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A huge converted grain silo in Shanghai was the setting for Prada's 2020 Spring Summer menswear show, designed by AMO as a hall of futuristic neon lights.

The show took place on 6 June at Silo Hall, Asia's largest silo building. A powerful reminder of Shanghai's industrial heritage, the building provided an appropriate backdrop for Prada's latest mens collection, described by the Italian fashion house as "a power of energy, provocation and freedom".

AMO, the research arm of Dutch firm OMA, transformed the industrial interior of the 80,000-tonne warehouse into an "illuminated vista" of bright blue lights.

A linear runway intersected the longitudinal axis of the monumental, labyrinth-like space, while guests were arranged in the central nave of the building in an amphitheater of circular seats that mirrored the shape of the silos.

Glowing neon lights complemented the hall's raw, industrial character and highlighted the geometry of the space, creating a "glowing enfilade" down the centre of the chamber.

"Mindful of its history, at intervals, the installation of the 2020 Spring Summer Prada Men’s show and events is disrupted by reminders of roughness and industry, embedded in the fabric of the building," said the brand.

"These retain the original character of the building, and the echoes of a past," it added.

The words "I am no longer an artist; I have become a work of art" and "I feel myself a god" were played out on a voiceover as models walked along an expansive runway dressed in oversized striped shirts, double-breasted blazers and colour-block windbreakers.

Colourful backpacks and knee-length shorts added a boyish aesthetic to the Optimistic Rhythm collection, which had retro-futurist overtones that could be seen on jackets and tees featuring vibrantly coloured prints of cassette tapes and video recorders.
Andrea Mariani/Courtesy salone del mobile.milano
ARCHITECT contributing editor Ian Volner reports on the must-see releases and installations from the world's largest furniture fair.

Emmanuel Plat, the director of merchandising for the retail division at New York’s Museum of Modern Art, mentioned over drinks earlier this week that he has been to Salone del Mobile more than 20 times over the last two decades and change, missing scarcely a single installment of the Milan design fair in that time. The mind fairly reels—with sympathy, certainly, for the cumulative exhaustion, but with envy, too. Perhaps with that kind of experience, it would be possible to put this year’s edition into the proper perspective.

Alas, for those of us slightly less seasoned, there is simply too much. Here instead is a much abbreviated, willfully subjective set of tips and takeaways—pertinent questions, impertinently answered, all about the biggest, baddest furniture-and-fixtures event in the world, which continues through this Sunday.

Are there trends this year?
Aesthetically, no. Instead, for every stylistic action, there is an equal and opposite reaction: In the Moroso booth, for example, German industrial designer Ingo Maurer’s new Luce Volante pendant light fixture flies bravely over a hip selection of furniture designed by London-based studio Doshi Levien, making a little scene of mod sophistication. In the same booth, Maurer’s outrageous Festa della Farfalle (Festival of the Butterflies) pendant is making its debut alongside colorful seating designed by Amsterdam-based by Edward van Vliet, a cri de coeur against all things abstract.

Kartell, marking its 70th anniversary, is loudly and proudly showing off its futuristic cred, with its new AI chair by Philippe Starck that was designed using Autodesk’s generative design technology; meanwhile, one of the brand’s booth vignettes pays nostalgic homage to the PoMo past with a model (in Kartell’s signature molded plastic, naturally) of Aldo Rossi’s San Cataldo Cemetery in Modena, Italy.
The maximalist haven, open through June, is dedicated to the brand’s new and classic furniture, textile, and ceramic pieces

Of all the design pop-ups during Milan Design Week, there’s only one that has undergone a full “Guccification.” On Friday, the fashion label unveiled for Gucci Décor a temporary storefront, a two-story, pattern-clad boutique dedicated to the brand’s new and classic furniture, textile, and ceramic pieces—a few of which even don the brazen descriptor.

Flora and fauna decorate silk wallpapers and restored antiques throughout the space, creating a gracefully layered backdrop for the brand’s home collection, which launched in 2017. Gucci creative director Alessandro Michele revisits the line’s armchair, dining chair, and stool designs, reimagining the styles with embroidered butterfly, owl, and floral motifs that form a maximalist's haven. Collection signatures like the Chiavari chair, a Ligurian design crafted from wood with a lacquered paint finish, will also be on display in fresh forms.

On the second level of the 2,961-square-foot pop-up, a floor-to-ceiling cabinet magnificently displays the line’s Herbarium floral-patterned porcelain banquet set. Candle holders, ashtrays, and decorative boxes—all made by Florentine porcelain manufacturer Richard Ginori—are on display throughout the shop bearing scenes of bug life, the so-called Star Eye print, or an original floral design by Paris creative studio Antoinette Poisson.

New blankets and pillows, available with fringed or satin borders, continue the collection’s wildlife storyline with owl, cat, bee, and butterfly patterns. The brand’s signature double G’s make an appearance on new tartans and tapestries.

The temporary store is located at 19 Via Santo Spirito in Milan and will stay open through June. The Gucci Décor collection is available at the label’s flagship stores, online, and select specialty stores.