Prada and Bertelli’s apartment having a huge courtyard in central Milan is roomy

By Sarah Conner


As he constantly does, Bertelli watched the present in the space where engineers keep an eye on the tone and lighting program. City existence would be the theme on the moment. It is all about 24-hour, 360-degree living, explained Bertelli, as he peered in to the TV set, observing Prada’s models men, joined by girls clad in high-waited trousers, camouflage- print coats and tasseled loafers. “It makes me surprise: How can you safeguard intimacy in this kind of a world? he muttered, just before launching into a soliloquy about how the dimensions of women’s feet have adjusted above the centuries. Since the show ended, Bertelli rushed backstage to greet his wife, who bounced more than to him, pecking him when on each cheek. So, did you want it?

Did the thing is how I reintroduced the tiny coat?” “Yes, I preferred it. I have been thinking of this 24-hour metropolis issue. It’s just like the negation of privacy and intimacy, is not it?” She looked at him quizzically and shrugged. “Don’t get philosophical on me now,” she laughed, bolting again to her obtaining line of journalists, pals and hangers-on pouring in backstage. When Bertelli arrived property following the present, Giulio and Lorenzo had been sprawled on the couch observing the Sunday evening soccer matches roundup. A shaggy, oversize stuffed toy dog lay facing the television set. “It was Giulio’s when he was somewhat kid, and we’ve never been able to remove it,” Bertelli explained, smiling.

Prada and Bertelli’s condominium, on the floor flooring of the developing by using a large courtyard in central Milan, is spacious, but by using a cozy truly feel. A green-marble corridor sales opportunities to some huge veranda that serves being a living room, a dining space which that night time had been create to host 15 people-and a up to date art room with works by Damien Hirst, Lucio Fontana, German summary painter Blinky Palermo and other individuals. A steel library loaded with 8,000 textbooks on architecture, art and style spans the duration of the adjacent room. Bertelli and Prada’s predilection for contemporary and present-day artwork took off in 1993 when the few traveled to New Mexico with Italian artwork critic Germano Celant to see “The Lightning Discipline,” a long-term set up of 400 stainless-steel poles made by American sculptor Walter de Maria, Celant recollects.

The Fondazione Prada, developed in 1993 to host proven and up-and-coming artists from Anish Kapoor to Nathalie Djurberg and which is now run by Celant, is among the most essential spaces for modern day artwork in Italy. “Miuccia and Bertelli are the two very passionate about art,” says Hans Ulrich Obrist, director of global tasks at the Serpentine Gallery in London. “The Fondazione not just has exhibitions but it makes it possible for artists to provide initiatives that might otherwise have been unrealized.”

Bertelli and his sons were even now fastened facing the TV when Prada walked in and plopped herself about the sofa, unbuckling her shoe straps. “This is really a genuine glamour evening, is not it?” she joked. Mom, that was an excellent present,” piped up Lorenzo, a lanky, dark-haired philosophy significant. “I preferred that you just introduced in ladies along with the men.” In reality it was a women’s collection adapted to gentlemen, but I shouldn’t really say that too loudly or people will start off criticizing,” chuckled Prada, munching on the piece of salami and white bread that a waiter experienced brought more than towards the lounge.




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