the socio-cultural transformations undergone by contemporary image production, and to set the ground for innovative researches in the fields of cinema studies, filmmaking and film distribution. 

“Flesh, Mind and Spirit” offers a unique occasion to experience the reactions and emotions that the director felt when he first saw these films. As Iñárritu explains, “despite this extremely eclectic selection, there is a common factor: these films are all experiences full of emotion. All of them provoked in me appetites that I never knew I had”.

The full-length films are divided into three categories distinguished by a key word: “Flesh”groups Lonesome (1928), Fists in the Pocket (1965), Aguirre, the Wrath of God (1972), Seasons of the Year (1975), Killer of Sheep (1977), Padre Padrone (1977), Yol (1982), and The Good, the Bad, the Weird (2008); “Mind” comprises Last Year at Marienbad (1961), I am Cuba (1964), La Ciénaga (2001), and You, the Living (2007); and “Spirit” consists of Ordet (1955), Mother and Son (1997) and Silent Light (2007). As emphasized by Elvis Mitchell, “most of them are about the family in crisis, and the survival of the family is key to the way Iñárritu works, thinks and feels as an artist and a person”.

Fondazione Prada