Annual Report 2020

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 2020 Annual Report 2020 PRADA spa (Hong Kong Stock code: 1913) ANNUAL REPORT 2020 Annual Report 2020_MASTER_160421 with bleed.indd 2 20/04/21 09:42 Annual Report 2020_MASTER_160421 with bleed.indd 3 20/04/21 09:42 TABLE OF CONTENTS The PRADA Group 3 Financial Review 51 Directors and Senior Management 79 Directors’ Report 95 Corporate Governance 117 Consolidated Financial Statements 139 PRADA spa Separate Financial Statements 145 Notes to the Consolidated Financial Statements 151 Independent Auditors’ Reports 233 Annual Report 2020_MASTER_160421 with bleed.indd 1 20/04/21 09:42 The first Prada store Galleria Vittorio Emanuele II, Milan Annual Report 2020_MASTER_160421 with bleed.indd 2 20/04/21 09:42 THE PRADA GROUP PRADA Group Annual Report 2020 - The PRADA Group 3 Annual Report 2020_MASTER_160421 with bleed.indd 3 20/04/21 09:42 Miuccia Prada and Patrizio Bertelli Annual Report 2020_MASTER_160421 with bleed.indd 4 20/04/21 09:42 PRESENTATION Pioneer of a vision that transcends fashion, the Prada Group inquisitively observes contemporary society and its interactions with very diverse and apparently distant cultural spheres. A fluid perspective that becomes the Group’s manifesto, suggesting a unique approach to doing business by placing at the core of ethical and action principles essential values such as freedom of creative expression, reinterpretation of what already exists, preservation of know-how and enhancement of people’s work. The Prada Group is a contemporary interpreter of changing scenarios. In a three- dimensional temporal dialogue that combines the identity heritage of the past with demands and dynamics of the present and future perspectives, creativity molds ideas that transcend the boundaries of the ordinary and create an innovative vision of tomorrow. “Thorough observation and curiosity for the world around us have always been at the heart of the creativity and modernity of the Prada Group. In society, and thus in fashion, which is somehow a reflection of it, the only constant is change. The transformation and innovation of aesthetic codes, at the core of any evolution, has led us to interact with different cultural disciplines, at times apparently far from our own, allowing us to capture and anticipate the spirit of the times. Today this is no longer enough: we must be the agents of change, with the flexibility required to translate the demands of the market and society into tangible actions that inform our way to do business”. Miuccia Prada and Patrizio Bertelli PRADA Group Annual Report 2020 - The PRADA Group 5 Annual Report 2020_MASTER_160421 with bleed.indd 5 20/04/21 09:42 Mario Prada Annual Report 2020_MASTER_160421 with bleed.indd 6 20/04/21 09:42 PRADA GROUP HISTORY The Prada brand dates back to the beginning of the last century: in 1913, Mario Prada opened an exclusive store in the Galleria Vittorio Emanuele II, Milan, selling handbags, travel trunks, beauty cases, tasteful accessories, jewelry and other luxury items. Thanks to the innovative design of its goods, created using fine materials and sophisticated techniques, Prada rapidly acquired wide popularity across Europe. In 1919 Prada became an official supplier to the Italian royal family; since then Prada has been able to display the House of Savoy coat of arms and knotted rope design in its trademark logo. The turning point for the Group came at the end of the 1970s when Miuccia Prada, Mario Prada’s granddaughter, partnered with Tuscan entrepreneur Patrizio Bertelli to combine creativity with business acumen and lay the foundations for the ensuing international expansion. Patrizio Bertelli broke new ground in the luxury goods sector by introducing a business model based on direct control over all processes and applying strict quality criteria to the entire production cycle. Miuccia Prada’s creative talent attracted international attention due to her innovative approach, inspired by an unconventional outlook on society, enabling her to anticipate and often influence new fashion and design trends. In 1977 Patrizio Bertelli founded IPI spa, where he concentrated the production resources he had built up over ten years in the leather goods industry. In the same year, IPI spa obtained a license from Miuccia Prada for the exclusive production and distribution of Prada brand leather goods. In the following years the two family businesses gradually merged into a single Group. In 1983 the Prada family opened a second store in prestigious Via della Spiga in Milan, one of Europe’s key shopping destinations. The store showcased the new brand image by pairing traditional elements with modern, innovative architecture, thereby revolutionizing and setting a new standard for luxury retail. In response to the growing appreciation of the products, the Prada leather goods PRADA Group Annual Report 2020 - The PRADA Group 7 Annual Report 2020_MASTER_160421 with bleed.indd 7 20/04/21 09:42 range was expanded to include the first women’s footwear collection in 1979. The first women’s clothing collection was launched in Milan in 1988. At the same time the internationalization process began, with the first store openings in New York and Madrid, followed by London, Paris and Tokyo. In 1993 Prada made its debut in menswear with its first men’s clothing and footwear collection. That same year, Miuccia Prada’s creative inspiration led to the establishment of a new brand, Miu Miu, conceived for sophisticated, stylish women who love to stay ahead of fashion trends. Miu Miu now creates women’s ready-to-wear apparel, handbags, accessories, footwear, eyewear and fragrances, and accounts for a significant share of the Group’s sales. In 1993 Miuccia Prada and Patrizio Bertelli created “Milano Prada Arte”, which subsequently became “Fondazione Prada”, to pursue their interests and passions in the world of art and culture. In 1997 Patrizio Bertelli organized the Prada Challenge sailing team to compete for the 2000 America’s Cup and in the same year Prada launched its leisurewear range featuring the “Linea Rossa” (red line). In 1999, the Prada Group acquired the classic brand Church’s, founded in 1873 in Northampton, England. The brand, specialized in high-end handcrafted footwear, is a universally recognized symbol of British tradition and sophisticated elegance. In 2001, the Prada “Epicenter” store, designed by Rem Koolhaas, was opened on Broadway in New York City. This was the first store of the Epicenters project, whose purpose was to redefine the shopping concept and try out inventive ways to interact with customers. A second Epicenter store was opened in Aoyama, Tokyo, followed by a third one on Rodeo Drive, Beverly Hills, in 2004. During the same year, Prada acquired control of Car Shoe, a classic Italian brand renowned for its exclusive driving moccasins. In 2003 Prada entered into a licensing agreement with Italian eyewear manufacturer Luxottica, a global industry leader which currently produces and distributes eyewear with the Prada and Miu Miu brands. Also in 2003, a new partnership was established which led to the release of the first fragrance, Amber, in 2004. 8 PRADA Group Annual Report 2020 - The PRADA Group Annual Report 2020_MASTER_160421 with bleed.indd 8 20/04/21 09:42 Prada Epicenter concept store Broadway, New York by architect Rem Koolhaas and Studio OMA Prada Epicenter concept store Los Angeles, Beverly Hills by architect Rem Koolhaas and Studio OMA Annual Report 2020_MASTER_160421 with bleed.indd 9 20/04/21 09:42 Prada Epicenter concept store Aoyama, Tokyo by architects Herzog & de Meuron Annual Report 2020_MASTER_160421 with bleed.indd 10 20/04/21 09:42 In 2006, Miu Miu moved its fashion show venue to Paris to better represent its brand identity. The Prada phone by LG, the world’s first touchscreen cellphone, made its debut in March 2007. The LG/Prada partnership achieved further success with new releases in 2008 and 2011. On June 24, 2011, Prada was successfully listed on the Main Board of the Hong Kong Stock Exchange. In March 2014, Prada spa acquired control of Angelo Marchesi srl, the historical Milanese patisserie founded in 1824, thus entering the food industry. In 2015 the Prada Group and Coty Inc. introduced the first Miu Miu fragrance. In September of that year the Marchesi 1824 brand was developed on the market with the opening of a patisserie in via Montenapoleone, Milan. 2016 featured important manufacturing investments, all of which were made to achieve sustainable production growth respectful of the environment: a new leather goods factory was inaugurated and five factories in Tuscany and Umbria were renovated. The first construction phase of the new logistics hub for finished products was completed in Tuscany. The second phase was completed in 2018. In 2017, the important restyling plan for Prada and Miu Miu stores was coupled with an extensive program of pop-up events to further support retail activities. In the same year, the Prada Group was admitted to the Cooperative Compliance regime with the Italian tax authorities, introduced with Italian Law Decree 128 of 2015. In November the first edition of the “Shaping a Future” conference cycle takes place at the Headquarters in Milan. Other editions will follow in 2018 again in Milan, in 2019 in New York and in 2020 in Venice. In 2018 the Group added to its customary Milan and Paris fashion shows two important events to present pre-collections: Miu Miu Croisière in Paris and Prada Resort in New York. In 2019 the Diversity & Inclusion Advisory Council was established; assisted PRADA Group Annual Report 2020 - The PRADA Group 11 Annual Report 2020_MASTER_160421 with bleed.indd 11 20/04/21 09:42 by leading personalities of authoritative international academic and cultural institutions, it will guide the Group on matters of social sustainability. In October of the same year, the Prada Group obtained full control of the retail network by acquiring Fratelli Prada spa, the long-standing franchisee of Prada monobrand stores in Milan.
Recommended publications
  • Undergraduate Prospectus 2020/21 WORKS IT HOW STUDY BA BEYOND SCHOOLS LABS US ABOUT CONTENTS
    SCHOOL OF ARTS + MEDIA SCHOOL OF DESIGN + COMMUNICA- 1 TION SCHOOL OF CRITICAL + CULTURAL STUDIES MAKING AN APPLICATION A bursary that you won’t have to pay back: Your accommodation guaranteed: If you’re a home (UK) student, you’ll be As a first year student you are guaranteed eligible to receive financial support from Halls of Residence accommodation within the us throughout your studies to help cover city, close to our campus. We work with Host programme and travel costs. As it’s a and Clever Student Lets to ensure you can bursary, you won’t have to pay it back choose suitable accommodation close to our and you’ll still have access to other funds campus that suits your budget. and bursaries if you need them. For more information please see our website. OPEN DAYS AND INTERVIEWS Our Open Days are a chance for you and your to attend in January and February, but we friends or family to visit Plymouth, meet and can see you whenever you feel ready. For chat with our friendly programme leaders advice on what we are looking for in terms of and admissions staff, tour our studios and motivation and creative potential, see p4 in facilities, visit student accommodation and our How It Works guide. discuss the best study options for you. Worried about travel costs or already attended Book your place at plymouthart.ac.uk/opendays an Open Day? We can also set up an online and we’ll send travel offers, recommendations or telephone interview. You’ll always be for hotels, and details of workshops and alumni interviewed by a subject expert who will speakers in advance.
    [Show full text]
  • Museums of Contemporary Art in Preexisting Buildings: Constraints and Architecture the Case Study of Punta Della Dogana and Fondazione Prada
    MUSEUMS OF CONTEMPORARY ART IN PREEXISTING BUILDINGS: CONSTRAINTS AND ARCHITECTURE THE CASE STUDY OF PUNTA DELLA DOGANA AND FONDAZIONE PRADA Thesis Supervisors: Professor Bárbara Coutinho Professor Fulvio Lenzo Author: Beatriz Loreto Crespo de Jesus Agostinho Extended Abstract The present article regards the process of converting preexisting buildings into museums of contemporary art using two study cases: Punta della Dogana, in Venice, and Fondazione Prada, in Milan. Additionally, this investigation aims to identify the factors and the limitations that affect the development of the adjacent architectural project and to understand the architectural solutions created in each case. With these goals in mind it was necessary to contextualise, historically, the museological institution as well as the evolution of its morphology. At the same time, a detailed analysis of the two case studies took place starting by the systematisation of technical drawings, bibliographic research and numerous visits to the respective locations. The dissertation document is made up by five chapters from which the first consists of the introductory guide lines for the investigation and the last two being the reached conclusions followed by the used bibliography. On the second chapter, a brief study regarding the History and the Architecture of museums of art takes place, focusing on the period inbetween the 18th century and the 20th century. The museum, being an entity with multiple dimensions - mission, programmes, morphology, among others – needs to adapt to its surrounding circumstances in order to survive (Schubert, 2009: 11). Since the 18th century this institution has changed accordingly to the social shifts affecting society, therefore, influencing all of its dimensions and its relation with the public.
    [Show full text]
  • Download the Dior: from Paris to the World Program Guide
    PROGRAM GUIDE Since his debut collection, art gallerist turned legendary couturier Christian Dior has generated an epic movement in fashion history. With lavish embroidery, luxurious fabrics, and elegant silhouettes, his designs were a revolutionary celebration of modern femininity when they emerged in Paris after World War II. Today, Dior’s global influence is as enduring and iconic as ever. Dior: From Paris to the World surveys more than 70 years of the House of Dior’s legacy, featuring a dynamic selection of almost 200 haute couture dresses, as well as accessories, photographs, original sketches, runway videos, and other archival material. MAY Free Youth and Student Sundays The Heart of Neiman Marcus Foundation will sponsor a day Exhibition Talk: Dior on June 2 to allow youth and students (with valid ID) free Thursday, May 23, 7:00 p.m. access to Dior: From Paris to the World. Students under 16 must be $10 public, $5 DMA Members accompanied by an adult with a paid ticket. Exhibition tickets and students with valid ID are timed with capacity restrictions. A second day will occur before the exhibition closes. Fashion historian Amber Butchart will talk about the ways in which fashion designers past and present have taken inspira- tion from the world around them. Drawing on fashion history, art, nature, and pop culture, Butchart will explore the nature of innovation and reveal threads that connect decades of fash- ion design. JUNE Toddler Art: Fabric Frenzy June 4, 7, or 14, 11:00 a.m.–noon Open Studio Art Making $8 public, $5 DMA Members June 1, 2, 15, & 16, noon–4:00 p.m.
    [Show full text]
  • Narratives of Italian Craftsmanship and the Luxury Fashion Industry: Representations of Italianicity in Discourses of Production
    This is a repository copy of Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/136104/ Version: Accepted Version Book Section: Dallabona, A orcid.org/0000-0002-1051-9389 (2014) Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production. In: Hancock II, JH, Muratovski, G, Manlow, V and Peirson-Smith, A, (eds.) Global Fashion Brands: Style, Luxury and History. Intellect , Bristol, UK , pp. 215-228. ISBN 9781783203574 © 2014 Intellect Ltd. This is an author produced version of a paper published in Global Fashion Brands: Style, Luxury and History. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Alice Dallabona University of Leeds Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production ABSTRACT In the last few years many luxury fashion labels like Gucci have emphasized, in their communication, the various types of craftsmanship involved in the creation of their pieces as a mean of providing history and additional value to their products.
    [Show full text]
  • A Discussion of a Luxury Apparel Brand Strategy in an Emerging Market: Conceptual Model with Network Perspectives
    A Discussion of a Luxury Apparel Brand Strategy in an Emerging Market: Conceptual Model with Network Perspectives Rachaya Kaolawanich1, Hiroko Oe1, Yasuyuki Yamaoka2, Chih Yuan Chang1 1Bournemouth University, UK 2The Open University of Japan [email protected] Abstract Keywords luxury brand; apparel; Vietnam, This study explores the Burberry apparel brand’s position and its network perspective strategic behaviour seeking new customers in the new market. This exploratory research pays particular attention to business potential and opportunities in an emerging market, Vietnam. To evaluate Burberry’s strategies and the potential, the collaborative network relationships are discussed in details, that is followed by the discussion of the key themes for Burberry to consider in the Vietnamese market, where Burberry has recently begun expanding its businesses. The outcome of the study suggests that the Western luxury brand apparel needs to understand the targeted markets’ systems and consumer behaviour, from there it is inevitable to design strategic plan how to engage the stakeholders in the ubiquitous supply chain relationships. In the end, a conceptual model with network perspectives is proposed: The model will be an analytical framework with key agenda items for the luxury brand which aims to enter the new market, and also the research limitations and further research opportunities are discussed. I. Introduction 1.1 Burberry as the Royal Brand from the UK Burberry is one of the UK’s premier fashion apparel brands, founded in 1856 and currently taking steps towards becoming a global luxury fashion brand. It sells 'British' style and is well-known for its traditional, iconic trench coats, which are a symbol of the brand.
    [Show full text]
  • Facultad De Comunicación Rev. Mayo 10
    UDEP - FACULTAD DE COMUNICACIÓN REV. MAYO 10, 2021 ERIC SALVADOR MAYORGA GUTIÉRREZ “Lo que llevas es la manera de presentarte al mundo, sobre todo en la actualidad, cuando los contactos humanos son tan efímeros. La moda es un lenguaje instantáneo”.1 “Cuando alguien me pregunta cómo puede ser elegante, vestir bien, le digo que estudie. Que estudie la moda, las películas, el arte y después, que se estudie a sí mismo”.2 ANTECEDENTES Luana Llosa estaba interesada en la moda desde muy joven porque le encantaban los diseños y los colores. Cuando estaba en el colegio seguía con mucho entusiamo las pocas revistas que llegaban a la ciudad de Piura y que las amigas de su mamá le prestaban con mucho entusiamo. Universidad de Piura. Caso de Marketing “Prada, el precio de la moda”. Los casos desarrollados en la Universidad de Piura se realizan únicamente para su discusión durante las clases. No es objetivo servir de fuentes de datos o de ejemplo de una buena o mala gestión administrativa, comercial o de otro tipo. Copyrigth 2021. No se permitirá la reproducción, almacén, uso o transmisión en forma alguna. 1 10 Frases icónicas de Miuccia Prada. http://vein.es/10-frases-iconicas-de-miuccia-prada/ visto el 11 de mayo a las 11:30 a.m. 2 . IDEM. 1 Su carrera profesional en una empresa internacional le dio la oportunidad de viajar con frecuencia a la ciudad de Milán, sede principal de la corporación donde laboraba, y de estar en contacto directo con las tendencias de la moda en el mundo ejecutivo.
    [Show full text]
  • Company Profile
    COMPANY PROFILE JUNE 2015 INFO FILES • The Prada Group • Creativity and manufacturing • Raw materials • Logistics • Distribution • Licences and Joint Ventures • Prada Group figures June 2015 www.pradagroup.com 1 “Careful observation of and curiosity about the world, society, and culture are at the core of Prada’s creativity and modernity. This pursuit has pushed Prada beyond the physical limitations of boutiques and showrooms, provoked an interaction with different and seemingly distant worlds, and introduced a new way to create a natural, almost fashionless fashion.” Miuccia Prada and Patrizio Bertelli June 2015 www.pradagroup.com 2 THE PRADA GROUP Prada was founded in 1913 by Mario Prada, Miuccia Prada’s grandfather, in Milan. Located in the prestigious Galleria Vittorio Emanuele II, Prada was an exclusive, stylish store selling luggage, accessories and luxury goods, in fine materials and of sophisticated workmanship. The Milan store quickly became a firm favourite with the aristocracy and the most sophisticated members of the European elite. In 1919 Prada received the warrant of “Official Supplier of the Italian Royal Household”, and since then has been entitled to display the royal Savoy coat of arms and figure-of-eight knots alongside the company logo. Miuccia Prada and Patrizio Bertelli started working together in the late 70’s, laying the foundations of the international expansion that was to come. Patrizio Bertelli broke new ground in the luxury goods sector, introducing a new business model in which he kept direct, internal control over all processes, applying uncompromised quality criteria across the entire production cycle. Miuccia Prada’s creative talent and avant-garde approach attracted the attention of the global fashion industry, while her ability to look at the world from an unconventional vantage point allowed her not only to anticipate, but quite often, to set new trends.
    [Show full text]
  • Futuristic Aerie with a Park View
    C M Y K Nxxx,2012-05-11,C,023,Bs-4C,E1 N C23 FRIDAY, MAY 11, 2012 Futuristic Aerie With a Park View RICHARD PERRY/THE NEW YORK TIMES By CAROL VOGEL For the past 15 summers the Met’s “Tomás Saraceno on the Roof: about a dozen installers assembling his most spinning around from the perspec- roof garden has been the setting for tra- creation, which he described as “an in- N Tomás Saraceno’s imagination his Cloud City” opens Tuesday at the tive inside this giant futuristic construc- ditional sculptures by artists like Ells- ternational space station.” As pieces be- constellation of 16 joined modules Metropolitan Museum of Art. tion. worth Kelly, Jeff Koons and, last year, gan to be set in place, Mr. Saraceno under construction on the roof of Like many of Mr. Saraceno’s installa- Anthony Caro. It has also been a place sneaked a visitor inside and up a twisty tions “Cloud City” is his vision of float- I the Metropolitan Museum of Art to walk up a winding bamboo pathway gonal habitat of reflective stainless steel staircase about 20 feet above the roof ing or flying cities — places that defy will take off in a heavy puff of wind and that soared some 50 feet in an untradi- and acrylic. garden. Some of the floors were trans- float over Central Park. “The whole conventional notions of space, time and tional installation that invited visitor Called “Cloud City,” it is the largest of parent, and the walls were mirrored gravity. “You can have a feeling of thing will go into orbit,” Mr.
    [Show full text]
  • Prada Rong Zhai
    1 THE PROJECT Episodes: #EXCELLENCE Prada Group Remix is a series of dynamic contents to discover the Group’s DNA in a new #RESTORATIONWORKS unexpected way. This multichannel project develops through a set of episodes, each one described with an engaging #RETAILSTORIES storytelling, created by the combination of a kaleidoscope of images and stories. The project is based on the Group’s values stated in our Manifesto and it is divided in five episodes. #SUSTAINABILITY CLICK HERE TO DISCOVER MORE #ARCHIVES 2 Did you know? The production of a pair of Church’s requires approximately twelve weeks of work and over 300 accurate and skillful steps. #EXCELLENCE Excellence is one of Prada Group’s primary objectives. It is a mental Our Know-How attitude which leads people to seek perfection in their daily work, refining and surpassing the results previously achieved. Excellence of our artisans’ hand skills: passion, quality and attention to detail are reflected in every product we make. Excellence can also be discovered in our production sites, designed for the well-being of our people as in Prada Group’s “garden factories”, buildings expressing a delicate balance between architecture and nature. CLICK HERE TO DISCOVER MORE #EXCELLENCE 3 Did you know? With nearly 14,000 people, the Prada Group is represented all over the world by a mixed universe of cultures, skills and nationalities. #EXCELLENCE 4 Montegranaro, Italy Did you know? In Valvigna’s gardens there are 297 trees, 29,000 bushes and 74,000 ground cover and grassy plants. Valvigna, Italy Prada Group “Garden Factories” Montevarchi, Italy #EXCELLENCE 5 PRADA GREEN CONCEPT STORE The “Green Concept” of Prada’s stores, which accompanies the brand’s aesthetics all over the world, is paired with the typical black and white checkered marble floor and creates the perfect scenario for the brand’s collections.
    [Show full text]
  • INTRODUCING the NEXT GENERATION of TRAILBLAZERS
    HANNAH SHAKESPEARE Model Model Hannah Shakespeare has the fashion industry at her feet. For the AW19 runway season, the 23-year-old, loved by casting directors for her wide, expressive eyes and cool, cropped hair, walked a colossal 25 womenswear shows for brands including Miu Miu, Tommy Hilfiger, Marni and Matty Bovan, and has been featured on some of the fashion industry’s THIS IS the FUTURE most influential top newcomer lists. Raised in Walthamstow, northeast London, she trained as a dancer, before committing to modelling. Her ballet background shows in her lithe frame, upright posture and easy catwalk strut. ‘I was scouted as a pre-teen, but was too shy to follow it through. I liked the idea of modelling but dance was my life,’ she says. With campaigns for Miu Miu and Marc Jacobs under her belt, expect to see a lot more of Hannah this season. INTRODUCING the NEXT GENERATION of TRAILBLAZERS, LAW-CHANGERS and HELL-RAISERS, WHO ARE REFRAMING the WORLDS OF FAS H I O N , BEAUTY, POLITICS and TECHNOLOGY, and INSPIRING the ELLE WOMAN PHOTOGRAPHS by LEONN WARD STYLING by FELICITY KAY WORDS by BECKY BURGUM THE JUDGES The panel that chose the ELLE List FARRAH STORR LEOMIE ANDERSON PANDORA SYKES ELLE Model, social activist Writer and co-host Editor-in-Chief and entrepreneur of podcast High Low Dress, price on application, MICHAELA COEL CLARA AMFO SIMONE ROCHA HOLLI ROGERS RALPH & RUSSO COUTURE. Actor and screenwriter DJ and radio presenter Fashion designer CEO of Browns and CFO Necklace, £8OO, VERSACE. of FarFetch Other jewellery, Hannah’s own 54 BETHANY WILLIAMS Designer As parliament calls for tax reforms to penalise industry practices that ‘damage the planet,’ London College of Fashion graduate Bethany has had a big impact in her short three-year career by creating a greener system of fashion production.
    [Show full text]
  • 2010–2011 Our Mission
    ANNUAL REPORT 2010–2011 OUR MISSION The Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation, and conservation of its artistic, historic, and environmental assets. FROM THE CHAIRMAN 02 FROM THE MELVIN & BREN SIMON DIRECTOR AND CEO 04 THE YEAR IN REVIEW 08 EXHIBITIONS 18 AUDIENCE ENGAGEMENT 22 PUBLIC PROGRAMS 24 ART ACQUISITIONS 30 LOANS FROM THE COLLECTION 44 DONORS 46 IMA BOARD OF GOVERNORS 56 AFFILIATE GROUP LEADERSHIP 58 IMA STAFF 59 FINANCIAL REPORT 66 Note: This report is for fiscal year July 2010 through June 2011. COVER Thornton Dial, American, b. 1928, Don’t Matter How Raggly the Flag, It Still Got to Tie Us Together (detail), 2003, mattress coils, chicken wire, clothing, can lids, found metal, plastic twine, wire, Splash Zone compound, enamel, spray paint, on canvas on wood, 71 x 114 x 8 in. James E. Roberts Fund, Deaccession Sculpture Fund, Xenia and Irwin Miller Fund, Alice and Kirk McKinney Fund, Anonymous IV Art Fund, Henry F. and Katherine DeBoest Memorial Fund, Martha Delzell Memorial Fund, Mary V. Black Art Endowment Fund, Elizabeth S. Lawton Fine Art Fund, Emma Harter Sweetser Fund, General Endowed Art Fund, Delavan Smith Fund, General Memorial Art Fund, Deaccessioned Contemporary Art Fund, General Art Fund, Frank Curtis Springer & Irving Moxley Springer Purchase Fund, and the Mrs. Pierre F. Goodrich Endowed Art Fund 2008.182 BACK COVER Miller House and Garden LEFT The Wood Pavilion at the IMA 4 | FROM THE CHAIRMAN FROM THE CHAIRMAN | 5 RESEARCH LEADERSHIP From the In addition to opening the new state-of-the-art Conservation Science Laboratory this past March, the IMA has fulfilled the challenge grant from the Andrew W.
    [Show full text]
  • Future Past RECENT ARCHIVE MILAN 05.08.15
    login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search links ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版 DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT SCENE & HERD Future Past RECENT ARCHIVE MILAN 05.08.15 Zehra Jumabhoy at the 3rd Dhaka Art Summit Linda Yablonsky at the 13th edition of Zona Maco in Mexico City Eva Díaz at the 104th College Art Association conference in Washington, DC Linda Yablonsky at the opening of the Macro Espacio para la Cultura y las Artes Himali Singh Soin around the 8th India Art Fair Paige K. Bradley at the 7th Art Los Angeles Contemporary and 3rd Paramount Ranch Left: Miuccia Prada. Right: Artist Wangechi Mutu, dealer Bruna Aickelin, and dealer Suzanne Vielmetter. ANY GHOSTS FLOATING AROUND contemporary art have a fabulous new piece of real estate to spook. Dubbed the Haunted House by its owners, who sheathed its five stories in twenty-four-karat gold leaf, it’s one of ten buildings on the grounds of a former distillery in Milan that now make up the Prada Foundation. (A new nine-story tower that will house a restaurant and eight floors of exhibition space is still under construction.) As the first institution dedicated to contemporary art in the city of La Scala and The Last Supper, it’s a game changer. As the fruit of designer-collector Miuccia Prada’s collaboration with architect Rem Koolhaas and OMA, it may be the most elegant private museum in the world—certainly the best that money can buy. NEWS PICKS FILM SLANT Newest Headlines Cairo’s Townhouse Gallery Tentatively Reopens After Being Shut Down by Authorities Lauri Firstenberg, Founder and Director of LAXART, to Step Down Landmarks Preservation Left: Writer Shumon Basar and architect Cédric Libert.
    [Show full text]