A call to rethink reality with fragrances that defy expectations and embrace pure creativity. In a shocking pink overdose of luxury, Prada Candy reveals a unique facet of Prada femininity.
@Prada Candy fragrance 2022
Prada Candy rethinks addiction with an unexpected olfactory balance.
An unexpected and joyful shake to the system. Prada Candy perfume triggers bugs of spontaneity in the software of everyday life; an iconic fragrance that opens andembraces exhilarating spaces of release. Intrinsically linked to Prada’s DNA of curiosity, avant-garde and eccentricity, Prada Candy is an invitation to open new possibilities to play and question convention.
In a shocking pink overdose of luxury, Prada Candy reveals a unique facet of Prada femininity. Overblown but always sophisticated, the scent is an addictive indulgence that is at once sensuous and refined.
In a world first, Prada’s Perfume division introduces Candy, a virtual muse as the face of a fragrance. Born from a glitch, Candy is ethereal, driven by a continuous quest to question, connect and evolve. Inspired by the native world of TikTok, a series of shorts directed by Nicolas Winding Refn and captured by photographer Valentin Herfray see a physical fragrance, Prada Candy, encounter a virtual muse, Candy. As her own reality glitches, she begins to perceive another, expanding her existence through the power of technology. Free of constraints, her curiosity grows, new creative perspectives are opened and with them, an invitation to Rethink Reality.
@Prada Candy fragrance 2022
The Prada Candy bottle designed by Fabien Baron is a trigger of creativity, just as joyful and free-spirited as the scent contained within, as it embraces anunexpected mix of colors and finishes. A dynamic take on Prada’s signature Saffiano leather hugs the top of the bottle in a band of shocking pink while the flacon bears the refined Prada logo in sleek, gold lettering. The pump, perched on its golden neck like a futuristic black half-moon, is the striking finale.Prada Candy’s unconventional olfactory balance combines a joyful and addictive caramel accord with noble and warm benzoin resin, which brings unprecedented sophistication and elegance, to creatively fuse with a silky and enveloping cloud of white musks.
First launched in 2011, blended by master perfumer Daniela Andrier under the creative direction of Miuccia Prada, Prada Candy remains an iconic fragrance with a novel olfactory balance, an Amber gourmand combining exceptionally high-quality ingredients to rethink addiction. The Prada Candy fragrance collection comprises of four feminine fragrances which each embody free-spirited perspectives and indulgent pleasures.
The Prada Candy campaign series is realized by award-winning film director, screenwriter and producer, Nicolas Winding Refn. The lauded Danish auteur behind Drive, The Neon Demon and the Pusher trilogy lends his bold, intensely imaginative vision to Prada Candy’s alternate, re-imagined reality, creating a space where the known interacts with the new.
Tiffany & Co. Introduces The “About Love” Campaign Starring Beyoncé And Jay-Z. As the first time the couple has appeared in a campaign together, “About Love” is an exploration of connection and vulnerability. As a high-end jewelry brand that has always stood for love, strength and self-expression, Tiffany & Co.could not think of … Read more
An Italian-made baseball cap in cotton twill accented with horns is paired with scarves containing organic wool, jacquard-woven with stripes. Luxury brand Burberry has revealed its Chinese New Year 2021 campaign. The campaign stars models Liu Wen and Wang Xiangguo, and is captured by photographer Feng Li. The campaign highlights the collection in … Read more
Behind-the-scenes of the CHANEL Spring-Summer 2021 Ready-to-Wear campaign, photographed by @Inez & Vinoodh x @Chanel
‘Les Rendez-vous littéraires de la rue Cambon’ [Literary rendezvous at rue Cambon] is a project perpetuating Gabrielle Chanel, Chanel founder, and designer Karl Lagerfeld’s love for literature. This new Chanel project will be promoted by the luxury house’s new ambassador and spokesperson, Charlotte Casiraghi.
“I think of photos of my mom, when she was pregnant with me. Wonderful photos by Karl Lagerfeld with her wearing Chanel. And more recently, my wedding, where I wore one of Karl’s last Haute Couture dresses. Virginie Viard dit the alterations at the fitting, which symbolized Karl passing the baton to Virgine,” said Casiraghi in the interview for Chanel’s campaign.
“Since I was a little kid, Virginie has always come to see me at fittings. You can feel she loves that moment when a woman “owns” a garment. Her great strength is that she knows the House’s codes and history back to front and doesn’t want to mess around with them. In some houses with strong symbols, designers mess around with them, and you can see it. But now with Virginie. She doesn’t make a big fuss, she just gets on with it,” added Casiraghi.
Charlotte Marie Pomeline Casiraghi (born 3 August 1986) is the second child of Caroline, Princess of Hanover, and Stefano Casiraghi, an Italian industrialist. She is eleventh in line to the throne of Monaco. Her maternal grandparents were Rainier III, Prince of Monaco, and American actress Grace Kelly. Charlotte Casiraghi is known as a journalist, model, Honorary President of the Jumping International de Monte-Carlo, equestrian sports ambassador, co-founder of the Ever Manifesto, Patron of the Monaco Public Safety Division.
Casiraghi is the official equestrian “ambassador” of the Gucci luxury label. In a gender fluid framework, Casiraghi modeled clothing from the Gucci menswear line.Yves Saint Laurent launched a new campaign for its Fall 2018 collection, giving it the hashtag YSL15. Casiraghi was photographed by David Sims to be the face of the campaign. Casiraghi is often photographed at fashion shows, art exhibits, and equestrian events.
Charlotte Casiraghi Instagram; @instagram.com/dailycharlottecasiraghi/;
Add the Seasons to UNESCO’s World Heritage List. Outdoor clothing brand, Bergans of Norway, together with WWF Norway, has launched an initiative to ‘Save the Seasons’ in a bid to have them added as part of UNESCO’s World Heritage list.
@Bergans of Norway
Temples, Stonehenge, pyramids and… seasons? The global seasons should be considered to be of outstanding value to humanity.
Seasons are changing affecting whole ecosystems. Seasons are supposed to change, but they are not supposed to change life on earth.
Everything previously included on UNESCO’s World Heritage list is either a physical object, building or city. Bergans and WWF Norway state the changing seasons affect and threaten much of what is on the list, yet, aren’t considered in the preservation of these sites or as a heritage for future generations.
“The seasons are the very foundation of life, which in turn is directly linked to our cultural heritage. The seasons must, therefore, be declared as worthy of conservation as much as a physical object,” says Karoline Andaur, head of WWF Norway.
To be included on the World Heritage list, sites must be of outstanding universal value and meet at least one out of ten criteria. Bergans and WWF Norway believe that our seasons meet nine of these and are now calling upon all global citizens and governments to sign a petition to help save the most important heritage of all.
The seasons control natural processes, from mating, pollen, rain, drought, and weather. If the bees wake up too late for the blossom, it’s disastrous for both them and the plants. This is just one of many signs that the seasons are under threat.
“For us, this is essentially about preserving nature for future generations. Bergans has existed for 112 years out of our love for the outdoors. The rhythm of nature is in the process of being disturbed and entire ecosystems will be destroyed. Animals, plants, and humans are at risk of losing the basic conditions they require for life, and the cultural heritage of the world is under threat,” said Jan Tore Jensen, CEO Bergans of Norway.
One cold, bright morning in January, I stood in a field in Gloucestershire with my eyes closed and imagined I had four legs. Just metres away was a herd of eight horses. Before meeting them, advised therapist Lisanne Peters, it was wise to meditate. First, she told me to focus on sensations – the smell of hay; the birdsong. Then she instructed me to imagine myself, centaur-like, “with another back and another set of legs behind you. Feel how sturdy, how grounded, you are.”
This was the beginning of my equine therapy experience. I have never been a horse person but recently surprised myself by wanting to try it. Perhaps it was because I have felt as though lately I see horses everywhere, particularly in fashion. Gucci’s latest ad campaign, for example, imagines horses integrated in urban lives: models feed them in the supermarket and hose their hooves off with water on petrol station forecourts.
At couture fashion week, in January, during the Franck Sorbier collection, two horses appeared on a catwalk flanked by hay bales. On the high street, Uniqlo promoted its collaboration with Inès de la Fressange with a picture of the French style arbiter walking a majestic, milk-white horse down a windswept beach. In menswear, the Charles Jeffrey Loverboy show was inspired by the Orkneys’ 200-year-old pagan ritual, the Festival of the Horse. Fashion’s most powerful models – Bella and Gigi Hadid – are avowed horse girls who post frequent selfies nuzzling long noses.
Last summer, Maison Margiela’s couture show was dedicated to “a horse called Blue” that creative director John Galliano had met during three months of equine therapy in Arizona. This memory had bubbled up now, he said, in a podcast accompanying the show, because “I feel as though we are going through a survival mood and perhaps needing to revert back to trusting our instincts. You can’t lie to a horse, it’s so sensitive; it feels any anxiety or fear.”
‘Horses are not goal orientated’ … a shot from Gucci’s SS20 campaign. Photograph: Yorgos Lanthimos
Blinkers now off, I started to see the cowboy trend as a romanticisation of a time when human lives were enmeshed with horses’. It felt as though something was ahoof in the collective subconscious. I began to notice “equine therapy” briefly mentioned in spa break features in Vogue and in press releases for luxury retreats.
Like “forest bathing” and other increasingly popular eco-therapies, equine therapy speaks to an interest in getting back to something fundamental. After all, humans lived with horses for thousands of years – it was only the advent of the motorcar that separated us. “They have been alongside us in evolution always,” Peters says. “There is that quote: ‘History is strewn with the bones of a horse.’” The connection, she believes, “is something very ancient that we need to get back to”.
To be clear, while equine therapy might sound kooky and alternative, it has very serious applications. Peters’ centre – the Red Horse Foundation – specialises in trauma. Equine therapy is often used for addiction and to help children with autism and veterans with post-traumatic stress disorder. Research is in its infancy (a 2015 paper reported that the studies so far are promising but limited) but it is available, in certain counties, on the NHS and through well-respected mental health centres. It’s worth noting, too – not least for the sake of safety – that Peters would not advise trying it out anywhere that does not have deep specialist knowledge.
Still, Peters believes it can be useful for everyone, whether for leadership, team-building, anxiety or self-esteem: “It helps us to take control of our lives and our selves, like meditation, rather than letting external things take control of you – the horse is a master teacher for that.”
Imagining horses integrated into urban life … Gucci’s SS20 campaign. Photograph: Yorgos Lanthimos
Horses “are not goal oriented”, she explains. “They don’t have the frontal cortex over-thinking.” And as prey animals, relying on instinct for survival, they are “living biofeedback machines”, she says: “They can tell if you are not being authentic – if you are behaving one way but feeling another.” Great “horse people”, she says, can align “thinking, feeling and action – we call it becoming congruent” – at which point a horse will do anything for you.
So far, my own equine therapy experience has given me plenty to chew on; there were more metaphors and lessons for my busy life, overseeing the Guardian’s fashion desk, than I could shake a riding crop at.
I made a sub-City Slickers entrance for my first session, arriving at the tranquil centre demanding an iPhone charger and insisting I make an important phone call before we start. Twenty minutes later, however, within the field of horses, it was impossible not to slow down.
Peters invites me to observe how peaceful the horses are, just being, just living. She asks if there are any I am drawn to and would like to meet. At first, they all look like horses to me. But gradually, I differentiate them. I choose a huge chesnut mare and try to say hi; she walks away, to another pile of hay. (I try not to think: “But of course I am such a charisma vacuum that even a horse would not want to hang out with me.”) Eventually, I approach slowly from the side, on Peters’ advice. The horse turns her nose towards my fist; I stroke her. “Now you have done a horse greeting,” Peters says.
Hot to trot … an image from Gucci’s SS20 campaign. Photograph: Yorgos Lanthimos
Much of my experience is like this: simply moving among the herd as though I am one of them. It takes some time for me to stop trying to smile; to dispense with social niceties. It also takes time to stop feeling a bit judged when they appraise me based on my non-verbal cues, and walk away. It feels a bit like the way a PR with a clipboard at fashion week might coolly assess my status judging by my footwear and find me lacking. Gradually, though, I learn to be less person about it. Status anxiety is not very horse, after all. They accept what happens and move on. As I start to do the same, they seem happier to be around me.
My next session is more active – and hugely illuminating. I try to lead the alpha male, Brannan, around the paddock. I assume he will play ball – I’ve seen this sort of thing on TV – but he doesn’t. As he resists, I feel a familiar sensation of not being entirely comfortable telling others what to do, something I can hide behind smiles at work. Brannan, however, reads me like a book. He ends up leading me, instead, back to the paddock entrance. I try again. He demures. Later, Peters advises me that this kind of exercise is “all about having an intention – knowing where you want to go. It’s about being comfortable with being the leader.” All of which sounds familiar.
I’m surprised by how powerful hanging out with horses has been, and how clearly, and wordlessly, Brannan laid bare one of my issues. I’m not finished with him yet: I’ll be back for another session and will try to lead him again. With Peters’ help I’m sure I will succeed. I’ll be able to stand on my own feet once I’ve cracked it. All four of them.
• Read more from the spring/summer 2020 edition of The Fashion, our biannual fashion supplement
