GABRIELA AZAR

CREATIVE. ARCHITECT. DESIGNER.

 MOOD
01. BOARDS
 MAGAZINE
02. LAYOUT
 A
TALE.

History of Fashion 1900-Present Day / Fashion Promotion, Communication & Media Master / Class 1
Gabriela Azar MPX172039456
All collages shown in this work were created by the student and are original
A MIU MIU TALE:
Where Past, Modern & Ugly Collide

It is so curious how one day your MIUCCIA

Moving into this same topic within moda What is interesting about these two particular brands, Prada
reality could be one and the next
there is a perfect example of what re- and Miu Miu, is that they both reflect directly the ideas,
day it can be completely different.
inventing is. A designer who has given the life and inventiveness of Miuccia Prada. She is not a very
This is what time does, it transforms
“new” a different approach, as journalists peculiar person, she is very particular and faceted
your reality, it changes you, how you
say, she has transformed forever how we having “lived many lives” as she says, because of everything
think, act, react and it re-structures
view the age-old ideas of taste and beauty, she has done in all the different areas. For example, she
the world around us. Our society is
Italian fashion creator Miuccia Prada. In studied mime at the Teatro Piccolo, yet also followed a
constantly suffering changes and in
order to understand the relevance of Prada’s political science PhD at the University of Milan, was a
this fast paced world we live today
little sister brand Miu Miu, we have to member of the Italian Communist party and is considered a
every sector such as business, music,
understand the creative behind it all, since leftist and in her work she connects to the spirit of the age:
entertainment, art, and others have
there is no Miu Miu without Miuccia. It is as
to adapt to these adjustments and the “she is a curious capitalist philosopher
the designer said herself for an interview with
fashion industry is not the exception.
journalist Andrew O’Hagan for T Magazine, with a brilliant instinct for modern
As one of the most influential women
in the business said back in 2013,
her work is her self-portrait. “It comes from desire.”(O’Hagan, 2013).
me. It’s my soul. It’s my life”, she says, “The
“Fashion today is job, the foundation, my personal life, it’s all
expressing the most one thing.”(O’Hagan, 2013).
important thing: the desire
to change”(Prada, 2013). In 1978, Miuccia inherited the luxury leather
goods originally called “Fratelli Prada”
The desire to change, the desire of
created by her grandfather Mario Prada. In
transformation, the desire of progress
1978, she designed a black nylon rucksack
and evolution, the desire of something
that would later become one of the brand’s
new. But we ask the question, what is
key items and alongside her husband, Patrizio
new? Is it the things we haven’t seen
Bertelli, she transformed the company
before, or those that have always
from being a much-admired retailer of
been there and we just hadn’t realized
luxury goods into the contemporary design
they were there, is it something built
powerhouse with sales of over $5 billion that
from scratch into something 100%
we know today as Prada.
authentic? Whatever your definition
might be, consider this thought: new
is overrated.
American Author Austin Kleon in
his book Steal Like an Artist which
is considered a creative manifesto,
he states very clearly the idea of
everything already being created
following the premise that nothing
is completely new since everything
takes reference, concepts, ideas,
materials from the past or pre-existing
things (Klein, 2012). Therefore, in a
world so overwhelmed by information
and constant re-creations how do we
invent something new?
Simple, by re-inventing.
 All these facets are reflected in her *CLOTHING STYLE INSPO For this same collection Miu Miu also
way of thinking and creations. It is took inspiration from other aspects
Miu Miu's collections are not exactly faithful or identical to a period
as author Austin Kleon states, “You relevant of the 1940s, portraying Squares pattern
of time, yet the influence and inspiration of elements from one or also used for Miu
are, in fact, a mashup of what you not only the bobby soxers and ankle
various times in history are always present within the designs taking Miu’s Pre Fall
choose to let into your life”, (Kleon, rolled up jeans, but also taking into 1940s picture 2017, same skirt One of the styles
inspiration from past clothing styles. One recent example of this is of teenagers. legnth, socks and
2012), and Miu Miu is exactly this, a consideration dresses and skirts. 2 For Notice the used during this
the 1 Miu Miu Pre Fall 2017 collection where you can perceive a use of socks
shoes as 1940s period for day
mashup in time. example the length of the skirt during (image from dresses under the
sense of late 40s or early 50s teenage vibe. In this first example you with skirts and Vogue) knee. Seen in Miu
This mashup, and re-invention of the 1940s, the use of short socks also squares pattern
can see the use of “bobby soxers” which were a famous style used by in fabric Miu’s collection
Miuccia for Prada and specifically with dresses and a re-interpretation of (image from (image from
Frank Sinatra’s young fans, “bobby soxer girls”, in the 1940s which Pinterest
focusing on Miu Miu, is achieved hats used in this time. Pinterest)
consists of short white socks with flat shoes. (Guardian, n.d)
by her interesting approach for
The black and white images that compose this example are from
nonconventional designs which are
the 1940s and the color images are from Miu Miu’s Pre Fall 2017
even considered “ugly”. Miu Miu,
collection in order to make a direct comparison between them. 2
which was Miuccia’s childhood
nickname, became a second brand
under Prada, and is an example of Example of 1940s
teenage girls fashion
this paradoxical phase of “ugly-chic” style, which includes
Miu Miu uses high-
portraying younger and juvenile waisted blue jeans the high-waisted
or brown corduroy rolled up jeans seen in
designs that are more spontaneous. workwear pants rolled Miu Miu’s collection
Originally she he had been criticized up at the hems to During the 1940s also
1 display the socks high-heeled shoes
for her approach to fashion, which were used with white
was seen as allowing the trashy into socks as Miu Miu
portrays low-heeled
the world of haute couture, yet even shoes for this style
if not accepted by all it has indeed
revolutionized the industry.

UGLY-CHIC
"Ugly is attractive,
ugly is exciting. Maybe Use of white Miu Miu’s use
because it is newer,” socks with
ankle-length
of the skirt
length of the
(Prada, 2013) dresses 1940s

, explained Miuccia to Claire Duffin

from the Telegraph 's Stella magazine.
Here we see what “new” represents
for the designer. She creates a “new”
by being attached to previous times
Miu Miu’s re-
portraying works with imagery of interpretation
vintage and retro, but is at the same of the 1940s
hat/cap. Using
time trendy by recreating the past in a fur, studs and
leather
modern manner and goes against the
belief of high fashion having to reflect
some quintessentially old-school, Miu Miu used
ladylike vision. the bobby
soxers also
Therefore, the Miu Miu girl is not with pointy
a future girl, but she is absolutely low-heeled 1940s rounded
Mary Janes hats used by
contemporary by a contemporary world young women,
that is attached to the past. Miu Miu’s Miu Miu’s clear
1940s bobby Miu Miu Pre Fall 2017 inspiration to
attachment to the past is perceived in soxers syte collection shows a clear re-interpret the
every collection through silhouettes, inspiration on bobby soxer girls feathered hats
Bobby soxer with the short white socks and into furry caps
fabrics, prints and inspiration from teenage girls during chunky loafer shoes.
previous times and societies. the 1940s (images from Vogue)
 4
Miu Miu presents schematic
On the other hand, we can also daisies in swim-caps as a re-
mention Miu Miu’s “Suddenly interpretation of 1960s swim
caps and the use of daisies and
Next Summer” Spring 2017 flowers in 1960s hats
campaign which portrayed the (images from Vogue)

SS17 ready to wear collection

in which there is a 3 1960s
swimsuits style and 4 swim-
caps giving a sunny retro-
fantasy. We can also mention
the SS17 5 cropped blouses 1960s swim-cap
(image from
for the ready to wear collection d.repubblica.it)
which portrayed hand-smocked
baby dresses inspiration.

1960s floral hats

for beach days
(image from
Pinterest)

In the 1960s, the swimsuits were still structured with

sculpted bra shaping and two-piece with high waisted
bottom. Comparing the blackand white images from
1960s with Miu Miu’s campaign images it is evident
the resemblance between the brand’s collection and
the past which also uses floral prints in the bathing
suits being shown Miu Miu’s ready to wear SS17 also transformed hand-
(Miu Miu SS17 Campaign images by Alasdair smocked baby dresses for little children into stylish
McLellan) cropped blouses
(SS17 images from Vogue / b&w images from Pinterest)
 Other clothing styles from different
eras are also represented in 6 Miu
Miu’s Pre-SS15 show where graphic
crochet tab across bust were shown and
these were as Suzy Menkes said, pure
Seventies. These graphic-crochet tops *PRINTS & PATTERNS INSPO
showed mostly figures, became very It is evident by all this examples that
6 popular and were used by both men and their is a certain “throwback” within
women in the 70s. Miuccia’s designs, yet not only does
she get inspired by old fashion styles
and clothing but also in patterns. Some
examples might include 8 Miu Miu’s
FW2012 Art Nouveau inspiration
floral prints or the 9 FW16 collection
where there were a series of 17th-
century Florentine-evoking silk velvet
brocades. Also, we can mention 10 the
Spring Summer 2009 presentation
were “Greco-Roman mosaic prints
*SOCIAL INSPO
that produced a pixilated pattern”
It is also important to mention the way (Menkes, 2008) were seen on the Miu
clothing and garments have different Miu runway as if they were painted
connotations or representations within Roman tiles.
society. Where a piece of fabric or a
shirt can represent who someone is. A 8
very interesting quote from Miuccia
herself for an interview with Jo-Ann
Furniss where she described one of
the pieces shown in 7 Miu Miu’s
Fall 2013 collection that featured stripy
stockings and telltale shoes.

“Those stripy stockings have

different associations," said
Prada. "From prostitute to
schoolgirl," she laughed.
(Furniss, 2013)
7

Miu Miu FW12, Art Nouveu inspiration.

Fabric images from Pinterest/Etsy. Runway
images by Vogue

(prostitute in stockings, By E. J.
Bellocq’st 1912) (image from Pinterest)

(images from Vogue)

 9
In the Spring Summer 2009
presentation “Greco-Roman
mosaic prints as if they were
painted and makes allusion to
tahta era (Runway images from
Vogue / Pinterest)
10
*MAKE-UP INSPO
The make-up models wear during a
fashion show is an important part of how
the collection is going to be perceived
by the audience. Miuccia knows this
and even in make-up inspiration for
past shows we can see a spark of the
past again. 11 One example is the Pre-
Spring Summer 2015 look wear models
walked down the runway with iron flat
hair and a simple dolly-girl eye make-
up. Dolly-girls were popular dolls that
today are part of the essence of regular
brands.
11
Miu Miu’s FW16 collection where
there were a series of 17th-century
Florentine-evoking silk and velvet
brocades, here you can see the
similarities in each comparison.
(Runway images from Vogue /
Pinterest)
(images from Vogue)
*LOCATION INSPO
Ideas, settings, places can also stimulate
the desire of representing a past era.
This idea also making its way into
advertising campaigns and how the
collection is portrayed to consumers.
Miuccia takes the clothing in this case as
part of a “world”, it helps her represent
12
and create an atmosphere based in
a different era in New Orleans. This
example refers to the 12 Miu Miu Fall
Winter 2017 Advertising Campaign
where she mixes different styles and
elements such as the jazz age, a hint of
flapper 1920s party girls and at the same
time 70s coats and
contemporary components
to create or re-create an
American New Orleans
atmosphere or world that
the Miu Miu girl is in this
case part of and clearly
reflects a past time.

It is evident and we can surely say

without a doubt that Miuccia Prada
has a distinctive approach to fashion
12 were there are continuous references
to a near or distant past within each
one of her Miu Miu collections. A
comparison between eras can easily
be done with every collection and she
manages to create the “ugly-chic”
style she is known for by exactly this,
by combining old and contemporary
styles, prints, ideas, concepts in order
to hint a “throwback” era within her
designs. As Miuccia herself said to
fashion journalist Alexander Fury, “It is
all of a piece with the clothes actually,
marrying form and function, the ugly
and the beautiful, to make something
that redefines the meaning of glamour.”
(Fury, 2015). It is all at once old and
new and clearly Miu Miu becomes an
artful mash-up of fashion decades.

“ Diverse references drawn from a multiplicity of pasts represent

splintered images of glamour: brightly-colored faux furs
and translucent plastics sheath feathered dropwaist dresses,
superimposing contemporary shapes and materials onto old-
timey sensibilities.The resulting photos effervesce the type of
atemporality only found in places as overgrown and alive as New
Orleans.” (MIU MIU, n.d)
 FASHION
03. CONTRIBUTOR
04. RUNWAY-SHOW
PHOTOGRAPHY
JEREMY SCOTT
 IDAN COHEN

STELLA NOLASCO REEM ACRA

05. SOCIAL MEDIA
STRATEGY & LAYOUT
 05.

SOCIAL MEDIA
5.2 SOCIAL MEDIA PLANNING

- MATEA BENEDETTI PROPOSAL -

SPECIFICATIONS
INSTAGRAM
(on media planning for the collaborations)
• Feed
• Relatable Tone of voice  - educate audience on
◦ 2 Posts/Day
sustainability. Luxury is often communicated with
◦ Use of Hashtags
good images that don’t need long captions.
◦ Storytelling & Creative Posts (Not just product)
Captions can be used to redirect traffic to
website and other platforms • InstaStories
◦ Daily Interaction
• Frequency: twice a day. Stories daily for as much
◦ Include Matea herself in the interaction of the
time as possible. The more someone uses their
brand with the followers.
stories the more visible your profile becomes to
◦ Make people know her while getting to know more
others. Geotags are important for visibility

about the brand.




 5.3 INSTAGRAM FEED EXAMPLE

The official Instagram account for Italian luxury brand

Matea Benedetti.

SS18

Explore in Your Skin.

 5.4 FACEBOOK PAGE EXAMPLE

THE MATEA BENEDETTI WORLD

high quality . exclusivity . empowerment

Learn more about our creative director Matea Benedetti and

thoughts on one of our fabrics: pineapple skin. Luxury in your skin.
 5.4 FACEBOOK PAGE EXAMPLE

THE MATEA BENEDETTI WORLD

Learn more about our creative director Matea Benedetti and
highon
thoughts quality . exclusivity
one of our . empowerment
fabrics: pineapple skin. Luxury in your skin.

We focus on bringing luxury and high quality

designs in new materials such as apple and
pineapple skin produced in Italy and Slovenia.
Our goal to empower women through…

Learn more about our creative director Matea Benedetti and

thoughts on one of our fabrics: pineapple skin. Luxury in your skin.
 PRINTED MATERIAL
06. AND PACKAGING
07. GRAPHIC DESIGN
LOGO DESIGN

LOGO DESIGN
08. ARCHITECTURE
 GABRIELA AZAR
14-0189

LOCALIZACIÓN Y UBICACIÓN DEL PROYECTO MEMORIA CONCEPTUAL

Un Centro Cívico Cultural está destinado al desarrollo sociocultural de los habitantes de una zona y son parte
esencial de la identidad cultural de los individuos. Cada uno de estos habitantes tienen una identidad, la cual
generalmente es influenciada de manera directa por el entorno y contexto en el cual se desenvuelven los
ciudadanos. La identidad está definida como un conjunto de rasgos propios de un individuo o comunidad y
aquel sentido de pertenencia que estos llevan consigo en relación a su entorno inmediato. Por otra parte es
interesante recalcar que la identidad “se forma, se moldea y se enriquece”. Esto nos lleva a un proceso evolutivo
en la identidad el cual está conformado de cambios para así lograr formar, moldear y enriquecer. Esta idea de
identidad moldeable ha sido tomada como parte del concepto inicial del desarrollo del proyecto. Dicho proceso
evolutivo o de metamorfosis se refiere a una transformación o cambio profundo o conjunto de cambios que
toman lugar para luego manifestar su forma, iniciando de manera formal, luego informal y formal nuevamente.
Esto puede ser relacionado tanto con el entorno y sus constantes cambios, con la sociedad y su evolución social,
y con el diseño que será planteado para el Centro Cívico Cultural que cumpla con estas características de
GRÁFICOS CONCEPTUALES metamorfosis. En el entorno donde será situado el proyecto es evidente esa evolución en la trama urbana de la
zona con áreas conformadas de asentamientos informales y barrios al igual que áreas comerciales mas
desarrolladas y transitadas. De esta manera el proyecto del Centro Cívico Cultural de Santo Domingo Este busca
romper con el entorno de manera visual y a la vez integrarse con el mismo de manera conceptual e ideológica.

ZONIFICACIÓN

AREA EDUCACIONAL | ADMINISTRATIVA | CARGA Y

DESCARGA

ANFITEATRO MULTIUSO |
ESPACIO PUBLICO TECHADO

AREA SOCIAL | AREA

CULTURAL | JARDIN ESCULTURAS

PARADA METRO

PERSPECTIVA

Tomando en cuenta la idea principal de aquella “identidad moldeable” que surge por un tipo de proceso evolutivo o de metamorfosis,
se toma aquel proceso donde un cuerpo crea una ruptura y sale de otro cuerpo, espacios creando otros espacios, y la dependencia
uno del otro. Cada uno de estos gráficos surgen de aquella metamorfosis cuando la oruga trata de salir de aquel espacio formado en
el capullo y crea ese impacto de un cuerpo saliendo de otro envolvente.

CARACTERÍSTICAS DEL PROYECTO

ejemplo ejemplo ejemplo

ciclovia mobiliario luminaria
urbano

IMAGENES PROCESO DE MODELOS

MODELO DIGITAL
02
GABRIELA AZAR
14-0189
P2

CENTRO CIVICO CULTURAL SANTO DOMINGO ESTE

MASTER PLAN SECCIONES

estación de lobby salon de anfiteatro area educativa
metro area cultural exposiciones

SECCIÓN AA

estación de lobby salon de anfiteatro area educativa

metro area cultural exposiciones

SECCIÓN #1
SECCIÓN AA

ELEVACIÓN 1

SECCIÓN #2
luminaria ciclovia |
corredores D3mobiliario
urbano D1
D2 ELEVACIÓN 1

SECCIÓN BB
luminaria ciclovia | mobiliario
corredores urbano

SECCIÓN BB

SECCIÓN #3

DESPIECE D4

ELEVACION
ESTRUCTURA DE TECHO [PANELES]

ESTRUCTURA CICU [FACHADA]

COLUMNAS DE SOPORTE

MEMORIA DESCRIPTIVA
PAVIMENTO | PLAZA PERSPECTIVA INTERIOR
El Centro Cívico Cultural CICU en
Santo Domingo Este busca romper
con su entorno de manera visual
cumpliendo estéticamente con la
idea conceptual principal de
metamorfosis tomada para este
ASFALTO | CALLE proyecto. Esto es logrado a través
de la utilización de elementos que
salen de otros elementos en lo que
es el diseño de la estructura. Estos
elementos son paneles de vidrio y
de cerámica que dan movimiento
a la estructura y riqueza espacial
en su interior. CICU también cuenta
con fácil acceso al proyecto
teniendo distintas entradas en
cada una de las estructuras que
AREA VERDE Y ARBOLIZACION conforman el Centro Cívico y
también cumple con la creación
de espacios de recreación y
confortables plazas semi-abiertas
que crean una relación entre
espacio abierto, cerrado y el
usuario. CICU llega a ser un
proyecto esencial para la
TERRENO DE INTERVENCION comunidad ofreciendo espacios
educacionales, culturales, de
recreación y entretenimiento que
beneficiaran a los ciudadanos de
Santo Domingo Este.
ARQUITECTURA
 3rd PLACE AWARD, LATIN-AMERICAN COMPETIT
3rd PLACE AWARD, LATIN-AMERICAN COMPETITION OF VERTICAL; ARCHITECTURE
LANDSCAPE ARCHITECTURE LANDSCAPE ARCHITECTURE