Mug Magazine #24

BACK IN THE DAYS THE MISSION OF PRESENT-DAY FASHION A CRAZY GUY LIKE ME

Year 14 issue #24 – JULY 2014 A YEARLY MAGAZINE Spedizione in A.P. – 70% – DCI – TV registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

Free – Year 14 #24

Mug Magazine issue 24, year XIV

ph. Steven Crosato

EDITORIAL —

社説 Il manager contemporaneo deve saper amministrare e gestire l’incognito e l’immaginario, dove le idee prendono forma e diventano progetti, i sogni realtà. La velocità dettata da internet sembra regnare, cambiano i consumi, un mondo veloce e frivolo si presenta come una bandiera al vento.

Su quest’onda gli e-commerce crescono a discapito del retail; il consumatore finale ricerca l’esclusività, la piccola realtà che fisicamente non può raggiungere, che sia essa a Tokyo, a Copenaghen o Venezia.

Tutto accessibile con un click.

Rispondendo all’esigenza del consumatore finale, il business model dei produttori è cambiato, questa nuova strategia, che accorcia la filiera, permette di produrre locale e ragionare globale, valorizzando e premiando la qualità e l’artigianalità.

Mug Magazine riscopre i valori e le tradizioni, mette in contatto queste realtà, che rappresentano il successo di aziende familiari dove le nuove generazioni hanno integrato le competenze dei genitori ampliando il mercato con una strategia coesa e armonica.

Cover: Tel Aviv

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Today’s managers must be able to interpret and govern the world of creativeness and the unknown, as their ideas take shape and become projects, their dreams come true. The speed imposed by the internet seems to be all-pervading; while consumption habits change, velocity and frivolity make us live in an endlessly changing world.

In this context e-commerce grows to the detriment of retail; final consumers strive for exclusive items they are physically unable to get, be they in Tokyo, Copenhagen or Venice. Yet, everything can be obtained with a click.

By answering the demands of final consumers manufacturers’ business model has changed; aimed at rationalizing the chain of production, their new strategy boosts local production but involves global planning, at once enhancing and rewarding quality and craftsmanship.

Mug Magazine wants to rediscover and link the values and traditions of successful family-run firms, in which the new generations have integrated their fathers’ skills by widening the market through a balanced, consistent strategy.

今日の経営者たるものは、創造や未知の世界 を解釈して司り、アイデアを形にしてプロジェ クトへと結びつけ、その夢を叶えることが出 来なければなりません。インターネットによっ て課されたスピードは、私たちの消費習慣を 変え、急速にそして軽卒に延々と変化し続け る世界へと私たちを追いやり、どこまでも広 がっているかのようです。 こうした状況の中で、eコマースが小売店を 凌駕しながら成長します。最終消費者は、 東京やコペンハーゲン、あるいはヴェネチア に居て、物理的には不可能だとしてもエクス クルーシブなアイテムをなんとか手にするた めに格闘します。しかし、その全てはクリック 一 つで解決するのです。 最終消費者の要求に応えることによって、 メーカーのビジネスモデルは変わりました。 生産系統の合理化を目的とした彼らの新し い戦略は地方での生産を促進しますが、ま たグローバル構想を必要とします。それと 同時にクオリティーとクラフトマンシップの 価値を重視し、向上させる事にも繋がって います。 Mug Magazineは、一貫性を持ちながらも バランスの取れた戦略で市場を拡大させ、 新たな世代が先代 から受け継いだスキルを 守り、継承し、成功を収めている家族経営企 業の価値観と伝 統を再発見しリンクして行き たいと考えています。

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Mug Magazine issue 24, year XIV

MUG MAGAZINE 24 — Spotlight 7

Colophon 18 Back in the Days 19 Parajumpers 68 Puma 72 Nigel Cabourn 74 Leather Crown 77 Nicola Formichetti 80 Isetan 83 Dover Street Market 86 F.lli Cerruti 89 Serica della Marca 94 Bottoli 98 Bevilacqua 100 Only T-Shirt 102 Rude Riders 104 Diesel Black Gold 108 Beby Italy - Diluce 110 Manike++a 112 Isko - Creative Room 114 WP & Woolrich 116 McSorley's 118

— ART & DESIGN Video mapping 122 Photography 128 Art @ Lazzari 134

— SHOWCASE

The mission of present-day fashion 90

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— BACK IN THE DAYS

Ten years after Mug was first issued, before we resume our work, we would like to take a backward glance at the most significant events in our activity: the international stores we visited (mostly on the occasion of their inaugural opening), the up-and-coming or successful designers we told our readers about, the items and accessories we examined when presenting the firms that made them renowned.

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— A CRAZY GUY LIKE ME

Nicola Formichetti’s versatile creative talent has since April 2013 merged with the daring vision of Renzo Rosso, who appointed him Diesel Artistic Director to take care of image-making and coordinate the Brand’s creative activities, from communication to production and interior design.

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— THE MISSION OF PRESENT-DAY FASHION

To accept challenges, risk, and stand in the forefront are today the tasks of a manager who has to govern change keeping an eye open for his firm’s strong or weak points, opportunities and threats.

LE BOOK.COM Online access to the global creative network.

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Print, digital, experience, film, social.

CONNECTIONS is where it’s at.

TOUR DATE AmSTErdAm / PArIS / ChICAgO / LA / LONdON / STOCkhOLm / mILAN...

By invitation only lebook.com/connections Stay tuned!

WELCOmE TO OUr WOrLd The network that makes the global creative industry tick.

OUr INAUgUrAL EUrOPEAN EdITION*

In collaboration with

M A R N I

Mug Magazine issue 24, year XIV

NEWS —

SPOTLIGHT —

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1ST PAT-RN The name 1ST PAT-RN comes from some old paper patterns, found in a military garment store in Normandy, which had the "first pattern" stamp, the test item or prototype.

The designer decides to value the knitted Cavalry, an exclusive fabric produced in Veneto, through the creation of military and work jackets with their own original features, but with an actual fit. 1ST PAT-RN is a paradox between contemporaneity and tradition, characterized by the "Fabbricazione Italiana" (Italian Craftmanship) and the handcrafted work.

The jackets, found in the store or in old pictures, reinterpret the navy or Ivy League ones, the safari jacket of the Italian Army and the travel jackets of the 40's. Every item is made with industrial tailoring and attention to details.

1ST PAT-RNというブランド名は、ノルマ ンディーの軍服店から見つかった古い型紙 に押されたテスト品や試作品を表す“first pattern（最初の型紙）”のスタンプから来 ている。 デザイナーは、独自の特色を持った、真に 体に馴染むミリタリージャケットとワークジャ ケットの製作を通じて、ヴェネト州のみで生 産されるニット地、Cavalryの価値を高めよ うと決心する。1ST PAT-RNは、現代と伝 統の間のパラドックスであり、こだわりのイタ リアの熟練技と手作業が特徴となっている。 ジャケットは、ストアや古い写真に見られる、 海軍やアイビーリーグのジャケットや、イタリ ア軍のサファリジャケット、40 年代のトラベ ルジャケットを新しく解釈した物である。全 てのアイテムは、細部にまで注意が払われ 工場で仕立てられている。

1stpat-rn.it

ASICS - EPIRUS For the Winter 2014 ASICS has once again chosen Mauro Simionato to reinterpret the model Epirus with a capsule collection. The versatile creative director has chosen a running model of the ‘80s, a slim-shape enriched with valuable leather and suede, brushed and combined with a waterproof technical material. The thick rubber and eva running sole differs in colour from the vamp and, together with the strings, is covered all over with a stippled print. The trademark of the collection is the “white collar”: all the different colours have in common a white leather heel, with the logo ASICS printed in gold on a strip of refracting material.

2014 年ウィンターコレクションで、ASICSが カプセルコレクションでお披露目した Epirus の新モデルのために選択したのは、またもや マウロ・シミオナートだった。多才なクリエイ ティブディレクターである彼が選んだのは、 80年代のスリムな形状のランニングモデル だ。綺麗にブラシ掛けされた高級感ある革 とスエードと、防水性素材との組み合わせで ある。厚いラバーとEVAランニングソールは つま先とは色が異なり、靴紐も含めた全面が 点描プリントで覆われている。コレクションの トレードマークは“ホワイトカラー”であり、 異なった色のシューズ全てに共通しているの は、ホワイトレザーのヒールと、発光素材スト リップの上にゴールドでプリントされた Asics のロゴだ。

asics.com

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Mug Magazine issue 24, year XIV

BETA PEN

CAMO + PLATOY

"Writing in metal“ Before the invention of the pencil, medieval scholars would use a silver tip to draw fine lines. This is the idea behind Beta Pen - a range of pens made of aluminium or wood with an integrated, specially alloyed metal tip.

“金属で書く” 鉛筆が発明される前、中世の学者たちは細 い線を描くために尖った銀の先端を使用して いた。これがベータペンの発想の背景だ。 ペン本体は、アルミニウムまたは木で出来て おり、それぞれの先端部分には特殊な金属合 金が嵌め込まれている。

Beta Pen can be used to write on virtually every paper surface, at every temperature or in any climatic conditions.

There is no ink so it can’t dry up or leak.

ベータペンは、実質、どんな紙の上にも、ど んな温度でも、どんな気象条件でも書き込み 可能で、インクを使用していない為、ペン先が 乾くことも、またインクが漏れることもない。

weinbrecht.de

Camo [originate from Camouflage] chooses pLAtOY for a capsule collection consists of two models of sunglasses in two colors. The name Platoy is a play on words meaning "play plastic toys", but the glasses that are offered are made entirely by hand in a small workshop in Chiba, a rural town in Japan where Akira Ishiwatari moved about twenty years ago to escape the stressful life in the capital, a little as in Biella where Stefano Ughetti designs and manufactures its brands. The sunglasses made for Camo have important frames, withlenses of different colors. The collaboration between Stefano Ughetti and Akira Ishiwatari creates a unique product that comes from the tradition of the "know-how" dedicated to craftsmanship and contemporary design.

Camo（カモフラージュに由来）が、2色展開 の2つのモデルのサングラスから成るカプセル コレクションのために選んだのは、pLAtOY だ。Platoyという名は"play plastic toys"の 言葉遊びだが、そこから生み出されるメガネ は完全な手作業で、日本の田園都市である 千葉の小さな工房で作られている。そこは、 約20年前に石渡旭がストレスの多い都会生 活からエスケープして来た場所で、ステファ ノ・ウゲッティがCamoブランドのデザイン製 作を行うビエッラに少し似ている。 Camoのために作られたサングラスは主張す るフレームに、異なる色のレンズが使われて いる。ステファノ・ウゲッティと石渡旭のコラ ボレーションは、職人技に捧げられた伝統の ノウハウと現代的デザインから成る独特の製 品を創り上げた。

camofactory.com

Mug Magazine issue 24, year XIV

CRASH BAGGAGE What is the first thing we think about when we buy a new suitcase?

We worry that it might get ruined.

Francesco Pavia, a young Venetian designer was inspired by this simple idea.

Traveling from airport to airport he noticed how bags were handled, thrown about here and there, and how they became damaged over time. That’s how Crash Baggage was born.

The damaged case! An innovative travel philosophy that has opened the way to a whole new way of conceiving the suitcase: that of the non-handle with care, where damage is no longer a problem.

Crash Baggage already has the typical dents that are caused by frequent use. Indeed, over time, the new dents give even more personality to the suitcase. All this without forgetting the functionality and comfort of an object that has been created using the most advanced materials.

With your Crash Baggage you will feel relaxed and at the same time unique while travelling. スーツケースを買う際に、一番初めに考える 事とは？大抵の場合、もし傷がついてしまっ たらと心配する。 イタリアはヴェネチア出身の若きデザイナー、 フランチェスコ・パヴィアは、あるシンプルな アイデアへと辿り着いた。空港から空港へと 旅をしていた時、彼はふと、スーツケースがど のように扱われているか、こちらからあちらへ と投げられ、それが何度も繰り返されるうち に傷がついてしまうのだという事に気がつい た。これが、Crash Baggage 誕生のきっかけ となったのだ。そうだ、最初からダメージを受 けたスーツケースだ！彼の革新的な旅行哲学

とは、スーツケースにこれまでとは違う全く 新しい捉え方を切り開いたものだ。すなわち、 スーツケースに取り扱い注意は不要、ダメー ジはもはや問題ではなくなったということだ。 Crash Baggageのアイテムには、頻繁に使っ たときに起こるへこみ（dents）がすでにつけ られている。時間の経過と共にスーツケース の使用回数が増えれば、さらに新たなへこみ ができ、それがかえって個々のスーツケースに 自分だけの印を与え個性となるのである。 一方で最新の素材を使用し、機能性と快適さ も兼ね備えた製品なのである。 Crash Baggageと旅行をすれば、あなたは もう気にする事なく、それでいてユニークな 旅が楽しめるのである。

crashbaggage.com

MASSIMO CASAGRANDE Italian by birth and South African of upbringing, Massimo Casagrande grew up between Venice and Johannesburg. Currently based in London where he is senior design lecturer at Istituto Marangoni.

MCG is his collection of shirts, which are carefully detailed taking into consideration fit, construction and textiles.

The designer draws inspiration by the looking at the works of Alberto Giacometti, Constantin Brancusi, Iriving Penn and Cy Twombly, revisiting the classic silhouette and bringing new energy in shirting and working to create future classics focusing on detailing, tonal fabric combinations, and layering.

A functional-minimalism distinguishes Massimo Casagrande’s work which develops seasonally within his collections in a harmonious way by using innovative materials and use of fabrics delivering a bold and graphic collective of garments mixing classical lines with a contemporary elegance. イタリア人として生まれ、南アフリカで教育を 受けたマッシモ・カーザグランデは、ヴェネチ アとヨハネスブルグ双方の影響を受けて成長 した。現在は、服飾デザイン専門学校マラン ゴーニのシニアデザイン講師としてロンドンに 拠点を置いている。 MCGは、フィット感、構成、テキスタイルの 細部にまで入念に気を配った彼のシャツコレク ションである。デザイナーは、アルベルト・ジャ コメッティ、コンスタンティン・ブランクーシ、 アーヴィング・ペン、サイ・トゥオンブリらの作品 からインスパイアされた感性をシャツに映し出 している。古典的なシルエットの中に新しい エネルギーを注ぎ込み、ディテールや色の組み

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合わせ、それにレイヤー部分に特にこだわり、 未来のクラシックシャツを製作している。 機能的ミニマリズムがMassimo Casagrandeの 特徴であり、革新的な素材と大胆でグラフィカ ルな生地を使用し表される見事な調和が、彼 のコンテンポラリーエレガンスがミックスされ たクラシカルラインのコレクションで毎シーズン 進化を見せている。

massimo-casagrande.com

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Mug Magazine issue 24, year XIV

HIBOY THE NEW COLLECTION

“べジタブルヴァケッタ”スキンが使用され、 ミモザや栗の木の樹皮でなめされた後、木製 の樽の中で天然の油分を与えられ、天井か ら吊り下げて乾燥させる。最後の仕上げ段階 では、1800 年代初頭のトスカーナの伝統に 沿って琥珀石で磨きがかけられる。

The Italian brand Hiboy presents its new The Shell Cordovan line： collection, focused on focused on leath- “シェル”は馬の臀部を覆う皮下層である。 最も頑丈な部分の皮であり、独自の繊維層を er artisanal manufacturing and tanning.

The Saddle Stitch line: The products of the Saddle Stitch line are made and sewn entirely by hand with "saddle stitch". The skins of "vegetable Vacchetta" used are tanned with extracts of the bark of mimosa and chestnut, greased in wooden barrels with natural fat and hung from the ceiling to dry.

Finally, polished with amber stone like in the Tuscan tradition of the early XIX cent.

The Shell Cordovan line: The "shell” is the subcutaneous layer that covers the hindquarter of a horse. It is the toughest part of the hide and has unique grain characteristics. Horween's Shell Cordovan is still tanned using a sixmonth-long process and formulas that date back to the early XX cent.

The shells are put through a natural vegetable tanning process in order to allow the tannins to fully penetrate the dense fibers of the shell, then, handstained, glazed and finished over a long period that demands the measured pace of craftsmanship and patience. イタリアのブランドHiboyが紹介する新しい コレクションは、熟練の職人の手で加工され るなめし革に焦点を当てている。 The Saddle Stitch line： Saddle Stitchの製品は、全工程をサドルス テッチによる手縫いで作られている。

持っている。ホーウィン社のShell Cordovan は、今でも1900 年代初頭に起源を遡る手法 を用い、6ヶ月という長いプロセスをかけて、 なめされている。 シェルになめしを繊維の深部にまで完全に 浸透させるために、工程には天然植物タン ニンが使われている。更には、手作業による 着色、艶出しから仕上げまでと、そこに到る までには、長い時間と熟練職人の絶妙なさ じ加減、そして彼らの忍耐が要求されるの である。

hiboy.it

BUTTERO Surrounded by the wonderful Tuscan Hills, Shoe Factory Buttero was founded in 1974 by Mauro Sani, who had the wish to make the best riding boots in the world. Today the company is 40 years old and now offers a wider product range: sneakers, leather sole shoes both made with passion, tradition, genuineness and deep care. New Runner style milled and handcrafted with Vibram outsole: Carrera, this is the name that mixes new technology and the antique handcraft of the tuscan shoe factory. Buttero uses only the best local vegetable-tanned leathers named Vacchetta, available in four different colors in contrast with the white outsole.

美しいトスカーナの丘陵に囲まれた地で、 Butteroシューズファクトリーは、世界最高の ライディングブーツを創りたいという願いを 抱いていたマウロ・サーニにより1974年に 設立された。今日、同社は創立40年を迎え、 現在ではスニーカー、レザーソールシューズ といった範囲にまで製品の幅は広がってい る。どちらのシューズも情熱と伝統、本物で あること、そして、細心のケアをもって作られ ている。Vibramのアウトソールを使い成形さ れ手作業で作り出される新たなランナースタ イルは Carreraと名付けられ、 トスカーナの シューズファクトリーの古いハンドクラフトと 新しい技術が融合している。Butteroが使用 するのは、ヴァケッタと呼ばれる地元の最高 級のベジタブルタンニングレザーだけで、 白いアウトソールと対照的な4色のカラーを 展開している。

buttero.it

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Mug Magazine issue 24, year XIV

KJØRE PROJECT Kjøre project is the latest Scandinavian accessories label to have caught our attention. Using a continental approach, the brand seeks to mix Scandinavian minimalism with Italian leather craft, aiming to offer beautiful and carefully considered accessories. All the styles in the Heritage collection are designed and built just as they were over eighty years ago and are all handcrafted using premium leather, to the specifications which made each style timeless when they were first introduced. The current collection includes wallets, belts, document folder, bags as well as more unusual accessories such as glasses neck cases and pouch card organisers.

PETER NON Kjøre projectは、最近、注目を集めている 北欧のアクセサリーレーベルだ。大陸的なア プローチで、スカンジナビアのミニマリズムを イタリアのレザークラフトにミックスさせた、 美しく、かつ緻密に考慮されたアクセサリー の提供を目指している。 ヘリテージコレクションのスタイル全ては、 80年以上前と全く同じ手法でデザイン制作 されている。どのスタイルにもプレミアムレ ザーが使用され、時を超え最初に発表された 時と同じ仕様で手作りされている。最新の コレクションでは、財布、ベルト、書類フォル ダ、バッグに加え、首からかけるタイプのメガ ネケース、ポーチとしても使えるカードケース などの珍しいアクセサリーも揃っている。

kjoreproject.com

Peter Non from the greek "petros" meaning "stone" and “Non", from its origins in Veneto, is linked to the concept of "non-shoe". The handcrafted shoes are hand-assembled at the foot of the Dolomites, on an anatomical footbed made of cork and rubber. Sinatra, a unisex model, is a reinterpretation of the classic shoe, with a round and tapered shape. Ruffled and faded leathers from the wear of the treatment, suede or with crack effect, and textile fabrics coated with gum are bound to Vibram® or leather soles. Research and experimentation characterise the design of Peter Non which is accompanied to extreme attention to detail and quality of the materials.

ヴェネトをルーツとするPeter Nonは、ギリシャ 語の“石”と“無”を意味する“ Petros（ペト ロス）”に由来し、それは“ 靴にあらず ”とい うブランドコンセプトに繋がっている。手作 業で作られるシューズは、ドロミテ山脈のふ もとで、解剖学的に考えられたコルクのイン ソールとゴム底をベースに、手作りされてい る。ユニセックスモデルのSinatraは丸みを 帯びたテイパードシェイプのクラシックシュー ズだ。ウエアのようにシワや色落ち加工をさ れた革、スエードやヒビ加工された素材、ゴ ムコーティングされた生地などは、Vibram® かレザーソールで展開されている。リサーチ や実験は、結果としてディテールや素材の品 質に徹底的にこだわるPeter Nonのデザイン の特徴となっている。

peternon.com

Mug Magazine issue 24, year XIV

TODD SNYDER + CHAMPION Champion goes back to its origins and rediscovers its first collections thanks to the collaboration with the New York designer Todd Snyder who re-interprets Champion most typical items by reappraising t-shirts, sweatshirts and track suits in retro style and colours. “I wanted the collection to enable people to feel grittier”, says Snyder. Besides the essential basic elements, the Todd Snyder+ Champion capsule collection also uses the faded captions that draw inspiration from old boxing gyms and old photos of the New York Athletic Club.

Championはその原点に戻り、ニューヨークの デザイナー、トッド・スナイダーとのコラボレー ションによって、最初のコレクションを振り返り 新たな発見をした。スナイダーは、Tシャツ、 スエットシャツ、そして、トラックスーツといった チャンピオンの最も代表的なアイテムを、レトロ なスタイルとカラーを使い、新しい解釈を加え 再生させた。 “ 着る人にもっと勇気や闘士を感 じてもらえるようなコレクションにしたかったの です。”とスナイダーは語っている。ベーシック な要素に加えて、Todd Snyder + Championの カプセルコレクションではまた、古いボクシン グジムや New York Athltic Clubの古い写真 からインスピレーションを得た色褪せたキャプ ションが使用された。

toddsnyder.com

'FURNITURE PROJECT': MULLER VAN SEVEREN'S LANDSCAPES FOR LIVING IN In 2010 visual artists Fien Muller and ミュラー・ファン・セーヴェレンは意図的に 誰かの言葉を引用したわけではないが、彼 Hannes Van Severen decided to cross ら自身の言葉を進化させるために、こう言っ the lines of their individual disciplines ている。 - photography and sculpture - and em“ミニマリズムというイメージはもう使い古され bark on a mutual 'furniture project'. ています。この家具はミニマリズムと格闘しつ Together they developed a series of つ、同時にこれを使用しています。細かい部 unique design pieces, minimal in form and detailing but maximal in its usability 品は省略され、全てを取り除いた最もシンプ ルな技術ソリューションにしていますが、それ and use of materials. Exactly these maは結果として、非常に装飾性の高い物となっ terials were the starting point for their たのです。” investigations.

Muller Van Severen is not deliberatemullervanseveren.be ly forging references but uses them to develop their own language. "The image of minimalism is worn out. This furniture battles with minimalism and uses it at the same time. Details have been left out, everything has been reduced to the most simple technological solution and still the result is very rich in ornamentation.”

2010年、ビジュアルアーティストのフィエン・ ミュラーとハンネ・ファン・セーヴェレンは、 写真と彫刻というそれぞれの専門分野の境 界線を越え、共同で“ファニチャープロジェク ト”を立ち上げた。二人は、形や細部は極力 ミニマムで、それでいて有用性と使用頻度は 極力マキシマムな、ユニークなデザインの ファニチャーシリーズを創り出した。そして、 こうした物は、まさに彼らの探求の出発点で あったのである。

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Mug Magazine issue 24, year XIV

BARBARA I GONGINI A JOURNEY TO THE FAROE ISLANDS Barbara í Gongini was born in the cinematic Faroe Islands. Over time, Barbara became an most active participant in the Nordic art discourse, working interdisciplinary in close collaboration with various artists in film, music and photography. This indirectly sets the reflective tone for her elaborate creative process as a fashion designer.

The collections include strong geometric cuts and soft ovoid silhouettes, focusing on the versatility of traditional tailoring. Expression and championing the power of the individual are central in the conception of each garment. Special is her delicate focus on delivering timeless collections, always with a sustainable and holistic focus, which is rather unique in this continuously revolving fashion cycle. バーバラ・イ・ゴンジニは映画に出て来るよう な島、フェロー諸島で生まれた。やがて彼女 は、映画、音楽や写真といった様々な分野の アーティストたちと密にコラボレートするうち に、北欧のアートシーンで最もアクティブに活 動する一人となった。その経験は、彼女に間 接的な影響を及ぼし、後にファッションデザ イナーとなった彼女の精巧な創造プロセスを 反映する下地となっていった。 コレクションでは、伝統的なテーラリングの 多様性に焦点を当てた、強い幾何学的カット とソフトな卵形のシルエットが使われている。

表現と、強い個性を守る戦いとが、それぞれ のアイテムの着想の中心となっている。常にサ スティナビリティとホリスティックな視点を意 識した、時代を超越するコレクションを届け る彼女の繊細な焦点は特別であり、それは、 止まる事なく回転し続けるファッションという サイクルの中では、非常に独特なものだと言 えるだろう。

barbaraigongini.dk

THE WHITE BRIEFS A SHORT STORY This is a story of endless dialogues.

When The White Briefs was founded back in 2010, Peter and Henriette Simonsson set off on a journey to develop undergarments with a functional aesthetic. The White Briefs was born, submerged in the quiet isolated studio, surrounded by the raw sweeping elements, tucked away on the Southern Swedish countryside. Their conceptual approach embraces a stillness in mind, focussing on quality, minimalistic designs and adhering to the highest qualities of organic Gots certified fabrics.

The studio has been able to secure several challenging and innovative collaborations. Together with Fantastic Man Magazine, three special mesh garments for men were developed.

Another fashion dialogue led to a special Camouflage capsule collection, curated by Nick Wooster. Lastly, the conversation with Mr. Peter Burks, let to the introduction of colourful graphics for the special A Free Man project.

Simple and Relevant. これは終わりのない対話の物語である。 2010年にThe White Briefsを設立した時、 ピーターとアンリエット・シモンソンは、機 能的で美しい下着を開発する旅の途中だっ た。The White Briefsが生まれたのは、南 スウェーデンの田園地帯からさらに奥の、辺 り一面が広大な自然に囲まれた、静かな孤立 したアトリエである。彼らのコンセプチュアル なアプローチは心の中の静寂を心棒し、品質 とミニマルデザインに焦点を当て、GOTS (オーガニック・テキスタイル世界基準）に認 定された最高品質のオーガニックコットンの 使用にこだわったものである。

これまでアトリエは、幾つもの試み、革新的 コラボレーションの機会を確実に手にしてき た。FANTASTIC MAN誌とは、メンズ用 に三種のメッシュのスペシャルアイテムを開 発。また他のファッション対話から引き出さ れたのは、ニック・ウースターの企画による スペシャルカモフラージュのカプセルコレクシ ョンだ。そして最後は、ピーター・バークスと の会話から誕生した、カラフルなグラフィック を使用したシンプル＆レリヴァントな A Free Manプロジェクトである。

thewhitebriefs.com

Mug Magazine issue 24, year XIV

ELINA DOBELE HOUSES FOR OUR FEET The idea: pure forms, transformable constructions and to capture their consequent interaction within a world in turmoil. From her quiet Riga atelier in Latvia, Elina Dobele works from the contemplative state of current architectural discourse. At the studio, design is the leitmotif. Old meets new and the feminine brazenly counter the masculine. As lines fade, constructed houses for our feet appear. Locked in poetic dialogues, all shoes are crafted from a contemplative collection of memories. Each pair serves as a neo-classical reminder of traditional construction. The process is central, with close attention paid to how shoes should be made. A selection of little gems, surely a good match for any modern wayfarer.

アイデア：単純な形、変形自在な構造、そし て雑然とした世界の中にいて、これらの相互 作用を捕らえること。ラトビアのリガにある彼 女の静かなアトリエでのエリナ・ドベレの作 業は、現在の建築についてのディスコースの 観想から始まる。このスタジオではデザイン が中心テーマだ。過去と現在との出会い、 堂々とした女らしさと男らしさの対比。境界 がうつろい、そして我々の足のために作られ た家が現れる。 詩的な対話が詰め込まれた全ての靴は、過 去の物語から紡ぎ出されたコレクションを元 に製作される。それぞれの靴は、伝統的な建 築であるネオクラシックを思い起こさせるもの だ。ここではプロセスが中核であり、どのよう な靴に仕上がるべきなのかという事に細心の 注意が払われている。この小さな宝石ともい うべきセレクションは、どんな現代の旅人に も確実にマッチすることだろう。

elinadobele.com

PROMOTE DESIGN IS GETTING READY FOR DIN 2015 Following the growing success of the past two editions, Promote Design this year again will organize - din – design in, the show taking place in Milan at the Fuorisalone, in the heart of the Lambrate district.

Last year 130 designers exhibited their items at din 2014. Over 100,000 International attendees visited the 2,000-square -meter venue during the 6-day event. In 2015 the new edition will be dedicated to quality self-made design, but enriched with news and further initiatives. In order to participate ask for further information at fuorisalone@promotedesign.it

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過去 2回の目覚しい成功に続き、Promote Designは今年もまた、ミラノで開催される フォーリサローネに伴いランブラーテ地区で 行われるイベント、din - design inのオーガ ナイズを始めている。 130人のデザイナーが展示会に出展した 前年度の din 2014では、2,000㎡の会場で 6日間に渡って行われたイベントに世界中か ら10万人を超える人々が来場した。2015 年 のニューエディションは、高品質のセルフメイ ドデザインが主軸テーマであるが、それだけ でなく、新しい話題と様々なイニシアティブに 溢れている。 参加に関する詳細のお問い合わせは、 fuorisalone@promotedesign.it まで。

promotedesign.it

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Mug Magazine issue 24, year XIV

MARCUS DE Marcus De was founded in 2013 and was inspired by the original Marcus de Almeida. The concept was to produce luxury shoes and accessories in very limited numbers (just 24 pairs per style/ colour) Designed with passion and made by Artisans using the best materials and techniques honed over centuries in England.

The shoes are made in Northampton, the centre of luxury shoe making for centuries.

The shoes are then made by hand over a period of 12-14 weeks by skilled craftsmen using the goodyear welted construction method.

Most leathers used are either English or British with the exception of some of the more specialist ones like cordovan which is sourced from America and some rare calfs and suedes which are sourced from Italy.

All shoe boxes are hand made in England using recycled materials. The shoe bags and wraps are also hand made in England and even the waxed cotton laces are made exclusively for Marcus De in England too.

Marcus Deは、祖父であるマーカス・デ・ア ルメイダにインスパイアされ、2013 年に設立 された。そのコンセプトは、非常に限られた数 （各スタイル/カラーにつき僅か24足）のラグ ジュアリーシューズとそのアクセサリーの製 造である。それらは情熱を持ってデザインさ れ、イングランドで何世紀にも渡り磨かれて きた技と最高の素材を使い、職人によって作 られている。 製作作業は、何世紀もの間、最高級シューズ 作りの中心地であるノーザンプトンで行われ ており、ここで 12 ～ 14 週間をかけ、グッドイ ヤー・ウエルト製法を用い、熟練職人が手 作りしている。

使用される革は、アメリカ産のコードバンや、 イタリア産の珍しいカーフやスエードといった 幾つかの特別な素材を除いては、全てイング ランドもしくはイギリス諸島のものだ。 全ての靴箱も英国でリサイクル素材を利用し たハンドメイドで、シューズバッグや包装紙も 英国製ハンドメイドである。更には、ワックス 加工されたコットンのシューレースはMarcus Deのためだけに英国で生産されている。

marcus-de.com

SHOES FOR YOUR VAULT

DOMSAI, MATTEO CIBIC Domsai is designed by Matteo Cibic.

He is an eclectic italian designer. Matteo studied art at Kiad Canterbury UK and product design Politecnico in Milan, later on he worked at Fabrica, the research centre of communication of Benetton.

Domsai are Hand crafted in Italy, each of these gorgeous, anthropomorphic planters are one of a kind. Matteo refers to his little creations as a tamagochi for your table, but we like to think of them as a little (actually there are 3 size now 28cm, 40cm and the XXL version 185cm, not so little) space-age homes for your cactus or seedlings. They are all made of hand cast ceramic and mouth blown glass. Domlight is the new product of the family.

Domsaiは多才なイタリア人デザイナー、 マテオ・チビチによってデザインされている。 マテオはケント・インスティテュート・オブ・ アート・アンド・デザインでアートを、ミラノ工 科大学でプロダクトデザインを、そしてベネト ンのコミュニケーション・リサーチセンター、 ファブリカで学んだ。彼の作品の一つである Domsaiは、イタリアで手作業によって作ら れる素晴らしく美しいヒト型のプランターだ。 マテオは、卓上タイプのたまごっちのような 小さな置き物をイメージして作ったのだが、 （現在は3サイズ展開、高さ28cm、40cmと XXLサイズの185cmで決して小さくない。） 私達には最先端技術を用いたサボテンや苗 木の住まいのように思える。それらはセラミッ クの鋳造物と人口吹きのガラスを用い手作り されている。同シリーズには、最近新しく Domlightも加わった。

matteocibicstudio.com

Mug Magazine issue 24, year XIV

BARENA LABORATORIO In the nearby of the lagoon of Venice, Sandro Zara created Barena, inspired by Venetian tradition.

Today starts "Barena Laboratorio" project, which proposes a series of prototypes and special developed garments, produced in limited edition or with exclusive fabrics.

In this shop you can find unconventional jackets, pants and knitwear, tests and single pieces, created by the designer during the research and development phase of the collection.

Barena Laboratorio draws from warehouse's fabrics archive, often only a few meters available, giving customers the opportunity to order their own suit choosing from these materials.

The online shop was created to offer unique garments, a coat or a jacket available only in a single color or size, a refined product, which brings with it the values and history of the company.

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DETAILS, A LIFE WITH DENIM ヴェネチアのラグーン近くで、サンドロ・ザラ はヴェネチアの伝統にインスパイアされた Barenaを創設した。今日、限定版または エクスクルーシブな生地で生産された、試作 モデルのシリーズや特別に開発された服を提 供する“ Barena Laboratorio ”プロジェクト が始まる。ショップでは、コレクションのリサー チと開発の段階でデザイナーが制作した型 破りなジャケット、パンツやニットのテスト品 や一点ものを見つけ出すことが出来る。 Barena Laboratorioの服は、様々な生地倉 庫に眠っていた、多くの場合わずか数メート ルしかない生地から製作されており、顧客は これらの中から好きな素材を選び、自分だけ のスーツをオーダーする機会が与えられる。 オンラインショップでは、単一カラーやワン サイズのみのコートやジャケット、手の込んだ 製品など、ユニークな服を提供している。 こういった製品は、結果として製品自身に価 値をもたらし、そして、同社の経歴となってい るのである。

barenavenezia.com

Wearers leave their marks on their items of clothing and the story of their life is told by their wear and dirt or by the care with which they have been handled. ’ Details, a Life with Denim’ gives us an account of people’s lives through three hundred vintage denim shots. Piero Turk, who photographed the details of his denim collection made up of items dating from the ‘20s to the ‘50s, had the idea of documenting the product developments, the mending, accessories and treatments to provide a source of inspiration for those who process these fabrics.

Stains, holes, darns, patches, buttons and oxidations bear witness to the wearer’s life. Each item is unique because it is the outcome of the work, time and activity of its wearer.

着る人それぞれが、身に着けるアイテムに、そ の人ならではの痕跡を残し、彼らの人生のス トーリーは、その消耗加減や汚れ、また、ど んな手入れがなされて来たかによって語られ る。 ‘ Details, a Life with Denim’では、 ヴィンテージデニムを捉えた 300のショットを 通じて、我々に人々の人生の物語を見せてく れる。ピエロ・タークは、1920 年代から50 年 代にかけてのアイテムからなる自らのデニム コレクションのディテールを撮影した。彼は、 デニムに関わる人たちにインスピレーションの 源を与えるべく、それぞれのデニムの進化、 修理の跡、付属アクセサリーや加工部分を 記録するというアイデアを抱いた。 しみ、穴、かがり、パッチ、ボタンやブリーチ が、着る人の人生を証言している。それぞれ のアイテムは唯一の物であり、身に着けて来 た人の仕事や時間、そして行動の結果を表し ているのである。

alifewithdenim.tumblr.com

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Mug Magazine issue 24, year XIV

MUG MAGAZINE Lazzari sas Via Paris Bordone, 14/16 31100 Treviso – Italy Tel: +39 0422 598733 Fax: +39 0422 545456 lazzariweb.it

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Yearly magazine, issue #24, year XIV, July 2014.

Registrazione presso il Tribunale di Treviso n° 1141 del 26 Settembre 2001.

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Via Paris Bordone, 14/16 31100 Treviso - Italy Tel: +39 0422 598564 Fax: +39 0422 545456 info@mugmagazine.com mugmagazine.com

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Registered director /発行人 Mara Bisinella General coordination / ゼネラルコーディネーション

Steven Crosato Graphic layout /デザイン Nicola & Luca Facchini – Ubis Three ubth.it Japanese text layout /日本語文デザイン Reiko Hanafusa Texts /本文 Alessandra Bortoletto (Page 68-71; 104-105; 108-109; 116-117) Steven Crosato (Page 77-79; 86-88; 100-101; 110-111) Andrea Da Villa (Page 72-73; 90-93; 98-99; 106-107; 112-113) Davide Parpinel (Page 122-133) Paolo Vitale (Page 80-82; 94-97; 102-103) Correspondents / コレスポンデント Reiko Hanafusa (Tokyo) (Page 83-85) Marlo Saalmink (Copenhagen) (Page 14-15)

Translation /翻訳 Mario Crosato Global srl, made-in-global.eu Texts /本文: Mug #13-14-15 / Mug 13-14-15号 Paolo Vitale, Laura Scarpa, Alessandro D’Annibale Mug #16 / Mug 16号 Paolo Vitale, Giulia Barbazza, Alessandro D’Annibale Photographer /フォトグラファー: Mug #13 / Mug 13号 Roberto Vacis Mug #14-15-16 / Mug 14-15-16号 Lino Vecchiato Printing /印刷 Grafiche Antiga graficheantiga.it

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HOW TO SUBSCRIBE MUG —

MUGの

購読方法 —

If you want to subscribe to Mug Magazine, send an e-mail to info@mugmagazine.com with your personal data (full name, address and e-mail) or visit the section ‘subscribe’ on our website. You will be sent an e-mail confirming your subscription or providing information about the nearest distribution point where you can get a free copy of our magazine.

Mug Magazineの購読をご希望の方は、 info@mugmagazine.comまで、住所、

氏名、E-Mailアドレスをお送り下さい。 または、Mug Magazineのホームページの 'subscribe' の登録フォームをご記入の上、 送信してください。後日、 登録完了の通知、 もしくは、あなたのお近くのフリーマガジン Mugの配布先をご案内いたします。

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WHERE THE HELL IS MY MUG? —

MUGはどこで 手に入るの？ —

Beside being sent to you by mail, Mug Magazine is also distribuited free of charge in these shops and the following tradeshows.

Mug Magazineは、フリーマガジンで以下 に記載された場所で配布されています。

Lazzari (Treviso), Sugar (Arezzo), Penelope (Brescia), Jana (Torino), Biffi Boutique (Milano e Bergamo), Dover Street Market (New York), Sbaiz Spazio Moda (Lignano Sabbiadoro), Top Ten (Torino), Tessabit (Como), H Lorenzo (Los Angeles), Mameg (Los Angeles), Atelier New York (New York), L’Eclaireur Paris (Parigi), Dover Street Market (London), Lift (Tokyo), 10 Corso Como Seoul (Seoul), San Carlo (Torino), Hostem (London).

Mug Magazine issue 24, year XIV

BACK IN THE DAYS —

MUG MAGAZINE ANNO 7 NUMERO 13 2007 —

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 13 — SHOWCASE —

THE CARDIGAN —

A CONCISE HISTORY A cardigan is a V-necked woollen jacket with a front buttoning and a horizontal welt pocket on each side, symmetrical to the front fastening. The cardigan owes its fortune and widespread use to its unquestionable versatility. The story has it that in 1854, while he was in Crimea, James Thomas Brudenell, the VII Earl of Cardigan, literally split open with a sword blow the regulation pullover he had been supplied with by the British Army because he could no longer stand the unusual autumn heat.

A legendary gesture that might have brought into being the jacket in question, as Brudenell, famous for leading the charge of the Heavy Brigade at Balaklava, during his three-month stay in Crimea had come across particularly stuffy weather and had endured the considerable temperature variations in the peninsula.

The Earl enjoyed wearing this kind of jacket while at Deene Park Estate, Northamptonshire, and at his death in 1868, the term ‘Cardigan’ was officially adopted in men’s wear.

Although by the end of the XIX century the Cardigan had already acquired its typical features, it was to be used increasingly only in the 1920s, after it made its debut in the world of women’s wear and fashion.

Long-sleeved versions with pockets were soon enriched with a sleeveless model of Cardigan which immediately reached the peak of popularity.

After being used mainly for sports activities (in the ‘20s and ‘30s), the Cardigan became more and more a casual, leisure – yet far from inelegant - item of wear.

Over the years the garment was given countless interpretations, particularly in the ‘70s, thanks above all to Chanel, who made the Cardigan extremely fashionable with their Twin Set version.

Nouvelle Vague-inspired looks continued to propose this item of wear at intervals, while brands and designers have to this date kept creating their personal interpretation of the Cardigan and have made it an outstanding protagonist in the world of fashion and daily wear.

A Cardigan’s features offer countless advantages: firstly, it can be worn either fastened or unfastened, and can be used throughout the day despite temperature variations; secondly, it can be taken off without having to slip it off; lastly, models provided with (sometimes small) pockets enable us to carry a number of small accessories we wouldn’t know where to keep. Around 1912 the first raglan-sleeved Cardigan models were created. In some South American countries, Chile in particular, the Cardigan was for years commonly called “Chaqueta Rebequa”, in honour of Joan Fontaine who starred in “Rebecca, the First Wife” by Alfred Hitchcock, the film that showed the actress wearing this kind of jacket.

Articles and images from the issue #13 of Mug Magazine – June 2007 / 文章とイメージは、 2007年6月発行のMug Magazine 13号に掲載されたものです。

Mug Magazine issue 24, year XIV

Il cardigan è una giacca in lana, scollata a “V” e abbottonata frontalmente all’altezza dell’addome. Simmetricamente disposte rispetto alla sua chiusura si trovano, in genere, due tasche orizzontali interne, entrambe tagliate “a filo”.

La versatilità di utilizzo di questo capo è indiscussa e ad essa il cardigan deve la sua fortuna e grande diffusione.

Si racconta che James Thomas Brudenell, settimo Conte di Cardigan, durante la sua permanenza in Crimea, nel 1854, abbia letteralmente tagliato con un colpo di sciabola il pull-over d’ordinanza fornitogli dall’Esercito Britannico perché incapace di sopportare ulteriormente l’insolito caldo autunnale.

Un leggendario gesto che avrebbe dato origine a questa giacca. Lo stesso Brudenell, noto per aver guidato la cavalleria inglese nella Battaglia di Balaclava, durante i tre mesi trascorsi in Crimea aveva infatti incontrato una stagione particolarmente afosa e sofferto le forti escursioni termiche tipiche della Penisola.

Nel 1868, alla morte del Conte, che amava indossare questa giacca durante le permanenze nella tenuta estiva di Deene Park (nel Northamptonshire), il termine “Cardigan” farà ufficialmente il suo ingresso nell’abbigliamento maschile.

Nonostante avesse assunto i suoi elementi caratteristici già alla fine del Diciannovesimo Secolo il Cardigan troverà maggiore diffusione solamente dopo il debutto, negli Anni ’20, nel mondo della Moda e dell’Abbigliamento Femminile.

Alle più classiche versioni a manica lunga, dotate di tasche, verrà presto affiancato anche un modello di Cardigan senza

maniche, da subito popolarissimo.

E dopo un utilizzo prettamente sportivo (negli Anni ’20 - ’30) esso diventerà sempre più sinonimo di tempo libero e di un’informalità non per questo non elegante.

Al passare del tempo, le sue interpretazioni saranno sempre più frequenti e in particolare negli anni ‘70, grazie soprattutto a Chanel, questa giacca sarà di gran moda sotto forma di Twin Set. I look ispirati alla Nouvelle Vague continueranno ciclicamente a riproporre questo capo mentre gli stilisti ed i marchi che continueranno, sino ai giorni nostri, ad offrire la loro personale interpretazione del Cardigan contribuiranno sempre di più alla sua affermazione quale uno dei protagonisti assoluti del mondo della Moda e dell’abbigliamento di tutti giorni.

I vantaggi derivanti dalle sue caratteristiche sono molteplici: prima di tutto la possibilità di indossarlo abbottonato, e dunque chiuso, o aperto sul davanti ci permette di continuare ad utilizzare il Cardigan anche al variare della temperatura, nell’arco della giornata; secondariamente lo si può smettere senza doverlo sfilare dall’alto; infine, se dotato di tasche (anche se spesso molto piccole) esso ci permette di portare sempre con noi tutte quei piccoli accessori che non sappiamo mai dove mettere. Intorno al 1912 comparvero i primi Cardigan dotati di maniche “raglan”.

In alcuni Paesi del Sud America ed in particolare in Cile il Cardigan è stato per anni comunemente chiamato “Chaqueta Rebequa” in onore di Joan Fontaine, interprete di “Rebecca, la Prima Moglie” di A. Hitchcock, film durante il quale l’attrice indossa questa giacca.

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Mug Magazine issue 24, year XIV

JOHN SMEDLEY The model Davidson, with its palette of greys, combines a slim fit and classical overtones; the fivebutton fastening starts just below the breastbone and features a contrasting, upright dark grey neckline edging in plain stitch that matches the wristbands. The saddle shoulder in satin-like stitch shows an interesting detail: its upper part features a 1x1 ribbing. The two welt pockets of this cardigan (in pure merino wool and Sea Island cotton, as tradition demands) match the colour of the sleeves.

John Smedley, one of the most important brands of high quality knitwear, can boast a tradition that dates back to the late eighteenth century. The English Family’s heritage has been passed down from generation to generation since 1784, when their first factory was opened in Derbyshire. Although the brand continues to be characterised by the style that makes it unique, it has become a knitwear icon by proposing timeless items whose classical design is renewed season after season. Their products, among which the cardigan is outstanding, have always employed high quality natural fibres like merino wool and valuable Sea Island cotton, also called ‘John Smedley’s Sea Island Cotton’. Their Autumn-Winter 2007 collection merges tradition with innovation and focuses on colour-matching and modern cuts.

In the Autumn-Winter 2007-2008 models, traditional motifs and prints are proposed in a wide range of colours.

FRED PERRY Duecento anni di esperienza fanno di John Smedley una delle più importanti firme di maglieria d’alta classe. La tradizione della famiglia inglese si tramanda di generazione in generazione dal lontano 1784 quando fu aperto il primo stabilimento nel Derbyshire. John Smedley è diventato l’icona della maglieria proponendo indumenti senza tempo: un design classico che si rinnova stagione dopo stagione, mantenendo lo stile che lo caratterizza e lo rende unico nel suo genere. Il cardigan è il fiore all’occhiello di una produzione che ha sempre ricercato la qualità di fibre naturali come la lana Merino e il pregiato cotone di Sea Island, ribattezzato “John Smedley’s Sea Island Cotton”. La collezione autunno inverno 2007 mescola tradizione e innovazione giocando con colori e tagli moderni.

Il modello Davidson, in un gioco di colori grigio su grigio, unisce tonalità classiche ad una vestibilità slim. L’abbottonatura a cinque bottoni termina all’altezza del diaframma ed è contraddistinta da uno scollo grigio scuro, in contrasto, come i polsini, con finitura rimessa a maglia unita in piedi. Le maniche a martello, in maglia rasata, presentano un curioso particolare: il quarto di spalla è a costina 1x1. Tagliate a filo, le due tasche interne di questo cardigan (in pura lana Merino e cotone Sea Island, come da tradizione) richiamano invece lo stesso colore delle maniche.

Nei modelli Autunno/Inverno 2007-2008 i motivi e le stampe tradizionali vengono riproposti in una vastissima palette di colori.

Ever since it was launched, the brand has owed its fame to the tennis player Fred Perry. The only Englishman who won the prestigious Wimbledon tournament from 1934 to 1936, the player was also famous for his charm and elegance. After launching an innovative sweat-band bearing his name in print, Fred Perry gained renown for his poloshirts with the famous laurel crown embroidery, historically associated with the English prestigious tennis tournament.

As tennis champions made this sport more and more popular, it increasingly came to stand for life in the open air and leisure, and cardigans (both sleeved and sleeveless) began to be worn over the renowned shirts.

Fred Perry has this year asked Danish stylist Peter Jensen to reinterpret his classical models for the project Blank Canvas with a women’s collection of only four models in black, orange and different shades of grey.

The cardigans in Fred Perry Autumn/ Winter 07-08 collection combine classical design and a revisited modern fit.

Provided with set-in or raglan sleeves, they do not feature inside pockets and their neckline ends on the breastbone.

The model Deep V in Peter Jensen’s women’s collection is a close-fitting cardigan without front pockets, rigorously plain-coloured except for the typical laurel crown embroidered in gold on the left. The unmistakable Fred Perry logo is here proposed in a specially oversized version. As the very name of the model suggests, the Vshaped neckline is particularly deep, to the extent that the fastening on the front has only four buttons in matching colour. The sleeves combine the features of set-in sleeves and hammer sleeves.

Articles and images from the issue #13 of Mug Magazine – June 2007 / 文章とイメージは、 2007年6月発行のMug Magazine 13号に掲載されたものです。

La notorietà del marchio risale, fin dai suoi albori, al tennista Fred Perry. Oltre ad essere conosciuto come l’unico inglese, dal 1934 al 1936, ad aggiudicarsi il prestigioso torneo di Wimbledon egli era noto per il suo fascino e la sua eleganza. Dopo aver messo sul mercato un’innovativa fascetta asciugasudore col suo nome impresso sopra, Fred Perry si fece conoscere per le polo dalla celebre corona di alloro, storicamente associata al prestigioso torneo inglese. Il tennis sempre più diffuso, grazie ai suoi campioni, diveniva ogni giorno di più sinonimo di vita all'aria aperta e tempo libero, e capi come il cardigan (con e senza le maniche) facevano la loro comparsa sopra a queste ormai famosissime maglie.

Quest'anno Fred Perry, per il progetto Blank Canvas, ha chiamato a reinterpretare i suoi classici modelli il danese Peter Jensen con una collezione di soli 4 pezzi donna in nero, arancio e tonalità di grigio.

I Fred Perry Cardigan della stagione A/W 07-08 combinano invece forme classiche ad una vestibilità moderna e rivisitata.

Non presentano tasche interne, sono dotati sia di maniche a giro che raglan e hanno una scollatura che termina sul petto.

Il modello Deep V della collezione Donna Peter Jensen è un cardigan dalla vestibilità asciutta, privo di tasche frontali e completamente tinta unita, ad eccezion fatta per l’inconfondibile corona di alloro ricamata in oro, naturalmente sul pettorale sinistro.

Nota particolare l’inconfondibile logo Fred Perry viene qui proposto in una versione esplicitamente sovraddimensionata. Come dice il nome stesso la scollatura a V è particolarmente profonda, tanto da portare l’abbottonatura a 4 bottoni (tono su tono) all’altezza dell’addome. Le maniche sono invece un incrocio tra una manica a giro ed una a martello.

Mug Magazine issue 24, year XIV

DRUMOHR Drumohr cashmere knitwear was born in 1773 at Dumfries, Southern Scotland, where Mr James Paterson and his descendants used high quality yarns to start this leading brand, appreciated, among others, by the Duke of Windsor, George V and Prince Charles, as well as by film stars like Audrey Hepburn and James Stuart. Famous for its exclusive look and captivating details, the brand is universally known for its typical herringbone pattern, evolved from an earlier simple interwoven texture. In 2004 the textile Group Ciocca, Pierluigi Giulini and Maurizio Marinella, the owner of the renowned Neapolitan shop, jointly bought the brand, gave new vitality to its image and enhanced its standing.

After the recovery of its archive helped retrace the brand’s history, Drumohr sweaters with herringbone patterns today renew the excellence of Scottish cashmere…. and are 100% made in Italy.

The model in the illustration is from the current collection, comes in 100% Super Geelong wool and shows all the features of a traditional Drumohr cardigan, in particular its comfortable, smart fit. According to tradition, the two front welt pockets lie inside the jacket, and the setin sleeves end with bicolour wristbands provided with contrasting cuffs. The front fastening of the cardigan starts at the end of the neckline, has pearl buttons, and is felled on both inside edges.

The epoch-making Drumohr cardigans here reproduced have always been outstanding for their elegant style. These 100% cashmere garments do not have a V-neckline but can be buttoned up to the neck, have ribbed wristbands, and can be worn either with a loose bent down collar or with a buttoned collar.

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CIVIDINI É a Dumfries, Scozia del sud, che nel 1773 nascono i cashmere Drumohr. Dove Mr James Paterson e discendenti diedero il via a quest’istituzione della qualità dei filati di pregio che vanta tra i suoi estimatori il Duca di Windsor, Giorgio V e il Principe Carlo, oltre a stelle del cinema come Audrey Hepburn e James Stuart.

Aura di esclusività e dettagli di charme hanno reso celebre il marchio universalmente noto per il tipico disegno a biscottino, che in origine consisteva semplicemente in una trama intrecciata. Nel 2004 il Gruppo tessile Ciocca assieme a Maurizio Marinella dello storico negozio napoletano, e a Pierluigi Giulini, hanno acquisito il marchio valorizzandone l’importanza e rivitalizzandone l’immagine. Grazie al recupero dell’archivio Drumohr e alla ricostruzione storica del marchio, oggi i maglioni a biscottino sono tornati a rappresentare l’eccellenza del cashmere scozzese… 100% made in Italy.

Questo modello dell’attuale collezione in 100% lana Super Geelong presenta tutte le caratteristiche degli storici cardigan Drumohr: a partire da una vestibilità elegante e piuttosto morbida. Come da tradizione le due tasche frontali sono tagliate a filo e si sviluppano all’interno della giacca. Le maniche a giro terminano con polsini bicolore dotati di risvolto a contrasto. La chiusura frontale del cardigan, con bottoni in madreperla, è ribattuta internamente su entrambe le estremità e termina con una scollatura all’altezza del petto.

Gli storici cardigan Drumohr, qui riprodotti, da sempre si contraddistinguono per la loro eleganza formale; in 100% Cashmere e privi di scollatura a V, sono abbottonati fino al collo e dotati di polsini a costine. Possone essere portati sia con colletto aperto ripiegato che chiuso.

The cardigans from the current Autumn-Winter collection we propose are both in 100 % cashmere with very high yarn count. The men’s model has an irregular colouring realised by airbrushing, an effect obtained through nebulized colour that gives the item a unique look. The contrasting colours of the inside and outside of the garment enhance its details, from the seams, to the ribbed wristbands and edging. The women’s cardigan features details that renew its look completely, and is characterised by an elegant coulisse that makes it adhere to the waist; the long sleeves folded over to the elbow are slightly rippled along the outer seam.

These models, drawn from the historical archive of Cividini collections, provide two typical examples of the brand’s textile research.

The twocolour cardigan (P/E 1998) was realised through tubular weaving. The inner lining is in soft silk, whereas the outside, that looks deliberately crumpled, is characterised by the presence of steel, an unusual material in clothing, or rather a very thin stainless steel thread twisted with a silk one. The elegant model in shiny black cashmere dating from the Autumn- Winter 1995-6 collection combines the brilliancy of the fabric, obtained through outside polish treatment, with an original shawl collar.

Cividini looked to a cultured, sophisticated public when at the end of the ‘80s he decided to launch a new line that was to change the fashion market radically: technically firstrate cashmere knitwear, introducing significant innovations in design, experimental features and the choice of fabrics. In particular, it was by reviving traditional techniques (that of tubular weaving, for example) in combination with the use of unconventional clothing materials that the brand became outstanding.

Since 1995 Cividini has enriched its production with ready-to-wear lines, and brought to the fore its refined, high quality fashion.

I cardigan dell’attuale collezione Autunno-Inverno, qui proposti, sono entrambi in 100% cashmere dal titolo sottilissimo. Il modello uomo presenta una colorazione realizzata con la tecnica dell’aerografo, dunque non uniforme: un effetto ottenuto tramite la nebulizzazione del colore che conferisce al capo un aspetto unico. Il contrasto cromatico interno-esterno accentua i dettagli della sua confezione, dalle cuciture ai polsini e al bordo realizzati a coste.

Il cardigan donna invece, dall’estetica rinnovata a partire proprio dai particolari caratteristici del capo, si stringe intorno alla vita grazie a un’elegante coulisse; le maniche, rimboccate fino al gomito, si increspano lievemente lungo la cucitura esterna.

Questi modelli tratti dall’archivio storico delle collezioni Cividini costituiscono due esempi della sperimentazione tessile caratteristica del marchio. Il cardigan bicolor (P/E 1998) è stato realizzato con la tecnica della tessitura tubica.

Lo strato interno è in morbida seta mentre l’esterno, dall’aspetto volutamente stropicciato, è caratterizzato dalla presenza di un materiale inusuale per l’abbigliamento, l’acciaio: un filo sottolissimo di inox ritorto con un filo di seta.

L’elegante modello in cashmere nero laminato dell’A/I 1995-6 coniuga invece la brillantezza del tessuto, esternamente “spalmato”, con un particolare collo a scialle.

Un pubblico colto e sofisticato è quello a cui guarda Cividini quando alla fine degli anni ’80 decide di lanciare una nuova idea che rivoluzionerà il mercato della moda: una maglieria in cashmere di altissimo valore tecnico, stilisticamente innovativa per la scelta dei tessuti, la sperimentalità delle lavorazioni e il design.

Il particolare connubio tra la ripresa di tecniche tradizionali (come quella del tubolare) e l’utilizzo di materiali non convenzionali per l’abbigliamento diviene presto uno dei fiori all’occhiello del marchio. E dal 1995 Cividini si apre anche al Prêt-à-Porter, portando sulle passerelle una moda raffinata e sempre all’avanguardia.

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 13 — STORE —

THE LIBRARY —

The Library is located on trendy Brompton Road, just a few minutes from the glitz and glamour of Knightsbridge. Sitting in Bibendum, across the road from The Library, owner Peter Sidell tells me over a coffee “I was born in Kensington, just around the corner, and I remember, when we opened, almost 15 years ago the area was not this posh.” Sidell started working as a buyer for Jones (a really popular store in the 80’s) when he was only 17. Whilst there, he brought to London brands such as Stone Island, Ralph Lauren and Helmut Lang. After the experience gained at Jones he started designing the menswear line for Joseph. In the past he even taught with Bikkembergs, as Professor at London Royal College of Art, and lectured Berardi and Stella McCartney at Central St Martins, London.“I wanted to have a store with things that I liked. I had a major book collection I wanted to display and make available to people. I combined books and clothes to show where designers get their influences”. Spread over two floors, cool minimal interiors on the ground floor contrast with the lounge feel of the basement. While you may expect silence in a true library, here Indie Rock murmurs in defiance of the books, most of which are available for sale. There are lots of them; over £70,000 pounds worth displayed everywhere, between clothes racks, on the shelves, on rugs and tables downstairs. “The Library enables you to mix fiction with classics, modern literature with poetry and history”, Sidell says, and that is exactly what he is doing with clothes.

The Library fits in the niche market and it has a loyal customer base after the unique mix of high quality products. The fun, Sidell says, is being surrounded by big department stores and shops such as Chanel, Harrods, etc.

Articles and images from the issue #13 of Mug Magazine – June 2007 / 文章とイメージは、 2007年6月発行のMug Magazine 13号に掲載されたものです。

Mug Magazine issue 24, year XIV

The Library si trova in Brompton Road, a pochi minuti dal fascino e dalle attrazioni di Knightsbridge. Mentre prendiamo un caffè al Bibendum di fronte al suo negozio, il proprietario Peter Sidell mi racconta: ”Sono nato a Kensington, qui appena svoltato l’angolo, e ricordo che quasi quindici anni fa, quando ho aperto il negozio, la zona non era così elegante”. Sidell ha iniziato la sua attività all’età di diciassette anni come addetto agli acquisti per Jones (notissima boutique di tendenza degli anni ’80), e in questa veste è stato uno dei primi a introdurre a Londra marchi come Stone Island, Ralph Lauren e Helmut Lang.

Forte dell’esperienza fatta presso Jones, per alcuni anni ha curato il design della linea uomo per Joseph; in seguito ha addirittura insegnato con Bikkembergs in qualità di Professore al Royal College of Art di Londra, oltre ad esser stato lettore di Berardi e di Stella McCartney alla St. Martin’s School di Londra. “Avevo voglia di avere un negozio con cose che mi piacessero. Avevo una importante raccolta di libri che desideravo esporre e rendere disponibile al pubblico. Ho messo insieme libri

e abbigliamento per far vedere da dove gli stilisti traggano i loro spunti.” The Library è articolato su due piani, ma l’elegante stile minimalista degli interni al piano terra contrasta con il piano inferiore che dà l’impressione di un salotto. A differenza di una vera biblioteca dove ci si aspetta silenzio assoluto, a The Library, malgrado i libri, la maggior parte dei quali sono in vendita, si sente un sottofondo musicale Indie Rock. Ci sono un sacco di libri esposti dovunque, sui sostegni per esporre gli abiti, negli armadi, sui tappeti e sui tavoli fino al piano inferiore, per un valore complessivo di oltre 70,000 sterline! “The Library consente di mescolare la letteratura di fantasia con i classici, la letteratura moderna con la poesia e la storia”, afferma Sidell, e riesce a fare esattamente la stessa cosa con l’abbigliamento.

The Library è un negozio di nicchia con una clientela numerosa e fedele che cerca proprio questo mix unico di prodotti di alta qualità. La cosa divertente, sostiene Sidell, consiste nell’esser circondati da grandi magazzini e negozi come Harrods, Chanel ecc.

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 13 — REPORT FROM TOKYO —

ANTIQUE JAPANESE BANNERS —

It was a fate. The collector, Mr Kitamura discribed his first encounter with “Nobori”, Japanese antique banners. Since that moment, he has kept on collecting banners as his life work. After spending 35 years, the number of his collection has eventually come to around 200.

As a result of placing great importance on quality before quantity always, most of the collection were from Edo period (1603 – early 1900s). It was a best time for Japanese artists, because most of well known Ukiyo-e print art have been created arount this time. Not only on a normal sized canvas, many of Ukiyo-e artists have also left their works on banners that time. At the same time, cotton have spread to public, then it has helped people to make even bigger sized banners.

Then banners have become to use in a various ways in those days. The original purpose of using banners was to distinguish between friend and foe alike during war. As time passed, the purpose has been changed. In Edo period, there were droughts, earthquakes and major fires have often occured. To ward off such evil spirits, people of Edo prayed to gods and Buddha hoping to regain tranquility which in turn eased their minds. As a custom, banners were usually presented from relatives to celebrate the first Boy’s Festival. To pray for the sons’ safety and stable growth, female relatives gathered around to stitch the chi (used to tie the banner to the pole with hemp rope) onto expensive banners made by artists and printers. The design or pattern of the Boys’ Festival banners are usually depictions of prayers such as “be strong child!”, “be a wise person!”, “be a great man!” or “have a happy life”, a sigh of everlasting affection for the child. Prayers for family, regional stability, and abundant harvest illustrated in energetic and

Articles and images from the issue #13 of Mug Magazine – June 2007 / 文章とイメージは、 2007年6月発行のMug Magazine 13号に掲載されたものです。

sharp contrasting brush work charaters can be seen in the “Hono-Nobori”. (Dedication Banners for Shrines and Temples).

It is difficult to fathom the immeasurable interest placed on annual events and ceremonial occasions in those days. Festivals at shrines and temples were times for the people to enjoy without restraints. On such occasions, many banners illustrated with energetic characters were hoisted to build up the festive atmosphere. Those banners used to be taken care of local people very carefully. In order to keep a good condition for many years, people have folded it neatly in every single rainy day, then have spread it again after rain stopped. Although, it must have required a great level of ability to draw all patterns and motifs in such vertical long sized canvas. The special sized canvas have been used very effectively on all of them. This fact tells an ability of artists. In spite of this, antique banners are not well regarded in public these days, because of its size and no artists’ signature or seals on it.

However, no matter what a valuation is, it would be simply appreciated to have this opportunity to meet another unknown beatiful world.

Mug Magazine issue 24, year XIV

È stato un evento fatale. Così il Sig. Kitamura, collezionista, ha descritto il suo primo incontro con i ‘Nobori’, gli antichi stendardi giapponesi. Da quel momento la sua raccolta è proseguita come lavoro per tutta la vita, e, a distanza di 35 anni la sua collezione consiste di circa 200 pezzi. Attribuendo Kitamura maggior importanza alla qualità più che alla quantità, gran parte della sua collezione è venuta a consistere di pezzi del periodo Edo (1603-inizi del ‘900), epoca di grande fioritura di artisti giapponesi quando fu creata la maggior parte delle famose opere a stampa Ukiyo-e. Oltre a usare tele di dimensioni normali, molti artisti Ukiyo-e usarono anche bandiere per le loro creazioni, e la diffusione generalizzata del cotone portò a bandiere di più grandi dimensioni, usate in vari modi. In origine tali stendardi venivano usati per distinguere alleati e nemici in guerra, ma col passare del tempo tale funzione mutò. Nel periodo Edo vi furono stagioni di siccità, oppure di terremoti e incendi, e per tener lontani gli spiriti malvagi che li causavano la gente pregava gli dei e Buddha sperando di recuperare il necessario benessere fisico e mentale. Era usanza che i parenti donassero

degli stendardi per celebrare la Festa del Figlio Maschio. Pregando per la sicurezza e la buona crescita dei figli, le parenti femmine si riunivano in cerchio a fissare il ‘chi’ su costosi stendardi (fissavano lo stendardo alla sua asta con spago di canapa) fatti da artisti e stampatori. Le raffigurazioni sugli stendardi della Festa del Figlio Maschio consistono di illustrazioni che rappresentano esortazioni come ‘sii un figlio forte!’, ‘sii saggio!’, ‘sii grande’, ‘che la tua vita sia felice’, cioè espressioni di affetto eterno per il figlio. Negli ‘Hono-Nobori’ (stendardi devozionali per i templi e i santuari) si possono vedere preghiere per la famiglia, per la stabilità del territorio e per auspicare raccolti abbondanti espresse con energiche pennellate e colori in forte contrasto. È difficile spiegare l’enorme interesse che esisteva per le ricorrenze annuali e le cerimonie, in un’epoca in cui le festività presso i santuari e i templi erano momenti di autentico godimento per la gente. In tali ricorrenze si issavano stendardi decorati con illustrazioni e colori per creare l’atmosfera di festa, e gli abitanti del luogo, affinché si conservassero in buono stato per molti anni, se ne prendevano gran cura ripiegandoli ben bene nei giorni di pioggia e dispiegandoli nuovamente appena tornato il sereno. In ogni caso deve essere stato necessario un notevole livello di abilità da parte degli artisti per disegnare motivi e decorazioni su tele verticali di tale lunghezza, efficaci proprio per le loro dimensioni speciali. Tuttavia le loro dimensioni e il fatto che esse non rechino la firma o il sigillo dell’artista fanno sì che oggi non godano di grande considerazione presso il pubblico. A prescindere dalla valutazione che oggi se ne dà, resta il fatto che l’incontro con il mondo bello e sconosciuto che gli stendardi rappresentano è comunque di grande interesse.

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 13 — DESIGNER —

6267 —

6267 unmistakably recalls Tommaso Aquilano and Roberto Rimondi, the two stylists who created the brand in 2004.

6267 stands for the will to give up the habit of using a name on a label, to renounce the communicative efficacy of it and to rely instead on a code number for identity. A series of numbers which, as it was once customary to do with children’s clothes on a summer camp, are matched with an individual item to make it unique and set it apart from all others. The two stylists first met in 1998 when they both became consultants for an important Italian manufacturer of women’s ready-towear clothing for the foreign market. In less than ten years their artistic sodality earned them the first prize of “Who is on Next?”, a competition promoted in 2006

by Vogue Italia and Alta Roma, and led them to their debut on the catwalks of Milan fashion week. Their work is based

on design deeply rooted in fashion history and tradition, and supported by an accurate analysis of clothing tailoring techniques, as is proved by the carefully studied volumes and colour matches.

Thanks to an accurate choice of materials their clothing is first of all precious to the touch, and, far from showing off trivial luxury, it expresses true genuineness. In the 2008 Autumn-Winter collection lines harmoniously coexist when caban à boule of military origin or jackets modelled on riding coats are matched with the slender silhouettes of their clothes. The veiling of tulle over bustiers is far from conveying vulgarity, the drainpipe trousers reach as far down as above the ankles, and the skirts and dresses take on different styles through overlapping and pleating. Even their hand-made sculpture-like knitwear provides new interpretations of body forms and volumes. The 6267 collections

are the outcome of a heart-felt research on the changes in the history of fashion and a perfect merging of ready-to-wear and high fashion clothing.By repeatedly combining early 20th century hints with the lifestyle of the ‘80s these two fashion designers continue their evolution and unmistakably prove to be among the most talented creators in Italian and international fashion.

Articles and images from the issue #13 of Mug Magazine – June 2007 / 文章とイメージは、 2007年6月発行のMug Magazine 13号に掲載されたものです。

Mug Magazine issue 24, year XIV

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Mug Magazine issue 24, year XIV

6267 come la volontà di rinunciare al nome e alla comunicatività del significante, per associare la propria identità ad un codice.

Una serie di numeri che, come avveniva un tempo con gli abiti dei bambini in colonia, viene abbinata ad un’individualità, ad una sola maniera di essere e contribuisce a contraddistinguerla dalle altre. Le storie di questi due stilisti si incrociano la prima volta nel 1998, quando entrambi sono chiamati ad occuparsi della consulenza per un’importante azienda italiana del Prêt à Porter femminile internazionale. Il loro sodalizio, in meno di dieci anni, li porta prima a vincere il primo premio di “Who is on Next?”, concorso promosso da Vogue Italia e Alta Roma, nel 2005, e poi lo scorso Febbraio al debutto sulle passerelle della settimana della moda di Milano. Il loro è un lavoro che muove da una progettazione che affonda saldamente le sue basi nella Storia del Costume e al contempo da un’acuta analisi delle costruzioni dei capi, per riflettersi nella particolare attenzione dedicata allo studio dei volumi e sull’abbinamento dei colori. I loro abiti sono in grado di rivelare la loro ricchezza già al tatto, grazie all’accurata ricerca dei materiali ma non ostentano un lusso banale quanto piuttosto una reale autenticità. Nella collezione A/W

Articles and images from the issue #13 of Mug Magazine – June 2007 / 文章とイメージは、 2007年6月発行のMug Magazine 13号に掲載されたものです。

2008 le linee si sovrappongono armonicamente quando caban à boule di provenienza militare o giacche di ispirazione redingote vengono accostate alle silhouette sottili degli abiti. Le velature del tulle sui bustier non lasciano trasparire alcuna volgarità ed i pantaloni a sigaretta si fermano sopra le caviglie mentre le gonne e gli abiti si lasciano trasformare da plissé sovrapposti. Anche la maglieria, lavorata a mano in maniera quasi scultorea, reinterpreta sul corpo forme e volumi. Le collezioni di 6267 sono il frutto di un’appassionata ricerca intorno alle trasformazioni storiche della Moda e una perfetta sintesi di Prêt à Porter e Couture. Grazie alla fusione delle continue rievocazioni storiche dei primi del Novecento con un lifestyle Anni ’80 questi stilisti confermano la continuità della loro evoluzione e si consacrano inequivocabilmente come una delle coppie creative più promettenti nel panorama italiano ed internazionale della Moda.

Mug Magazine issue 24, year XIV

BACK IN THE DAYS —

MUG MAGAZINE ANNO 7 NUMERO 14 2007 —

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 14 — SHOWCASE —

THE DOWN JACKET —

One of Moncler’s ads dating from 1952 reads: ‘Camping tents, sleeping bags, sportswear’. Sportswear, that’s the world we must explore in depth, to research on the origins and the history of the down jacket. It is commonly believed that the down jacket was first created by Moncler, but the renowned French firm, far from deserving our praise for the invention of the sports item, must instead be credited with the great contribution they made to its evolution. George Ingle Finch, an Australian chemical engineer and a climber, deserved recording in the history of Alpinism both because he took part in the first expedition to Mount Everest (1922) equipped with special oxygen masks, and because he had an important role in the history of sportswear, as the inventor of the first jacket padded with goose down. Far from embodying our ideal of down jacket, the model that Finch first wore on his expeditions (see photo) made him so clumsy that he was the target of his colleagues’ jeers. At first, climbers who chose to wear the garment must have felt it hindered their movements, but the advantages afforded by the natural lightness of the padding and its high warming potential soon turned the sports item into a must for all climbers, so much so that between the Wars it started to be manufactured in Canada.

In 1954, at Monestier de Clermont, not far from Grenoble, René Ramillon decided to supply his workers with heavy jackets padded with down to enable them to better carry out their tasks during the cold winter months. As Ramillon’s daughter Annie Charlon remembers, the workmen employed in the production of tents and sleeping bags for the brand Moncler looked as if they were wearing ‘boxes’ rather than jackets.

Lyonel Terray, on his return from Canada, was the first to place an order with Ramillon for the supply of down jackets. Terray, who was an alpinist himself, famous for climbing the Himalaya, tried the jackets out, asked for tailoring changes and improvements, and soon became the technical consultant and production manager of the whole line of Moncler down jackets. Both the equipment for the Italian expedition to the Karakorum (1954) and the French expedition to the Makalu a year later were supplied by the French firm. Although the down jacket was first invented in far off places, the world of fashion soon managed to turn the formal faults of the garment into distinctive, appealing features. Body warmth preservation, a feeling of protection and lightness are only some of the peculiar qualities that enabled this jacket to become a permanent icon in sportswear.

Before the down jacket became widespread, any sports jacket or coat in use had proved a hindrance to body movements. At a time when the practice of winter sports involves more and more people, firms that manufacture sports equipment and wear enrich their collections with a garment that may be bulky in volume but is functional and ensures protection against very low temperatures. Thanks to the softness and lightness of the material it is padded with, and to its unparalleled flexibility, the down jacket has done away with the old belief that chunky clothing ensures protection against cold. Yet, it was not until the late ‘70s that the down jacket took on the ‘technical’ features that would characterise the ‘urban’ style in clothing. If countless firms contributed to the garment’s common use in daily life, by proposing slimmer fits that grant high

Articles and images from the issue #14 of Mug Magazine – December 2007 / 文章とイメージは、 2007年12月発行のMug Magazine 14号に掲載されたものです。

protection against cold, some of Elle’s journalists had the idea to emphasise the widespread wish to wear the down jacket for city use with a well-known photographic service. At that point the street, which had already had the power to set different styles and social customs, reinvented the use of this mountain item, so much so that the down jacket, practically ignored by the media and the fashion magazines, became in the ’80 the focus of attention in the world of ‘paninari’. At a time when Street Style was still unknown in fashion, squares were full of youths whose aesthetic beliefs were linked to precise models and brands which they used to define ‘the best ones’: Timberland, Moncler, Best Company, El Charro etc. Unexpectedly, the trend was brought to the forefront by the media and the collective imagination permanently linked it to such garments as the down jacket. By the time the movement died out at the end of the 1990’s, and was replaced by subcultures that expressed the fading of the decade’s optimistic view of life, sportswear had undergone a profound revolution, and the down jacket had become a versatile garment with the power to stir the creativeness of stylists, an item that features today among the elegant proposals of countless fashion firms. Young people who frequented sandwich bars and wore fashionable clothing.

Mug Magazine issue 24, year XIV

“Tende da campeggio, Sacchi a pelo, Abiti Sportivi” recita una campagna pubblicitaria di Moncler del 1952. Ed è proprio nel mondo dell’abbigliamento sportivo che un’indagine sull’origine e la storia del “piumino” si deve addentrare. È opinione diffusa che tutto sia cominciato con Moncler ma non è a questa prestigiosa azienda che dobbiamo propriamente l’invenzione di questo capo. A Moncler si deve piuttosto riconoscere il contributo più significativo nell’evoluzione di questa giacca in piuma d’oca. Nella storia dell’Alpinismo vi è un uomo infatti, che oltre ad essere ricordato per la prima spedizione sull’Everest (1922) con speciali maschere ad ossigeno, è noto per aver scritto una delle più importanti pagine della storia dell’abbigliamento sportivo: George Ingle Finch. A questo chimico e alpinista di origina australiana si deve l’invenzione della prima giacca “riempita” (passateci l’espressione) di piume d’oca. Il modello che Finch per primo utilizza (foto) durante le sue escursioni è ben distante dalla nostra idea di piumino, tanto che per la sua goffaggine, lo scalatore merita a lungo lo scherno dei colleghi. La capacità di movimento inizialmente deve essere sembrata ridotta a coloro che sceglievano di utilizzare queste giacche ma il vantaggio derivante dall’innata leggerezza dell’imbottitura e l’altissima capacità termica trasformano presto il piumino in un capo imprescindibile da tutte le attività alpinistiche.

La sua produzione iniziale, nel periodo compreso tra la Prima e la Seconda Guerra Mondiale, viene sviluppata principalmente in Canada. Nel 1954, a Monestier de Clermont, non lontano da Grenoble, René Ramillon decide di fornire i suoi dipendenti di pesanti giacche imbottite di piuma, per permettere loro di affrontare meglio il lavoro durante i rigidi mesi invernali. Questi ultimi, ricorderà la figlia Annie

Charlon ripensando a quegli anni, impegnati sotto il marchio Moncler nella produzione di tende e sacchi a pelo, più che delle giacche sembrava indossassero delle “scatole”. Al suo ritorno dal Canada, il primo a richiedere questi giubbotti in piuma a Ramillon sarà Lyonel Terray; alpinista, celebre per la sua scalata dell’Himalaya, che provandoli e sollecitandone modifiche e migliorie nella confezione, si trasformerà presto in consulente tecnico e coordinatore di un’intera linea di giacche Moncler dedicate all’alpinismo. Nel ’54 la stessa spedizione italiana sul Karakorum sarà equipaggiata dall’azienda, che rifornirà, l’anno successivo, anche la spedizione francese sul Makalu. Una storia cominciata migliaia di chilometri distante dai luoghi della moda che rapidamente ha saputo trasformare gli iniziali limiti formali del piumino nei suoi tratti distintivi più affascinanti: mantenimento della temperatura corporea, senso di protezione e leggerezza sono solo alcune delle peculiari caratteristiche che hanno permesso a questa giacca di diventare una delle più intramontabili icone dello sportswear. E mentre la pratica degli sport invernali conquista sempre più persone, svariate aziende, dedite alla produzione di abbigliamento e attrezzature sportive, introducono questo capo nelle loro collezioni. Nonostante il suo maggiore volume quello che esso è in grado di offrire non è solamente isolamento dalle basse temperature ma anche una grande praticità: qualsiasi giacca e cappotto fin lì impiegato per lo sport, più che agevolare aveva impedito i movimenti. Grazie alla morbidezza, alla leggerezza del suo materiale interno, la piuma e ad un’indiscutibile flessibilità, il piumino rompe un binomio fin lì imprescindibile: non è più necessario vestirsi “pesante” per sentirsi al riparo dal freddo. Prima di vedere uscire il piumino dalla sua dimensione

“tecnica” per contaminare lo stile “urbano” dell’abbigliamento dovremo attendere la fine degli anni ’70. A contribuire a quest’inedita diffusione saranno da un lato la volontà delle aziende di proporre un capo sportivo più sottile (comunque adatto alle basse temperature) e dunque più probabile per un utilizzo quotidiano e dall’altro l’intuizione delle giornaliste di Elle, per un noto servizio fotografico, di esaltare il desiderio comune di un utilizzo “cittadino” del piumino. A quel punto è la strada, che già aveva segnato le differenze fra stili e costumi sociali delle persone, a reinventare l’utilizzo di questo capo “da montagna”. Gli anni ’80 trascinano questa giacca, da sempre distante dall’attenzione di riviste di moda e mezzi televisivi, al centro di un fenomeno sociale senza uguali: i Paninari. E prima ancora che si cominciasse a parlare di Street Style, le piazze si riempiono di giovani portatori di un’estetica legata a marchi e modelli precisi (quelli che loro stessi avrebbero definito i più “giusti). Un movimento capace di un’inaspettata quanto insolita visibilità mediatica e al contempo di restare, nell’immaginario collettivo attuale, indissolubilmente legato ad alcuni capi d’abbigliamento come il piumino. Anche se già alla fine del 1988 questo movimento giovanile si spegne, sostituito da una serie di sottoculture che riflettono tutte la conclusione di un decennio vissuto all’insegna dell’ottimismo, il passo è stato fatto: le porte dello sportswear sono state abbattute e questa giacca è divenuta ormai un capo versatile, capace di stuzzicare la fantasia creativa degli stilisti ma anche di rientrare tra le eleganti proposte di numerose Maison di moda.

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Mug Magazine issue 24, year XIV

MONCLER Set up in 1952 at Monastier de Clermont, the city from which it drew its name, Moncler began its activity with the production of articles for mountainclimbing and camping. The severe climate conditions of the place soon called for the creation of the precursor of the present-day down jacket, an item which was updated in the 1950’s and 1960’s to meet the demands of European mountain-climbers, and further improved in 1972 for the French national ski team.

Lightness and warmth are two distinctive features of a garment which combines the top certified quality of its special down from South Brittany and Perigord, and an ever renewed allure due to the soft, refined formal elegance that has made it outstanding. With its choice of volumes, the model Everest definitely embodies at best the features of Moncler items. In laqué nylon, this modern down jacket at once echoes the classical models and adjusts the fit by slimming and updating it. The slightly slanting front hand-warmers are provided with invisible zippers in-between the pockets’ fabric finish. Supplied with a pull-out hood, the collar has buttons that match with those in the front fastening, and its contrasting lining bears the traditional balloon-shaped label that offers washing instructions. Like all of Moncler’s down jackets, this model is padded with high quality ‘four flakes – Class I’ virgin duvet, in compliance with R.A.L international regulations. Menestier is a technical model that interprets the brand’s practical, sports inspiration but also its care for style details and elegance in the choice of zippers, the twocolour contrasting finish, the wind-proof fastenings and the unmistakable logo on the sleeve and pockets.

THE NORTH FACE Nata nel 1952 a Monastier de Clermont, da cui deriva il proprio nome, Moncler comincia la sua attività con la produzione di articoli per la montagna e il campeggio. Saranno le esigenze climatiche a far nascere, quasi da subito, l’antesignano del capo che conosciamo oggi, affinato negli Anni ’50 e ‘60 per le esigenze degli alpinisti europei e poi ulteriormente sviluppato nel ‘72 per l’utilizzo da parte della nazionale Francese di sci. Calore e leggerezza restano i tratti distintivi di queste giacche che, mantenendo la massima qualità certificata del piumino (uno speciale Duvet proveniente dal Sud della Bretagna e dal Perigord), sono sempre riuscite a rinnovare la loro allure, grazie alla morbida e raffinata eleganza formale che da anni le contraddistingue. Il modello Everest si conferma in assoluto uno dei capi più iconici del marchio Moncler, a partire proprio dalla scelta dei suoi volumi. Questo moderno piumino in nylon laqué è al tempo stesso diretta evocazione dei modelli classici e interprete di una rivisitazione della vestibilità, più asciutta e attuale. Le tasche scaldamani frontali, quasi verticali, sono dotate di zip a scomparsa sotto le finiture in tessuto. Il collo, dotato di cappuccio estraibile, è fornito degli stessi bottoni, tono su tono, che percorrono la chiusura frontale; l’interno a contrasto presenta la storica etichetta “a fumetto”, contenente le istruzioni sul lavaggio del capo. Come tutti i piumini Moncler anche questo modello è imbottito di Duvet di ottima qualità, al suo primo utilizzo, certificato “quattro fiocchi – classe I” secondo le norme internazionali R.A.L. Monestier è un capo di chiara ispirazione tecnica che celebra lo spirito sportivo e pratico del marchio, senza tralasciare dettagli di stile e inconfondibile eleganza: le zip e le finiture bicolore, in contrasto, le chiusure antivento e l’inconfondibile logo presente sia sulla manica che su ciascuna delle tasche.

The Northface, just as the hardest-toclimb side of a mountain, is a name that sounds like a challenge. The firm was established in San Francisco in 1966, and soon gained renown in the market for the quality of its climbing and backpacking equipment. Northface soon launched a line of clothing and products for extreme skiing and opened its first European office in the 1980’s. From the Mountain Jacket, for which professional climbers have a strong liking, to Trail Running and Trekking footwear and the line of underwear Baselayer System, each of their items is specially designed for people who like to face life as if it were a mountain or a city adventure. Never Stop Exploring. Provided with two comfortable hand-warmers and with cuffs adjustable by velcro straps, this pocketable Nuptse Jacket model has shoulders strengthened by a double layer of taffeta and weighs only 655 grams.

The garment can be used even under the most adverse weather conditions thanks to an important technical detail concerning the vertical zip, which is strengthened by an internal wind flap from top to bottom, and by seams on the points that have to resist high strain. Its 700 fill goose down padding and water-repellent treatment ensure great protection. The Gotham Ltd Jacket belongs to the Lifestyle Collection and is the ideal solution for those who love the comfort and convenience of technical products without renouncing style.

One of this season’s limited-edition novelties, it is realised in water-proof breathable Twill padded with soft 550 goose down and has a detachable hood that can be worn with or without the synthetic fur rim. The jacket is also provided with two hand-warmers, besides the two pockets on the breast and the internal one for electronic devices.

Articles and images from the issue #14 of Mug Magazine – December 2007 / 文章とイメージは、 2007年12月発行のMug Magazine 14号に掲載されたものです。

The North Face, la parete nord, il punto più difficile da scalare nelle montagne. Un nome che suona come una sfida: l’azienda nasce nel 1968 a San Francisco e si impone nel mercato per la qualità delle attrezzature per arrampicata e backpacking. The North Face lancia presto una linea di abbigliamento e prodotti per lo sci estremo e negli Anni ‘80 apre la prima sede in Europa. Dalla Mountain Jacket, la giacca prediletta dai professionisti d’alta montagna alle calzature per Trail Running e Trekking fino alla linea di intimo Baselayer System, ogni articolo è studiato per chi ama affrontare la vita come un’avventura in montagna ma anche in città. Never Stop Exploring.

Questo modello Nuptse Jacket ha un peso complessivo di soli 655 gr. ed ha la particolarità di poter essere ripiegata nella sua tasca interna (pocketable);le spalle sono rinforzate con un doppio strato di taffetá. È dotata di due calde tasche scaldamani e di polsini regolabili, tramite velcro. La zip verticale presenta un dettaglio tecnico molto importante per un utilizzo del capo alle condizioni atmosferiche più estreme: è rinforzata con patta antivento interna su tutta la lunghezza e cuciture nei punti sottoposti a maggiore sollecitazione. L’imbottitura, rigorosamente in piuma d’oca, da 700 fill e il trattamento idrorepellente garantiscono il massimo isolamento dall’esterno. La Gotham Ltd Jacket appartiene alla Lifestyle Collection ed è la soluzione ideale per chi ama il confort e la praticità dei prodotti tecnici senza rinunciare allo stile; rappresenta una delle novità di questa stagione, in tiratura limitata, ed è realizzata in Twill impermeabile traspirante. È imbottita in morbido piumino d’oca 550, il capuccio staccabile si può indossare con o senza il bordo di pelliccia sintetica. La giacca è inoltre provvista di due tasche scaldamani, due tasche applicate sul petto e una interna per i dispositivi elettronici.

Mug Magazine issue 24, year XIV

PUFFA Colour and understatement characterise this down jacket, that symbolises the British spirit in snow sports. As far back as the 1970’s, the brand was already renowned for its raglan sleeves and its typically contrasting colour combinations on ski runs and in the streets of European capitals. A very light, highly technological garment and a style benchmark in the field of duvets, Puffa has for years been used by the English Olympic team, by the English Royal Family in their moments of relax, and by the scions of aristocratic families on the ski slopes of fashionable mountain resorts. Puffa has renewed itself over the years both by researching on high quality materials and by using a rich palette of contrasting colours. The lines Original and Alpine in Two Tones stick to the tradition of style and design of the brand’s earliest models; the Two Tones (see picture) merges the comfort and versatility that the brand has always focused on.

Besides being provided with unmistakable raglan sleeves, originally meant to allow the shoulders to move freely during sports activities, this down jacket is tailored in the classic two-colour nylon taffeta. The model Ventile shares its name with the waterproof natural cotton fabric it is made of. Legend has it that Ventile was patented by the army during the Second World War, to meet Churchill’s demand that food convoys sailing across the Arctic should be protected from the very low temperatures. The very high insulating power of this waterproof material enabled a great explorer like Sir Ranulph Fiennes to cross Antarctica. Ventile is provided with a 650-fill goose down padding that ensures comfort and protection against cold.

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HOX Colore e understatement per il piumino simbolo dello spirito british negli sport sulla neve. Famoso già negli anni 70, dalle piste da sci alle strade delle capitali europee, il marchio inglese ha innovato il genere grazie alla manica a raglan e ai suoi caratteristici accostamenti cromatici a contrasto. Capo tecnico leggerissimo e punto di riferimento nell’iconografia classica del piumino, Puffa ha accompagnato per anni la squadra olimpica inglese, i momenti di relax dei reali d’Inghilterra nonchè i rampolli dell’alta società sulle piste delle più mondane stazioni sciistiche. Le linee Original e Alpine in Two Tones conservano lo stile e il design dei primi modelli, come patrimonio del marchio, rinnovandosi attraverso gli anni nella ricerca di materiali di pregio e di una efficace palette di colori a contrasto. Il Two Tones (in figura) incarna la perfetta combinazione di comfort e versatilità, da sempre caratteristici del marchio; questo piumino infatti oltre ad essere dotato dell’inconfondibile manica raglan, inizialmente introdotta per aumentare la capacità di movimento della spalla (per l’uso sportivo del capo), evidenzia l’utilizzo del classico taffeta di nylon bicolore. Il tessuto che caratterizza il modello Ventile è invece l’omonimo cotone naturale waterproof. Si racconta che il Ventile sia stato brevettato in campo militare, durante la Seconda Guerra Mondiale, per rispondere all’esigenza di Churchill di proteggere dalle basse temperature i convogli di viveri che transitavano sull’Artico.

Grazie alle elevatissime prestazioni in fatto di isolamento termico e idrorepellenza, questo materiale ha permesso ad esploratori del calibro di Sir Ranulph Fiennes perfino di attraversare l’Antartico. Anche questa giacca vanta un’imbottitura in piuma d’oca di ben 650 fill, in grado di garantire grande confortevolezza e protezione dal freddo.

In 1998 Andrea Caldaro was well ahead of his time when he gave life to the project Hox, an initiative which marked the beginning of a policy of investment on research and design to boost his production of down jackets. At a time when the garment was going through a slack period, and its bulky look could be unbecoming to a woman’s body, the Firm decided to meet women’s demands by making tighter fitting jackets through technically advanced materials and tailoring techniques: fabrics reminiscent of tradition, to make slimmer and more practical garments with a precious finish. Hox is somehow the gene that governs the growth and change of new forms, a DNA sequence that triggers the development of new creations, a name that associates the brand with the idea of endless evolution. In the space of few years, not only has the Firm achieved great success with over 750 clients on the Italian market alone, but recent further developments in logistics and the launching of a new line of research at Pitti Immagine Uomo 2008 have proved that Hox is ready for another leap forward. The down jacket in the picture was created by focusing on volume and weight reduction without impairing the garment’s warmth and comfort. The high-quality down padding and the outer micro-polyester fabric give a special softness to this garment in Hox’s ‘Soft Touch’ line. The button-up hood, the six front pockets, the elastic wrist bands, and the highly performing materials are the distinctive features of a jacket that has changed to take on more practical features. The model RAFFA, instead, perfectly illustrates how the brand has achieved significant stylistic changes in traditional down jackets; the hardly perceptible pinstripes in the made-in-Japan memory material it is made of, the chenille wrist and waist bands, the hood rimmed with murmansky fur and lined with lapin inside are the unmistakable details that characterise this modern goose down bomber jacket.

HOX è un progetto nato nel 1998 dalla volontà di Andrea Caldaro di investire, in anticipo sui tempi, sulla ricerca e il design nella produzione di piumini. Il capo viveva allora una delle sue fasi più statiche ed in contrasto con i volumi ampi di quel periodo, talvolta poco femminili, l’azienda decise di lavorare su giacche più sfiancate utilizzando materiali e costruzioni interne tecnicamente avanzate, allo scopo di rispondere ad un’esigenza femminile ben precisa: volumi asciutti e praticità d’uso, tessuti dotati di memoria e finiture preziose. Hox è il gene regolatore della morfogenesi, una sequenza di Dna responsabile dello sviluppo degli organismi ma soprattutto un nome che lega questo marchio indissolubilmente all’idea di continua evoluzione. In pochi anni l’azienda ha infatti ottenuto un importante riconoscimento, vantando già ben 750 clienti solo sul mercato italiano. Il recente sviluppo della parte logistica e il lancio di una nuova linea di ricerca a Pitti Immagine Uomo 2008 ci dicono inoltre che Hox è pronta per un altro passo in avanti. La giacca in piuma d’oca (qui raffigurata) è stata interamente concepita intorno all’idea di ridurre volumi e peso specifico del capo, senza però minimamente compromettere capacità termica e comfort. L’imbottitura in piuma di altissima qualità ed il tessuto esterno in micro poliestere sono in grado di conferire al piumino, che appartiene alla serie “Soft Touch” di Hox, un’eccezionale morbidezza al tatto. La chiusura del cappuccio, le sei tasche frontali, i polsini in tessuto elasticizzato e la scelta di materiali altamente performanti sono i tratti distintivi di un capo evoluto all’insegna della praticità. Il modello Raffa è invece perfetta rappresentazione dell’evoluzione stilistica del piumino tradizionale proposta dal marchio; la leggera gessatura del tessuto esterno a memoria di forma, di provenienza giapponese, i polsini e il fondo realizzati in ciniglia e l’imbottitura del cappuccio, in pelliccia murmasky sul bordo e lapin all’interno, sono i dettagli inconfondibili di questo moderno bomber in piuma d’oca.

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 14 —

TINTORIA CRESPI —

The new challenge that the European textile industry has to face consists in the endless updating of the high professional potential it devotes to the quality, efficiency and promptness of their production. After duly considering their clients’ demands, firms like Tintoria G. Crespi have every day to devise new and original finishing effects to meet or even anticipate the market’s ever changing requirements.

Mr. Bruno Castro has for over thirty years been the production manager of this historic Firm, specialised in the upgrading of fabrics. He began his activity at the Tintoria when it was managed by Mrs. Lucia Crespi, and his collaboration now continues with Mrs. Crespi’s nephew Michele Ferrario. Mrs. Crespi, the Firm’s guide for over sixty years, was able to teach a lot to the people who worked for her: respect for clients, great and small, the

importance of synergy in team work, and the sense of belonging to a group are but a few of her teachings. An industry on a European scale, that invests each day on the determined people that make up its staff, the Tintoria still relies on the above values and on the collaboration of people who, like Bruno Castro, have made an important contribution to its success and must be credited with the excellent results it obtains each year.

Over the years, Mr. Castro’s experience and creativity has achieved revolutionary results in the finishing treatments of shirt fabrics. For example he devised an antifungal treatment that leads to odourless shirt cotton fabrics simply by exploiting the antibacterial potential of rock alum.

He also succeeded in obtaining natural stretch shirt fabrics through an innovative technique. After the natural cotton yarn has shrunk and taken on a sinuous look

Articles and images from the issue #14 of Mug Magazine – December 2007 / 文章とイメージは、 2007年12月発行のMug Magazine 14号に掲載されたものです。

through the finishing treatment, the new features it has acquired are made permanent through the use of chemical agents.

The resulting soft and elastic yarn enabled him to obtain a highly soft-feeling fabric, without having to resort to lycra or other fibres. At a time when the market’s demand for naturally treated organic fabrics was steadily increasing, the new finishing technique that Mr. Castro applied to natural cotton fabrics was of crucial importance.

With a potential that allows the treatment of over twenty million linear metres of fabric a year, the firm is constantly striving to devise ever new upgrading methods and invests on experiment and research that is bound to lead to endless innovation.

Mug Magazine issue 24, year XIV

La nuova sfida dell’industria tessile europea risiede nella costante salvaguardia dell’altissima professionalità che la contraddistingue, fatta di qualità, efficienza e tempestività produttive. Ogni giorno aziende come la Tintoria G. Crespi devono individuare, sulla base delle richieste dei clienti, nuovi e originali effetti di finissaggio, in grado di rispondere alle crescenti esigenze di mercato e talvolta di anticiparle. Da quasi trent’anni a dirigere la produzione di questa storica industria, dedita alla nobilitazione del tessuto, è il Sig. Bruno Castro. La sua avventura all’interno della Tintoria è cominciata ancora quando alla guida della Crespi era la Sig.ra Lucia Crespi e prosegue con il nipote Michele Ferrario. La Signora Lucia, per oltre sessant’anni il faro dell’azienda, è stata una donna in grado di insegnare molte cose alle persone che hanno lavorato per lei: il rispetto dei clienti, grandi o piccoli essi siano (in termini produttivi) ad esempio e soprattutto

l’importanza del lavoro di squadra, della sinergia lavorativa e del senso di appartenenza ad un gruppo. Valori che ancora oggi contraddistinguono l’attività di quest’azienda e lo spirito delle persone che come Bruno Castro l’hanno resa grande e stanno alla base degli ottimi risultati che industrie europee come la Crespi, sono in grado di raggiungere annualmente. Ogni giorno la Tintoria investe sulle persone che la compongono, sulla loro determinazione. L’esperienza e la creatività del Sig. Castro ha permesso infatti negli anni di introdurre sul mercato alcune inedite soluzioni di finissaggio per i tessuti da camiceria. Ha introdotto nella produzione aziendale, ad esempio, un finissaggio in grado di rendere antimicotico, cioè inodore, il tessuto in cotone per camicie, grazie alla semplice applicazione dell’allume di rocca e del suo effetto antibatterico sulla fibra. Ed è inoltre riuscito ad individuare un metodo innovativo per il conferimento

dell’effetto “comfort” (conosciuto altrimenti come natural stretch) al tessuto per camicie. A partire proprio dal filo naturale di cotone, dopo averlo fatto rientrare e reso sinuoso attraverso il finissaggio, è stato in grado di fissare la fibra naturale in questo stato, attraverso l’uso di agenti chimici. Rendendo in questo modo il filato morbido ed elastico per sua natura, egli è riuscito ad ottenere un tessuto altamente confortevole, senza il bisogno di ricorrere alla lycra o quant’altro. Individuando così una nuova soluzione di finissaggio per un tessuto naturale come il cotone, proprio in un momento di grande attenzione del mercato verso l’utilizzo di tessuti organici e trattamenti naturali. L’azienda, in grado di trattare oltre venti milioni di metri lineari di tessuto l’anno, guarda ora al costante raggiungimento di nuovi effetti di nobilitazione, investendo continuamente sulla sperimentazione, nel tentativo di un’innovazione costante.

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 14 —

YOKO ONO SOGNARE —

Yoko Ono is no doubt one of the most outstanding figures in contemporary culture. An eclectic artist, in the ‘60s she joined the movement Fluxus and shared the social and artistic engagement of those days’ generations. Yoko Ono is now the protagonist of ‘Sognare’, a personal exhibition at Treviso Santa Caterina Museum, open till January 7, 2008. Sponsored by Comune di Treviso, Lazzari Cultural Association and Archivio Bonotto, the exhibition offers a rich and varied selection of her works and underscores the features that illustrate at best the American artist’s creative power. A heartfelt attempt to start a dialogue with the Museum’s framework is the motif underlying works like ‘Blue Room Event’, which Yoko Ono created during her stay in Treviso. A set of extremely suggestive captions, hanging on the walls

Articles and images from the issue #14 of Mug Magazine – December 2007 / 文章とイメージは、 2007年12月発行のMug Magazine 14号に掲載されたものです。

of the Museum’s cloister, convey highly conceptual values in sentences containing instructions that cannot be physically carried out, but are meant to be materialised in the mind of readers.

With the new version of ‘My Mummy Was Very Beautiful’ the artist offers viewers an opportunity to interact with the work of art by asking them to leave a photo of their mother. The historically relevant ‘Wish Tree’ is a work in which the combination of sensibility and thought seems to bridge the Western and the Eastern World. In this case people are asked to write their deepest wishes on slips of paper and hang them on a tree’s branches. The exhibition ends with the suggestive marble version of ‘Play It by Trust’, in which a large, imposing, bright and pure chessboard has both marble squares and pawns in the same shade of white.

Mug Magazine issue 24, year XIV

Black has disappeared, and, as a consequence, the rules of the game appear subverted, the game itself, virtually endless, is the metaphor of an encounter leading to a meaningful relationship rather than to a conflicting one.

The artist’s strong personality conveys a world of values and messages through an exhibition meant to give visitors clues for reflection, to invite them to establish a relationship with the works on display, and to actively take part in a great creative event rather than be merely spectators.

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Mug Magazine issue 24, year XIV

Articles and images from the issue #14 of Mug Magazine – December 2007 / 文章とイメージは、 2007年12月発行のMug Magazine 14号に掲載されたものです。

Mug Magazine issue 24, year XIV

Yoko Ono è certamente una delle personalità più importanti della cultura contemporanea. Artista eclettica è stata tra gli aderenti del movimento Fluxus negli anni Sessanta e di quello straordinario fermento artistico e sociale che ha pervaso quelle generazioni. Ora la Ono è protagonista di una mostra personale (fino al 7 gennaio 2008) presso il Museo di Santa Caterina a Treviso intitolata sognare. La rassegna, promossa dal Comune di Treviso, dall’Associazione Culturale Lazzari e dell’Archivio Bonotto, propone un percorso articolato e ricco di spunti. Si possono cogliere gli aspetti che meglio caratterizzano la forza creativa dell’autrice americana. Un forte dialogo con il contesto museale che si nota in molti lavori come ad esempio nel Blue Room Event, realizzato da Yoko Ono durante il suo soggiorno a Treviso. Una serie di suggestive scritte apposte sui muri del chiostro del museo dal forte valore concettuale. Frasi che recano indicazioni impossibili sul piano fisico, ma che vanno costruite nella mente di ogni persona che si rapporta con esse. Molti i momenti di interazione, ad esempio la nuova versione del My mummy was very beautiful, in cui ogni visitatore è invitato ad apporre la foto della propria madre. Oppure lo storico lavoro Wish Tree, un’opera

che per sensibilità e riflessione sembra essere a cavallo tra Occidente e Oriente.

Le persone possono scrivere i loro desideri più profondi e appenderli nei rami degli alberi.A chiudere la mostra la suggestiva versione marmorea di Play It By Trust. Una grande scacchiera, imponente limpida e pura. Le caselle ed i pedoni del medesimo colore, il bianco. Il nero è scomparso, creando un sovvertimento delle regole del gioco per una partita virtualmente infinita. Questo è metafora di un rapporto che può essere di relazione e non necessariamente uno scontro. Una mostra ricca di valori e messaggi lanciati da un’artista dalla forte personalità. L’autrice pone molto spunti su cui riflettere, ci invita a confrontarci con i vari lavori, per non essere semplici visitatori, ma parte attiva di un grande processo creativo.

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 14 — DESIGNER —

ROBERT CLERGERIE —

The skilful merging of taste, refinement and intuition has seen Robert Clergerie throughout his growing development.

During the 1960’s Mr. Clergerie worked for the brand Xavier Danaud in collaboration with Roland Jourdan.

In 1978 he decided to create a line of footwear of his own, and took over Societé Romanaise de la Chaussure (SRC), renowned for the production of Unic and of the prestigious men’s line Joseph Fenestrier. Only three years later, he started his first shop at Saint Germain des Prés and his first women’s collection, both of which immediately met with great international success. In 1983 he also set up the first exclusive shop J. Fenestrier. Throughout the 80’s and the early 90’s, as the Firm was on its way to steady growth, the brand was consolidated and distributed over most of France, in several European countries, the USA and Asia. From 1996 to 2001, after he sold off a considerable portion of his shares to a financial group, Robert Clergerie held the position of creative consultant, but, some time later he took over the whole of the firm’s shares, and the Maison recovered its former splendour under his guidance. Today Clergerie’s activities include, among others, collaborations, new collections and special initiatives.

Articles and images from the issue #14 of Mug Magazine – December 2007 / 文章とイメージは、 2007年12月発行のMug Magazine 14号に掲載されたものです。

La storia di Robert Clergerie è un sapiente intreccio di gusto, raffinatezza e intuito. Nel corso degli Anni ’60 Mons.

Clergerie lavora a lungo per il marchio Xavier Danaud, in collaborazione con Roland Jourdan; nel 1978 decide di creare una sua linea di calzature, acquisendo la Societe Romanaise de la Chaussure (SRC), nota per la produzione di Unic e della prestigiosa linea maschile Joseph Fenestrier. Dopo soli tre anni inaugura il primo negozio in Saint-Germain-des-Pres e debutta la sua prima collezione donna: il successo è immediato e internazionale. Nel 1983 viene aperto anche il primo negozio esclusivo J. Fenestrier. In anticipo rispetto ai tempi, il periodo compreso tra gli Anni ’80 e i primissimi ‘90 è caratterizzato dalla crescita della società e il consolidamento del marchio: la sua distribuzione arriva presto a coprire gran parte della Francia e coinvolge svariati paesi Europei, gli Stati Uniti e l’Asia. Dal 1996 al 2001 Robert Clergerie riserva per sè il ruolo di consulente creativo, cedendo gran parte delle sue quote societarie a un gruppo di investitori finanziari, per poi procedere con la riacquisizione totale dell’azienda che sotto di lui tornerà a splendere nuovamente. Oggi la maison è impegnata su più fronti, tra collaborazioni, nuove collezioni e speciali iniziative.

Mug Magazine issue 24, year XIV

BACK IN THE DAYS —

MUG MAGAZINE ANNO 8 NUMERO 15 2008 —

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 15 — SHOWCASE —

THE BUCKET BAG

Women’s bags made their appearance among accessories at the end of the XIX century, when women started to travel and had to bring along a number of objects. Rich in compartments, the bags, which often bore the owner’s initials, first became widespread early in the XX Century, although their spread came to a standstill with World War I, when the frivolities and worldly light-heartedness of the Belle Epoque were set aside and made way for functional, robust models.

The end of the War saw the rise of a new dynamic, sporty, masculine-like type of woman, and new models of bags were created to suit the taste of those ‘crazy years’. The first pochette bags were followed by larger bags to be carried on the arm, in the style of the suffragettes.

As Coco Chanel became the interpreter of an elegant and comfortable feminine look, Elsa Schiapparelli matched her fanciful bags with hats drawing on the most varying sources of inspiration. In the very years when Hermès was prominent on the Parisian scene, and Gucci and Gherardini were renowned in Italy, one of the first bucket bags made its appearance, one of the most peculiar models in the history of accessories.

In fact, Elsa Schiapparelli’s first cylindrical bucket bag dates from 1935, and Gucci’s pigskin leather one from 1937, whereas it was Hermès who proposed it to the general public as a summer accessory.

Marked by the gloomy atmosphere of the war and by the restrictions brought about by autarky, the Forties saw the advent in Italy of new materials of poorer quality, like autarkic leatherette and ‘mermaid skin’ (dentex) which came to be used to make articles like the bucket bag generally manufactured with valuable materials.

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Articles and images from the issue #15 of Mug Magazine – June 2008 / 文章とイメージは、 2008年6月発行のMug Magazine 15号に掲載されたものです。

At the end of World War II Paris took on a primary role in fashion and took the lead in rediscovering the taste for refinement, self-care and fashionable life. Fabrics and colours in accessories were increasingly matched to footwear, and, after their formal style of the Fifties, the items went through a new season of experiment.

Structured forms became widespread (travelling cases, briefcases etc.), and the changes in the lifestyle of women, now more and more dynamic, led to the permanent success of functional models. In those years the bucket bag featured permanently among the proposals of the leading fashion firms, and in the catalogues of the most renowned brands of leather goods.

Few accessories have enjoyed the long-lasting success and versatility of the bucket bag, and few bag models have by comparison had as many varying interpretations in the world of luxury and fashion.

Mug Magazine issue 24, year XIV

La borsa, nella sua accezione femminile, fa il suo ingresso tra gli accessori alla fine del XIX° secolo, periodo in cui le donne cominciano a viaggiare frequentemente e ad avere la necessità di portare con loro numerose suppellettili.

Ricche di scomparti e spesso marchiate con le iniziali della proprietaria, le borse conoscono una prima diffusione agli inizi del ‘900, subito interrotta dal Primo Conflitto Mondiale. In quegli anni la frivolezza della Belle Epoque e la spensieratezza della mondanità vengono messi da parte e trovano spazio modelli funzionali e robusti.

Alla conclusione del conflitto, abbiamo di fronte una nuova donna, dinamica, sportiva, talvolta androgina (à la garçonne) e nuovi modelli di borse che finiscono per assecondare il gusto di quegli “Anni Folli”.

Compaiono le prime pochette ma anche delle borse comode, da appendere al braccio, nello stile delle Suffraggette.

Mentre Coco Chanel diventa l’interprete di una femminilità rigorosa, elegante e confortevole, Elsa Schiapparelli abbina alle sue fantasiose borse cappelli dalle ispirazioni più disparate. E proprio negli anni in cui Hermès è attivo a Parigi e Gucci e Gherardini lo sono in Italia, vede la luce una delle prime borse a secchiello: in assoluto uno dei modelli più particolari nella storia dell’accessorio. È infatti del 1935 il primo secchiello cilindrico di Elsa Schiapparelli e del 1937 quello in cinghiale presentato da Gucci; Hermès successivamente lo farà conoscere al grande pubblico, proponendolo come accessorio estivo.

Gli anni ’40, segnati dal clima di cupezza della guerra e dalle restrizioni autarchiche, diffonderanno in Italia nuovi materiali, tendenzialmente più poveri. Faranno la loro comparsa il cosiddetto cuoietto “autarchico” (similpelle) e il dentice, che verranno impiegati anche sulle borse come il secchiello in genere realizzate con pellami pregiati.

Al termine della Seconda Guerra Mondiale Parigi assumerà un ruolo primario per la moda e riscoprirà, per prima, il gusto della vita mondana, della raffinatezza e della cura di sé.

Gli accessori diventeranno sempre più spesso abbinabili alle scarpe, per tessuti e colori, e dopo aver superato il formalismo stilistico degli anni ’50, conosceranno un nuovo periodo di sperimentazione.

Le forme strutturate saranno molto diffuse (bauletti, cartelle, ecc.) e il cambiamento dello stile di vita delle donne, sempre più dinamiche, decreterà il definitivo successo dei modelli funzionali. Saranno quelli gli anni in cui la borsa a secchiello guadagnerà un posto fisso tra le proposte delle più importanti maison di moda e nei cataloghi dei più celebri marchi di valigeria.

Pochi accessori hanno conosciuto un successo così duraturo e una tale versatilità, così come pochi modelli di borsa sono stati interpretati dalle più diverse realtà del mondo della moda e del lusso.

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Mug Magazine issue 24, year XIV

Louis Vuitton’s leather bags and suitcases have made an important contribution to the history of luxury leather-goods, the embodiment of a cosmopolitan, avant-garde fashion mindful both of traditions and handicraft.

The Firm’s history started as far back as 1835, nearly two centuries ago, when young Louis Vuitton left his village to seek his fortune in Paris. At the age of 14 he started his adventure by serving as an apprentice in the workshop of a trunk manufacturer. His fame soon spread throughout Europe, to the extent that in 1857 he decided to set up a ‘maison’ of his own where he created the renowned Vuitton trunk, to this day an icon of elegance and style. The Monogram Canvas texture with the initials L. V. would soon become a must and the distinctive mark of timeless models of bags and trunks; the opening in 1914 of the Maison’s first Champs Elysées store amounted to the conquest of the heart of Paris, and after World War II the Firm started to open countless shops all over the world. The Noah Bag – from the name of the wine-loving biblical figure – was created in 1932 to meet the curious demand of a Champagne maker who wished for a bag that could contain five bottles of the renowned French sparkling wine. The Louis Vuitton Bucket, an archetype of the bucket bag, was instead created in 1968, and is to this day one of Vuitton’s clients’ favourite model.

Le borse e le valigie in pelle Louis Vuitton hanno scritto le pagine più importanti della storia della valigeria di lusso e sono state portatrici di una moda cosmopolita, all’avanguardia e non dimentica delle tradizioni e dell’artigianalità. La sua storia comincia quasi due secoli fa, quando nel lontano 1835, il giovane Louis Vuitton abbandona il suo paese natale per cercare fortuna a Parigi; a soli 14 anni trova lavoro come apprendista presso uno dei tanti fabbricanti di bauli dell’epoca e comincia la sua avventura. Ben presto la sua fama si diffonde in tutta Europa, tanto da spingerlo, nel 1857, alla creazione di una sua maison e alla firma del celebre baule Vuitton, ancor’oggi icona di eleganza e di stile.

La texture Monogram Canvas con le iniziali L.V. diventeranno presto un must e il segno di riconoscimento di modelli di borse e bauli senza tempo; l’inaugurazione nel 1914 del primo negozio sugli Champs Elysées è la conquista del cuore di Parigi e già nel secondo dopoguerra, in tutto il mondo, comincia l’apertura di numerosi punti vendita. La Noè Bag – dal nome del leggendario personaggio biblico amante del vino – nasce nel 1932 per soddisfare una curiosa richiesta di un produttore di Champagne che desiderava una borsa che riuscisse a contenere cinque bottiglie del famoso spumante francese. La Louis Vuitton Bucket, archetipo della borsa a secchiello, viene invece creata nel 1968 ed è tutt’oggi uno dei modelli più amati della collezione.

HENRY CUIR

Timeless handmade models sewn by hand out of soft leather and decorated with natural materials; Henry Cuir is an international benchmark for the manufacture of leather products and for the creation of bags, footwear and women’s accessories.

A thirty-year experience, the various stores in Italy, France, Japan and the USA, the strength and consistency of its models have led the brand to unquestionable success over the years.

Far from following trends slavishly, Henry Cuir items express the strong artisanal inspiration that controls their imaginative handling of valuable leather and their taste for colour.

The element that characterises each collection is the typical saddle-stitching based on the use of highly resistant, waterproof waxen flax thread; in warm shades reminiscent of earth colours, the models are aesthetically enriched by the employment of murrhine glass, glass pearls, amber, bone, bronze, turquoise and coral. Even because they are enhanced by the above mentioned materials, Henry Cuir bucket bags can acquire a somewhat ironic appeal. Decorative seams, the skilfully combined employment of different skins and a joyful use of colours are the elements that stand for the unconventionality of the firm and of its public.

Articles and images from the issue #15 of Mug Magazine – June 2008 / 文章とイメージは、 2008年6月発行のMug Magazine 15号に掲載されたものです。

Modelli senza tempo realizzati in morbida pelle, lavorata e cucita a mano, decorati con materiali naturali; Henry Cuir è un punto di riferimento internazionale per la lavorazione della pelle e la creazione di borse, scarpe e accessori per donna. Forte di un’esperienza trentennale e di diversi punti vendita in Italia, Francia, Giappone e Stati Uniti, il marchio ha saputo imporsi nel tempo grazie alla forza del prodotto e alla sua grande coerenza. I prodotti Henry Cuir segnano la distanza dalle mode ed esprimono una forte ispirazione artigiana, tipica di chi sa trattare nobili pellami con fantasia e gusto del colore.

Elemento caratterizzante di ciascuna collezione è la cucitura “sellaio” basata sull’impiego di filo di lino cerato, a garantire resistenza e impermeabilità, tinto con nuance calde e colori tipici della terra, secondo un’estetica personale impreziosita dall’impiego di murrine, perle di vetro, ambra, osso, bronzo, turchese e corallo.

Anche i secchielli Henry Cuir mantengono l’applicazione di questi elementi, in grado di conferire un appeal a tratti ironico a questi modelli: tra cuciture-decoro, sapienti intrecci di pelli e un uso gioioso del colore, queste borse confermano l’anticonformismo delle scelte della maison e del loro pubblico.

Mug Magazine issue 24, year XIV

IL BISONTE

Luxury in terms of valuable skins and models that can outlast all trends: this is how ‘Il Bisonte’ presents itself, with the achievements of a 40-year tradition and the firm resolution never to give up experimenting on new materials and ideas.

For the autumn-winter season 20082009 the novelties are crocodile-printed nabuk and vintage-effect gold coloured natural leather, besides the new brownish cognac and black; the models have increased their functionality but have a high aesthetic standard and smart finishing touches: personalised locks, buckles and rings in burnished brass, caramel, khaki, brown and black cotton canvas in contrast with printed leather. Presented last winter at Première Classe (Paris) the new products have confirmed the strength of the understatement of the Florentine brand, renowned all over the world for the strong personality of its bags, accessories and vegetable-tanned leather overnight bags.

Among the historical items in the collections of Il Bisonte the unmistakable bucket bag in soft natural leather, characterised by neat lines and its latest reinterpretation with style details like the ‘coulisse’ shutter and the soft double strap handles. Updated in its enlarged size, the model is still characterised by a typical wide bottom and a soft rectangular silhouette with rounded corners.

Un lusso inteso come pellami di pregio e modelli in grado di andare al di là delle mode: Il Bisonte si presenta così, con la sostanza di una storia lunga quasi 40 anni e il desiderio di non smettere mai di sperimentare nuovi materiali e idee.

Per l’Autunno-Inverno 2008/09 le novità sono il nabuk stampa cocco e la vacchetta trattata oro, ad effetto vintage, oltre che i nuovi colori bruciati cognac e nero; i modelli accentuano la loro funzionalità senza perdere in estetica e rifiniture ad effetto: chiusure personalizzate, fibbie e anelli in ottone brunito, canvas di cotone color caramello, kaki, marrone e nero usati a contrasto con la pelle stampata. Presentati questo inverno a Premiere Classe (Parigi) i nuovi prodotti hanno confermato la forza dell’understatement del marchio fiorentino, celebre in tutto il mondo per la forte personalità di queste borse, accessori e ventiquattrore in pelle a concia vegetale.

Tra i pezzi storici delle collezioni Il Bisonte immancabile il secchiello in morbida vacchetta, dalle linee pulite e la sua più recente reinterpretazione curata nei dettagli di stile, come la chiusura a coulisse e i manici morbidi a doppia cinghia. Aggiornato nelle dimensioni, oggi più importanti, il modello continua ad essere caratterizzato dal tipico fondo largo e dalla morbida forma rettangolare ad angoli stondati.

MANDARINA DUCK

Mandarina Duck was born in Bologna in 1977 from an idea of Paolo Trento, to this day the manager of the Firm with Pietro Mannato. The innovative design, the bright colours and the light but resistant materials soon proved to be the right choice. Bags and accessories, symbolised by the famous Mandarina Duck (which stands for happiness and faithfulness), were immediately appreciated by lovers of a dynamic, informal but fashionable lifestyle. Furthermore, as early as 1983 Mandarina Duck Group was one of the first firms to promote sales in single label stores, so much so that it can today pride itself on a world wide distribution in 1,000 shops, eighty of which are flagship stores of the brand. Moreover, a few years ago the Firm embarked on a new project: in fact, in 2002 it presented a collection of watches, eyeglasses and sunglasses, and in 2004 a line of cosmetics. The Firm’s great success on the international market is proved by the new agreements signed with BMW for the creation of bags and accessories labelled MINI, a partnership with Tommy Hilfinger and an important collaboration with LA PERLA. Informal, comfortable, casual: that’s how the bucket bags of the new Spring/Summer Mandarina Duck collection can be defined. The bucket bags of the line Verve are entirely made of leather and characterised by extremely careful details; they have four inside pockets and their openings are closed by a lid in technical fabric. The white or black versions are available in two sizes: a small and practical one, and a larger one with a pocket in its lower part for ladies who want a capacious accessory.

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Mandarina Duck nasce nel 1977 a Bologna, da un’idea di Paolo Trento, tutt’oggi a capo dell’azienda insieme a Pietro Mannato. Il design innovativo, i colori accesi e i materiali leggeri ma resistenti si rivelano presto una scelta vincente. Borse e accessori, simboleggiati dalla famosa Anatra Mandarina (animale che rappresenta la felicità e la fedeltà), vengono subito apprezzati dagli amanti di uno stile di vita informale, attivo e sempre alla moda.

Il Gruppo Mandarina Duck è inoltre, già nel 1983, uno dei primi a promuovere la vendita nei negozi monomarca, tanto da vantare oggi una distribuzione mondiale di 1000 punti vendita, ottanta dei quali sono flagship del marchio. Da alcuni anni inoltre l’azienda ha iniziato una nuova avventura: nel 2002 ha presentato una collezione di orologi e occhiali e nel 2004 una linea di cosmesi. L’affermazione nel mercato internazionale continua a trovare delle conferme: nuovi accordi siglati con BMW per la creazione di borse e accessori firmati MINI, una patnership con Tommy Hilfinger ed un’importante collaborazione con LA PERLA. Informali, comode, casual: sono le borse a secchiello della nuova collezione Primavera/ Estate Mandarina Duck. Le borse a secchiello linea Verve sono realizzate completamente in pelle e curate nei minimi dettagli, presentano quattro tasche esterne e un tessuto tecnico in corrispondenza dell’apertura della borsa. Nelle versioni bianco o nero, sono disponibili in due misure: una piccola e pratica, l’altra molto capiente con una tasca inferiore per le donne che amano un accessorio spazioso.

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 15 — STORE —

BADOU-R 45 RPM —

Badou–R is located at Aoyama, Tokyo, a few yards from 45rpm’s headquarters.

As we spot the discreet building from Roppongi Street, we immediately understand that it was planned precisely to stand for the brand’s spirit. After a small fountain welcomes us, a bamboo hedge sees us along the path to the store’s entrance. We immediately feel a sense of detachment from the frenzy outside.

The clients’ shoes left before the entrance door warn us to remain barefoot before entering the store. We go in. The rich warmth of wood enfolds us as we visit the store’s premises one after the other. A neat, spontaneous display; far from being aggressively arrayed, the products attract us and seem to make room for us.

Trivial details around enhance the natural character of items and fittings.

This is only one of 45rpm’s 51 Japanese stores, but is definitely the most exciting and of basic importance to understand the brand’s philosophy.

Over 30 years have passed since the project was born, and since 45rpm started their handmade production of denim with entirely natural procedures, materials and dyes. Only in the last decade, though, has the public begun to deeply realise how upto-date this approach is to life and things. Badou–R borders somehow on the quintessence of Japanese aesthetics, on imperfect unaccomplished beauty, a beauty that won’t persist.

Badou-R sorge ad Aoyama, Tokyo, a due passi dal quartiere generale di 45rpm. È sufficiente scorgere la sua discreta presenza dalla Roppongi Street per comprendere quanto esso sia stato concepito per essere rappresentazione dello spirito del marchio. Una piccola fontana ci accoglie ed una siepe di bamboo ci accompagna lungo il sentiero che conduce all'ingresso del negozio. Subito respiriamo una certa distanza dalla frenesia fuori. Le scarpe dei clienti abbandonate davanti all'uscio ci invitano a restare scalzi prima di accedere al negozio. Entriamo.

Tutto il calore del legno ci abbraccia mentre visitiamo le stanze, una dopo l'altra.

L'esposizione è spontanea, composta, i prodotti non ci assalgono, anzi, sembrano farci spazio.

La naturalità di quei capi e degli arredi semplici emerge dai più piccoli dettagli intorno Questo è solo uno dei 51 negozi giapponesi di 45rpm ma è di sicuro il più emozionante ed è fondamentale per comprendere la filosofia del marchio.

Sono passati più di trent'anni dalla nascita di questo progetto e da quando 45rpm ha cominciato la sua produzione artigianale di denim con procedimenti, materiali e coloranti completamente naturali. Solamente nell'ultimo decennio però il pubblico ha cominciato ad apprezzare veramente la grande attualità di questo approccio alla vita e alle cose. Badou-R ci avvicina almeno un po' alla quintessenza dell'estetica giapponese, alla bellezza imperfetta, incompleta, quella che non permane.

Articles and images from the issue #15 of Mug Magazine – June 2008 / 文章とイメージは、 2008年6月発行のMug Magazine 15号に掲載されたものです。

Mug Magazine issue 24, year XIV

The ‘perfect’ shirt: this is Steven Alan’s idea, at once a curious and ingenious one. Over the years the idea has become a real philosophy that has led him to realise models, first for men and later for women, characterised by a ‘perfect’ fit. Steven Alan’s inspiration took shape as he met different people and cultures during his frequent visits to foreign countries, first of all to Europe and Japan. Alan is a keen observer, and the ideas for his collections are somehow the reinterpretation of what surrounds him: from the urban style, to artists’ and street people’s clothing. His refined shirts, with small finishing details that make them unique, are highly appreciated for their excellent flexibility. Each item is washed and treated so as to achieve a fashionable vintage effect; the fabrics of products undergo frequent renewal, to the extent that each garment becomes a real collection item. Classical lines are re-interpreted according to a modern outlook by young designers whose innovative ideas have set the trend in the market. Care for details and a profound aesthetic conception are the strong points of a brand that keeps growing in the world of fashion. Steven Alan’s first store was inaugurated in Manhattan in 1994; his first Showroom dates from 1996, whereas in 1999 he signed his first men’s collection followed by a women’s line.

Today Steve Alan is a real cult brand, his output ranges from trousers to knitwear, from jackets to accessories which are sold in over four hundred stores all over the world.

La camicia “perfetta”: è questa l’idea – curiosa e allo stesso tempo geniale – di Steven Alan. Un’idea che diventa con gli anni una vera e propria filosofia di vita e lo porta alla ricerca della realizzazione di modelli (per uomo prima e donna poi) “perfetti” nella loro vestibilità. L’ispirazione di Steven Alan nasce dall’incontro di diverse culture e persone durante i suoi numerosi viaggi nei vari paesi stranieri, in primis in Europa e in Giappone. Alan è un attento osservatore, le idee per le sue collezioni sono la re-interpretazione di ciò che lo circonda: dall’urban style all’abbigliamento di artisti e gente di strada. Le camicie, di gusto fine e con dei piccoli particolari che le rendono uniche, sono apprezzate per la loro ottima adattabilità. Ogni capo viene lavato e trattato per creare quell’effetto vintage sempre di moda; il tessuto dei prodotti viene rinnovato molto spesso tanto da rendere ogni indumento un vero e proprio oggetto da collezionare. Le linee classiche vengono ridisegnate in chiave moderna da giovani designers dalle idee innovative che hanno conquistato il mercato. Un’attenzione per i dettagli e un profondo senso estetico sono i punti di forza di un marchio che è in continua ascesa nel mondo del fashion. Il primo negozio di Steven Alan a Manhattan è stato inaugurato nel 1994, nel 1996 apre il primo Showroom, nel 1999 firma la prima collezione Uomo, seguita dalla linea Donna: oggi il brand è un vero cult, la sua produzione si estende dal pantalone alla maglia, dalla giacca agli accessori ed è venduto in più di 400 punti vendita in tutto il mondo.

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BACK IN THE DAYS — MUG MAGAZINE NUMERO 15 — STORE —

STEVEN ALAN —

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 15 — DESIGNER —

MAGIS EUGENIO PERAZZA —

Magis was born 32 years ago, the outcome of Eugenio Perazza’s determined creativeness.

This gentleman, whose lively talk still conveys boundless enthusiasm, is reckoned first in Wallpaper’s list of the ten people that will most change our lifestyle in the next few years.

Unlike many famous designers, Perazza’s background was in no way connected with design, a world that he approached on tiptoe and relatively late in life. As he likes to say, his approach had the taste of a ‘cultural contrast’.

Born in Ceggia (Venice) and not in Brianza, he decided to devote himself to design just to oppose the work style of the neighbouring industries, more accustomed to copying than to designing.

The chair X-Line by Niels Jorgen Haugesen was the first turning-point for Magis, but Eugenio Perazza reached the peak of success only around 199293 when he met Stefano Giovannoni and Jasper Morrison.

Perazza literally revolutionised production through the frequent use of new technology (the first chairs realised by the technique of first and second generation gas-moulding were Magis’ creation), a revolution based on courage, patience, coherence and a deep faith in planning.

If just ten years ago very few firms used plastics in furniture, it will appear evident that Magis really led the way in this field. Then, in 1996, Giovannoni

designed the stool Bombo, and Jasper Morrison created his Air Chair in 2000.

When in 2003 Konstantin Grcic created Chair_One, the model marked a further turning point for the Firm thanks to the introduction of aluminium pressure die-casting: an extraordinary and unique project, a ‘skeletal’ chair, made up of countless triangular facets, where voids prevail over solids and give it a peculiar aesthetic quality…

In 2004 Magis started the Me Too adventure, with a collection entirely created for children, while in 2005 it presented the Striped Collection by the Bouroullec brothers.

Few firms can pride themselves on as frequent and continuing collaborations as Magis with the greatest world designers.

Unfortunately, we are now living in an age which is different to the one in which Magis started its activity, even because the word ‘project’ has failed to preserve its original meaning. This is the age of ‘Fast Designing’, of figures and sales, of increasingly lesser project qualities.

However, there is still plenty of room in the market for firms like Magis, and for entrepreneurs who, like Eugenio Perazza, have always believed that design project feasibility is conditional to its quality, meaning and plausibility. It is firms like Magis that the future of design must rely upon.

Magis è nata 32 anni fa dall'ingegno e dalla determinazione di Eugenio Perazza.

Quest’uomo, che oggi parla animatamente di fronte a noi senza smettere di trasmettere tutto il suo entusiasmo, è stato annoverato da Wallpaper al primo posto tra le 10 persone che nei prossimi anni cambieranno e influenzeranno di più la nostra maniera di vivere.

A differenza di molti nomi illustri del design, Perazza non proviene da questo mondo e non vi è cresciuto. Diciamo piuttosto che vi si è avvicinato in punta di piedi e relativamente tardi. Ama dire di averlo fatto per “contrasto culturale”.

Originario di Ceggia (Venezia) e non brianzolo ha infatti deciso di cominciare a “fare” design giusto in contrapposizione al modo di lavorare delle industrie che lo circondavano, abituate più a copiare che a progettare.

La svolta iniziale di Magis è avvenuta con la sedia X-Line di Niels Jorgen Haugesen, ma per il successo Eugenio Perazza ha dovuto attendere fino agli anni del suo incontro con Stefano Giovannoni e Jasper Morrison (1992-3).

La sua è una rivoluzione fatta a colpi di nuove tecnologie (di Magis le prime sedie realizzate con la tecnica del gasmoulding di prima e seconda generazione), fatta di coraggio, di pazienza, di coerenza, ma soprattutto di grande fiducia nella progettualità. La produzione di Magis è stata pionieristica nell'utilizzo della plastica, se si pensa a quanto poche fossero, anche solo dieci anni fa, le aziende

Articles and images from the issue #15 of Mug Magazine – June 2008 / 文章とイメージは、 2008年6月発行のMug Magazine 15号に掲載されたものです。

che impiegavano questo materiale. Del 1996 è lo sgabello Bombo di Giovannoni, del 2000 l'Air Chair di Jasper Morrison.

Del 2003 è la Chair_One di Konstantin Grcic, un modello che ha segnato una svolta epocale nell'azienda, grazie all'introduzione della pressofusione di alluminio: un progetto straordinariamente unico, una sedia “scheletrica”, fatta di tante faccette triangolari, dove i vuoti prendono il sopravvento sui pieni, caratterizzandone la qualità estetica…

Nel 2004 comincia l'avventura di Me Too, collezione interamente pensata per l'infanzia e del 2005 è la presentazione della Striped Collection dei fratelli Bouroullec.

Sono davvero pochi a poter vantare delle collaborazioni così frequenti e continuative con i più grandi nomi del design mondiale.

Ma gli anni che viviamo ora sono diversi.

Lo sono rispetto a quelli in cui Magis ha mosso i primi passi e lo sono soprattutto per la perdita di significato della parola “progetto”.

Questi sono gli anni del Fast Designing, gli anni dei numeri e dei fatturati, delle qualità di progetto sempre più rare.

Quello che però è chiaro è che c'è ancora spazio per aziende come questa.

C'è ancora spazio per chi, come Eugenio Perazza, ha sempre creduto che i progetti di design debbano essere presentati solo se hanno una qualità, un senso e una giustificazione, ed è in aziende come questa che noi riponiamo piena fiducia per il futuro del design.

Mug Magazine issue 24, year XIV

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 15 — DESIGNER —

NICOLAS GHESQUIÈRE —

Articles and images from the issue #15 of Mug Magazine – June 2008 / 文章とイメージは、 2008年6月発行のMug Magazine 15号に掲載されたものです。

Mug Magazine issue 24, year XIV

Over the last ten years Nicolas Ghesquière has been able to start a new course in the history of Balenciaga by working out new style trends and by exploring farther and farther domains.

Ghesquière tells us that when he was only 18 he left his native village to move to Paris where he devoted himself completely to fashion, his greatest passion. In fact, after few months he started a fruitful collaboration – which came to an end in 1992 - with Myriam Schaefer, Jean Paul Gaultier’s righthand collaborator. He later worked as a freelance designer for some French firms, until he was offered the opportunity to design under licence Balenciaga’s collections for the Japanese market, and, in 1997, at about 26 years of age, he was appointed Creative

Director of the brand and entrusted with the design of its main line.

In a short time, his great originality and balanced relationship with the Balenciaga tradition gained him the attention of the international press. In 2000 he was awarded the title of ‘avantgarde designer’ of the year by the VHI-Vogue Fashion Awards, and in 2001 he won the CFDA’s “Womenswear Designer of the Year” prize, an event that made his name outstanding among stylists.

After Balenciaga was taken over by PPR Group, the ‘maison’ started to expand under Ghesquière’s guidance. While doing away with stereotypes, Ghesquière merged styles and direct references to far off countries and cultures which enabled him to surpass the concept of ‘couture’ and the common idea

of luxury. Furthermore, the care for and attention to clients’ new demands in this field of fashion bear witness to the fashion designer’s great respect for the public.

The absolute creative freedom which Nicolas Ghesquière has been devoting to his collections since he started his activity has enabled the stylist to fully show his rich expressive potential and to shun all compromise. His innovative, architectural style has the power to bring about the reconciliation of extremes while playing with the contrasts between past and present, with austerity and excess, in line with the maison’s best tradition. Delicate patterns and deep colours, printed and painted on the fabrics, alternate with the use of a wide range of greys in dresses and skirts with clean-cut side slits.

For the autumn season 2008 Ghesquière goes as far as to merge the rigorous lines and the dramatic character of ‘noir’ atmospheres with the luminescence of high-tech plastic surfaces.

The continuity between the collection and the stylist’s perfect command of the brand’s style heritage enable us to enjoy a creative path so clearly outlined season after season that we can’t but find it absolutely amazing.

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In poco più di 10 anni Nicolas Ghesquière ha saputo imprimere un nuovo corso alla storia di Balenciaga, tracciando sentieri stilistici inediti ed esplorando territori sempre più lontani.

Ghesquière racconta di aver lasciato a soli 18 anni il suo paese natale per trasferirsi a Parigi e dedicarsi completamente alla sua più grande passione, la moda. Già dopo pochi mesi infatti comincia la sua fruttuosa collaborazione con il braccio destro di Jean Paul Gaultier, Myriam Schaefer che proseguirà fino al 1992. Successivamente lavora come freelance per alcune aziende francesi, fino a quando non gli si prospetta l’occasione di disegnare le collezioni sotto licenza di Balenciaga per il mercato Giapponese.

A meno di 26 anni, nel 1997 viene

chiamato a disegnare la main line del marchio e promosso Direttore Creativo.

In breve la sua spiccata originalità e l’equilibrato legame con la tradizione di Balenciaga gli fanno meritare l’attenzione della stampa internazionale.

Nel 2000 riceve il titolo di “avant-garde” designer dell’anno dalla VHI-Vogue Fashion Awards e viene insignito, nel 2001, del premio di “Womenswear Designer of the Year” della CFDA. È la consacrazione.

Con l’acquisizione di Balenciaga da parte del Gruppo PPR la maison comincia, sotto la guida di Ghesquière, la sua espansione.

Il superamento degli stereotipi, la mescolanza di generi e i continui riferimenti diretti a territori e culture lontane sono solo alcuni degli ingredienti che hanno permesso a Ghesquière

di andare oltre al concetto di couture e all’idea comune di lusso. L’attenzione per le rinnovate esigenze della clientela di questo settore è testimonianza del grande rispetto per il pubblico di questo fashion designer.

L’assoluta libertà creativa con cui, sin dall’inizio, Nicolas Ghesquière ha potuto approcciare le sue collezioni è inoltre la garanzia di una totale possibilità espressiva, al di là di qualsiasi compromesso. Uno stile innovativo, architetturale, in grado di far dialogare gli estremi e giocare con i contrasti di passato e presente, con gli eccessi e l’austerità, come nella migliore tradizione della maison. Fantasie delicate e colori profondi, stampati e dipinti sul tessuto, si alternano alle applicazioni della scala di grigio sugli abiti dagli spacchi decisi. Per l’Autunno 2008 Ghesquière si

Articles and images from the issue #15 of Mug Magazine – June 2008 / 文章とイメージは、 2008年6月発行のMug Magazine 15号に掲載されたものです。

spinge fino a mescolare il rigore delle linee e la drammaticità delle atmosfere noir alla luminescenza di plastiche superfici high-tech.

La continuità tra le collezioni e la perfetta padronanza del patrimonio stilistico del marchio ci rendono partecipi, stagione dopo stagione, di un percorso creativo ben delineato che non smette mai di stupirci.

Mug Magazine issue 24, year XIV

BACK IN THE DAYS —

MUG MAGAZINE ANNO 8 NUMERO 16 2008 — —

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 16 — SHOWCASE —

THE DUFFLE COAT —

The ‘duffle coat’ is a garment that represents at best the British Style in clothing, but to know about its origins we must move to Flanders. Those who first wore a ‘duffle coat’ were in fact Belgian fishermen, who, exposed to the chilly winds from the North Sea, realised that they could best be protected from the cold by the heavy cloth ‘Duffel’. This particular woollen cloth, in fact, draws its name from Duffelzandhoven, the village near Antwerp where it was originally manufactured. The Duffle coat first became popular when it made its debut as a military garment. During World War I the British Navy sailors used to wear long jackets that already showed all the distinctive features of the coat: the duffel cloth they were made of, the front toggle fastening and frogs easily done up and undone even while wearing gloves, the wide detachable hood, an efficient protection from the cold and rain, the large, side patch pockets into which they could stick their hands, and the yoke shoulders.

Between the two World Wars the coat was officially adopted by the British Navy in the classic ‘navy’ blue colour, but, once World War II was over, redundant coats were sold to the public

Articles and images from the issue #16 of Mug Magazine – December 2008 / 文章とイメージは、 2008年12月発行のMug Magazine 16号に掲載されたものです。

at a very low price. That was why in the late ‘Forties and early ‘Fifties British and French students enriched their wardrobes with this warm, practical and cheap item of clothing. After the military supplies were sold out, Harold & Freda Morris, the founders of Gloverall group, decided to embellish the coat’s style, and by continuing its production led it to a long-lasting success. fter discovering that young people in A Paris cafés wore the garment, the film director Jean Cocteau became keen on the duffle coat, to the extent that he always had this jacket on when taking part in social events.

Besides being adopted for school uniforms, the coat was also chosen for the young members of the English Royal Families, and used by the fellows of the “British Transglobe Expedition”.

In the ‘Eighties the duffle coat became outstanding as an icon of youth movements, while to this day countless stylists of international renown have from time to time proposed ever new interpretations of this extremely popular and versatile item of clothing.

Mug Magazine issue 24, year XIV

Il “duffle coat” è uno dei capispalla più rappresentativi del cosiddetto BritishStyle ma per conoscerne l’origine dobbiamo spingerci fino alle Fiandre Olandesi. I primi ad indossare il duffle coat furono infatti i pescatori belgi, che esposti alle fredde correnti del Mare del Nord, trovavano riparo sotto il pesante panno “Duffel”. Questo particolare tessuto di lana vede infatti discendere il proprio nome dalla località Duffelzandhoven, dove veniva originariamente prodotto, presso Anversa.

L’inizio della sua popolarità risale invece al debutto in ambito militare. Durante la Prima Guerra Mondiale i marinai della British National Navy erano soliti indossare delle

giacche dotate già di tutti i tratti distintivi del capospalla: il tessuto duffle, la chiusura frontale con lacci di corda (o cuoio) e alamari, facile da aprire e chiudere anche con indosso i guanti, l’ampio cappuccio allacciabile, in grado di proteggere dal freddo e dall’acqua, le grandi tasche laterali applicate, dove poter infilare le mani e infine le spalle, lavorate a sprone.

Tra la fine del Primo e l’inizio del Secondo Conflitto Mondiale questa giacca viene ufficialmente adottata dalla Marina Inglese nel classico blu “navy” ma una volta terminata la Guerra, le eccedenze di questa fornitura militare vengono rivendute al pubblico a bassissimo prezzo. Per questo

motivo, sul finire degli Anni ‘40 e all’inizio dei ‘50, saranno proprio i liceali inglesi e francesi, in cerca di un capo pratico, caldo ed economico ad inserirlo nel loro guardaroba.

Una volta terminate le scorte militari, Harold & Freda Morris, fondatori del gruppo Gloverall, decideranno di continuare la produzione di questo capo, perfezionandone lo stile e decretandone il successo continuato nel tempo.

Lo stesso regista Jean Cocteau, che aveva scoperto questo capo addosso ai giovani dei caffè parigini, sarà un grande amante del duffle coat, mostrandosi sempre con indosso questa giacca anche nelle occasioni mondane.

Oltre ad essere adottato per le uniformi scolastiche, esso sarà addirittura destinato ai giovani delle famiglie reali inglesi nonchè utilizzato dai membri della “British Transglobe Expedition”. Negli Anni ‘80 il duffle coat troverà invece un posto tra i capi-icona dei movimenti giovanili del periodo, mentre numerosi stilisti di fama internazionale ne proporranno periodicamente la loro interpretazione. Proprio per questo motivo e grazie ad una grande versatilità, ancora oggi, questa giacca raggiunge altissimi livelli di popolarità.

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GLOVERALL Inextricably linked to the image and the production of duffle coats, Gloverall group began their adventure over half a century ago a few yards away from St Paul’s, in the heart of London. An icon that stands for the excellence of British woollen products, Gloverall found the key to success in 1951, when the founders Harold and Freda Morris started to sell the British Navy’s redundant duffle coats after World War II. The sale’s great success led the Morris family to start the production of this item in 1954 when, after working out its new style, they were able to turn this military item of clothing into a longed-for, fashionable garment for everyday wear.

Gloverall’s historical memory for the production of duffle coats lies in each of their models. This classic camel Montgomery has all of the brand’s distinctive features: its knee-length, the duffle fabric it is made of, the yoke application on the shoulders, the toggle fastening and wooden frogs. The big patch pockets and the wide hood recall the images of the garment in the days when the Morris family first resumed its production.

HARNOLD BROOK Indissolubilmente legato all’immagine e alla produzione del duffle coat, il gruppo Gloverall comincia la sua avventura più di 50 anni fa nel cuore di Londra, a due passi da St Paul’s Cathedral. Icona dell’eccellenza della produzione laniera inglese, Gloverall ha gettato le basi del suo successo nel 1951, quando i fondatori Harold & Freda Morris cominciano la distribuzione sul mercato inglese dei duffle coat della British Navy, in eccedenza dopo il Secondo Conflitto Mondiale.

Il grande successo riscosso da questa vendita da parte della famiglia Morris li induce nel 1954, ad avviare una personale produzione di questo capo, elaborandone lo stile e trasformandolo da capo esclusivamente militare in un indumento ad uso civile, desiderabile ed alla moda.

La memoria storica di Gloverall per la produzione dei duffle coat risiede in ciascuno dei loro modelli. Questo classico Montgomery color cammello mostra infatti tutti gli elementi distintivi del capo: la lunghezza dal ginocchio, il tessuto duffle, la lavorazione “a sprone” delle spalle e la chiusura con gli alamari in legno naturale e lacci di corda grezza. I tasconi applicati e l’ampio cappuccio ci rimandano alle immagini dei primi capi, quando la famiglia Morris, per prima, ne riprendeva la produzione.

Harnold Brook started his production of duffle coats at the end of World War II, at a time when they were ceasing to be used as military garments and starting to become widespread items of clothing for civilians.

It was in Salford, in the heart of the Midlands (a renowned area for the production of drapery and high-quality clothing), that Harnold Brook continued his family’s ancient tailoring tradition. From the very beginning the stylistic features of his brand relied on the stylist’s ability to realise an iconic item, which he has generally interpreted in a classic fashion, thanks to the use of special and valuable fabrics in very bright colours that break with traditional men’s clothing, with a view to proposing timeless models of duffle coat, regardless of all trends, aiming to achieve very high production standards. The great popularity that Harnold Brook obtained in the following years was directly related to the success that the brand achieved in the ‘Seventies during the unforgettable “Swinging London Era” and with the “Sloane Rangers”, the new generation of well-off middle-class families in the West End. This ‘evergreen’ multicolour duffle coat by Harnold Brook comes in waist or threequarter length versions in real, valuable camelhair, appreciated for its great softness and insulating power but hardly ever used in present-day clothing.

Just as some models come with the traditional jute fastening and wooden frogs, others are in leather with buffalo bone frogs. Furthermore, the size of the hood (supplied with buttons and strap fastening) has been considerably increased to give these items a unique and unmistakable style and to respect the functionality that has always characterised the duffle coat.

Articles and images from the issue #16 of Mug Magazine – December 2008 / 文章とイメージは、 2008年12月発行のMug Magazine 16号に掲載されたものです。

Harnold Brook intraprende la produzione di duffle coat alla fine della II Guerra Mondiale, proprio mentre la diffusione del capo oltrepassava i confini dell’uso militare ed esso veniva proposto, per la prima volta, in ambito civile. È nella città di Salford, nel cuore delle Midlands (zona rinomata per la produzione della drapperia e della confezione di alta gamma), che Harnold Brook porta avanti l’antica tradizione sartoriale di famiglia. La cifra stilistica del suo marchio, sin dagli inizi, risiede nella capacità di attualizzare un capo iconico, in genere interpretato in maniera classica, grazie all’applicazione di tessuti pregiati e particolari, realizzati in colori vivacissimi e di grande rottura della tradizione maschile: proporre dei modelli di duffle coat senza tempo, al di là di ogni tendenza, mantenendo sempre alti gli standard qualitativi della produzione. Lo smisurato grado di popolarità che investe Harnold Brook negli anni seguenti è il risultato del successo ottenuto negli Anni ’70 durante l’indimenticabile “Swinging London Era” e presso gli “Sloane Rangers”, la nuova generazione delle abbienti famiglie borghesi del West End. Le proposte multicolor di Harnold Brook, in versione a tre quarti o alla vita, accompagnano questo duffle coat “evergreen” in autentico pelo di cammello. Questa fibra di grandissimo pregio, ma di rara applicazione al costume contemporaneo, è apprezzata per la sua elevata morbidezza e capacità isolante. Così come alcuni modelli sono proposti con l’originale abbottonatura in juta e alamaro di legno, altri sono dotati di alamari realizzati in osso di bufalo e pelle. Altresì le misure del cappuccio (dotato di bottoni e chiusura strap) sono state sensibilmente aumentate per conferire, ancora una volta, a questi capi uno stile unico e inconfondibile unitamente al rispetto della funzionalità da cui il duffle coat trae le proprie origini.

Mug Magazine issue 24, year XIV

STONE ISLAND Eversince the brand was born in 1982, Stone Island project has proposed design items of clothing characterised by the combination of a very high technical value with a great care for functionality and innovation.

Revolutionary results in research on fibres and fabrics have often led to the introduction of materials never before employed in clothing manufacture.

Coats, the flagship of Stone Island production, whether in reflective fabric or in nylon polyester micro-fibre, are designed according to Modular Anatomy, an approach model to the tailoring of an item, developed by Aitor Throup, and drawing its inspiration, in terms of functionality, from traditional ergonomic lines. A state-of-the-art design to the advantage of present-day life.

The model proposed by Stone Island is entirely realised in bleeding-edge worsted which is submitted to felting treatment. The garment has all the traditional features of the duffle coat, from the yoke application over the shoulders to the big side patch pockets. The classic wooden-frog front fastening is reinforced also by a hidden inner snap fastening. The flap fastening added to the collar and the white cotton contrasting finish clearly show the presence of all the structural elements typical of the duffle coat.

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COMME DES GARÇONS Sin dalla nascita del marchio nel 1982, il progetto Stone Island ha proposto dei capi di design caratterizzati dall’abbinamento di un altissimo valore tecnico ad una grande attenzione alla funzionalità e all’innovazione. Le ricerche rivoluzionarie intraprese su fibre e tessuti hanno condotto spesso all’introduzione di materiali mai impiegati prima nell’industria dell’abbigliamento. I capispalla, fiore all’occhiello della produzione Stone Island, in tessuto reflective o in microfibra di poliestere nylon, sono disegnate seguendo il Modular Anatomy: un modello di approccio alla costruzione del capo, sviluppato da Aitor Throup e ispirato, in termini funzionali, alle linee ergonomiche tradizionali. Design all’avanguardia a vantaggio della nostra contemporaneità.

Il Duffle coat è concepito in lana pettinata, preparata per subire un trattamento di infeltrimento. Il capo, dalle linee ampie e classiche, presenta le tradizionali applicazioni a sprone sulle spalle e i grandi tasconi laterali, il tutto completamente caratterizzato dal “taglio a vivo”. L’ abbottonatura frontale, oltre ai classici alamari in legno e corda, è rinforzata da una chiusura nascosta con bottoni automatici, presenti anche internamente al cappuccio. Caratteristiche principali, la chiusura a flap aggiunta sul collo e le rifiniture a contrasto in cotone bianco che sottolineano la presenza di tutti gli elementi strutturali del tipico duffle coat. Onnipresente nei capispalla Stone Island il simbolo del brand: la rosa dei venti applicata non con cucitura ma tramite due bottoni

In 1969 Comme des Garçons was set up in Japan by the Japanese stylist Rei Kawakubo. After becoming famous in the ‘Seventies for its unconventional style, the brand currently proposes different lines for men and women and is well known for its ‘Guerrilla Stores’. Junya Watanabe, who was appointed production manager of the line Tricot, Comme des Garçons in 1987, has since 1993 also been creative designer of the line by appointment of the Japanese brand. The designer has carried out a deep research on fabrics, tailoring and reversibility of items and has lately reinterpreted the classic duffle coat, a garment which has again and again been presented in the Comme des Garçons collections.

Comme des Garçons nasce in Giappone nel 1969 dalla stilista giapponese Rei Kawakubo; il brand, divenuto famoso durante gli Anni ‘70 per il suo stile non convenzionale, conta oggi differenti linee per uomo e per donna, ed è conosciuto anche per i suoi celebri Guerrilla Store. Junya Watanabe, nominato nel 1987 responsabile della linea Tricot di Comme des Garçons, disegna, dal 1993, la linea a suo nome, sotto il marchio giapponese. Il designer è interprete di una forte ricerca sui tessuti, sulla costruzione dei capi e la loro trasformabilità. Una delle sue ultime interpretazioni è proprio quella del classico duffle coat, più volte presentato all’interno delle collezioni di Comme des Garçons.

The duffle coat that Comme des Garçons Shirt proposes is shorter than the three-quarter versions of the previous seasons, and although it has the traditional frog fastening, it is supplied with inside slanting pockets. Made of light wool cloth, it has a slim fit that makes it suitable for sporty young people.

This original duffle coat is the result of a collaboration between epoch-making Gloverall and the designer Junya Watanabe. The single-colour insertions on the shoulders, sleeves and front fastening of the coat are a perfect match to the chequered pattern of the fabric, and show the designer’s great care in the rendering of the garment’s basic stylistic features.

Comme des Garçons Shirt propone un duffle coat più corto rispetto alle versioni a tre quarti delle precedenti stagioni; accanto alla tradizionale chiusura con alamari trovano spazio delle tasche interne oblique. Il capo, in panno di lana leggero, ha una vestibilità asciutta che lo rende adatto anche ad un pubblico giovane e più sportivo.

Dalla collaborazione tra la storica Gloverall e lo stilista Junya Watanabe è stato concepito quest’originale duffle coat. Gli inserti monocromatici delle spalle, delle maniche e sull’allacciatura frontale del capo si alternano perfettamente al motivo a quadri del tessuto, dimostrando ancora una volta lo studio dello stilista giapponese sugli stilemi costruttivi del capo.

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Mug Magazine issue 24, year XIV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 16 —

ABACA, MUSA TEXTILIS —

Abaca is an ancient plant of the family Musaceae. Native to the Philippines, it is sometimes called Manila hemp, grows spontaneously in subequatorial regions and does not have to be cultivated by man. Abaca fibre is obtained from the plant leaf stalks and was used in the XIX century as a source of cordage fibre. Ropes obtained from Abaca fibre have exceptional qualities; in fact, although their weight is only one third of those in real

hemp, their strength is the same and they are more flexible when wet.

Over the years, the processing techniques of this fibre have become more and more sophisticated, so much so that it is now possible to obtain a very thin thread suitable for weaving clothing fabrics.

Four years ago LIMONTA 1893, a world leading firm in the field of textiles, decided to invest in the

production of fabrics obtained from Abaca fibre. Its long-standing style tradition has always been characterised by high-level technical and aesthetic research: first in jacquard fabrics, then in velvets, in special fabrics and in smooth ones.

The firm’s production ranges from special clothing fabrics, to those for accessories, furnishing, wall coating and synthetic paving for sports facilities.

Besides availing itself of a dyeing department and of textile plants specialised in the production of smooth fabrics, Limonta also provides instruments and computer solutions for internal and external relationships of firms.

The great development of the firm’s activities in the field of textiles and their constant collaboration with the most advanced and prestigious firms in fashion and interior design urge the Group’s companies to an endless search for new technical solutions

Articles and images from the issue #16 of Mug Magazine – December 2008 / 文章とイメージは、 2008年12月発行のMug Magazine 16号に掲載されたものです。

and to the development of new projects. Abaca bears witness to the firm’s special sensitivity for environmental problems and their willingness to technically invest in the traditional processing of a totally natural fibre, obtained without employing chemical products. The fact that the fibre can easily dry, is smooth, light, and extremely elastic enables it to surpass any other fibre of the same kind.

Thanks to its thinness, Abaca yarn enables Limonta to weave fabrics that are unique both for their look and quality.

Mug Magazine issue 24, year XIV

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ABACA IS AN ANCIENT PLANT OF THE FAMILY MUSACEAE. NATIVE TO THE PHILIPPINES, IT IS SOMETIMES CALLED MANILA HEMP, GROWS SPONTANEOUSLY IN SUBEQUATORIAL REGIONS AND DOES NOT HAVE TO BE CULTIVATED BY MAN.

L’Abaca è una pianta molto antica che appartiene alla famiglia delle Musacee; essa è conosciuta volgarmente come “canapa di Manila” ed è appunto originaria delle Filippine. Cresce in maniera assolutamente spontanea in climi subequatoriali, senza alcun tipo di intervento da parte dell’uomo. Dal suo fogliame e dagli steli si ottiene una fibra tessile che già nel XIX° secolo veniva utilizzata per fabbricare spaghi, gomene e corde ad uso navale. Le corde ricavate dalla fibra dell’A-

baca hanno proprietà eccezionali: nonostante pesino un terzo rispetto a quelle fabbricate in canapa, sono in grado di garantire la medesima resistenza e se bagnate sono più flessibili.

Le tecniche di lavorazione di questa fibra si sono notevolmente affinate nel tempo e grazie alle più recenti tecnologie e ad una serie di operazioni di tipo artigianale, ora è possibile ricavare dalla pianta un filo molto sottile, adatto anche alla realizzazione di tessuti per l’abbigliamento.

Limonta 1893, realtà leader a livello mondiale del settore tessile, 4 anni fa ha deciso di investire nella produzione dei tessuti ricavati dalla fibra di Abaca. La cifra stilistica della sua lunghissima tradizione è stata infatti sempre contraddistinta da un altissima ricerca tecnica ed estetica: prima nei tessuti jacquard, poi nei velluti, nei tessuti speciali e quelli piani. Le sue divisioni spaziano dalla produzione di tessuti speciali per l’abbigliamento, l’accessoristica e l’arredamento a quella di rivestimenti murali e pavimentazioni sportive

sintetiche. Limonta è inoltre dotata di una tintoria e di un’azienda tessile altamente specializzata nei tessuti piani ed offre strumenti e soluzioni informatiche per le relazioni esterne ed infragruppo delle aziende. Il grande sviluppo della sua attività nel settore tessile e la costante collaborazione con le realtà più evolute e prestigiose nel campo della moda e dell’arredamento inducono le aziende del Gruppo alla continua ricerca di nuove soluzioni tecniche e allo sviluppo di nuovi progetti.

Abaca rientra in un’ottica di particolare attenzione alla tematica ambientale ed è la testimonianza della capacità di Limonta di investire, in termini tecnologici, su una lavorazione tradizionale ed una fibra completamente naturale. Essa viene infatti ricavata senza l’ausilio di prodotti chimici. La sua regolarità, la sua leggerezza, la grande elasticità e asciugabilità sono superiori a quelle di tutte le altre fibre vegetali della stessa specie. Il filato di Abaca permette a Limonta, grazie alla sua finezza, di realizzare tessuti unici per qualità ed aspetto.

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BACK IN THE DAYS — MUG MAGAZINE NUMERO 16 — STORE —

MAISON MARTIN MARGIELA & MAMEG —

At 9970 South Santa Monica Boulevard, Beverly Hills, they are changing their way of selling retail. What lies behind the smooth, glittering façade of the building is much more than a simple store, as both Mameg and the latest born of Martin Margiela’s American stores coexist under the same roof.

I n fact, about two years ago, at the time when Sonia Eram was in search of new premises for her epoch-making Brentwood multi-brand store, she was contacted by the Belgian Maison who wanted both to share an outlet with her, and to open their second store in the USA. The idea was to unite their resources to create something different to the other mono-brands and a new way of approaching the public. e entrance to the boutique looks out Th on the boulevard and is dominated by a huge pyramid of plastic champagne flutes. The white carpet bears the typical black footprints of Japanese tabisocks, while the trompe l’oeils created with the images of the Paris headquarters alternate with the white, completely sandblasted walls. The neutral quality and lightness of the interior design lead us to discover the store’s fittings.

short gold-coloured passage leads us A straight into Mameg. Clients can get to it through Margiela store, from Little Santa Monica Boulevard, or through the splendid garden of crape myrtle at the back, beyond the characteristic black walls. A simple partition harmonises away the differences between two contrasting atmospheres, by letting us into an intimate and cosy interior through an artificial one, delicately matched to each other with simplicity. ameg is a two-storey shop. The upM per storey displays lines of clothing by the greatest fashion designers and two original Citterio sofas, but it has enough room also for the writing desk at which Sonia Eram is used to working. A modern living room where the spaces used by the staff are merged with those devoted to clients. rounded on synergy, the project G springs from the desire to offer something more than the experience of shopping. With a surface of over 400 square metres, the store can merge the contextualised strength of a mono-brand with the selling potential of a multi-brand and marks the beginning of a new idea of retail.

Articles and images from the issue #16 of Mug Magazine – December 2008 / 文章とイメージは、 2008年12月発行のMug Magazine 16号に掲載されたものです。

Mug Magazine issue 24, year XIV

Il 9970 del South Santa Monica Boulevard, Beverly Hills, sta cambiando la maniera di fare retail. Dietro alla facciata uniforme e luccicante di questo edificio si cela molto più che un semplice negozio. “Sotto lo stesso tetto“ convivono Mameg e l’ultimo nato degli store americani di Martin Margiela. irca due anni fa infatti, Sonia Eram, è staC ta avvicinata dalla Maison belga proprio mentre cominciava a cercare una nuova sede per il suo storico multibrand di Brentwood. Lo staff dello stilista era mosso dal desiderio di condividere con lei uno spazio di vendita e al contempo aprire un secondo store negli States. Unire le forze per creare una situazione diversa da quella degli altri monobrand e proporre un nuovo approccio al pubblico.

L ’ingresso della boutique, che si affaccia sul boulevard, è dominato da una grandissima piramide di flute da champagne in plastica. Il tappeto bianco è macchiato dalle tipiche impronte nere dei tabi giapponesi. Mentre i trompe l’oeil creati con le immagini della sede parigina si alternano alle pareti bianche, completamente sabbiate. La neutralità e la leggerezza dell’architettura interna ci invitano a scoprire l’allestimento del negozio.

Un piccolo corridoio dorato ci porta subito dentro a Mameg. I clienti possono accedervi attraverso lo store Margiela, dal Little Santa Monica Boulevard, oppure passando attraverso lo splendido giardino di crape myrtle, sul retro, oltre le caratteristiche mura nere. Una semplice divisione fa sì che si possa passare dall’atmosfera artificiale anteriore a quella intima e familiare posteriore. Una è accostata all’altra con semplicità, senza stridore. ameg si sviluppa su due livelli. Accanto M agli abiti dei maggiori fashion designer e a due originali sofa Citterio, sul piano rialzato, c’è posto anche per la scrivania dove la Eram è solita lavorare. Una moderna living room dove gli spazi impiegati dallo staff si fondono con quelli destinati alla clientela.

L a sinergia è alla base di questo progetto, nato dal desiderio di offrire qualcosa di più che un’esperienza di shopping. Oltre 400 mq in grado di fondere la forza contestuale del monobrand con l’esperienza di vendita del multibrand, per dare vita a una nuova idea di retail.

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BACK IN THE DAYS — MUG MAGAZINE NUMERO 16 — DESIGNER —

RAF SIMONS —

To understand Raf Simons’ innovative power we must go beyond his achievements in the world of fashion, for they are only the immediately perceivable signs of a modest but rich and versatile personality. He had his professional training in industrial and interior design in Belgium, the country where he has carried out most of his activity. Thanks to Van Beirendonck he came into contact with a world which he was soon encouraged to enter by Linda Loppa, director of the Fashion Department of the Royal Academy, Antwerp.

F rom the creation of the Raf Simons brand in 1995, his work went straight on till 2000, when the designer left the fashion scene to follow new professional routes. e stylist resumed his activity in fashion Th only in 2001, after he met the Belgian entrepreneur Gysemans and a new creative team. In 2003 he won the Lucerne Swiss Textile Award, and continued his teaching activity at Vienna University of Applied Arts until 2005. In 2004 Raf Simons reorganised his firm thanks to a distribution agreement with Futurenet Group and by entrusting Futurepresent with production under licence.

Articles and images from the issue #16 of Mug Magazine – December 2008 / 文章とイメージは、 2008年12月発行のMug Magazine 16号に掲載されたものです。

Mug Magazine issue 24, year XIV

The next year he was appointed creative director of the maison Jil Sanders and the brand Raf by Raf Simons made its debut. e designer’s creative activity, howevTh er, is not focused on men’s fashion. In fact, the texture of his work is indebted to art, music, images and words, while his research is focused on catching the inmost essence of man and of young people’s psychology, his endless sources of inspiration. In his works the disruptive energy, the anger or rebellious strength of past and present youth movements merge with tradition in a new way. Precise moods, states of mind and attitudes are expressed in the individual character of each collection. Raf Simons has been able to break a barrier, to do away with the hieratic and distant attitude of fashion towards the most authentic interpreters of contemporary urban cultures and subcultures, and by so doing to clearly assert his independence and raison d’etre. e vehemence of Gothics, Mods, Metal, Th Punk, Gabbers are translated into a new image of masculine beauty, a new sophisticated beauty enhanced by a strong liaison with its own origins.

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La sua formazione, avvenuta in Belgio, come gran parte della sua attività, comincia nell’industrial e interior design. Van Beirendonck lo porta a contatto con un mondo nel quale è presto incoraggiato ad entrare da Linda Loppa, allora responsabile del Fashion Department della Royal Academy di Anversa.

Il suo lavoro, dalla creazione del marchio Raf Simons, nel 1995, prosegue ininterrottamente fino al 2000, anno in cui il designer si allontana dalla scena e considera nuove direzioni professionali.

I l suo cammino nel fashion riprenderà solamente nel 2001, dopo l’incontro con il produttore belga Gysemans ed un nuovo team creativo. Nel 2003 viene insignito del Swiss Textile Awards di Lucerna mentre prosegue l’insegnamento presso la University of Applied Arts di Vienna che lo impegnerà fino al 2005. Il 2004 vede Raf Simons protagonista di una riconfigurazione aziendale, grazie ad un accordo di distribuzione siglato col gruppo Futurenet e all’affidamento della licenza produttiva a Futurepresent.

L’anno successivo sarà nominato direttore creativo della maison Jil Sanders e debutterà il marchio Raf by Raf Simons.

La moda maschile non costituisce tuttavia il fulcro dell’universo creativo di questo designer. L’Arte, la Musica, le Immagini e le Parole sono il tessuto connettivo del suo lavoro. Il suo sguardo si posa sull’interiorità dell’uomo, la psiche dei ragazzi, da sempre fonte inesauribile della sua ispirazione. L’energia dirompente, talvolta la rabbia e la forza ribelle dei movimenti giovanili del presente e del passato si mescolano in maniera inedita alla tradizione.

Umori, stati d’animo, atteggiamenti precisi esalano dall’individualità delle singole collezioni. Raf Simons ha saputo abbattere un muro. Ha saputo eliminare la distanza ieratica della moda dagli interpreti più autentici delle culture e delle “subculture” urbane contemporanee. Una chiara affermazione di indipendenza attraverso lo sguardo e la determinazione di chi fa dell’affermazione della propria indipendenza una ragion d’essere.

L’irruenza di Gothics, Mods, Metal, Punk, Gabbers tradotta in una nuova immagine della bellezza maschile: inedita, sofisticata e forte di un legame solido con le proprie radici.

Articles and images from the issue #16 of Mug Magazine – December 2008 / 文章とイメージは、 2008年12月発行のMug Magazine 16号に掲載されたものです。

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Mug Magazine issue 24, year XIV

PARAJUMPERS CLOTHES GRUPPO VOLO CANADAIR — parajumpers.it

Mug Magazine issue 24, year XIV

Parajumpers stems from an intuition.

When Massimo Rossetti, the brand’s creator, met an officer of the Alaskabased 210th Rescue Squadron, specialized in rescue operations in dangerous or extreme conditions, he immediately realised an important missing element in the world of fashion jackets. As a result a revolutionary line was born characterized by technological innovative elements designed following a concept that combines coolness and functionality.

Trends in fashion follow one another correctly interpreted by Parajumpers season after season, yet the brand’s main sources of inspiration are military style and rescuing activities.

In agreement with the values of Gruppo Volo Canadair, Parajumpers has decided to clothe the members of this professional association, about 100 Italian civil pilots, who, just like Alaska PJS, risk their lives to accomplish rescue missions under dangerous and extreme conditions.

For this special Group, Parajumpers has created a limited, personalized line of Gobi bombers labeled “Canadair Limited Edition”. It is a practical short bomber with a detachable duvet lining and countless pockets which increase its functionality. The item’s military design is enriched with Gruppo Volo Canadair’s typical patches that will proudly see the crews on their future missions.

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Parjumpersはマッシモ・ロセッティの直感 から始まった。ブランドの創始者であるマッ シモ・ロセッティは、アラスカのアメリカ軍基 地で、危険や極限状態の中での救助活動を 専門とするレスキュー210部隊の士官と出会 った時、すぐにファッションジャケットの世界 に足りなかった重要な要素が何であるのか を悟った。こうして誕生したのが、クールさと 機能性を併せ持つというコンセプトに基づい て、革新的な技術要素がデザインされた画期 的なラインであった。 シーズンごとに、Parajumpersはファッション トレンドを見極め製作されているが、それで も、ブランドのインスピレーションの源は常に ミリタリースタイルとレスキュー活動である。 約100人の市民パイロットを擁するプロフェッ ショナル協会、Gruppo Volo Canadair（グ ルッポ・ヴォーロ・カナダエアー）の理念に賛 同した Parajumpersは、メンバーが着用する 服を作ることを決めた。彼らは、アラスカの PJSと同様に、危機や極限状態の中で救助 という任務を達成するために自らの命を危険 にさらしているのである。この特別なグルー プのために、Parajumpersは、限定版 Gobi bombersのパーソナライズラインを製作した。 そのラベルには、 “Canadair Limited Edition”と表示されている。彼らの為にデザ インされたのは、実用的なショートボンバー ジャケットで、取り外し可能なダウンライニング と幾つものポケットで、機能性を高めている。 また、ジャケットに付けられたGruppo Volo Canadair のバッジがデザインをより一層引 き立てている。それは、将来の任務に於い ても誇りをもってクルーを見守ってくれる事 だろう。

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PUMA SELECT F/W 14 — puma.com

SELECT traces the history of PUMA from its origins to this day through the brand’s evolution. In 1948 Rudolf Dassler established the sports footwear company with the PUMA logo and created an innovative, highly technological, state of the art product whose features have to this day remained unaltered.

The combination of sport and fashion has led to the creation of iconic models that have characterised the history of the brand. Archive shoes, which over the years have been state of the art items in the field of sneakers, have kept their silhouette unchanged but have been revisited and updated through the use of new materials, technological innovations and prints, specially created by important artists and international influencers and have resulted in the 2014 fall/winter SELECT collection.

PUMA tradition is rediscovered through the mythic tennis shoes of the ‘70s and ‘80s worn by great champions like Guillermo Vilas and Boris Becker. Model Court Star NM is proposed unaltered with a soft leather vamp, fretworked Formistripe, a gold logo and a colored midsole; PUMA Challenge Leather

is evocative in taste yet revolutionary in design although it keeps its shape and comfort unchanged.

With a small disc on the upper part for a personalized fit, Model DISC is proposed again for urban runners. Of Trinomic Disc N Calm and Disc Swift Tech, the former is presented in total black suede with contrasting soles, whereas the latter, with the new pebbled sole and leather details, is the outcome of a collaboration with Marshmallow and Black.

Model MY-78-“A little rock, a lot of roll” is redesigned and richly realised in rock and roll style by Mihara Yasuhiro. The iconic Disc technology with a classic brogue is amplified in a mid version.

SELECT is a combination of tradition and innovation that makes PUMA unique and unmistakable.

Mug Magazine issue 24, year XIV

SELECTは、ブランドの進化を通じてその 起源から今日に至るまでのプーマの歴史を 辿っている。1948年、ルドルフ・ダスラーは プーマのロゴの付いたスポーツシューズの 会社を設立し、現代も変わらず受け継がれる 特徴を持った、革新的で高度な技術を持つ 最先端の製品を作った。 やがて、スポーツとファッションとの融合は、 ブランドの歴史を特徴付ける象徴的なモデル の創造へと繋がった。長年、スニーカーの分 野で最先端アイテムであった過去のシューズ の数々は、不変のシルエットはそのままに、 新素材、技術革新、プリントを用いて、常に 再考されアップデイトされてきた。また今回 は特別に、高名なアーティストたちや国際的 な影響力を持つ人たちの手でクリエイトされ て、2014 年秋冬のSELECTコレクションへ と繋がったのである。 プーマの伝統が、70 年代と80年代にギリェ ルモ・ビラスやボリス・ベッカーといった偉 大なチャンピオンたちが着用していた伝説 的テニスシューズを通して再発見された。 Court Star NMモデルは、不変のソフトレ ザーバンプ、お馴染みのフォームストライプ 模様、ゴールドのロゴとカラーミッドソールで 提案されている。PUMA Challenge Leatherは、形状と快適さはそのままに、 オリジナルを思わせる雰囲気を持ちながらも、 同時に革新的なデザインのモデルだ。

個々に適したフィット感を見つけるために、 アッパー部分に小さなディスクが付いている DISKモデルは都市ランナーへの再提案だ。 トライノミック搭載のDisc N Calmと Disc Swift Techの2タイプがあり、前者は トータルブラックのスエードに対照的な ソールを、一方、後者は新ペブルソールに、 レザーのディテールはマシュマロカラーとブ ラックの2色になっている。 ミハラヤスヒロによってリデザインされた MY-78モデルは、ロックとランニングの融合 が見事に形となっている。象徴であるディス クテクノロジーとクラシックで頑強な革が、 互いに強調されたバージョンと なっている。 SELECTは伝統と革新 のコンビネーション であり、プーマを 他とは違う、見 間違いようの ない存在へと 押し上げてい る。

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DESIGNER —

Mug Magazine issue 24, year XIV

NIGEL CABOURN AW14 — cabourn.com

“The fact that we are commemorating the centenary of World War One this year was definitely an influence on this collection but I’ve been fascinated with the design and manufacture of military clothing for many years and have thousands of pieces in my archive collection to draw inspiration from.

Working closely with a number of textile producers and clothing manufacturers – many who supplied fabric and garments during the war effort such as Harris Tweed, Ventile, Mackintosh and Cookson and Clegg – has helped produce an Authentic range of outerwear, soft tailored separates, knitwear, shirts and accessories that pays homage, in design and manufacture, to clothing worn during wartime.”

Nigel Cabourn

“今年が第一次世界大戦開戦から100周年 を追悼する年であるという事実は、間違い なくこのコレクションに影響を与えています。 しかし、私は長年に渡ってずっとミリタリー ウエアのデザインと製作に魅了されていて、 保管している何千着ものアーカイブコレク ションからインスピレーションを受けてい るのです。 Harris Tweed、Ventile、Mackintoshや Cookson and Cleggのように、戦時中に生 地や衣服を供給する為、努力をしてきた幾 つものテキスタイル生産者や衣料メーカー と密接に仕事をする事は、戦時中に着用さ れた衣類のデザインと製造に敬意を捧げ た、オーセンティックシリーズのアウターウ エア、ソフトテーラード・セパレーツ、ニット ウエア、シャツ、アクセサリーの創造に貢献 してくれています。” ナイジェル・ケボーン

Mug Magazine issue 24, year XIV

Combining functional and durable designs with a vintage feel, Nigel Cabourn, is well known for producing collections not influenced by trends but driven by true stories of people and clothing in history. Taking inspiration from military clothing from both World Wars and work wear from the same periods, he has reinterpreted details, styles and fabrics of garments – many from his own extensive vintage collection – to produce a classic collection that celebrates the best of British.

機能性と耐久性を併せ持ったデザインと ヴィンテージ感のコンビネーション。ナイ ジェル・ケーボンは、トレンドに影響される ことなく、歴史の中での人と衣服の真の物 語に駆り立てられたコレクションの創作で 知られている。二つの世界大戦時のミリタ リーウエアと同時期のワークウエアから、多 くは自身の膨大なその当時のヴィンテージ コレクションの中からインスピレーションを 得ている。それらのディテール、スタイル、 そして服地を彼なりに再解釈し直し、英国 の極と称えられるクラシックコレクションを 生み出している。

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“Cabourn classic designs, such as the Mallory Jacket made in our specially designed Harris Tweed, feature strongly as well as some new additions such as the Atkinson Jacket and Farm pants and vest all produced in a beautiful washed eight whale cord. We’ve also developed a new Everest Parka this season producing it for the first time in waxed cotton. Our third Nigel Cabourn Woman Authentic range mostly mirrors the men’s one even down to a version of the real statement piece in the collection – the Coastal Command jacket – a take on a World War Two RAF piece which combines British sheepskin with leather and cotton canvas.“ Nigel Cabourn

“ 例えば、私たちが特別にデザインした ハリスツイードで作られたマロリージャケッ トは、ケーボンスタイルのクラシックデザイ ンの特徴が強く表現されています。また、 新しく加わったアトキンソンジャケットや ファームパンツ、ベストなど、美しいウォッ シュ加工の 8 whaleコーデュロイで作られて いるものも、同様です。私たちは、新しい エベレストパーカーも開発していますが、 今シーズンは初めてワックスコットンを使い ました。3シーズン目となるレディースのオー センティックシリーズは、大部分がメンズの レディースバージョンですが、その中で第二 次世界大戦時にRAF（英国空軍）が着用 していた一着から発想した、英国製シープ スキンにレザーとコットンキャンバスを組み 合わせて作ったコースタルコマンドジャケッ トは、コレクションの真のステートメントとも なるアイテムです。 ナイジェル・ケーボン

Mug Magazine issue 24, year XIV

Leather Crown, one of the most outstanding brands in the field of footwear, is located on the Brenta Riviera, an area where Italian handmade shoes achieve excellence. In their atelier Leather Crown create products characterized by a high level of craftsmanship and great attention to details, the guidelines that have to this day distinguished the brand.

Born with the spring-summer 2009 collection, Leather Crown was from the very start a successful brand thanks to the combination of some very important features. First of all comfort, achieved through the inner raised anatomic fussbett which gives the foot excellent support and a correct posture. Furthermore, comfort is tuned in to originality, the result of endless research on materials and advanced techniques. The washing, the handmade effects obtained after the shoe has been completed, and the trendy colours employed lead to products characterized by the “used” effect and by the great care paid to particulars.

Thanks to the countless nuances of its wide range of models Leather Crown sports and urban footwear, as well as that for children and adults can be found on the major markets, for the brand’s basic principle is that the sneaker, far from being an independent element, is an integral part of a total look.

Season after season, in the Strà- based atelier endless research on materials reaches its climax with the creation of the prototype of each single model. From cut to finish, production is constantly monitored and meticulous care devoted to details to obtain items totally handmade in Italy.

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—

LEATHER CROWN —

leathercrown.it

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Mug Magazine issue 24, year XIV

フットウエアの分野で最も優れたブランド の一つであるLeather Crownは、イタリア の卓越したハンドメイドシューズ 技術で名 高いリヴィエラ・デル・ブレンタ地区に位置 している。Leather Crownが彼らのアトリ エで生み出す製品は、ハイレベルの職人技 と細部に至るまでの気配りが特徴となって おり、靴作りの徹底したガイドラインで、今 日のブランドの名声を獲得した。 2009年の春夏コレクションでデビューした Leather Crownは、幾つかの優れた特性 の組み合わせのおかげで、スタートからす ぐにブランドとしての成功を収めた。何より の特性はその快適さにある。解剖学的解 釈で厚みを加えたインソールが足に優れた サポートと正しいポジションを与えてくれる。 更に、素材と最新技術への終わりのない リサーチへの追求は、快適さだけでなく独 創性も同時にもたらした。靴の成型が完成 した後にかける洗いによって得られるハン ドメイド効果、そして使われるトレンディー カラーがユーズドの味わいと、詳細までに 渡る細心の注意が製品を格別な物へと変 化させる。 幅広いラインアップに数え切れないほどの ニュアンスが揃い、子供用から大人用まで メジャーマーケットで目にすることが出来る Leather Crownのスポーティーで都会的な フットウエア。同ブランドの基本姿勢は、 スニーカーは決して独立した一つのアイテム ではなく、トータルルックに組み込まれたも のだというものだ。 シーズンを追うごとに、ストラの町をベース としたアトリエでは素材への無限の探求が 続けられ、それは各モデルの試作品の製作 で頂点に達する。カットからフィニッシュま で、生産は常に厳しい管理下に置かれ、完 璧なイタリア製ハンドメイドアイテムを作り 出すために、小さな部分にまで細心の注意 が捧げられている。

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DESIGNER —

NICOLA FORMICHETTI A CRAZY GUY LIKE ME! * — diesel.com/reboot

dieselreboot.tumblr.com

* QUOTED FROM RENZO ROSSO Nicola Formichetti’s versatile creative talent has since April 2013 merged with the daring vision of Renzo Rosso, who appointed him Diesel Artistic Director to take care of image-making and coordinate the Brand’s creative activities, from communication to production and interior design. Their declared objective is “to break rules even more and let the new generations know true Diesel”.

A long-term objective they have started to achieve from the 2014 Fall/Winter collection and confirmed by the project Diesel Reboot. A true second life for a historic brand that proves to be ready to reinvent itself again and again on the basis of a ‘no rule’ principle, as Formichetti himself maintains. “The question is to have the power to do something, to be free. It is a positive revolution. We are ready for a ‘Reboot’!, to press the key ‘refresh’. This is our first project. We will destroy everything to achieve something greater.” And as it is a new start that relies on the interchange with the young it couldn’t but take place on line: in the Diesel space on Tumblr© this real-time visionary melting pot of dynamic ideas and images takes shape as the achievement of the community of new creators who contribute to actually reshape the brand’s image by making it their own in an endless flow of personal interpretations. We immerse and lose ourselves in an all-pervading, ever upto-date fluid and changeable technological underground spirit, to come up in front of a new perspective of ideas and infinite possibilities.

Mug Magazine issue 24, year XIV

“What did you see in Nicola to choose him as the director of Diesel total reboot?”

Renzo Rosso: “I was interested in Nicola Formichetti a long time before I met him. My curiosity was mainly aroused by the pop store he had realized for Mugler at TriBeCa in September 2011.

The presentation of the items and each single object were simply unbelievable. I spent four hours in the store and my inspiration was greatly increased when I got out of it… then I got in touch with him and we started to talk.

At that time I was far from thinking that he would become our artistic director, I liked his style and I thought: “At last I have met someone crazier than me!”.

I started to think that we shared a lot in terms of brand vision: to be outside fashions and trends and to be at once perfectly in line with the spirit of the times.

To work with him is fantastic, and now, after a year has passed and we have finally presented his first collection I can say I am extremely happy about his approach to Diesel. He has proved to have great respect for our history and know-how. We spent a long time in our archive and I told him about the achievements of our first 35 years’ activity. I think it is beautiful to hand the baton over to a talented stylist who can make a contribution to our lifestyle.”

“Starting from the reboot concept meant as a refresh concept, the idea of destroying to start creating something greater, what can you see in the Diesel projects for the near future?”

Nicola Formichetti: “I have always been interested in street fashion. Thanks to what I’m doing for Diesel I have recaptured the sensations I had in the ‘90s when I started to work in London.

People were offered countless chances in those days, when Diesel was the reference brand, it was at once ‘fashion’ and ‘non-fashion’, it was ‘beyond fashion’, a real alternative. And this is still today’s project for Diesel. It concerns everything: the collection, the image, the stores.

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We speak the language of globalization, we work at pop and unisex collections, we are serious but don’t take ourselves too seriously. I’ve learnt a lot from Renzo Rosso and to work with him in Diesel’s ‘museum’ was a fantastic experience. There are so many sources of inspiration and there’s also a whole world of references we are updating to carry them through.”

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“ニコラの中の何が、あなたに彼をディー ゼルのトータルリブート（総再起動）の ディレクターに選ばせたのでしょうか？” レンゾー・ロッソ：“私は、実際に彼に会う かなり前からニコラ・フォルミケッティに 興味を持っていました。私の好奇心を特に かき立てたのは、彼が2011年9月にトラ イベッカ地区でミュグレーのために実現し たポップストアです。アイテムや個々の全 てのオブジェの見せ方が、それはもう単純 に信じられないものでした。私はこの店で 4時間を費やしたのですが、店から出た時 には私のインスピレーションは大きく高 まっていました。… そして、すぐに彼にコン タクトを取って、私たちは話しを始めたの です。その時には、彼が我々のアーティス ティックディレクターになるという考えに はまるで及んではいなかったのですが、 私は彼のスタイルが好きだったのと、それ から、こう思ったんです。 『 遂に自分よりも クレイジーな奴に出会った！』って。

そのうち私は、私たちがブランドビジョン について多くの共通点を持っていると考 え始めました。ファッションやトレンドに とらわれない、しかし、同時に時代のスピ リットに完璧に沿っている。 彼と一緒に仕事をするのは、ファンタス ティックですよ。そして、一年が経過した 今、我々は遂に彼の最初のコレクションを 発表しましたが、私は、ディーゼルへの彼 のアプローチについて、非常に満足してい ると言うことが出来ます。彼は我々の歴史 とノウハウに対して大きな敬意を示してく れました。資料保管庫で長い時間を費やし て、私は我々の最初の35年間の活動の成 果を彼に熱く語りました。我々のライフス タイルに貢献することの出来る有能なスタ イリストにバトンを引き継ぐのは、素晴らし いことだと思っています。”

“リブートというコンセプトからのスター ト、すなわち、リフレッシュというコンセ プト、より大きな何かを達成するための 破壊というアイデアですが、ディーゼルの 近い将来のプロジェクトとして、あなたに見 えているのは、いったいどういったものな のでしょうか？” ニコラ・フォルミケッティ：“僕はこれまで、 常にストリートファッションに興味を持って 来ました。ディーゼルのためにやっている ことのおかげで、ロンドンで仕事を始めた 90年代に抱いていた感覚を取り戻すこと が出来たんです。あの頃は数え切れないほ どの可能性が転がっていて、当時、ディー ゼルは 手本といえるブランドでした。 ‘ファッション ’ であって ‘ファッションでな い ’、それは ‘ファッションを超えた 何か ’、 本当にそれまでにはなかったものだった。 そう、これが未だに今日のディーゼルの プロジェクトです。そしてそれは、コレク ション、イメージ、ショップと全てに関わっ

て来ます。僕らはグローバリゼーションと いう言語を話し、ポップでユニセックスな コレクションを創っています。僕らは真剣 ですが、僕ら自身に過剰な真面目さは課 しません。僕はレンゾー・ロッソからたく さんのことを学ばせてもらっているし、 ディーゼルという‘博物館’で彼と一緒に 仕事をするのは素晴らしい経験になって います。これらは数え切れないほどのイ ンスピレーションの源になっていて、 そして、また何もかもが手本となるもの で、僕らはそれをすっかり全部伝えようと アップデイトしているところなんです。”

ニコラ・フォルミケッティの多彩な創造力の 才能が、2013 年 4月からレンゾー・ロッソの 大胆なヴィジョンと合体した。ロッソは彼を、 コミュニケーションから生産、そして、インテ リアデザインに至るまでのブランドのクリエ イティブ活動のコーディネート、そしてブラン ドのイメージ戦略を担当するディーゼル・ アーティスティック・ディレクターに任命した。 彼らが宣言した目標は、 “もっと大胆にルー ルを破り、新しい世代に真のDieselを浸透 させる”である。彼らの長期目標の達成への 第一歩は、2014 年秋冬コレクションから始ま り、DIESELREBOOTプロジェクトで鮮明 となった。この歴史あるブランドにとって真 のセカンドライフを迎えるということは、フォ ルミケッティ自身も主張する‘ノールール ’と いう原則に基づいて、何度でも新たな変革を する準備が出来ているという証明である。 “自由であるためには、何かを成し遂げるパ ワーを持っているかどうかが重要である。 これは、ポジティブな革命であり、僕らは、 ‘リフレッシュ’というキーを押して‘REBOOT （再起動）’する準備が出来ている！これが僕 らの最初のプロジェクトであり、より大きな何 かを達成するためには、何もかもを破壊して 行くだろう。”そして、この新たなスタートには 若い世代との交流が必要であり、それには オンラインが重要な手段となっている。 TUMBLR CのDiesel spaceは、ダイナミック なアイデアやイメージが創り出すリアルタイム の空想的空間の宝庫である。そこは、新しい クリエイターたちが成果を披露するコミュニ ティのような形をとっており、それぞれが制限 のない個々の解釈によって、実際にブランド のイメージを再構築するのに貢献している。 常に最新であり、流動的に変化し続けるテク ノロジカルなアンダーグラウンド精神、溢れ 出るアイデアと無限の可能性を持つ新たな 視点の前に、我々は没頭し、我を失ってしま うのである。

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SHOPS —

THE WORLD BEST FASHION MUSEUM ISETAN —

isetan.co.jp

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Since portable devices become a common tool for us, people’s lifestyle drastically changed at the same time. Rapidly expanded diversity of needs made virtual environments infiltrated into people’s days. Now, it established its position even in a fashion scene. For all conceptual stores in the world, ecommerce business is a key to survive and actually being a foundation for running a store.

new style of a department store while coming out from the image that people normally have.

As if it went against the tide, ISETAN Shinjuku department store in Tokyo had a grand opening in spring 2013, after finished a huge remodeled ladies fashion floors. New ISETAN is designed to aim at becoming the world best fashion museum. Offering a visitor excitements, thrills, fun, emotions and uncommonness, it expresses a

On the ladies fashion floors, the space called ‘Park’ is newly made at the centre of each floor. Park is designed and decorated with following each main theme, such as Tokyo (2F), Mode Lab (3F) and Luxury Museum (4F). In addition, a sub theme and a direction color has been changing only every 2 weeks to clear each individuality and character.

With fusing art and fashion, ISETAN created a place where you can enjoy both elements at the same place, just like a passage somewhere in Europe.

Considered fashion as art and it suggests a real joy for visitors while changing a event constantly.

A space make you feel walking inside of a tube and almost 100 of art flames are placed. Here, clothes are displayed in the flames instead of historical great paintings. ISETAN Fashion Museum gives you a chance to explore to find out a full of fun which you would never get the feeling without a visit.

One click, then you can get anything you want. It is very convenient, but it isn’t fun at all. Because if you were able to get a perfect wardrobes being at home, you have no reason to go out with dressing up anymore.

Mug Magazine issue 24, year XIV

持ち運びデバイスが当たり前の時代になっ てから、私達の生活にも劇的な変化が訪 れた。一 気に加速したニーズの多様化は バーチャル空間を人々の日常に徐々に浸透 させ、今ではその意義を確立しつつある。 ファッションの世界もその例外ではなく、 世界中のコンセプトストアに於いては、e コ マースの充実がショップ経営の一つの指針 となり大きな支えとなっている。 そんな流れに逆行するかのように、伊勢丹 新宿本店は世界最高のファッションミュー ジアムを目指し2013 年春にレディースフロ アの大々的なリモデルを終えグランドオー プンさせた。消費者の第六感を刺激し、リ アル店舗ならではの楽しさ、ワクワク感や ドキドキする気持ち、高揚感、非日常性を 体感してもらい、これまでの百貨店の枠を 飛び出した新しい存在意義を示している。 アートが街に溶け込んでいるヨーロッパの 街のような空間を、伊勢丹ではアートと

ファッションを融合させる事により創り上 げた。ファッションをアートとして捉え、作 品を目で見て感じるだけでなくミュージアム のように常時入れ替わる仕掛けによって、 人々が味わうリアル店舗の楽しさを提案し ている。 レディースファッションの各フロアでは、売 場面積を85%に縮小し、パークと呼ばれる エリアがフロア中央に新しく設置された。 フロアごとにそれぞれ、TOKYO（２F）、 Mode Labo（ 3 F）、Luxury Museum （ 4 F）のメインテーマが 設けられ、二週間 ごとに入れ換えられるイベントでサブテー マとディレクションカラーを展開している。 パークは各フロアの色や空気を表す情報 発信のスペースでもあり、独自性を特徴づ けるスペースでもあるのである。 まるでチューブの中を歩いているような空 間。3フロアに置かれたおよそ100面の大 小様々なアートフレームを飾るのは、ここ

では絵画ではなく洋服だ。体験してみな ければわからない探検するような感覚を、 伊勢丹ファッションミュージアムは与えて くれる。 ワンクリックで何でも手に入る時代 。それ はそれで便 利だが、それはそれでつまらな い。ウチにいて素敵なアウトフィットが全部 揃ってしまうのなら、おしゃれして外出す る必要もなくなってしまうのだから。

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SHOPS —

DOVER STREET MARKET NEW YORK — newyork.doverstreetmarket.com

“We hope to make DSMNY more and more interesting. I enjoy seeing all the customers coming to DSMNY dressed in their strong, good looking and individual way. I would like DSMNY to be the place where fashion becomes fascinating.”

Rei Kawakubo A 20th century building, a former art school for girls, stands in peaceful Murray Hill, where countless restaurants and private homes are to be found. This is the venue that Rei Kawakubo chose, at 160, Lexington Avenue, for the third Dover Street Market, which was inaugurated in New York at the end of 2013.

The elegance and dignified outer look of the building have remained unchanged, whereas its interior has been totally restyled.

Designed by Rei Kawakubo herself, the concept store consists of seven storeys linked by a transparent lift, a space where, as Adrian Joffe said, harmony and chaos are perfectly balanced.

The main inner architectural feature consists in the three huge pillars decorated by as many artists, London Fieldworks, Magda Sayeg and Leo Sewell, whose works ideally cut the storeys of the 2000-square-metre building. Creativity pervades the interior of the store with countless works created by artists from all over the world personally selected by Adrian Joffe. For example, the huge closed escalator, “Biotopological Scale-Juggling Escalator”, connects the third floor to the fourth, a sort of amorphous tunnel created by Arakawa and Gins. Each designer and artist was given relative freedom of expression in the

planning of spaces, as can be seen in the Thom Browne space, arranged as a sort of office with a writing desk and its complementary furniture, or the Prada space on the seventh floor, characterized by huge wall-paintings which draw inspiration from the presentation of the spring collection.

A happy combination of creativity and individuality, skilfully orchestrated by the special collaboration between Rei Kawakubo and her designers. As Joffe himself explained, they never met, in that for Rei Kawakubo to collaborate does not mean to sit around a table to propose one’s ideas, but to define guidelines, to trust people, their inspiration and creativity.

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Mug Magazine issue 24, year XIV

“ 我々はDSMNYを、より一層面白いもの にしたいと願っています。私はDSMNYに 来てくださる全てのカスタマーの、強く、 格好良く、個性的な着こなしを見るのを 楽しんでいます。DSMNYは、ファッション がより魅力的となる場所であってほしいの です。” 川久保玲 幾つものレストランや住宅が並ぶ平穏な マレーヒル地区に位置する、かつては女子 美術大であった20世紀の建物。レキシント ンアベニュー 160 番地、ここは川久保玲が 2013年の終わりにニューヨークで立ち上げ た 3店舗目のドーバーストリートマーケット のために選んだ場所である。 エレガントで威厳のある建物の外観はその ままに、その一方で内部は完全にリスタイ リングされている。 川久保玲自らがデザインした、このコンセプ トストアは、透明なエレベーターでつながっ

た 7 階建てであり、エイドリアン・ジョフィの 言葉を借りれば“ 調和とカオスが完璧なバ ランスを保った”スペースである。 館内の建築要素の中で要となっているの は、ロンドン・フィールドワークス、マグダ・ サイエグ、レオ・スーエルら複数のアーティ ストによって装飾された三本の巨大な柱で あり、それらは総面積2,000㎡の建物内の 各階を理想的に仕切る役割を果たして いる。店内は、エイドリアン・ジョフィに よって世界中から選ばれたアーティストた ちの無数の作品で、創造性に満ち溢れてい る。例えば、3階と4階を結ぶ巨大な囲い付 き階段“ Biotopological Scale-Juggling Escalator”は一種の無定形トンネルで、 荒川修作とマドリン・ギンズの作品である。 各デザイナーやアーティストは、それぞれの スペースでの相対的な表現の自由を与えら れている。Thom Browneの場合、ライ ティングデスクとその他の家具や調度品が

オフィスのように配置されているのが見ら れ、また、7階のプラダのスペースでは、 スプリングコレクションのプレゼンテー ションから得たインスピレーションが描か れた巨大なウォールペイントが特徴となっ ている。 創造性と個性のハッピーなコンビネーショ ンは、川久保玲とそのデザイナーたちとの 特別なコラボレーションによって巧みに展 開されている。ジョフィはこう語っている。 川久保玲にとってのコラボレートとは、 決してテーブルを囲んで座りそれぞれの アイデアを提案するというのを意味するも のではなく、ガイドラインを明確にし、あと は人々と、彼らのインスピレーションや創造 性を信頼するということなのである。

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F.LLI CERRUTI WOOL MILL. A LEADING FIRM IN NOBLE FIBERS. F.lli Cerruti Wool Mill keeps supplying the most important fashion maisons worldwide with top quality fabrics. The best Peruvian vicuna, cashmere from Inner Mongolia and the finest Australian wools are merged to weave extremely precious fabrics. With their unique feel and sophisticated look the fabrics are obtained through state of the art dyeing and finishing techniques that enhance their value.

The Firm’s travel through the world’s finest fibers started as far back as the ‘50s, when F.lli Cerruti Wool Mill imported the first lots of raw materials still totally unknown in Europe, and continues to this day with the exclusive Alpaca Suri, a refined material for connoisseurs. Coming from Perù and considerably rarer than the more common Alpaca Huacaya, the Suri fiber is richer, longer and softer, has a full feel and looks definitely like fur. These features got Alpaca International Association to choose F.lli Cerruti Wool Mill as Partner for 2015.

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フラテッリ・チェルッティ・ウール・ミルは、 最高品質の織物を世界中の最も重要なファッ ションメゾンへ供給し続けている。最高品質 のペルー産ビクーニャ、内モンゴル産のカシ ミアや最高級のオーストラリア産ウールが、 格別に高級な織物へと姿を変える。独自の 感触と洗練された風貌を持つ織物は、その 価値を一層高める最先端の染色と仕上げの 技術によって作り出される。世界の最高級繊 維を貫いて来た同社の旅のスタートは、フラ テッリ・チェルッティ・ウール・ミルが、ヨーロッパ ではまだ誰にも知られていなかった大量の 原材料を初めて輸入した 1950年代にまで遡 る。それは、知る人ぞ知る非常に洗練された スーリーアルパカで、現在でも同社への独占 販売が継続している。ペルー産のそれは、 より一 般的なアルパカであるファカヤ種と比 べると、はるかに希少価値の高い素材である。 スーリーの繊維はよりリッチで、長く、ソフト で、感触も見た目も毛皮そのものだ。こうした 功績から、フラテッリ・チェルッティ・ウール・ ミルは、国際アルパカ協会から2015 年度の パートナーに選ばれたのである。

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SHOWCASE —

THE MISSION OF PRESENT-DAY FASHION —

Mug Magazine issue 24, year XIV

To accept challenges, risk, and stand in the forefront are today the tasks of a manager who has to govern change keeping an eye open for his firm’s strong or weak points, opportunities and threats. By betting on his own ideas and thanks to crowdfunding programs this figure has become a maker, an entrepreneur whose ideas take shape and become projects, whose dreams come true. A widespread collective culture is bringing about a revolution in countless fields and creating new opportunities. The internet’s wealth of contents created by users has been exploited by firms for their transactions. The web 2.0 has turned the user into an active protagonist, with the result that consumption, demand and the hierarchy of needs have changed. Through a global showcase access to possibilities and opportunities can be gained by just a click.

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“To innovate or perish” has been the guiding principle in the change of business models. The online race has become crucial, although people often lack competence. Getting on to end consumers by enhancing quality or increasing the number of products has led to a battle focused on brand loyalty, promotions and ad hoc communication.

It is no longer necessary to create one’s own works to be defined artists, or to be skilful designers to be able to develop items of clothes and be defined stylists; in an age of transition, ideas and risk are rewarding only if the game can be played with the right partners.

The generational turnover in familyrun firms has led to innovation both on their tradition and know-how. The verticalisation of production and the shortening of the production chain have in turn led to a strengthening of products and to better external relationships.

Thanks to the globalization of markets and a global view of consumers, manufacturers of valuable textiles and craftsmen have been able to achieve high quality standards and enhance production to the detriment of fast fashion.

Manufacturers, who have so far been contractors, are now on the forefront and propose their items. Firms’ specialized know-how has led to successful items, their skills lead to singleproduct production with no identity widening or alterations. The philosophy of well made products.

The growth of small economic subjects is made easier by the opportunities offered by the web, through which an end consumer can buy directly from a manufacturer although they are in different continents. The hegemonic policies and filters proposed by traditional magazines and retail buyers are bypassed and result in the plummeting of proceeds. E-commerce has proved to be the solution for those who have been able to exploit it.

The mission of a present-day manager is to link the various elements in the chain of production, to bring into contact faroff realities by creating synergies. Items conceived in Japan are manufactured in Italy with Australian wools woven elsewhere: a global supply chain. Changes in the philosophy of management are leading to a harmonious consistent strategy. The advent of makers’ strategy is the starting point for development and durable future achievements.

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Mug Magazine issue 24, year XIV

挑戦、リスクを受け入れ、最前線に立つ。 これらが自らの企業の強みや弱点、チャン スと危機にしっかりと目を光らせ続けなが ら、時代の変化を司らなければならないの が経営者の仕事である。自身のアイデアへ の賭け、そして、クラウドファンディング・プ ログラムのおかげで、そのアイデアをプロ ジェクトに、そして製作者に、または起業家 となり、自分の夢を叶えることが出来る。 広く普及した集団カルチャーは、数え切れ ないほどの分野に革命をもたらし、新たな チャンスを創り出している。ユーザーたちが 作成したインターネットの莫大なコンテンツ が、企業によって彼らの取引のために利用 される。web 2.0は、ユーザーをアクティブ な主人公 へと変え、その結果、消費や需要 やニーズの有り方も変わってきた。可能性や チャンスへと通じる世界的なショーケース は、ワンクリックするだけで手に入れること が出来るのである。 アーティストという定義のためには自らの作 品制作が必要だったり、優れたデザイナー と認められるには、自身で服飾アイテムの 開発が出来て、スタイリストと定義される必 要は、もはやなくなっている。移り行く時代 の中では、アイデアやリスクは、適切なパー トナーと共に勝負に投じることが出来る場 合にのみ、その実りが得られるのだ。 小規模企業の成長という課題は、ウェブ上 で提供されるチャンスによって容易になっ た。消費者は、遥か彼方の別大陸にいる 生産者からでも、直接製品を購入する事が 出来るのである。トラディショナルな雑誌や 小売業者のバイヤーが提案する一方通行 的な方向性は迂回され、結果、売上も急落 している。eコマースは、上手く使いこなせ る人にとってはソリューションとなることを 証明したのである。

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“革新するか滅びるか”が、ビジネスモデル の変化の原理の指針となっている。まだ多 くの場合、人々には能力が不足していると はいえ、オンラインでのレースは必要不可欠 なものとなった。品質の向上や製品の数を 増やしながらの最終消費者獲得への試み は、ブランドロイヤルティー、プロモーション、 場当たり的なコミュニケーションに焦点を 当てた戦いへと至っている。 家族経営企業での世代交代は、彼らの伝 統とノウハウ両方の革新へと繋がる。生産 の垂直化と生産チェーンの短縮化は、製品 の強化と、外部とのより良い関係へと繋が る。市場のグローバル化と消費者のグロー バル化した視野のおかげで、高価な織物 の生産工場と職人たちは、高い品質基準 を達成することが出来、ファストファッション を脅かすほどに生産性を高めている。 かつては請負企業であった製造業者が、 今では最前線に出て彼らの商品を提案して いる。商品の成功につながるのは企業の専 門的ノウハウだ。彼らの持つスキルを、アイ デンティティーを拡大したり変化させたり することなく、たった一つの製品に注ぎ込 む。これが良品の哲学である。 現代の経営者の使命は、生産チェーンに 様々な要素をつなげること、相乗効果を 作り出す、遥か彼方に実在するもの同士を 接触させることである。つまり、日本で考案 されたアイテムが、どこか別の国で織られた オーストラリア産ウールを用いてイタリアで 製造されるといったようなグローバルなサプ ライチェーンである。経営哲学の変化は、 調和のとれた一貫性のある戦略を導く。 生産者の戦略の出現とは、発展と永続的 な未来の業績への出発点なのだ。

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SERICA DELLA MARCA. THE ITALIAN WEAVING TRADITION — sericadellamarca.com

Located on the Italian silk route, Serica della Marca is a Treviso-based business that appears in the national register of historical firms. In the field of weaving since 1870, the firm has specialized in silk fabrics since the end of World War II and developed a totally Italian made production.

As far as handcrafted and industrial quality is concerned, Serica della Marca is one of the few Italian weaving industries that can guarantee yarn clearing, winding, weaving and double control on silk, cotton, flax and cashmere fabrics. Over its 150-year activity, the Firm has constantly recreated and renewed its tradition by overcoming the chaos of two World Wars, constantly updating and streamlining its production of printed, yarn dyed and piece dyed fabrics. Over the years, quality has become the firm’s distinctive element achieved through combined research and control on the whole of its

productive range. The achievement has enabled Serica della Marca to stand out in the field, to obtain UNI EN ISO 9001 certification in 1999, and to fully answer the ever increasing demands of fashion maisons worldwide.

In the Follina located historical premises collections are designed, silk fabrics made and marketing strategies devised, whereas at Como based P. A. Jacchetti dying plants the fabrics are ennobled through printing, dying and finishing. The firm’s enterprising initiatives have opened in 2014 to innovation and new technologies, so much so that the secret of their totally Italian successful techniques consists in the engineering of handcrafted know how. These crucial stages in the life of a firm, especially when it is rooted in a longstanding tradition, become essential for the development of its noble history.

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イタリアのシルク街道に位置するセリカ・ デッラ・マルカは、トレヴィゾにビジネスの 本拠地を構え、国内の歴史的企業の登録 簿にも名を連ねている。1870 年にスタート した織物工場は、第二次世界大戦の終結 後からは、絹地に特化し完全なイタリア製 の生地を生産して来た。 手工業と産業クオリティを把握する限りで は、セリカ・デッラ・マルカはイタリアの中 でも、絹、綿、亜麻やカシミヤ生地の、糸 の撚り、巻き、織り、ダブルコントロールま でを保証出来る数少ない織物工場の 一つ である。その150 年の事業の歴史に於いて、 同社は継続的に伝統の新たな創造と更新 を行って来た。プリント、糸染め、繊維染 めなどの生産の合理化を常に行い、過去の 二つの世界大戦の混乱を乗り越えて来たの である。長年に渡る努力が功を奏し、取扱 製品全てに於いての研究と管理の組み合 わせによって実現された高いクオリティは、 同社を際立たせる要素となった。その結果、

セリカ・デッラ・マルカは織物業界の分野 で傑出した存在となり、1999 年には UNI EN ISO 9001 認証を所得、世界中のファッ ションメゾンからのニーズも増え、彼らの要 求に完璧に応えている。 フォッリーナにある長い歴史を持つ建物の 一角で、コレクションのデザイン、絹織物の 製造、マーケティング 戦略が考案される。 一 方、コモにある染色工場 P.A. ジャッケッ ティでは、プリント、染色、仕上げを通じて 製品の気品が高められる。2014 年、企業 は技術革新と新たなテクノロジーという 進取の気性に富んだ新提案を始動させた。 彼らに成功を運んだ完全なイタリア製の技 巧の秘密は、ハンドクラフトのノウハウが活 きた工学から成っている。特に彼らのよう な長年の伝統に根ざした企業にとって、 企業生命の中でのこのような重要な局面 は、その気高い歴史を更に発展させるため には不可欠となるのである。

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BOTTOLI WOOL MILL — lanificiobottoli.com

The activity of Bottoli Wool Mill began in 1861 at Ceneda (named Vittorio Veneto after it merged with Serravalle in 1866), when its founder started a cloth and blanket weaving industry.

The wool mill is specialised in the production of wool and other print fabrics in natural fibers to distinguish their textiles from those of the other firms in the district. Tradition, quality and an innovative approach based on research have been the Firm’s guidelines since it underwent renewal in 1987. In 2002 the project ’Lanaitaliana stile di vita’ (Italianwool: a lifestyle) was born involving the recovery and upgrading of the whole made-in-Italy production stages and the use of the best merino wool in the area.

On the meadow adjoining the factory next to the banks of the river Meschio some specimens of dark-coated

sheep Sopravissane, an endangered breed, can be seen grazing. After being carefully selected, the specimens breed in sheep farms located in Abruzzo, Marche and Umbria. From such specimens the Wool Mill obtains the raw material for its non-dyed valuable fabrics enhanced by fibers that keep their morphologic features unaltered.

The entirely Italian processing stages guarantee an excellent, unique product that enhances the items manufactured with Bottoli fabrics.

The rediscovery of tradition led the Firm to an innovative research approach which resulted in the production of valuable, technically unique yarns such as Lanalight by Bottoli, which exploits the resilience of the fiber to obtain a light carded yarn (196 g/sm) in pure Italian merino wool. The bioethical line proposes a hemp fabric

made in Italy, a natural material that protects the body from electromagnetic radiations, an extra fine worsted, besides a lambswool material and more, since season after season the Firm develops new products like a fabric in cotton mixed with one obtained from milk, and, for the next seasons, a fiber obtained from seaweed.

ボットーリ・ウール・ミルの事業は、創設者が 1861年にチェネーダ（1866年にセッラヴァッ レとの合併後、ヴィットリオ・ヴェネトに改名） にて、クロスや毛布の織物産業をスタート させたところから始まった。現在、ここでは ウールや天然繊維を使ったプリント生地の

生産を専門としており、それが彼らのテキス タイルが地域の他工場の製品からは区別さ れる要因となっている。1987年にリニューア ルを行って以来、伝統、クオリティ、そして、リ サーチに基づいた革新的アプローチが同社 の指針となった。2002年に生まれたプロジェ クト ‘ Lanaitaliana stile di vita’(イタリア ンウール：ライフスタイル) は、地域で最高の メリノウールを利用し、全工程に於いて完全 なるメイド・イン・イタリーの復興と向上を目 標としている。 工場に隣接するメスキオ川の岸辺に広がる 牧草地には、濃色の毛で覆われた、絶滅危 惧種のソプラヴィッサーナ種の羊が放牧され ており、時には牧草を食べる姿を目にするこ とが出来る。アブルッツォ州、マルケ州とウ ンブリア州の牧羊場で試験的に飼育された 羊から品種が慎重に選択された後、ウール・ ミルでは、それらの品種から未染色で自然の ままの形態や構造をそのまま維持した貴重な 原材料を得ている。処理工程の全てをイタリ

ア国内で行うことにより、卓越した独自の 製品が確約され、ボットーリ社で製造される アイテムの質の高さへと繋がっている。 伝統の再発見は、また、同社に革新技術の リサーチへのアプローチをもたらし、繊維の 弾力性を持った純イタリア産メリノウールの 軽量の梳綿糸 (196g/㎡)、Lanalight by Bottoliのような、希少で技術的にも特殊な 糸の開発につながっている。バイオエシカル ラインからの提案は、ラムウール素材に加 え、電磁放射線から身体を守ってくれるイタ リア製天然麻素材の極細ウーステッドなどが ある。毎シーズン、同社では新製品の開発が 行われており、ミルクから生まれた繊維が混 合されたコットン地に続き、来シーズンには 海草を原料とする繊維も登場する。

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BEVILACQUA TEXTILE INDUSTRY — luigi-bevilacqua.com

One of the most ancient textile industries in Europe, Bevilacqua Weaving Industry has been operative since 1875, the year when it was officially established. Its roots, however, are far deeper than that, in fact, since the days of the doges skilful hands have processed precious materials following traditional techniques to transform yarns into valuable fabrics that have enhanced the mansions and theatres where they have been employed. The silence of Venetian ‘calli’ is broken by the rhythmic sound of the ancient looms now working side by side with modern machines, which, however, do not impair the handmade quality of production.

In fact, from the perforated cartoons to the weaving of noble silks and brocades, all the stages of production are in keeping with ancient traditions and result in extremely high quality products whose excellence is a source of inspiration for interior designers and high fashion stylists.

ヨーロッパでも最も古い織物製造所の一 つであるベヴィラクア織物製造所が稼働 を始めたのは、公式には1875 年の創設か らだが、実際のルーツは、それよりも遥か に遠く、ドージェの時代から職人の巧み な手作業で、糸を布へと変える伝統的手 法を用いた加工技術により、彼らが仕え ていた邸宅や劇場を豊かに飾ってきた。 ヴェネチアの‘calli（小道）’の静けさが、 古い織機のリズミカルな音に遮られる。 これらは現在でも近代的な機械と肩を並 べて稼働しているが、当時の技術によっ て現代のハンドメイド生産の質の高さが 損なわれる事はない。実際、下絵の目打 ちから高貴なシルクやブロケードの織りま で、生産のすべての段階には古い伝統が 保たれており、その卓越したクオリティー の高さは、インテリアデザイナーや最先端 のファッションスタイリストたちにとっての インスピレーションの源となっている。

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ONLY T-SHIRT DETAILS, QUALITY AND PASSION — onlyt-shirt.com

Outstanding in the production of highquality t-shirts, Only T-Shirt is a unique firm that has achieved success over its thirty-year activity by supplying the most prestigious luxury brands.

Since 1994 Only T-Shirt has concentrated on the t-shirt, the most versatile of garments, by forerunning or following fashion interpretations through the use of jersey, piquet and plush. Established in the ‘80s, this creative workshop adopted the ‘change to win’ philosophy, which involves differentiation from competitors, constant growth through innovation – i.e. the use of circular machines instead of shuttle looms - strategic partnerships and hard work. The firm’s objective is the satisfaction of the most demanding, sophisticated partners, therefore it avails itself of a team of stylists and graphic designers to back up the creation of collections, the research on materials and trends, and the production of models and prototypes.

Besides dyeing, printing, embroidering and item personalising, at Only T-Shirt’s premises technologies are constantly updated and state of the art devices applied to production. Production monitoring is also focused on the achievement of top quality; the materials from which their items are made are not obtained regardless of human rights, while production and suppliers undergo strict quality control.

Only T-Shirt proves that commitment and dedication are the basic qualities to achieve worldwide success.

Mug Magazine issue 24, year XIV

最高級品質のTシャツを製造するOnly T-Shirt は30年以上に渡り、幾つもの最も名 高いラグジュアリーブランドのサプライヤーと して成功を獲得したユニークな企業である。 1994 年からは、Only T-Shirtは、事業を 衣類の中で最も汎用性の高いTシャツに特化 し、ジャージー、ピケ、プラッシュといった素材 の使用によって、次代のファッションを読み、 随従し、先駆けている。80年代に設立された このクリエイティブな製造所は、 ‘ change to win（勝つために変わる） ’ を哲学としている。 これは、競合他社との差別化、革新を通した 継続的な成長を意味する。具体的には、シャ トル 織機の代わりに円形マシンを使用する など、戦略的パートナーシップ 及びハード ワークといった事である。同社の目標は、目 の肥えたパートナーたちからの最も厳しい要 求に応え、彼らを満足させることで、そのため にスタイリストとグラフィックデザイナーの チームが、素材やトレンドのリサーチ、試作 品やひな形の製作に関わりコレクションの創 作をバックアップしている。 染色の他、プリント、刺繍やアイテムのパーソ ナライズなど、Only T-Shirt の敷地内では 常に技術がアップデイトされ、生産には最高 水準の電子機器が使用されている。生産ラ インのモニタリングは、トップクオリティーの 達成も目的としており、生産とサプライヤーが 厳格な品質管理下に置かれているだけでな く、扱われる素材は人権への配慮に欠けるも のは、一切使用されない。 Only T-Shirt は、専心と献身は世界規模で の成功を成し遂げるために必要な基本的資 質であるということを証明している。

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RUDE RIDERS — ruderiders.com

Reminiscent of an adventurous trip riding an old Harley Davidson on a dusty American road, the project Rude Riders was born in 2010. The magic spirit of travel and adventure riding a mythic bike is the mood that pervades the collections. The brand’s custom t-shirts have immediately become status symbols and express the passion, the wish for freedom and discovery shared by the group of friends that founded the brand.

In Rude Riders products, the style of American bikers is merged with a European fashion taste. Rude Bikers becomes something more than a brand: a style, a passion, a status symbol. The brand’s success is due to the fact that it was conceived and created by people who passionately love the world

of bikes and want to give products the same authenticity they feel while riding their bikes with windblown hair.

Rude Riders items combine skilled craftsmanship, a strong passion and historical culture; although they were first proposed at international motorcycle rallies, they are now available in the best stores all over the world.

Here Rude Riders t-shirts, shirts, jackets, vests and accessories attract fans from the biker world who can appreciate made-in Italy culture in products that are outstanding for their jersey processing, serigraphy and garment dyeing.

古いハーレーダビッドソンに乗って埃っぽい アメリカの道路を走る冒険旅行を連想させ るプロジェクト、RUDE RIDERSは2010年 に誕生した。伝説のバイクにまたがっての 不思議な魅力に溢れた旅と冒険の雰囲気 が、コレクション全体に漂っている。瞬く間 にステータスシンボルとなった同ブランドの カスタムTシャツは、ブランドを設立した友 人グループが共有する情熱、自由と発見へ の願いを表現している。

たいという強い思いである。

Rude Ridersの製品は、 アメリカンバイカー のスタイルとヨーロッパのファッションテイ ストが融合している。荒くれバイカーたちが 今や、スタイル、情熱、ステータスシンボル などで、ブランドを越えた何かへ変わろう としている。ブランドの成功を導いたのは、 バイクの世界を愛し情熱を持ってその世界 に生きる人たちの、髪をなびかせながらバ イクで走る本物の感覚を製品を通じて届け

Rude Riders means style and emotion: items to live in full freedom rather than simply to wear.

アイテムは、熟練したクラフトマンシップ、 それに強い情熱と歴史的文化の結晶だ。 彼らの最初の製品発表の場は国際バイク ラリー会場であったが、現在では世界中の 一流ショップで購入出来るようになった。 Rude RidersのTシャツ、シャツ、ジャケッ ト、ベスト、アクセサリーはバイク界の ファンを惹きつけ、特にジャージーの加工 技術、シルクスクリーンプリントや染色面 に於いては、メイド・イン・イタリーの文化 が歓迎されている。 Rude Ridersが意味するところは、スタイル とエモーションである。それは、単に着るも のというよりも、完全に自由に生きるための アイテムなのだ。

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EASTPAK X ANDREA CREWS — eastpak.com

Andrea Crews creative agency has chosen the artist Marcel Samba to reinterpret Eastpak iconic knapsacks.

“Stay True”draws inspiration from the gangster-dream world and conveys a mood through a series of strong images such as the dollar, diamonds and sharks in red, black and white.

Its stylized graphics shifts our attention from the violence it represents to its poetic power. The collection will be available at select stores from September 15th 2014.

This second collaboration reinterprets the waist-bag Springer and the knapsacks Wyoming and Padded Pak'r® XL by transforming them through a number of designs and contrasting captions, and by combining the strength of the items with the freedom of the graphic sign.

Andrea Crews x Eastpak merges upcycling and street wear by creating an overstressed style, a coloured, bold, unisex product playing on different combinations of materials that enable wearers to express their personality and uniqueness.

Andrea Crews has created and presented a high street handmade item designed in his Paris studio. Engaged in the field of art worldwide, with occasional contributions to performances and interdisciplinary exhibitions, Andrea Crews is also an independent agency whose exclusive collaborations have offered successful approaches to creation thanks to the vital quality of the projects they have realized.

Mug Magazine issue 24, year XIV

クリエイティブ集団、アンドレア・クルーズが Eastpakのアイコンであるリュックサックの 新たな演出のために選んだのは、アーティス トのマルセル・サンバだ。 “ Stay True”は、 ギャングスター・ドリームの世界からのインス ピレーションで、ドル札、ダイヤモンド、赤い サメ、黒と白といった強いイメージをもたらす シリーズで、その雰囲気を伝えている。 様 式化されたグラフィックが、我々の関心を 暴力的なものから詩的パワーへとシフトさせ てくれる。このコレクションは、2014 年9月15 日からセレクトショップで販売される。 二つ目のコラボレーションは、ウェストバッグ のSpringer 、リュックサックのWyomingと Padded Park ® XLで、たくさんのデザイン 要素と対照的なキャプションで見た目を一変 させ、アイテムの強度とグラフィックサインに よる解放感を兼ね備えている。 アンドレア・クルーズ x Eastpak は、異素材 を組み合わせたベースに、オーバーアクセント なスタイルやカラフルな色使いと大胆なデザ インで、アップサイクリングとストリートファッ ションを一 つにした。遊び心溢 れるユニ セックスの製品は、持つ人それぞれの個性や 独自性を表現してくれる。 アンドレア・クルーズは、パリの彼らのスタジ オで、ハイストリートのハンドメイドアイテム を創作し発 表している。アートの分野にも 世界規模で従事し、多分野に渡るパフォー マンスや展示会などにも多く貢献している。 また、独立したエージェンシーでもあり、 エクスクルーシブなコラボレーションで、 絶対的なクオリティを持つプロジェクトを 実現させ、作品を成功へと導くアプローチを 提供し続けている。

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DIESEL BLACK GOLD — dieselblackgold.com

Under the guidance of Andreas Melbostad, Diesel Black Gold AI 2014 collections show hints of an evocative futurism and a vital energy in creating clothing.

The women’s collection lays the foundations of a new aesthetic ideal, with designs that draw inspiration from space adventures in their mythic aspect.

The items are characterized by texture plays in which lacquered, plated and metallic surfaces are coupled with classic and traditional materials;

the features are even more marked in the jackets with their iconic space suit elements. Leather, flannel and coated cotton trousers come in cuts that enhance the silhouettes, whereas the tops, the bustiers, the pleated skirts and the sheath dresses come in neoprene, cady and jersey. With the addition of studs and zippers, the items are reminiscent of futuristic coats of arms that the pleating makes gentler. Metal toed boots with front zippers and multiple

studding, slender court shoes, structured bags and belts with reflecting metal details complete the collection.

The men’s collection is an innovative mix of authentic skilfully designed items in sophisticated materials with military and rock nuances.

The neat, classic sartorial tailoring is combined with the innovative cut of built-on-the body trousers. The jackets draw inspiration from military clothing and uniforms and are enriched with

leather, metal and enamel emblems and badges. The rough textured tufted shirts are in some versions treated with lacquered finish for a graphic sports effect. Calf-high army boots and polished leather Chelsea boots have military style insertions on the heel and vamp.

Both in men’s and in women’s items denim and leather, Diesel Black Gold key materials, have been renewed through extremely innovative techniques.

Mug Magazine issue 24, year XIV

Diesel Black Goldの2014秋冬コレクショ ンは、アンドレアス・メルボスタッドの指揮 の元、フューチャリズムの喚起と、生き生き としたエネルギーを示唆した服作りとなっ ている。 レディース・コレクションは、彼らの神秘的 な視点から見たスペースアドベンチャーが インスピレーションで、新しい理想的な美 学を提案している。 各アイテムは、クラシックでトラディショナル な素材に、ラッカー、メッキやメタリック加 工などの遊び心を加えたテキスチャーが特

徴となっており、それは彼らのアイコン的な スペーススーツの要素を取り入れたデザイン のジャケットで、よりらしさが強調される。 レザー、フランネル、コーティング加工された コットン素材のパンツは、シルエットを強調 するカッティング。一方、 トップス、ビスチェ、 プリーツスカートやシースドレスには、ネオ プレン、キャディやジャージーといった素材 が使われている。また、スタッズやジッパー があしらわれ、フューチャリスティックな鎧 を思わせるアイテムは、プリーツによって柔 らかさが加えられている。フロントジッパー と幾つものスタッズが付いたメタルトゥの

ブーツ、細身のコートシューズ、それにディ テールにミラーメタルを使用した、かっち りとしたバッグやベ ルトでコレクションは 完成する。 メンズコレクションは、洗練された素材に 正統派で巧みなデザインのアイテムに、ミリ タリーとロックのニュアンスが漂う革新的 な組み合わせである。 きちんとしたクラシックなマン・テーラード と革新的なカッティングを組み合わせたボ ディーフィットのパンツ。ミリタリーウエアや ユニフォームからインスピレーションを得た

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ジャケットは、レザー、メタル、エナメルの エンブレムやバッジでリッチな仕上がりだ。 ラフなテキスチャーのシャツは、幾つかの バージョンでスポーティなグラフィック効果 を生むラッカー仕上げとなっている。カーフ のロングアーミーブーツとポリッシュレザー のチェルシーブーツは、ヒールとつま先に ミリタリースタイルがデザインされている。 メンズ、レディースともに、Diesel Black Goldの中心素材であるデニムとレザーも、 究極の革新的な技術によってリニューアル されている。

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BEBY ITALY DILUCE — bebyitaly.com diluce.com

Beby Group’s know-how relies on the heritage of local craftsmanship. The Firm realizes its works and furniture in synergy with the area where it is located, and the quality, technical and building features of its products are unique.

The whole range of its production stages enhances hand-made Italian items, a symbol of outstanding design worldwide, and with their fifty-year-old activity BEBY ITALY and DILUCE can pride themselves on their great prestige and achievements. The group is outstanding for its commitment, endless research and steadfast entrepreneurial spirit, and the brand is renowned worldwide as Light & Living and Living Design High Luxury.

The lighting devices and the furniture, which interact with the exhibition and living spaces, stand out for their architectural details, noble materials and valuable sophisticated finishing.

The designer Silvia Broggian, the brand’s creative director, is the author of works which combine elements from the Made in Italy tradition with modern technological innovation, a present-day interpretation of forms that focuses on materials and on essential structural elements.

Creativity in its matter totality can be admired in the prestigious Milan space, the expression and embodiment of a philosophy entirely dedicated to the search for styles, ideals and trends devoted to interior design.

Mug Magazine issue 24, year XIV

Beby Groupのノウハウは、地域で継承され てきたクラフトマンシップの賜物と言っても過 言ではないだろう。同社は、同社の生み出す 製品や家具は地域との相乗効果であると認 識しており、それらのクオリティ、技術や風貌 は非常に個性的なものである。 優れたデザイン性で世界中に認知されている イタリアのハンドメイドアイテムの良さが、生 産工程の全てに表れており、BEBY ITALY とDILUCEは、その50年の企業活動の中で 培われた偉大な名声と業績を誇りとしている。 同グループは、献身的努力と、尽きることの ないリサーチ、一貫した起業家精神で非常 に優れており、その結果として、ライト&リビ ング、また、ハイラグジュアリーなリビングデ ザインで名声を得たのである。 相互作用し合う照明装置と家具は、展示会 場や、あるいは生活空間で、それらの構造の ディテール、品のある素材や洗練された他で は見られない仕上げで輝きを放つ。 ブランドのクリエイティブディレクターであり、 デザイナーも務めるシルビア・ブロッジャン は、メイド・イン・イタリーの伝統から引き出 された要素に近代的な技術を組み合わせた 製品の立役者で、素材と構築上の必須要素 に焦点を当てる事で、これらを現代的な形に 生まれ変わらせたのである。 隅々までに行き渡る創造性は、格式あるミラ ノのショウルームで賞美することが出来る。 インテリアデザインに専念したスタイル、理 念とトレンドの探求は、彼らの哲学の表現 と具現化にその全てが捧げられているので ある。

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MANIKE++A — maniketta.com

The term MANIKE++A stands for a thick, compact, fireproof and waterproof tube made of polyester and rubber. From a fire-fighting hose Paolo Pasqualin drew the name of the brand he created, and, once processed by hand, the salvage leads to the creation of sneakers, bags, eye glasses and bike accessories.

MANIKE++A'S creative director comes from the world of design and fashion. Thanks to his background Paolo Pasqualin has created a line that combines futuristic design, colors and innovation and has given life to a concept and a lifestyle that surpasses the brand itself. The two pluses (++)

in blue and red in the logo stand for water and fire, man and woman.

“The story of MANIKE++A started when I lived in San Diego, California – Paolo Pasqualin explains. I’m very fond of the old style, tattoos and bikes. One afternoon I was at Pacific Beach, and after having a tattoo made I lingered outside the shop watching a splendid pan head HD bike dating from 1950 whose exhausts were completely coated with fireproof polyester. After inquiring about it, I discovered that it was a material derived from fire-fighting hoses. A year after I came back to Italy I found a disused hose and I thought of creating design objects.

The Brand ‘MANIKE++A, positive people, positive world’ was born.”

Handicrafts keep all products made by hand flying. The uniqueness of each single item is the mark of authenticity that starts from the processing of

recycled materials. After the fire-fighting hose is cut by hand, rimmed and adjusted, a range of exclusive items is created. The lining and details of accessories are made with first rate Italian materials, from the leather for the lining to the zippers.

The brand offers a wide range of products, rigorously design accessories that can be worn from head to foot, with sneakers and glasses on the forefront.

The curiosity and the novelty to see a material transformed and radically changed gives life to MANIKE++A exclusive, unique products.

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MANIKETTAという用語は、幅広でコンパ クトな、ポリエステルとラバーから作られた 防火・防水チューブを表す。パオロ・パスクア リンは、1 本の消化用ホースから彼の創るブ ランドの名を思いついた。一度、彼の手を加 えると、この救命具からはスニーカー、バッ グ、サングラスやバイクアクセサリーが創作 されて行く。 MANIKE ++Aのクリエイティブ・ディレクター は、デザインとファッション界の出身である。 これまでのバックグラウンドは、パオロ・パス クアリンに、フューチャリスティックなデザイ ン、色彩、そして、革新が組み合わさったライ ンを創り出し、コンセプトや、ブランドそのも のを超えるライフスタイルを生み出す才能を 与えた。ロゴに使われている青と赤の2 つの プラス（++）は、水と火、そして男と女を表し ている。 “MANIKE ++ Aのストーリーは、私がカリフォ ルニア州サンディエゴに住んでいた時に始ま

りました。 ”パオロ・パスクアリンは語る。 “ 私はオールドスタイル、タトゥーやバイクが とても好きなのですが、ある日の午後、パシ フィックビーチでタトゥーを入れた後、辺りを ぶらぶらしていた私の目は、華麗な50 年代の バイク、H Dパンヘッドに留まりました。その バイクの排気装置は、耐火ポリエステルで 完全にコーティングされていたのです。尋ねて みると、この素材が消防用ホースに由来する ものであることが 判りました。翌年、イタリア に戻った私は、未使用のそれと同じホースを 発見し、それを使ってデザインオブジェクトを 創り出すことを考え付きました。そして、 ブランド‘ MANIKE ++ A, positive people, positive world ’の誕生となったのです。 ” 製品は全て、手による操作のみで製作され る。その為、全く同じアイテムが二つとないの が、その証である。作業はリサイクル原料の 処理からスタートする。消防ホースが手でカ ットされ、へりを付けて調節された後、エク スクルーシブアイテムのシリーズが作られて

行く。裏地用の革からジッパーまで、裏地や アクセサリーのディテールには、イタリアの最 上級素材が使われている。 ブランドでは、広範囲にわたる製品を提供し ており、スニーカーやサングラスなどを中心 に、厳密なデザインのアクセサリーは、頭の 先からつま先まで身につけられるアイテムが 揃っている。 マテリアルが形を変え、徹底的に変身するの を目にする好奇心と目新しさ。エクスクルー シブでオンリーワンの製品、MANIKE ++A に今、命が吹き込まれる。

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ph. Daniele Bozzano - art director Paolo Pasqualin

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CREATIVE ROOM™ STYLE RESEARCH, SELLING VALUE — iskooldenim.com creativeroom.eu

Ideas to make the difference: adding value is the purpose of Creative Room™, the Italian İSKO™ center on demand born to make inspirations and solutions for the denim sector available to the market.

In addition to the twenty-year experience in this sector of Umberto Brocchetto, the General Manager, and Massimo Munari, the Art Director, one of Creative Room™ strong points is the synergy with the parent company İSKO™, worldwide leader denim producer.

Indeed, thanks to the prompt interpretation of İSKO™ innovative concepts, Creative Room™ is able to start experimenting on the fabrics long before the rest of the industry with a true competitive advantage.

So, ranging from style research and product development, to research on treatment and finishing, up to showrooms’ interior design, the center provides with its services denim specialist brands, non-denim specialist brands, new brands or start-ups, garment makers and the parent company İSKO™.

Creative Room™ put its one-of-a-kind know-how at disposal also of the young talents participating in İSKO İ-SKOOL™ project, the unique initiative involving some of the most important design schools in Europe in a "talent award" for students.

In this context, the specialized center was the reference for the Denim Design Award, leading the operational part by following schools and students through the industrialization of their creations. İSKO İ-SKOOL™ 2014, in particular, was organized by İSKO™ in partnership with Archroma, Denim by Première Vision, Lenzing, Nearchimica, Tonello, PREMIUM Exhibitions, but also Swarovski, Moleskine® and the denim brands GAS, LTB, Made in Heaven and Every Day Counts, with the marketing and communication agency Menabò Group playing a role.

アイデアが違いを生む。違いは付加価値と なり、その付加価値が Creative Room™の 目的である。Creative Room™は、イタリア の iSKO™のオンデマンドセンターとして、 デニム部門に市場で活用出来るインスピ レーションとソリューションを生み出すために 誕生した。 この分野で20 年の経験を持つゼネラル マネージャーのウンベ ルト・ブロッケット、 アートディレクターのマッシモ・ムナーリに 加え、Creative Room™ の強みの一つは、 デニム生産に於ける世界的リーダーである 親会社、iSKO™との相乗効果である。 実際、iSKO™の革新的コンセプトへの迅速 な判断により、Creative Room™は、業界他 社よりも遥かに早い段階で生地の実験を開 始することが出来、これが競争面では非常 に優位に働いている。 こうして、スタイルのリサーチや製品開発、 処理と仕上げのリサーチ、また、ショールー ムのインテリアデザインに至るまで、センター では、デニム専門ブランド、デニム以 外を専 門とするブランド、新ブランドや立ち上げ間も ないブランド、縫製メーカー、そして親会社の iSKO™に彼らのサービスを供給している。

Creative Room™はまた、iSKO i-SKOOL™ プロジェクト（幾つかのヨーロッパの名門デザ インスクールも参加する独特なイニシアティブ を持った生徒向けのタレント・アワード）に 参加している才能ある若者たちに、彼らの他 に類を見ないノウハウを提供している。 このような状況の中で、同センターは、 Denim Design Awardの参考となっている。 Denim Design Awardは、学生たちの創作 の産業製品化を通して、スクールや生徒を 支援するプロジェクトの最も重要な一部分 である。

iSKO i-SKOOL™ 2014はとりわけ、iSKO™ 自らがオーガナイズを担当し、Archroma、 Denim by Première Vision、Lenzing、 Nearchimica、Tonello、PREMIUM Exhibitionsのみならず、Swarovskiや MOLESKINE ®、そして、デニムブランドで あるGAS、LTB、Made in HeavenやEvery Day Countsと提携、また、マーケティングと コミュニケーションでは Menabòグループが 一役買っている。

ISKO and ISKO I-SKOOL are trademarks of SANKO TEKSTIL - CREATIVE ROOM is a trademark of ISKO srl

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WP & WOOLRICH — wplavori.com woolrich.eu

WP Lavori has a portfolio of international brands; each of them is unique but all of them share a rich heritage thanks to iconic products that can be traced to the needs and lifestyles of a given historical situation.

Woolrich John Rich & Bros was born and was included in the WP family in the late ‘90s with an identity built on tradition. Tradition is never considered as a dusty past to be set aside, but as the basic element for the endless innovation of a brand which is American by birth, but, developed today between Europe and Japan, represents a global philosophy through a product that transcends time and space.

WP LAVORIのポートフォリオには国際的な ブランドが名を連ねている。それぞれに個性 を持ったこれらのブランドに共通しているの は、時代ごとのニーズやライフスタイルを辿 ることの出来るアイコニックな製品という素晴 らしい財産を有しているところである。

The communication strategy that WP adopted for Woolrich is aimed at tuning in the brand’s interpretation with its essence, laying emphasis on a cultural dimension where tale and product can merge. This is the key to the interpretation of their choice to use photography as the perfect synthesis of a union that can surpass pure aesthetics and convey content and meaning simultaneously to illustrate the identity of a product ‘with just one story’. After Larry Fink, Bernard Plossou, Bill Owens, Douglas Kirkland, Masao Yamamoto, Broomberg & Chanarin, it is now the turn of another ‘photography author’, as the creative director Andrea Cané calls him: it is the Italian Paolo Ventura’s turn, with his passion for historical memory and the world of textiles, to devote his artistic sensibility to express the brand.

In the resulting narrative campaign, a sort of ‘theatre of life’, the product seems to be suspended between dream and reality; in the background, painted backdrops illustrate ‘surreal stories’ that take us back to imaginary but possible worlds. ‘Infinite and indefinite’ places conjure up both past and present, at once close to and far from us. Places we have never visited are engraved in our memory. The magic of photography enables us to cross the blurred border between dream and reality where our heart and mind can dare to venture without getting lost.

‘人生のシアター’とでも言うべき物語調の WPが Woolrichのために取り入れたコミュ ニケーション戦略は、ブランドの本質の解釈 キャンペーンは、製品がまるで夢と現実の狭 間に留まっているかのように見せてくれる。 に同調すること、物語と製品とを結びつける 文化的側面に重点を置くことである。彼らが 背景にイラストで描かれた‘surreal stories 選択した写真を使うという方法が解釈への （ 超現実的物語）’ が、私たちを架空の世界 鍵を握っている。写真は、純粋な美学を超越 へと、しかしながら現実でもあり得そうな世界 し ‘単なる一つの物語 ’ で製品のアイデンティ へと運んでくれる。 ‘ Infinite and indefinite 伝統に基づいたアイデンティティーを持つ、 で過去と現在を思い起こ ティーを解説するため、内容と趣旨を同時に （際限なく不明瞭）’ Woolrich John Rich & Brosは、90 年代 知らせることが出来る完璧な総合手段である させる場所であり、近くにあって同時に遠く 後半に誕生し、WPのファミリーの一員となっ にある場所。これまでに足を踏み入れたこと と、彼らは考えている。ラリー・フィンク、バー た。伝統は、決して埃を被った過去として片 ナード・プロス、ビル・オーエンズ、ダグラス・ のない場所が私たちの記憶に深く刻まれる。 隅に置かれてしまうことはなく、アメリカ生ま 写真の魔法は夢と現実の曖昧な境界線を カークランド、山本昌男、ブルームバーグ＆ れの彼らのブランドにとっては、無限の革新 チャナリンに続き、今回はクリエイティブ・ 越えることを可能にし、迷うことなく思い切っ を目指す為の基本的要素である。今日では て、我々の心と気持ちを冒険させてくれる。 ディレクターのアンドレア・カネから指名を ヨーロッパと日本の間で発展し、時と空間を 受けた、もう一人の‘ photography author 超えた製品を通して彼らのグローバル哲学を （写真作家）’ 、イタリア人であるパオロ・ヴェ 披露している。 ントゥーラの出番である。歴史の記録とテキ スタイルの世界へ抱く情熱とともに、彼の芸 術的感性がこのブランドを表現するために捧 げられる。

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MCSORLEY'S OLD ALE HOUSE NEW YORK CITY — mcsorleysnewyork.com

McSorley's Old Ale House has been a gathering place, a watering hole, the subject of art and literature and even a supreme court controversy. Established in 1854 - McSorley's can boast of being New York City's oldest continuously operated saloon. Everyone from Abe Lincoln to John Lennon have passed thru McSorley's swinging doors. Woody Guthrie inspired the union movement from a table in the front - guitar in hand, while civil rights attorney's Faith Seidenberg and Karen DeCrow had to take their case to the Supreme Court to gain access. Women were finally allowed access to McSorley's in 1970! So belly up. Enter the sawdust strewn floors and history patched walls for a trip back through time. Share the McSorley's experience with the spirits of 150 years!

From it's humble origins as an Irish working man's saloon - cheese and crackers on the house-beer for pennies to its rediscovery by the mainstream in a 1940's New Yorker magazine profile. McSorley's is steeped in a cultural cacophony of Americana. Presidents, residents, authors and thieves - the lot of humanity have sat and shared, all abiding by McSorley's golden rule "Be Good or Be Gone".

ph. Danilo Durante

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マクソリーズ・オールドエールハウスは、 集いの場所である。酒場であり、芸術や文 学、 さらには最高裁判所での論争までもが、 人々の議論の対象にされている。 1854年に創業したマクソリーズは、ニュー ヨークで最も古くから続くパブであることを 誇りに思っている。アブラハム・リンカーン からジョン・レノンまで、誰もがマクソリーズ のスイングドアを通り抜けて来た。 ウディ・ガスリーは、このパブの前方のテー ブルで、ギターを手にした組合運動へのイン スピレーションを得た。公民権運動の時代 には、フェース・サイデンバーグとカレン・ デクロウが、パブへ出入りする権利の獲得 のために、このケースを最高裁判所まで持 ちこみ、女性たちは、1970年にようやく マクソリーズへの出入りを許可されたのだ！ さあ、その時は来た。おがくずが散らばっ た床、歴史のパッチワークで出来た壁のフ ロアに足を踏み入れて時間旅行を。150年 の魂が生きるマクソリーズの経験を共に分 かち合おう！1940年代のニューヨーカー誌 の紹介記事によると、始まりはチーズと クラッカーは店持ちの、数ペニーのハウス ビールを出すアイルランド労働者のための 社交場だった。 マクソリーズはアメリカの文化の坩堝だ。 大統領、住民、作家、そして泥棒まで、様々 な人種がここに腰を下ろし時間を共にする。 ここで受け継がれる不変の黄金ルールは、 “Be Good or Be Gone（楽しむか、出て行 くか）”。それがここ、マクソリーズでの全て なのである。

- FASHION WEEKS AGENDA - TRADESHOWS AGENDA - SHOWROOMS SALES - BRANDS SALES - PRE-COLLECTIONS - PRESS DAYS

ALL T

SALESHE C PLACAE MPAIG S AND N D

ATES

- BRANDS - TRADESHOWS & FASHION WEEKS - MULTILABEL SHOWROOMS - MULTILABEL STORES - PRESS OFFICES - FASHION MEDIA - FASHION SCHOOLS - FASHION SERVICES

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VIDEO MAPPING AS A SUGGESTIVE DECEIT —

jection o r p D 3 in ta b o rfaces to to the creation of u s l a e r to n o s e g aphics ima dmapper which can lead face knocking the r g r te u p m o c g Ma jectin is o r d p e s m the sur al perception of in u o s e fr r ist a s p w n lo o ft e c v o s e g d in in a p d p n m Video Ma ly related to music. The ght plays which interact a power to deceive the visu themselves in effects strictimages, videos and simple liimated projections have therojection and reality and find wer created? animations, o the rhythm of music, the anble to distinguish between p ify reality and why is such po public flat. T the extent that they are unaping the power to actually fals 像と重なった 映 た っ to , p な s a r に m to 体 s a 一 spect t extent ha a h w 影させ、音楽と o 投 T . を n 像 io s 映 オ、シンプル lu il ク l a ッ a coloss ョン、映像、ビデ ターグラフィ

コンピュー 、アニメーシ に rで e 面 p p 表 a m の d 物 a M 体 ともに動く は 立 と ア る ム ェ す ウ ズ 在 ト リ 実 フ の 、 ソ 楽 は ン 音 グ イ に使用されるメ あい完成する。 ビデオマッピン 作 し 制 用 。 作 る に あ い で 互 なってしまう。 で 手法 く 影 す な ら 投 か た の つ も へ が を 面 別 果 平 表面とで3D効 映像と現実の区 衆の立体物の ？ の 公 、 中 で の 能 影 可 幻 が な 作 大 に作られたのか 制 的 巨 の 目 は ど を 衆 な 何 観 画 。 は る 動 力 い な な光だけの パワーを持って そして、このよう く 。 欺 か を う 覚 ろ 視 だ の の る は、観衆 まうパワーがあ し て え アニメーション 変 を 実 はどの程度、現 グ ン ピ ッ マ 、 て 果たし

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RECIPIENT.CC FOR ADIDAS BOOST A GRATTACIELO PIRELLI

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vimeo.com/63234620 On March 23rd 2013 Milan-based Recipient Collective transformed the front of Grattacielo Pirelli into a flat surface for play and enchantment. Built between 1956 and 1961 on a design by Gio Ponti, Giuseppe Valtolina, Pier Luigi Nervi, Antonio Fornaroli, Alberto Rosselli, Giuseppe Rinardi and Egidio Dell’Orto, its 9,000-square metre façade was twisted, disassembled, modelled and then narrowed and widened by twelve 20,000 Ansi lumen HD projectors on the launching of Adidas Boost in Italy. The mapping was subdivided into three parts. Firstly, tweets and Instagram images shared by users were shown on the surface for about two hours; secondly, projections accompanied the Vertical Run of the German champion Thomas Dold who, in less than 4 minutes, climbed the building’s stairs up to the 31st floor. Lastly, after the vertical run, Mapping began, the last part of the performance.

While watching Recipient’s mapping we can understand that its falsifying power has made fluid, vibrant and somehow unstable the solid building. Grattacielo Pirelli is a massive towering structure which soars into the sky with storeys that look like a piano keyboard. The dynamism and lightness that mapping achieves make the building at once charming and unreal.

2013 年3月23日、ミラノをベースに活動する Recipient Collectiveがピレッリ高層ビルの 壁面を楽しく魅力溢れるフラット画面に変身 させた。 1956 年から1961年の間にジオ・ポンティ、 ジュゼッペ・ヴァルトリーナ、ピエール・ルイー ジ・ネルヴィ、アントニオ・フォルナローリ、 アルベルト・ロセッリ、ジュゼッペ・リナルディ、 そして、エジディオ・デッロルトの設計で建設 された 9,000㎡のファサードは、イタリアでの adidas boost 発表の機に、twelve 20,000 Ansi lumen HDプロジェクターによって、捻 られ、分解され、変形され、さらには、狭く なったり、拡大されたりした。 マッピングは三部に分けられ、まずは、 ユーザーによって共有されたツイートと Instagramの画像を約2 時間に渡って投影、 続いては、4 分足らずで 31階までの階段を駆 け上がった垂直ランのドイツチャンピオン、 トーマス・ゴールドの姿を投射。そして、垂直 ランの後にはパフォーマンスの最後を飾る マッピングが始まった。 Recipientのマッピングで、我々は、その疑似 空間のパワーによって強固なビルが流動体 となり、揺れ、どうにも不安定なものになっ たのを目撃したのだ。そびえ立つピレッリ高 層ビルは巨大な建物であり、空に向かって 舞い上がる階層はピアノの鍵盤のようにも見 える。

マッピングが創り出すダイナミズムと軽妙さ は、この堅牢な高層ビルでさえも、一瞬にし てチャーミングで非現実的なものにすること が可能なのである。

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HYPER MATRIX CUBE WALL — youtube.com/watch?v=23clSiVsr70

The sensation is that walls can really move. This is what the artistic installation Hyper-Matrix Cube Wall precisely achieves. Created for the Group Hyundai Motor, the Korean artist Jon Pa-Sang’s work is a massive structure of white polystyrene cubes that move inside and outside the surface of a wall. Each Matrix cube can move on its own to create raised models, images and animations.

Far from being a simple projection, the installation creates a visual system that connects the cubes, the light effects and the music with the viewers who perceive something untrue thanks to the great power of involvement of a device that makes everything look real.

壁が実際に動くというセンセーション。 この芸術的なインスタレーション、HyperMatrix Cube Wallが、それを確かに実現し てくれる。ヒュンダイ自動車グループのため に創られた、韓国のアーティスト、ジョン・ パ・サンの作品である。幾つもの白いポリス チレンキューブの巨大な仕組みが、壁の 表面の内外で動く。それぞれのマトリックス キューブが単独で動き、壁から飛び出て、 模型、画像やアニメーションを作成する。 シンプルな投影とは全く掛け離れたこの装 置では、キューブがヴィジュアルシステムに 接続され創作を行っている。照明効果と音 楽も手伝い、真実ではない何かを見せられ た観客は、デバイスから派生する大きなパ ワーにより、全てを現実であるかのように 解釈してしまうのである。

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PS4 PRESENTATION AT CASTEL SANT’ANGELO, ROME — youtube.com/watch?v=Fq_BxSibCQM

On November 28th 2013, 400 architectural projectors showed high definition 3D digital graphic images on the façade of Castel Sant’Angelo and transformed the building, which has taken on multiple identities over the centuries, into a symbol of play and innovation. The projectors turned the Castle into a historical canvass on which silhouettes, fragments of games and the very PlayStation logo were shown. The façade of the monument was wrapped in flames and while soldiers besieged it, a fire spitting dragon made its appearance and destroyed the central part of the tower. After the havoc died down, the ruins were covered by vegetation and at one of the windows a man appeared gazing at the horizon. After the man plunged into space, Castel Sant’Angelo was turned into a spaceship and the symbols in the Sony console (square, circle, x and triangle) were arranged and disarranged, multiplied and shot out of the arrow slits, windows, towers, everywhere. Few seconds of chaos which ended up in a final explosion with the caption “Ps4” lighting up the audience.

This mapping combines the pure fascination of an artistic creation with commercial objectives. Sony’s aim was to create an event that could be fixed in the minds of viewers thanks to the seductive power of an interactive video. This was made possible in that the charm of mapping was tuned in to the mystery and history of Castel Sant’Angelo, a monument which is half way between myth and history. The appeal of Ps4 video mapping is due to the way it combines legend and fiction, truth and imagination.

2013年11月28日、400もの建築物を対象と したプロジェクターが、サンタンジェロ城の ファサードに、高画質3Dデジタルグラフィッ ク画像を映し出し、何世紀にも渡り多様な アイデンティティを持つこの建物を、技術革 新とゲームのシンボルへと変身させた。 プロジェクターは、城を歴史的なキャンバス へと変え、様々なシルエット、ゲームのフラッ グ、プレイステーションのロゴが映し出され た。炎に包まれるモニュメントのファサード、 それを包囲する兵士たち、火を噴くドラゴ ンが登場し、塔の中央を破壊してしまう。 大破壊が終結した後のモニュメントは崩壊 してしまった場所が植物に覆われ、窓の一 つから姿を現した男性が地平線を見つめて いる。この男性が宇宙へと突入すると、サン タンジェロ城は宇宙船へと様変わりし、 ソニーのコンソールのシンボル（ □、○、×、 そして△）が配置されてはバラバラになり、 窓や塔とあちらこちらで増殖しては、今度は 矢に打たれての銃撃戦となる。数秒のカオ スは“ Ps4 ”の字幕の爆発で幕引きとなり、 観客がライトアップされた。 ここでのマッピングは、商業目的に芸術的 創造という純粋な魅力が結びついたもので ある。ソニーが目指したのは、インタラクティ ブビデオの魅惑的なパワーを存分に発揮 した、見る人の心に強く残るイベ ントだっ た。今回のマッピングの魔法は、神話と歴 史の狭間にある絶対的なモニュメント、 サンタンジェロ城の謎と物語がチューニング されたことで可能となった。PS 4のビデオ マッピングの魅力は、伝説とフィクション、 真実と想像のコンビネーションの賜物なの である。

Mug Magazine issue 24, year XIV

On November 10th 2010, at 8 pm another commercial mapping video was projected on the façade of Ralph Lauren palaces at 888 Madison Avenue, new York and at 1 New Bond Street, London. The 4D Ralph Lauren Light Show was realized to celebrate the tenth anniversary of the e-commerce American site and the launching of its UK version. A team of about 150 people worked to realize an eight-minute video technically made up of architectural renderings created through 3D scanners and human modelers combined with images of stores replicas realized in a Hollywood-style studio, and real life models filmed in front of the façade. The video was then turned to a 3D software and a team of animators planned and inserted the visual effects on a gigantic scale.

As a result, RL palace was transformed into a dolls’ house, then into a 3D catwalk of women’s clothing, into a gigantic match of virtual polo and eventually into a collection of bottles of perfume that filled the air with the scent of Ralph Lauren Big Pony. Rather than a video, Ralph Lauren 4D Light Show is a sense experience which involves the environment, sounds, perfumes, a vision that can light up the evening sky. Although this mapping is primarily aimed at increasing sales, it also accounts for the maison’s desire to entertain viewers and enrich their perception, to show that fashion, technology, art, commerce and architecture can coexist.

2 010 年 1 1月10日の午後 8 時、もう一つの 商業用マッピングビデオが、NYのマディ ソン・アヴェニュー 888番地とロンドンの ニューボンド・ストリート 1 番地に位置する ラルフ・ローレンパレスのファサードに映し 出された。アメリカ版 e コマースサイトの 10 周年記念と、英国版サイトの立ち上げ を祝って The 4D Ralph Lauren Light Showが、開催された。上映された 8 分間の ビデオは、技術面で約150人のチームの協力 によって創られたものだ。3 Dスキャナーを 使い、レンダリングによって作成された ハリウッドスタイルのスタジオのレプリカと 思われる店舗の映像の中に、人物の映像 を組み合わせている。次に、映像が映し出 されたファサードの前に生身のモデルが登 場し、その様子が撮影された。ビデオはそ の後 3 Dソフトウェアに転向され、アニメー ターチームが視覚効果を狙った巨大サイズ の映像を映し出した。 その結果、R L パレスは 、ドールハウスに 変身し、それからレディースの 3 Dショーの ステージとなり、その後は仮想ポロの巨大 な試合場となり、最後にはラルフ・ローレン のパフューム、Ralph Lauren Big Ponyの ボトルコレクションが映し出され、同時に 周囲はその香りで満たされた。ビデオという よりも、ラルフローレン 4Dライトショーは、 環境、サウンド、香り、夕空をライトアップす るビジョンなどの要素を含めて完成する感 覚的体験と言える。もちろんこれは、販促 を主たる目的としたマッピングではあるが、 メゾンが望んだのは、ファッション、テクノ ロジー、アート、商業と建築は共存出来る のだということを示し、同時に観客には視 覚的な楽しさを提供する事によって、もてな すことでもあったのである。

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RALPH LAUREN 4D LIGHT SHOW —

youtube.com/watch?v=E7ryMzZQICA

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PHOTOGRAPHY AS A REAL DECEIT

ph. Nicola Facchini

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であり、様 個々の中にあ ト 写 真は欺き、 り ー 、 あ ア 様 で た 同 し 段 と 用 手 グ ン た写 真のポスト 手 段を利 は 特 別な ま 、 術 ラ り メ 技 た カ の ビデ オマッピ 、 っ ら ら あ 自 な で は 如 である。なぜ の自然さの欠 は違った視 点 るからだ。写 真 と 体 来 通 写 出 普 被 が 、 た と り 全く逆も可能 ま こ 、 た る っ 。 再定 義の提 案 側の主観であ 見たり観 察す の る を 念 す 質 概 ーも存 在する 影 本 の ァ 撮 の 実 フ は 景 ラ 現 れ グ 風 と そ ト 実 。 ォ 真 る フ や、 に関わって来 として利用する しい物の見方 体 新 媒 、 な は ル に ア 最終 的な結果 中 ュ 。 、写真をヴィジ であったりする に ン め ョ た シ る ク せ ダ わ ロ プ 見る者の目を惑 り よ に 事 る す を提 供

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ART —

THIERRY COHEN —

“Darkened Cities”, Thierry Cohen’s latest work, has to do with a new vision of the Earth. In these photos starry skies hover over big cities and their immensity is contrasted with the limited size of the latter. The French photographer placed the image of a city under that of a starry sky photographed in an area free from light pollution, at the same latitude and from the same angle as the city with its countless buildings.

By so doing he obtained a vision of the sky which, due to the Earth’s rotation, is the same as can be observed after an interval of hours over the same cities. The photos, therefore, portray the true sky that would be seen over cities if it were not corrupted by light pollution. Cohen’s photographic work deceives viewers, in that it changes the perception of cities at night; it is both a lament and an accusation to show that, by living in cities, men are no longer in touch with the natural world and their condition of human beings is impaired. Man seems to be dying like the silent helpless cities portrayed by Cohen, in which neither traffic nor human beings are visible, dominated as they are by cement and far from the universe, the true source of energy.

ティエリー・コーエンの最新作、 “ Darkened Cities”は、地球の新しい理 想像に関連している。これらの写真では、 幾つもの大都市の上空に浮かぶ満天の星 空と、それらの広大さを、それぞれの大都市 の写真のサイズの中で対比している。 このフランス人フォトグラファーは、無数の 建物で溢れる夜の都市の画像の上に、光 の影響を全く受けない場所で、全く同じ緯 度、同じ角度から撮影された星空を重ねて いる。こうすることによって、撮られた空の 画像は、地球の回転を考えれば同じ都市 の何時間か後の姿を観察するのと同じこと になるのである。従って、写真は光の害に よって破壊されていなければ、それぞれの 都市の上空で見られるはずの本来の空を描 写しているのである。 コーエンの作品は、夜の都市への認識を変 えるという点で見る人を欺いている。それは また、都会に住むことで、人はもはや自然の 世界との接触がなくなり、そこで暮らす人々 の健康状態も侵されているという事への悲 しみと嘆きをも表している。コーエンが描い ているのは、人類が静かで無力な都市のよ うに滅びかけている姿で、ここには人も車 もなく、街はセメントによって支配され、真 のエネルギーの源である宇宙からは程遠い という現実である。

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JULIA FURLETTON-BATTEN —

Julia Furletton-Batten is a German photographer and a daughter of the world.

Her photographs are somehow ambiguous and strange because they portray real scenes in which an unreal atmosphere is created by the combination of natural and artificial light. The subjects are often portrayed in unnatural attitudes, like the young girls of “In Between”, a work that portrays girls in real contexts with their faces hidden by their hair, yet suspended in the air as if they were falling, jumping or bumping into some object. What the work emphasizes is the young girls’ suspension between childhood and adolescence, which appears unreal to viewers although it concretely shows the evolution in the subjects’ life, by offering a new perception of adolescence.

ジュリア・フラートン−バッテンはドイツ人 フォトグラファーであり、世界の娘でもある。 彼女の写真はどこか曖昧で不思議な印象 だが、それは、現実のシーンを自然光と人 工光を組み合わせて創り出した非現実的な 雰囲気の中で描写されているからである。 被写体は“ In Between”シリーズの若い女 の子たちのように、しばしば 不自然な姿勢 で撮影される。作品の中に登場する少女た ちが、自分たちの髪で顔を隠しているのは リアルな情景だが、彼女たちは幾つかのオ ブジェの間で落下したり、ジャンプしたり、 ぶつかったりしているかのように、空中に 浮遊している。この作品が強調しているの は、幼年期と思春期との間にある少女たち の宙ぶらりんの状況である。写真は非現実 的に見えながらも、思春期への新たな見解 を示し、被写体の少女たちの人生の中で の進化を非常によく表している。

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LI WEI —

The work of the Chinese photographer Li Wei has no connection with reality and is therefore deeply deceitful. His amusing and shocking shots show flying men hanging from planes, or suspended in the air stuck at a dinner table, or flying down onto a car. “Li Wei Falls to the Ice Hole”, for example, shows the head of the artist immersed in water with his rigid vertical body upside down. The meaning of these postures has to do with a new way of understanding the social status of the Chinese man. Li Wei does not use post productions in his photos. They are real shots that the artist takes with cables, tubes, ropes, scaffolding and thanks to the use of mirrors with which he superimposes images and creates delusive combinations. This is what Wei uses to challenge viewers’ perceptions and sense of reality and truth. In

the photographer’s poetics common visions are not always correct in that external factors condition them and show a true reality. Mass urbanisation in China has forced people to live in smaller and smaller places with the result that also people’s minds have become narrower. Li Wei does away with conventions to break with physical limits, as is the case with the men hanging from palaces, and flying tied to a rope, or with mental limits as shown by the photo “Li Wei Falls to the Ice Hole”.

Through the image of men that fly hanging from balloons a new and unreal point of view is proposed to observe our own lives and the earth, often portrayed from above as a vast infinite place. A touch of imagination is not bound to spoil too much the vision the artist meant to convey.

中国人フォトグラファー、李威の作品は、 現実からはかけ離れており、それゆえに、 全てがディープな虚像ということになる。 彼の愉快で衝撃的な写真では、空飛ぶ人間 が飛行機からぶら下がっていたり、ディナー テーブルの上で空中に浮いていたり、車の 上に落下していたりする。例えば、 “Li Wei Falls to the Ice Hole”では、アーティスト の直立不動の体は、逆さまの状態で頭が 氷の表面から下に埋まっている。これらの 姿勢が意味するところは、中国人男性の 社会的地位を理解する新しい方法と関係し ている。李威は、自分の写真にポストプロダ クションは行わない。アーティストが撮影す る写真はリアルショットであり、ケーブル、 チューブ、ロープ、足場やつり台を使ったり、 また、鏡を駆使して写真を重ね焼きしたり で、非現実的なコンビネーションを創作し ている。これは威の、見る人の現実や真実 という感覚と見解への挑戦なのである。 フォトグラファーに共通する詩的ビジョンは、

写真に映った外的要素が常に正しいという わけではなく、真の現実を見せるのが写真 だという事だ。中国の大規模な都市化によ り、住民はどんどん小さな場所に住むこと を余儀なくされ、その結果、人の心までもが 狭くなって来ている。李威は、肉体的ある いは精神的限界を打ち破る事で、こういっ た 社会の状況から離れようとしている。例 えば、建物から吊り下げられた人や、ロープ に縛られて飛ぶ人では肉体的限界の、 また、 “ L i Wei Falls to the Ice Hole” では、精神的限界の撃破を表している。 一 方、彼は新しく非現 実的な視 点から風 船にぶら下がって飛ぶ人の写真を通じ、 私たちにそれぞれが自らの生命と地球を もっと観察しようと提案している。その為、 作品は、しばしばこのような広大で無限な 場所から描写されている。ほんの少しの イマジネーションは、アーティストが伝えよ うとしているヴィジョンを必要以上に損な うことには決してならないのである。

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ALL'ALBA DELLA GENESI —

Sculptor Angelo Brugnera and painter Sonia Ros’s exhibition has proved to be one of the most homogeneous among those held at Lazzari Space. Although the languages of sculpture and painting are obviously different, the two artists seem to have achieved very similar aesthetic solutions and formal results, a similarity which has paradoxically led to divergent poetics.

彫刻家アンジェロ・ブルニェラと画家ソニア・ ロスの展覧会は、Spazio Lazzariで開催さ れた中でも、最も見事に同質部分を持った ものの一つとなった。彫刻と絵画では、言語 は明らかに異なるが、二人のアーティストは、 非常によく似た美的ソリューションと最終 形式を持っている。しかし、この場合の相似 は、逆説的に言えば、異なった感情表現へと 導かれた結果である。

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NATURA E ARTIFICIO —

Vinicio Momoli’s pictorial technique is constantly aimed at finding a balance between rationality and disorder, order and transformation of matter in works which are rigorous but minimal for certain aspects.

Enrico Stropparo is a sort of western monk who, shut within his workshop, gives life to and enlivens his alchemic transfigurations, for the artist’s work basically consists in the metamorphosis of matter. In fact, once out of the kiln, colourless oxides take on bright ultramarine blue and emerald green shades, grey powders that fire transforms into cadmium red hues.

ヴィニーチョ・モモリの絵付けの技法は、常 に作業する題材の中で、秩序と混乱、整頓と 変革との間のバランスを見つけ出すことを目 的としており、それらは厳格でありながら、 ある側面から見るとミニマルなものである。 エンリコ・ストロパッロの場合は、西洋の僧侶 のようで、ワークショップの中に閉じこもり、 彼の錬金術で変貌した物体に命と活気を与 える。彼の作業は、基本的に物体の変性から 成っているのである。実際、一度窯から出す と、無色の酸化物は鮮やかな群青とエメラルド グリーンの色合いを帯び、灰色の粉末は火に よってカドミウムレッドへと色合いを変える。

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NAGARE DUAL-ISM PROJECT —

Dual-Ism Project started on 2010 Spring, when Descente - a challenger of continuous sportswear innovation, and Yono - with design philosphy of 'Primal Futurism' (primitive/fundamental futurism) met in Tokyo.

2010 年春、革新的なスポーツウエアを開発し 続けてきたデサントと、プライマルフューチャ リズム（ 原始的な／根源的な未来主義）の デザイン哲学を持ったYonoが東京で出会う ことにより、DUAL -ISM PROJECT が スタートしました。

The word "Nagare", the exhibition theme, has a meaning of "Passing of Time" which adds elements of time and action to Dual-Ism Project's brand theme "From Street to Extreme", thus declare our constant transformation to create new sense of value.

この展 示会のテーマである“ NAGARE” とは、 “ Passing time”を意味し、DUALISM PROJECTのブランドテーマ“ Street to Extreme”に、時間軸と行動軸が交わり、 常に新しい価値観を創造していくことを示す ものです。

"From Street to Extreme" is a phrase created from an idea of "Open the door and you belong to the outdoor surroundings, a perception by which reality and non-reality are tied together, city and field are connected, the earth and the sky are connected.

I hope this exhibition will signify that to transform is to evolve, and be a milestone to connect Japan and Italy beyond time and space.

Designer Yoshinori Ono

“ Street to Extreme”とは“ 扉を開けると、 そこがアウトドアである”という発想から作ら れた言葉であり、現実と非現実を繋ぎ、また 都会とフィールドを繋いでいく考え方です。 この展示会を通じて、変化していくものは、 進化していくものであるという事を提唱すると ともに、日本とイタリアを時空で繋いでいく 道しるべとなることを切望しています。 Designer Yoshinori Ono

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IL SEGNO DEL SOGNO

Although they are evidently different, artists Lucio Afeltra and Silvio Vigliaturo are both made similar by their use of signs and dreams. Afeltra’s matter and gesture tend to conceptually unify a composition, a dialogue between paper and photographic finds. In Vigliaturo’s works glass keeps its chromatic transparencies within the line, like in Gothic stained windows, and brings about a sign-colour song which becomes matter and spiritual substance.

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たとえ、彼らは見たところ異なっているとし ても、アーティストのルーチョ・アフェルトラと シルヴィオ・ヴィリアトゥーロは、どちらも記号 や夢を題材に使っているところは同様である。 アフェルトラの作品と表現は、概念的に構図 が一体化する傾向があり、そこには紙と写真 との対話の発見が見られる。ヴィリアトゥーロ のガラス作品は、ラインの内側にゴシックの ステンドグラスのような透明度のある色彩が 閉じ込められており、これらが、色のサイン、 歌をもたらし、それが作品やスピリチュアルな 物体へと姿を変える。

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Inspired by the artwork of Daniele Buetti, with his kind authorization Photo : G. Defaix

Parc d’Expositions Paris-Nord Villepinte France premierevision.com

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photo: alessandromoggi.com