It's still feminine, but not in a romantic way. It's all about masculine and feminine, and being strong.
Basically I'm trying to make men more sensitive and women stronger.
When I talk with people, I don't even see what they are wearing . . . No, I recognize it if it's something particularly nice and interesting. I see the exception.
I think more and more, if you live in the current world - and live internationally - it's all a mix of interests, and the same people who are interested in fashion are also interested in movies, art, and culture.
I'm not interested in types. I'm interested in archetypes.
Women often don't want to admit that they like fashion. And yet fashion enthralls everyone, from the taxi driver to the mega-intellectual. I have often asked myself why this is. I don't know the answer.
Now, I'm not saying I'm fashionable, but there are sociological interests that matter to me, things that are theoretical, political, intellectual and also concerned with vanity and beauty that we all think about but that I try to mix up and translate into fashion.
Men are always much more dignified than most women.
I respect my work. But also I think it's very superficial.
My idea is always to avoid nostalgia.
Designing for me is a very complex process. There are many ideas that I want to express in one object, very often contradictory. The creative process in Miu Miu is completely different from that of Prada. Miu Miu is not as complicated and thought out as Prada. Rather than being young, Miu Miu is immediate Prada is very sophisticated and considered; Miu Miu is much more naive. The solution, when I am working on Miu Miu, has to come immediately, instinctively, spontaneously with whatever is available at the moment. If I think three times, I stop.
I’ve never wanted to be called an artist. The term itself seems old-fashioned. It’s a term that does not relate to modern times. And it’s too confining. What I love about fashion is its accessibility and its democracy. Everyone wears it, and everyone relates to it.
The only way to do something in depth is to work hard. The moment you start being in love with what you're doing, and thinking it's beautiful or rich, then you're in danger.
With women, the more unhappy they are, the more undressed they are.
My learning process is by eye alone it's not at all scientific.
When I design and wonder what the point is, I think of someone having a bad time in their life. Maybe they are sad and they wake up and put on something I have made and it makes them feel just a bit better. So, in that sense, fashion is a little help in the life of a person. But only a little.
People ask me how can I be stylish, how can I be elegant and what can I wear? My only answer is study! You have to learn.
You have to always work against what you did before, and even against your taste.
The only way to do something in depth is to work hard.
Nostalgia is a very complicated subject for me. I'm attracted by nostalgia but I refuse it intellectually.
Everybody knows that I don't have a muse. I'm not interested in that.
I want to make clothes that are beautiful of course, but also clothes that are interesting and considered and intelligent and not out of place.
I would say there is no Prada woman. I'm interested in women in general. I don't have any kind of preference.
Because of the Prada name, I can do things that people normally would not care about in the culture. I can have an exhibit by some forgotten artist who I love, and because it's Prada, people will come see it.
One's life and passion may be elsewhere, but New York is where you prove if what you think in theory makes sense in life.
