The Bite Magazine - Autumn/Winter 2022 - Issue 32

bitefashion for women in 2004 and men in 2006. Scandinavian artists Elmgreen & Dragset conceived the Prada Marfa permanent in- stallation in 2005. A faux store in the middle of the Chihuahua Texas desert, 37 miles from the city of Marfa, was built accord- ing to the brand’s boutique aesthetic codes. The following year, Miu Miu moved its runway shows to Paris after successful New York and London experiences. The fashion house launched Prada by LG, the world’s first touchscreen mobile phone, in 2007, selling over 1 million units in the first 18 months. It presented a new version the following year and two further updates in 2011. The brand unveiled Pra- da Transformer, an innovative tetrahedral building designed by OMA/Rem Koolhaas, next to Gyeonghui Palace in the heart of Seoul, South Korea. It was conceived to host a selection of fash- ion, film, art, and culture exhibitions, screenings and events. In 2010, art and culture became essential to Prada’s collabora- tion with FAI (Fondo Ambiente Italiano) or the Italian Nation- al Trust, completing a cycle of artwork restorations in various Italian cities, where they also inaugurated new Prada stores. The same year, Miuccia designed the costumes for the Riccardo Muti-directed Attila opera by Italian composer Giuseppe Ver- di. It was presented at the New York City Metropolitan Opera House, with the stage set designed by Swiss architectural firm Herzog & de Meuron. Prada’s standout accomplishments include the revamped jew- el-toned silk turban at their SS07 ready-to-wear women’s col- lection, and the fiery stiletto that adorned the SS12 runway. In 2018, Miuccia was awarded the Outstanding Achievement Award presented by the British Fashion Council. The icons of the following year were the Prada Nylon, a bag that initially made its debut in the ‘80s and became a notable hit when re- introduced, and the padded headband that became the year’s accessory. In 2020, Miuccia joined forces with designer Raf Simons, for- mer creative director at Calvin Klein, Christian Dior and Jil Sander, as co-creative director. They delivered the fabulous dig- itally presented SS21 that explored the conversation between man and machine and the FW21 ‘Possible Feelings II’ collec- tions. Their collaboration continued with the SS22 ready-to- wear debuted in Shanghai, China and also showed at the De- posito of the Fondazione Prada in Milan. The FW22 collection saw the duo visit the ghosts of Prada’s past. They presented several specialities, such as ribbed sweat- ers and taffeta minis with trains carried over from the previous season’s collection. A white tank top with the triangular Prada logo and a mid-calf length sheer skirt walked the runway. Fur- ther along, variations of this skirt, such as transparent metallic mesh stripes, satin, and leather knit, ventured past the audi- ence. Other ensembles included geometric knits, crewnecks and turtlenecks, oversized leather jackets, high-shouldered blazers and nylon bombers embellished with crystal flowers. Coats and coat dresses had chain necklaces attached at the lapel, while leather trench coats took inspiration from the men’s collection. The double-breasted wool jackets and overcoats featured feath- er or fur arm bands. Accessories consisted of ‘90s bowling-style bags, double triangle pouch handbags and Mary Janes wedge heels. www.prada.com/gb/en