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Prada x Adidas: what do the new designs look like?

Fashion

After giving us a bowling bag and a pair of Superstars, Prada and Adidas have unveiled three new designs born from their exclusive collaboration. 

 

Last November, Prada launched an unexpected collaboration with the sportswear giant Adidas. Featuring a white bowling bag – a key design at the Italian house – and a pair of Superstars – the iconic trainer – this first mini collection made in Italy in an immaculate white embellished with a black double Prada-Adidas label, trimmed with black leather and lined in a fabric of the same colour, sold like hotcakes in a limited edition of 700 examples.  

 

On September 8th, the two labels will be launching three new versions of the unisex sneaker originally designed in 1969: black, silver with white details, white with black details. Clearly the same minimalism that has dominated the Prada aesthetic for several months, as revealed by video presentation of the spring-summer 2021 collection . Each design is made in the Prada factories in the Marches region of Italy, and embellished once again with the two logos, Adidas and Prada. A veritable celebration of the heritage of these two labels, these sneaker designs are as timeless as they are luxurious, bringing together the best of two worlds. 

 

On the occasion of the America's Cup, the international sailing competition in which Prada has participated since 1997, Adidas and Prada will unveil a third part of this collaboration.

 

The Prada x Adidas Superstar will be available from September 8th in stores and online at Prada.com and Adidas.fr

 

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    5 questions au duo Ottolinger sur sa collection printemps-été 2021

    À l'occasion de sa première Fashion Week digitale, le duo Ottolinger emmène dans un monde aux frontières du réel et du virtuel où les modèles deviennent des super-héroïnes vêtues de leur collection printemps-été 2021. Pour Numéro, les deux fondatrices du label reviennent sur ce projet inédit. 

    To unveil its new collection, Ottolinger invited us into a semi-virtual world, a place where women would have superpowers. In a video directed by the photographer Reto Schmid, we witness the models' undergoing transformations: a girl’s face turns into that of an alien, another one’s ears become pointy and a third one grows dragonfly wings in her back, while their outfits completely change as if they were going through the character generator of a video-game. For this collection, Cosmia Gadient and Christa Bösch continue to showcase their talent and taste for experimentation, asymmetry and deconstruction: as in many Ottolinger collections, thread and ropes build the structure of the pieces, strategically placed slits create undulations, gathers give the tops volume whereas here, numerous thinnish mesh create an effect of transparency or scattered-spots ginghams. The colours are light: pale yellow, ecru, lilac, different shades of pink and white illuminate a rather summery collection, occasionally darkened by blacks and navy blues. Fire is sometimes printed on the pieces, sometimes burning the edges of the clothes and together with thunder, makes up the setting of the video. The two founders of the Berlin-born label talked with Numéro about creating this new collection in an uncanny context. 

     

    2020 has a very rough year for everyone so far. How was it to create and produce a collection in these very particular times?

    Cosima Gadient : Even though the climate is heavy, being a bit isolated and having to focus on what we really wanted to do and to slow it down a little bit has been good for us. We had more time, because we were less traveling and it led us to go back to the essence of our label, now and in the future because times have already changed. We were also lucky that our production was not affected : we produce a lot of our stuff in Greece, and the factory was able to keep running as they were also sewing masks, but the other places we work with in Turkey and Bulgaria somehow could continue.

     

    Christa Bösch : We work on a small chain, which has been really helpful for us.

    For this collection, it seems like you stick to your signature design principles while infusing the clothes with a lighter and more luminous spirit. Can you talk a bit about the materials, techniques you used and how they came close with your concept – the superpower?

    CG : We mostly divide our work into groups according to the materials : there is the lace group, the muslin, the more artisanal group,… Some of these materials have been really hard work, so each characteristic would have a story around it. That is when we came up with the idea of superpowers, that each garment can help you feel stronger and have more flamboyant or dreamy aspect. There was also a lot of experimentation with hand dying, with the jersey, or when we combined different wools for knits. We liked this idea of having a range of garments that have specific assets. When we had the models and friends come to the studio, they could transform into that.

     

    CB : Clothes definitely have this power of transformation, even more important when the times are especially hard, like right now.

     

     

    “Digital fashion week seems like a natural progress to us.”

     

     

    With lockdown and then the first digital fashion week, we have seen many virtual initiatives from designers. What is your outlook on that? Are you confortable with that medium?
    CG : As a young brand, it feels like we can tell and show a bit more with the same effort and without having to go through the runway experience, which costs a lot. Digital projects do also need a lot of preparation, but on the other hand, virtual communication is something we do already and we feel very comfortable with, like on our Instagram. All of it has been growing, so now digital fashion week seems like a natural progress to us.

     

    CB : This shift has been really interesting, because it is opening new options. It is also great to see how anyone can be directly in touch with our products, and not a professional audience only. What we also wondered though is how to create emotions without a show happening and without seeing people. Now, in front of your screen, you are going through collections one after the other and it’s really cold. It is not the same as a physical experience.

    Ottolinger collection printemps-été 2021. Photo : Urisna Gysi

    Ottolinger collection printemps-été 2021. Photo : Urisna Gysi

    As a first attempt to answer that, you released your latest collection through a film directed by Reto Schmid with special effects created by Actualobjects. What was the idea behind that?

    CG : The main idea was to bring a supernatural vibe to something very normal. We were inspired by computer games, when the player have to pick the outfits for their characters. In the film, we see eight models all by themselves, filmed in urban places that look like every city. Each model standing there will either show her superpowers or her clothes will change.

     

    CB : There is a playful aspect to that superpower idea. Also, the special effects of the video remind us of the aesthetics we all know from social media and Instagram filters. So we wanted to meet that with the story of the collection.

     

     

    “The main idea of our film was to bring a supernatural vibe to something very normal.”

     

     

    You have created Ottolinger 5 years ago. Retrospectively, how do you see your career and your progression over these past years?

    CG : The biggest challenge we faced when we started was to make the super crafty aspect of our pieces into actual garments and accessories you can wear, that make you feel good. Today, I feel like we got much better at that, as we see so many people feeling confident wearing our creations. When we started, we did a bunch of crazy things which were good for our brand’s vision, but coming onto the garment they were actually hard to pull off. Now, we are working on the fact that everyone can wear our clothes. It of course had to do with production, because we had to find places where we were able to burn clothes, to dip things in rubber… It took us time but right now, we have found our reliable collaborators and our balance!

    5 questions à Molly Goddard sur sa collaboration avec UGG

    Il y a quelques jours, la créatrice britannique Molly Goddard dévoilait sa collection printemps-été 2021 lors de la Fashion Week de Londres. On y découvrait aux pieds des mannequins les modèles de chaussures réalisés en collaboration avec la célèbre maison américaine UGG. Pour Numéro, la jeune femme revient sur ce projet inédit. 

    Jeremy ScottSacai, Heron Preston, Eckhaus Latta and soon Telfar Clemens… The list of brands and fashion designers that have collaborated with UGG over the years keeps on getting longer. Even though the famous American shoe house is famous for its iconic sheepskin boots, they do not shy away from collaborating with talented contemporary designers to get a fresh creative look upon their DNA. Recently, the London designer Molly Goddard – known for her homonymous brand that works around tulle, frill, fluid, flowy and light silhouettes – added her own touch to the brand by creating three shoe designs: platform clogs, long-haired fur slippers and boots decorated with floral appliqués, all made in the different bright colours that are typical of Molly Goddard’s work. After having unveiled the shoes a few days ago during the Spring-Summer 2021 fashion show, the designer spoke with us about this new project.  

     

    How long have you been making shoes for your own collections? For you, how different is it from thinking a garment?

    I first made shoes for my graduate collection in 2012. I stuck espadrilles on top of layers and layers of foam and added loads of ribbons. Since then we have worked with expert shoe makers and made various styles, I like shoes to either completely contrast or compliment the collections. Making shoes is very different in its craft but, like making clothes, I do a drawing and then think about how I turn it into something 3D. The fun thing with making shoes just for a show is that you can forget about practicality at times.

    Molly Goddard printemps-été 2021 backstage. Photo : Jason Lloyd Evans

    Where do you think Molly Goddard and UGG’s identities meet?

    UGG is known for unique shapes and uses such a good range of amazing materials. This shared openness to exploring colour and texture between us was a great starting for our collaboration.

     

     

    “I like shoes to either completely contrast or compliment my collections.” 

     

     

    Colours are also very important in your collections, and we see it once again with the shoes you created for UGG. What was the color story of these shoes inspired by?

    I love using colour, this season's collection is very colourful so the shoes reflect that. All the hues of the clothes feature somewhere in the collection. I never overthink colour, I tend to just combine colours based on what fabric or texture they are and don’t mind if they clash. I think clashing colours are the best.

    Molly Goddard printemps-été 2021 backstage. Photo : Jason Lloyd Evans

    Which materials and techniques have you used specifically for these shoes?

    The platforms are suede with a low pile sheepskin inner in a contrast colour, I liked the idea of having this solid smooth block of colour on your foot with the surprise colour inside. The slippers are made using a longer scruffier fur and dyed in bright colours again with a lower pile insole fur. For the mini-boot, I was looking at old cowboy boots and a leather jacket I own. I used contrast colour applique flowers all over the boot, which to me felt strangely classic but fun.

     

     

    “I think clashing colours are the best.”

     

     

    In your collection of shoes with UGG, you created furry slippers and shoes with very high soles. Why did you want to create such shapes for them?

    For our Fall- Winter 2020-2021 collection, the shoes were classic lace-up brothel creepers with triple soles. For Spring-Summer 2021, I returned to this extreme elevation. I like to play with height and volume so this was an important element, but I also didn’t want to lose form and function. I’m very happy with how much height we managed to get in the plaforms without compromising on comfort.

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