A year after the widely acclaimed Alexander McQueen retrospective, the Met's current Costume Institute exhibition explores the work and philosophy of two iconic designers from different eras.

Inspired by caricaturist Miguel Covarrubias' 'Impossible Interviews' for Vanity Fair in the 1930s, 'Schiaparelli and Prada: Impossible Conversations' surrounds the very words of these two fascinating Italian women, and encourages us to view their work in a new light.

Directed by Baz Luhrmann, the videos of simulated conversation between Schiaparelli (played by Judy Davis) and Prada over a dinner table run throughout the exhibition and explore themes such as 'Waist Up / Waist Down', 'The Surreal Body' or 'Ugly Chic'. Both amusing and insightful (while Miuccia and Elsa do not always agree with one another), the conversations draw parallels between their conceptual and creative approaches to challenge conventional ideas of beauty and glamour, whether in their unexpected use of materials and imagery, surrealistic strategy or sartorial provocation.

The exhibition features approximately ninety designs and thirty accessories from the Costume Institute's collection, the Prada archive as well as other institutions and private collections, with highlights including Schiaparelli's tear dress, pieces from her Circus collection, Prada's S/S 1999 dresses embroidered with broken mirrors and S/S 2008 pieces featuring fantastical illustrations by James Jean. Prada shoe lovers and Schiaparelli millinery fanatics will not be disappointed!

Related Pops:

• POP 828 Tuesday 14 February 2012
• POP 161 Friday, 20 November 2009

11

16

 

Miuccia never disappoints and this Valentine's day is no exception. Yes we have fallen in love with her all over again as she presents her romantic Valentine's capsule collection: think lip purses and red roses. The designer leaves us to celebrate L.O.V.E in style with kitsch red and pink accessories.

36

Related Pops:

• POP 909 Thursday 10 May 2012
• POP 161 Friday, 20 November 2009

"I don't think that the round woman is the modern woman. The woman today has bones – she is nervous. The woman of the 19th century was round. C'est fini the round. It is for Renoir." – Yves Saint-Laurent, 1966

It's autumn so let's welcome androgyny and unisex clothing back – the only type of clothing which is allowed to call itself avant-garde, despite pushing 50!

Unisex has many fans at the moment and they all love Rad Hourani and Damir Doma, just to name two of the most brilliant proponents. It's just so modern, who needs gender roles in 2010 anyway?

But hand on your heart, isn't there a simpler reason for the passion for androgynous fashion? I mean, unisex is the choice of the trendy, the fashion crowd. Ordinary customers continues to push up their boobs whether curves are in or not.

So I know I'm going to sound a bit scornful, which is not to be taken as a criticism (I too am in androgyny's camp), but isn't unisex just a new word for thin? It doesn't really matter which designer we talk about – curves don't fit the equation, either literally or by making you look like the earth mother. Unisex clothing is for women with the body of Hedi Slimane.

And while androgyny might not sell as well as sexy vixen fashion, it's definitely one of the good guys. It signals gender equality and modernity and is almost always met with applause from the fashion crowd. Go in the other direction, like Miuccia Prada did for this autumn, and be prepared to feel the daggers in your back. When not even her saintliness herself can do a Mad Men turn, no one can.

We tend to divide clothes into good and bad, ethical and unethical, and that's only natural. But in reality there are no good or evil clothes. The 1950s housewife style looks like fashion regressing rather than progressing, but for women with curves, – or let's not speak fashion – for ordinary women, clothes which permits you to have breasts and a butt might seem quite the welcome break.

For fashion people though, unisex is a win-win situation: Clothes which are morally good and yet forces you to lose weight. Is this why we love them so much?

Image: Björn Andrésen in Death in Venice (1971)

Related Pops:

• POP 909 Thursday 10 May 2012
• POP 828 Tuesday 14 February 2012

Today’s POP is Rebecca, who needed more than 2 aspirins to numb her fashionable Prada hangover.

So to continue with our week of name dropping… (yup, we’re just THAT cool) Wednesday night was spent at the incredibly packed

Held in celebration of their new book “Prada: Creativity, Modernity, Innovation”, which proves that Miuccia has indeed taken over the world, we sipped champagne with the crème de la crème of London’s fashion pack.

Even the mannequins seemed engrossed in the hardback that had completely taken over the store, and after flicking through, it will surprise you just how far the Prada projects stretch. Clue: it’s a lot further than the end of the runway!

Each chapter traces back into all aspects of Prada’s diverse and distinctive history, and shows how the partnership between designer Miuccia Prada and entrepreneur Patrizio Bertelli has generated an ever-widening sphere of fascinating projects.

The book will be available to the public at all Prada stores worldwide as well as on

Related Pops:

• POP 909 Thursday 10 May 2012
• POP 828 Tuesday 14 February 2012

We’ve had to put the hours in to catch up with the seriosuly-busy

Zaha eventually managed to slow down and sit down with us for the customary THEPOP.COM quick fire 5.

You’ve collaborated with fashion brands in the past, creating some iconic pieces in the process. How did this project come about?

Lacoste has previously collaborated with other designers such as Tom Dixon and Michael Young in a collectors’ series of polo shirts known as PROJECT 100%. This is however their first footwear collaboration. I understand Zaha Hadid Architects was the first name on their list for the collaboration and they approached the practice, we had a meeting and were very interested in the project.

You have actually made footwear in the past (with the Brazilian shoemaker Melissa). How was this experience different?

Well, it’s a different approach as they respond to two very different materials with different possibilities and constraints. Our approach to the Lacoste collaboration began with research of surface conditions and the generation of a dynamic 3D pattern. We were interested in developing this 3D pattern as tactile landscapes that would appear, fade out and reappear over the calf leather.

Have you always wanted to be a designer?

Yes, since I was eleven years old. And that is the truth.

If you keep going in this current direction – designing shoes, cutlery, taps et al – we’ll soon find a piece of Zaha in everybody’s home. Are you consciously attempting to make your product design work more accessible?

The practice is an architectural firm, but we have been developing product design over the past 25 years. We are contacted by many companies within many different disciplines – but do not agree to all the collaborations. Product design collaborations challenge us to work with different disciplines, technologies and materials and expand our design field. The majority of our product design is developed by teams of trained architects. This is important. Our approach to the design is the same approach as that of a building or a master plan.

What about your own sense of style; you’re quite famed for sporting Issey Miyake. Anything you steer clear of?

Vintage clothing. Also I don’t like the masculine style: that is, jeans. I do like Issey Miyake!… And black dresses!

Related Pops:

• POP 909 Thursday 10 May 2012
• POP 895 Tuesday 24 April 2012