Editor in chief Giuliano Deidda
Belle de jour
Issue #1 - October 2017
FASHION WHO READS
VERONICA AND KEAN ETRO
THE IMPORTANCE OF BEING OTTAVIO
Children of the Stars
James Dean of Fashion
POWER DRESSING Dress and boots Miu Miu, flares Roy Roger’s
Prints and patterns meet denim.
A cornucopia of decoration invades Spring Summer 2018
Defined lines and bold colours.
n Italian cinemas from the 7th of September Miss Sloane, distribuited by 01 Distribution and starring Jessica Chastain, is the story of Elisabeth Sloane, a formidable and determined lobbyist, the most sought after in Washington, prepared to do anything to get approval for a controversial law seeking to regulate the sales of weapons. Even if winning may come at too high a
Jessica Chastain e Gugu Mbatha-Raw in Miss Sloane (Photo Courtesy of 01 Distribution)
price. To define the character, a powerful woman, a look has been created which defines her to perfection: “Her wardrobe is not chosen for beauty or aesthetics, it is armour to face the world” explains the costume designer Georgina Yahri. She adds: “A woman like Liz would never wear a dress with even a minimum of erotic suggestion, no low necklines or short skirts; we employed a personal shopper to
choose what was suitable for our specific requirements, just as Elizabeth Sloane would have. We chose really exclusive labels, Piaget watches, items from Yves Saint Laurent and Victoria Beckham and the highest quality shoes. Shoes are very important. When a woman wears 12cm heels her whole bearing changes, but Jessica managed brilliantly”. •
www.terrealte.net ITALY ILLUSTRATED
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Ballantyne Boutique via Bagutta, 18 Milano
Editor’s letter 1
ne of the first memories, from when I was studying Fashion Communication, is something said by one of my professors, who at the time was the editor in chief of a prestigious trade magazine: “Italy’s strength in fashion lies in the fact that we are the only ones to have a complete supply chain”. Apart from the fact that it was the first time that I heard the expression “filiera” (supply chain), I was struck by the concept, as banal as it was then unknown by most people, perhaps because it was taken as a given. It was 1996 and twenty years later, notwithstanding all the changes and the shake-ups our country has gone through, Made in Italy is quality recognized at a global level and something of which to be proud. Perhaps one of the positive aspects, so to speak, of the crisis, is that our know-how has begun to be communicated and valued. In fact, at present we can attest to the fact that the role played by Italy in fashion is an extremely healthy one. It is true that many of our established fashion houses have been acquired by large groups or by investment funds, but for the most part this has been a source of growth, as is the case for Gucci. Of course, production activities have stayed in our country, for that matter all of the most important names have always produced their collections in Italy, both clothing and accessories, from leather goods to eyewear. And from a style perspective, our creativity is recognized throughout the world. This is clear when one looks at the list of the Italian designers who are creative directors of foreign labels, starting with Maria Grazia Chiuri at the head of Dior. Furthermore, following years of stagnation and a lack of new ideas, the Italian fashion system has begun to invest in young designers with different private and public schemes, resulting in a notable refreshing of Milan’s fashion week calendar and the selection of sectorial trade fairs, as well as of Italian fashion’s global image.
This project has been made possible thanks to the support of:
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TANIA VISHNYAKOVA A degree in business, a Master in Counseling, owner of the vintage store Vecchiamosca in Milan, blogger (amanteperfetta.com) and designer of furs and jewellery. Muscovite by birth, she could have been an engineer or an economist, she is a Parisian spirit adopted by Milan. Her style doesn’t follow the masses, she sees it as a fascinating game. Her favourite pastime is to seek out grandmother’s headscarves and wear them with everything. She never leaves home without lipstick, vintage glasses and at least one unusual accessory.
MAURO GALLIGARI Born in Tuscany and resident in Milan, at the beginning of the Eighties he decided to dedicate himself to avant-garde fashion. And so, Studio Zeta was founded, a platform housed in over 3500 square metres in Milan at n. 26 via Friuli and which now has a further 2000 square metres with its Paris showroom at n. 7 Avenue Des Champs Elysees. He has transformed the showroom into a real bridge platform, an ideal bridge to link young Italian creatives with international markets of reference and in the other sense, to open up local markets to international designers interested in European culture. A dense network of contacts in the fashion system and years of in-depth experience in this field mean that Mauro Galligari is today a reference point from A to Z for companies looking for licensing deals or designers looking for producers, a true partner who accompanies and scrupulously follows new projects intended for an ever-more discerning and super selected audience.
ALBERTO CORRADO He has been a fashion journalist for more than 31 years, a contributor for L’Uomo Vogue and Vogue Italia, editor in chief for FashionTrend Collection, senior fashion editor for Fashion, fashion editor for Force One Monaco and fashion editor for The Ducker. Writing and journalism remain an integral part of his life as well as launching the careers of artists, photographers, designers and companies, setting up exhibitions and creating social phenomena and trends. Between his travels, he teaches History of Costume and History of Design in several establishments, among these the Florence University in Florence and the Arts and Berkeley Institute in San Francisco.
ROBBIE SINCLAIR With a background in design for apparel & accessories, Robbie Sinclair started his career designing for UK High Street brands including Warehouse and global E-tailer ASOS. While working at ASOS he developed a strong interest in trend forecasting which led him to move to US trend forecasting company Stylesight. He now works at WGSN as womenswear editor and is based between London and Barcelona, developing seasonal trends, key items and developing key silhouettes for future seasons.
Editorial Director MARCO POLI email@example.com Editor in Chief GIULIANO DEIDDA firstname.lastname@example.org Art Director FABRIZIO MAJERNA email@example.com Editorial Staff firstname.lastname@example.org Contributors ALBERTO CORRADO, TANYA DOUBLEDAY-RUDKIN (TRANSLATIONS), MAURO GALLIGARI, NICOLA GOBBETTO, MAELA LEPORATI, FRANCESCA MANUZZI, MARCO MARTELLO, STUDIO H2O, TANIA VISHNYAKOVA Editorial Office Corso Colombo 7 - 20144 Milano Tel. +39 0287365694 www.fashionillustrated.eu
MAURIZIO SAPIA (STUDIO H2O) Born in Sanremo, after high school he moved to Milan to do a course in photography at the IED (European Institute of Design). After his diploma he began his profession as a photographer first as an assistant and then working directly with several magazines both in Italy and abroad. In collaboration with Studio H2O, of which he is one of the founding partners, he is currently producing photographs and videos for numerous brands and magazines, mainly but not exclusively linked to fashion. Parallel to this commercial activity, over the years he has developed his own artistic research, which, supported by art galleries, has brought him to show his work in numerous group and personal exhibitions.
NICOLA GOBBETTO Born in 1980 in Milan, he gained his diploma from the Accademia di Belle Arti di Brera. His gallery of reference is Galleria Fonti, Naples. In 2011 he won the Prada Manga Contest and in 2012 made the animated short film The Golden Fish for Vogue.it. His research weaves around fantastic narrative, myths and legends, magic and esotericism. Metamorphosis and transformation are the key words for his artistic production which embraces diverse experimental techniques.
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Special Guest FASHION WHO READS
“She is known for her talent, her dark attitude and the short circuit created by her passions, notably horror and fashion”. This is how MTV defines Rose Villain, Milanese singer songwriter resident in New York. She moved to the Big Apple to complete her studies in theatre and musical in Broadway. Her managers today are Eric Beall, pioneer in the music industry, influential in launching Britney Spears, Backstreet Boys and David Guetta, and Mark Gartenberg, who is in charge of the international market for Jovanotti, Vinicio Capossela and Carmen Consoli. Her producer is SIXPM aka Andy Ferrara, ex member of 2ndRoof; published in Italy by Machete Empire Records and under contract with Universal music group in Germany.
SPRING SUMMER 2018
By the editorial staff
By the editorial staff
ETRO, CHILDREN OF THE STARS
URBAN BON TON
By Francesca Manuzzi
Di Giuliano Deidda
A SCANDINAVIAN NEW YORKER
ITALIAN THEY GO
By Francesca Manuzzi
By the editorial staff
THE SEASONâ€™S GUIDE
THE IMPORTANCE OF BEING OTTAVIO
By Giuliano Deidda
THE TRIBUTE GIANNI VERSACE: JAMES DEAN OF FASHION By Alberto Corrado
TREND IN BLOOM
Carla Bruni, Claudia Schiffer, Naomi Campbell, Cindy Crawford and Helena Christensen Versace Spring Summer 2018
By the editorial staff
By Robbie Sinclair
FOCUS BETWEEN AVANT-GUARD AND CRAFTMANSHIP By Marco Martello
ANNIVERSARY SEVENTY YEARS OF ITALIAN STYLE By the editorial staff
BELLE DE JOUR
SHINY HAPPY PEOPLE
STYLE Giuliano Deidda PHOTOGRAPHY Maela Leporati
SPRING SUMMER 2018 By the editorial staff
TREND CONTEMPORARY ESSENTIAL By Giuliano Deidda
SPRING SUMMER 2018 POPPING COLOURS By the editorial staff
TREND NEW ROMANTIC By Giuliano Deidda
HARD GLAM STYLE Giuliano Deidda PHOTOGRAPHY H2O
FASHION WHO READS TRASFORMANIA By Rose Villain
LUXURY BY FERRÉ
The designer’s creative story goes under the spotlight in Turin. Gianfranco Ferré. Sotto un’altra luce: Goielli e Ornamenti is held in the Sala del Senato at Palazzo Madama, from October 12t to February 19th 2018. Organized and produced by Fondazione Gianfranco Ferré and Fondazione Torino Musei, the exhibition project curated by the architect Franco Raggi, shines a light in a worldwide preview upon two hundred iconic pieces, created for fashion shows from 1980 to 2007. “Ferré constructed a free zone inside his own world of reference, working on each object faithful to the trace of a general classification system of concepts which become objects. And thus, shining stones, enameled metals, polished shells, painted woods, Murano glass, retro ceramics, Swarovski crystals and again wood, bronze, iron, copper and leather in a succession of spellbinding horizons of brooches, necklaces, belts, rings, bracelets and jewels. For Ferré, the ornament is not the poor relation of precious jewellery, but a concept of eternity which must represent the imminence of the present”, explained the curator of the exhibition Francesca Alfano Miglietti, who, through her work, has emphasized the symbols of the passion the designer had for ornaments as essential element of his collections.
A COLLECTION IS LIKE A MARRIAGE OF FOUR PARTS
INTERVIEW WITH PIERANTONIO GASPARI BY MARCO MARTELLO What lesson from your entrepreneur parents do you always remember? To not trick or betray the client. To not trick him with inferior or shoddy quality and to not betray him by abandoning style and intuition. Between the designer, a collection and the client there is often a relationship of trust and respect, which is established. You can provoke, you must experiment and surprise, but you must accept the honours and obligations of a profession which is as beautiful as it is demanding. Thread by thread, how would you illustrate the nature of your relationship with knitwear? Empathy, desire, challenge, love and passion. A bobbin of yarn is immediately translated into a three-dimensional surface, a shape, a chromatic flavour as though you could taste it. My favourite yarns are combed wools, for their apparent neutrality and their clarity, mohair, which expresses transgression, and viscose with continuous filaments for the compact feel. I like dense cashmere never gauze and other yarns which, although apparently less interesting, can be indispensable to obtain a stitch or a specific knit, as in the woven knitted coats from the winter collection. I construct the knitwear in my head before I even start drawing it. Thick or thin it is never the same, you design it, you inlay, you put holes in it, you leave it as it is, you can do with it whatever you want. Knit is magic.
BY MAURO GALLIGARI (STUDIOZETA.ORG)
What are your sources of inspiration? Everything I see when travelling, clothes, colours, architectures and shapes from man and from nature. The graphics from film credits, costumes and scenographies from the cinema, from the theatre, from dance and from music. I let myself be inspired by my imagination and by my desires, which are certainly influenced by everything I see in daily life, even if apparently useless. It is important to be predisposed to appropriate suggestions. Then, how these are translated into a collection, in knitwear, shirts and coats, I don’t know, but it happens. As far as you are concerned how is the creative process structured? It is an intermittent and unpredictable flow. It follows a path which is sometimes difficult to circumscribe and make fruitful. The creative process is the complete impossibility of benefitting from experience, because it is your alter ego which is free and uncontrollable. It needs complete freedom and solitude. Often also precise spaces and the night. What is the piece from Spring Summer 2018 to best express the essence of the PierAntonioGaspari brand? In the new collection The Circle, I worked the plastic effect continous filament viscose in traditional punto stoffa knit. I created a theme of juicy colours, of pure geometric shapes. I combined the scarf top with multicoloured silk trousers and the effect is magnificent. Jumpers are difficult to make, because they tend to be simple. The eye takes in the whole and not the detail. Credit goes to the owners and the technicians at Loma, the company that produces my knitwear, and to my collaborators. They all have a great passion for this job and years of experience to face the challenges in every collection with pleasure. In your opinion, how should real luxury stand apart in these times of fast fashion? True luxury is to be able to choose and not to have to choose. Fast fashion gets its strength from the impact of the media and its timings. It is inevitable that it should be consumed quickly, it speaks for you and tends to make things uniform or at least to create clans, fans and consumers who are more aware of image than of style. Image is a role and style is a state of mind. If by luxury we mean a high sales price then it should by necessity be understated and never forced and thus eliminate the need for fast fashion. In short, I find luxury and fast fashion incompatible.
A collection is like a marriage of four parts: creativity, production, sales and communication. The proposal or need for a new project can come from any one of these four aspects. Collaboration however must remain key. Creativity must bend to market dictates, just as the producer must support stylistic needs. The biggest mistake made by many designers is that of asking the production for things they cannot do and eliminating items which they are perfectly able to make. It is important to always consider the qualities of production. Often in an effort to keep costs down whilst looking for a price which must always be competitive, it is however easy to forget that excellent quality is always expected from Made in Italy. If this fails, then everything falls apart. Imperfections may be accepted coming from other countries but not from ours. It can come about that new projects for collections are created for local and restricted markets, whereas one should straightaway consider the huge opportunities afforded globally. An extremely important aspect, not always put into practice, is a deeper analysis of the market, which everyone now knows as applied marketing. When creating a new collection, it is necessary to bear in mind the market position, which the new collection will hold, and not neglect a close inspection of existing competitors. Most of the men’s and women’s clothing collections on display in our showroom have come from and continue to come from an actual real market requirement. Furthermore, we are aided by an innovative tool, which allows us to carry out a real census of all the clothing collections, present both in national and international markets, from every existing producer and with the name of every designer. An enormous database which, by using a specialized software, the same one used by marriage agencies in fact, allows us with a certain ease to find the right partner for production for every single creative and stylistic need. An efficient and detailed task, to always be able to offer our evermore demanding clients, new proposals and projects. No wonder then that STUDIOZETA.org’s strength lies in selling unknown collections to famous stores.
Highlights STYLE TIPS
BY TANIA VISHNYAKOVA
The young Fabrizio and Cristina Zanetti relaunch Ritz Saddler, a brand synonymous with timeless style. They do so from the splendid setting of Cortina d’Ampezzo where the first stand-alone boutique has opened. Almost a manifesto of a lifestyle between luxury and modernity, the 200 square meters space is defined by its use of natural materials, such as recovered wood taken from old haybarns and precious Venetian damasks, combined with the finest velvets. A perfect atmosphere to highlight the style of the collection, which consists of classical pieces where no detail has been ignored in construction and produced in precious fabrics, like cashmere from Biella or silk and then leather from Tuscan tanners. The ambience in the shop has been considered to offer an exclusive and pleasing shopping experience, perhaps accompanied by the taste of a Haubrandt coffee.
The fundamental characteristic of a wardrobe is that it should make you feel like yourself. This way every morning feels wonderful. Autumn is the season when we wear clothes in quality fabrics, in stylish patterns, to combine with the most imaginative accessories. October is the perfect month for stiletto heels or for furry ballerina slippers. To brighten up the look I can’t do without my beloved red Chanel lipstick. Nature fades slowly, trees take on golden hues inspiring a desire for gold dazzles inspired by the eighties. As a great devourer of vintage and lover of retro details, I like to quote my beloved Honoré de Balzac: “The stupid one helps to hide himself with clothes, intelligence dresses people.” Style, comes from the Latin stilus, whilst pen comes from the root stig, to prick. For me dressing is like writing. Autumn which is so poetic and golden and with an after-glow of tuberose invites us to open grandmother’s wardrobe, to discover the finest fabrics and precious clothes which never date, starting with the trenchcoat. I will give you a piece of advice: if you buy a vintage one, make them think you’ve been wearing it all your life, by pushing up the sleeves for example. The trenchcoat was created in military workshops with the approval of the British Defence Secretary and through the years it has become a style icon, both for men and women. Who doesn’t remember Lieutenant Colombo or Kim Basinger in 9 ½ weeks? Since the sixties it has become a luxury item, a must for people at high levels of society and has come to the runway interpreted by Lacroix, Dior and Fendi amongst others. The most casual way to wear it this season is with jeans or a little black dress. Long skirts are to be absolutely avoided, unless you are looking for a tower effect, and the same goes for pearl necklaces in First Communion style which risk a Hello Kitty effect. In short, the trenchcoat is a winner with heels and an excess of eighties accessories including those in fur.
INTERVIEW WITH PAOLO CESARI, PRESIDENT OF ASSOGEMME In a period of history, in which the concept of luxury is ever more abstract, gemstones, the emblem of haut de gamme, search for new ideas and finds them in pushing towards fashion. Jewellery, thanks to precious stones, becomes a protagonist combining with looks which profit from the magic of the colours of the stones. Assogemme – Associazione Italiana is working with this in mind, the association in this category, which unites the most representative companies in the area of production connected to it. Assogemme has energetically supported the recognition of companies which produce in Italy and adopt Italian creativity when faced with the growing achievements of companies from countries where the rules are not transparent. Many times, with debates and seminars, Assogemme has faced up to the problem of the link between gemstones and ethics and the need to adopt socially responsible behaviour, regarding the extraction methods used to obtain gemstones. We meet Paolo Cesari, president of Assogemme, who welcomes us together with his daughter Azzurra.
criteria of choice for the stone is colder, you start with the idea of the piece and search for the stone.
President, the theme of ethics and sustainability is very topical. In fact, during Milan’s fashion week the Green Carpet Fashion Awards Italy 2017 was held for the first time at the Teatro alla Scala, the result of collaboration between CNMI-Camera nazionale della moda italiana and Livia Firth’s Eco-Age, this event welcomed designers and famous international celebrities who are all involved personally in the theme of ethics and sustainability. Indeed, we are aware of it. So, much so that gems and ethics is a theme we have always cared about. The question is that of socalled conflict-free and child-labour-free stones. It is a commonly held notion that this theme only concerns diamonds. However, slowly people are becoming aware that it is also about coloured stones. It is worthwhile to communicate and gain trust, both from the public’s and from industry professionals’. Trust must be guaranteed by the veracity of the declarations about the product from producers and sellers.
Are Asian design and manufacture a source of concern for Italian businesses? Luckily the Italians have always been associated with excellence. In the field of gemstones, three things are recognized as being Italian, the unique skill in selection, the combination of colours and the cut. The biggest maisons and names in the world of high jewellery come to us. From our stones come creations which are as unique and unrepeatable as gems which differ one from another. The ability is all here: to offer the jeweller stones, which are as similar as possible in colour and cut, to be able to pair them, combine them and to be able to execute magnificent creations, which above and beyond the status of the wearer, represent as far as is possible the perfection which comes from great experience and from true craftsmanship. The latter is a value which is ever higher and more appreciated.
What are the usual criteria when choosing a precious stone? Gems are to jewellery as yarns and fabrics are to clothing. Is it the precious stone which inspires the jewellery or the idea of piece of jewellery and its design that activates the search for a certain stone? In general, the more the heritage of a brand or a company is solid and substantial, the more the selection criteria starts from the gemstone. The piece of jewellery is then developed around it. On the other hand, however, when the background is more recent, the
We have just seen the Spring Summer 2018 prêt-à-porter presentations. What are the trends as far as gemstones and colours are concerned? (Paolo Cesari exchanges a look with his daughter Azzurra, who takes up the thread) It is a time for saturated and full colours. Large requests for turquoise, lapis lazuli, malachite, onyx, pink opal, coral and mother-of-pearl. Then, as well as this macro trend and according to geographic areas as in fashion, there are preferences. In this sense, what is the leading area in the geography of the gemstone market today? Definitely Asia, in particular China and India, markets which are also busy on the design front.
Future projects for Assogemme? We are working on projects which I would define as diplomatic, in particular building international collaborations, which start with the place of raw extraction, for example of rubies and jade. And above all concerning traceability which is a fundamental guarantee. We are currently working on this with Africa and Asia. In this regard our Association, through the work of qualified people appointed for this delicate activity, constitutes a formal and authoritative voice in the political and institutional relations with these countries of origin. A draft law is being set out which places formal restrictions around the commercialization of products which are considered dangerous.
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ETRO, CHILDREN OF THE STARS BY FRANCESCA MANUZZI
Etro’s family history is about holistic fashion and this season they have been on the catwalk in tandem with the womenswear and menswear collections for Spring Summer 2018. Two narratives bursting with ideas, thought up by Veronica and Kean Etro, respectively the creative minds of the two assets of the brand, founded by Gimmo Etro in 1968 which will celebrate its fiftieth anniversary in 2018. In this double interview, two of the four Etro children (together with Jacopo and Ippolito) talk about interstellar travel, synergies and good-luck charms.
What are the differences in the creative processes? V: For me everything starts with gathering… objects, fabric swatches, books, antique costumes, images, films… I have a notebook where I make a note of everything that strikes me and a box where I keep everything. Then I proceed by subtracting. The notebook becomes clearer and clearer, most of the things are thrown away and then the moment arrives when you have to have the courage to close the circle. What is left after this, is the heart of the collection. Everything, however, can always take another direction towards a turning point, because the work is autobiographical and it can be a journey, an experience or a dream. The interesting thing is that the starting point very often has nothing in common with the finish. It is work in progress full of nuances. K: It is not possible to always create in the same way. There is a different feel, a different social life, a different path and different moments in your life. We are not always true to ourselves. My creativity is in everything, but I have to learn to balance it with the practicality of those who have their feet firmly on the ground. Ideas come from all over the place, many from books – above all poetry –but also from my private life, from things that happen. Sometimes they can come from a friend’s archive or from a private library. They can be fabrics, costumes, wallpapers, medieval armours. The skill lies in being able to focus on that which you come across for the first time with one foot on the ground and the other in heaven. Is there an object which reminds you of the other’s creativity? V: The gioco dell’oca (Italian children’s board game) themed fashion show (Autumn Winter 2004) featuring men with beards, fantastic! K: A skirt dress made by Veronica when she was twenty by recycling vintage ties.
Do you have a good-luck charm that links you? V: A quartz crystal that I gave myself for my first fashion show. K: Fortune helps the brave and therefore the courage that comes from the heart.
hat does it mean to be an Etro? Who is the star of the family? Veronica: Working in fashion, living outside of the fashion world. The idea of star doesn’t exist, we are all part of a family. Kean: Star broth. We are stars of the same primordial broth.
Three words that describe the brand. V: Eclectic, exotic, ethnic. K: Playful, happy, dancing. What encouraged you to propose a co-ed fashion show? K+V: To show unified collections on the runway is definitely the best way to reinforce the brand’s image and by doing so it becomes an occasion to tell the Etro story and its values in the most coherent and efficient way. V: Two halves which complete each other. K: When the male and the female are united, everything is more pleasant. What are the positive aspects of a four-handed fashion show? V: To have fun together and support each other. K: The advantage of having a double creativity available and to share the effort. United we are stronger! Three elements which are common to each of your individual visions? K+V: Definitely the Paisley, which has been synonymous with Etro since the beginning, the sinuous palm leaf of cashmere design that our tradition has come from. V: Travelling, which is part of the family’s DNA. I like to meet different realities and mix up different cultures, creating new and mysterious ones. After all, it is possible to make incredible journeys just with one’s imagination… in a story everything is possible. K: It is being permeable, opening up to the new far beyond conventional tourism, in the here and now of whatever exotic dream. I have always travelled a lot, inside and out of my library, trying to centre myself in the places I have encountered and breathed in. V: Art as well, for colours and print techniques and nature which is a source of recharging, inspiration and immense creativity. K: It is a fundamental element, after all we are children of the stars. ITALY ILLUSTRATED
What is the greatest satisfaction of your career? V: To have fun doing what I do every day and sharing emotions with the people involved in the journey. K: To make the craftsmen and suppliers of our creations happy, get a smile out of people, to live in beauty. What is the first memory linked with fashion? V: Coming to see daddy in the office at pre-school age and playing with colours, prints and watercolours. A real playground… I used to love glueing, cutting and assembling collages of fabrics. K: At sixteen when I used to dress up as a general in the Carabinieri at flea markets. What is Etro’s most revolutionary idea and what is yours? V: To have values and to make things with love. K: 1968… to be born in a historical and revolutionary moment! To live from love and beauty. Have you ever thought about swapping roles? V: For the moment no, but every so often we meet and ask each other for advice. K: In the beginning, I created the men’s and women’s collections and their relative fashion shows, until my sister Veronica stepped in and took up the baton in 2000. Sometimes I like wear a skirt, particularly in winter in the countryside I do like to feel the cold on the hairs of my legs. Where do you see yourselves in 10 years’ time? V: In a fantastic world of colours, full of values, creativity and imagination. K: We’ll see you at 9:30 am in via Spartaco, 6. New Caledonia.
A SCANDINAVIAN NEW YORKER BY FRANCESCA MANUZZI
hen asked what is the greatest satisfaction of his career, Andreas Melbostad, creative director of Diesel Black Gold since 2013, replies: “to see how the product I create becomes part of people’s life”. A vision as ambitious as it is achievable. Exactly like his fashion for the leading-edge brand of the OTB - Only The Brave house, the group lead by Renzo Rosso, which gives precedent to utility over ornamentation, the hybrid design has an immediately recognizable code. Here is the real story of Diesel Black Gold, under the auspices of Andreas Melbostad, as told by Melbostad himself. Three words about Diesel Black Gold. Black, leather and jeans. Your first fashion memory? In Norway is wasn’t easily available and when I managed to get my hands on a copy of The Face, i-D or Vogue, I guarded it as though it were a precious treasure. How did your career begin? After my degree at London’s Royal College of Art I started working with Alber Elbaz, who had just become creative director at Guy Laroche and then I went with him to Saint Laurent. After Paris, I moved to New York for Calvin Klein, this is still my home today. What traits of your Norwegian roots enter into your creativity? I don’t know if they influence my work. But I think my desire to dress people who are independent and self-aware may be a Scandinavian trait. What is your most revolutionary idea? My attention is always on attitude applied to basic and iconic pieces. Each season I observe how the codes, which we all love and wear, evolve, recognizable styles which when mixed up create new hybrid designs. What does it mean to be creative director of one of the most important brands around today? I love the creative challenge in my work. My main task is to create a strong and interesting dialogue with our client, to add value to the market and to create products which interact with people’s lives. Renzo Rosso... friend or boss? I have great respect for Renzo. He is a great mentor and a source of inspiration. He embodies Diesel 100%,, this is fundamental for the development of the collection. He provokes and challenges the process and at the same time he is the project’s number one fan, bringing passion and energy to me and to the team. How do you explain the success of Diesel Black Gold in Asia? Attention in Asia is moving from luxury brands to a more contemporary position, in response to the ever-greater force of a new generation of consumers. Diesel Black Gold reflects these new rules, lifestyles and ways of expressing yourself. How has fashion changed since the beginning of your career? We are living in a moment of consumer anarchy that I believe to be liberating. Today, the consumer buys a complete spectrum of differently positioned brands, this in turn obliges each label to know the market in its entirety, to be able to offer added value. And to exploit and narrate each moment of the process, from creation to backstage and live streaming of the show, in a delicate dialogue, because sometimes there is the risk of overexposure of the brand and of tiring the public. What are you inspired by now? Everything. I believe that New York has a great influence on me. I like the diversity and its energy. You have flown the show from New York to Milan… is there energy here as well? The time I spend in Milan is only for work. But there are some great bookstores, like 10 Corso Como, Armani/Libri and Milano Libri for design books. And Milan has some fine restaurants. I love Giacomo and Langosteria. Do you have a good-luck charm? Hard work and dedication. Do you have a dream? Happiness. And what are you tired of? Populism.
Portrait of Andreas Melbostad (Photo by Stefano Guindani)
Andreas Melbostad @ Diesel Black Gold
SETTEMBRE / OTTOBRE 2016
F FA AB BR RI CI CS S F FOOR R F FA AS SHHI O I ONN
since 1894 since 1894
THE IMPORTANCE OF BEING
OTTAVIO BY GIULIANO DEIDDA
A meeting with Ottavio Missoni, President USA of the family company who talks about himself from a personal and professional point of view.
Photo by Simone Battistoni
side from having an important surname you also have an important first name. What does it mean to you? First and foremost, it’s a nice thing, because in the past embarrassing things have happened to me because of it. Starting with “I thought Missoni was older”, up to someone thinking that I was making fun of them. This happened with the police, for example, when I was asked for an identity card that I didn’t have with me. I have always seen my grandfather as an aspirational figure, one that I would like to become. I am not talking about work, but from a personal point of view. It would be an understatement to say that I am honoured to carry his name. Missoni has always been a brand ahead of its game. Is the secret to this success the fact that it is a family business in the real sense of the term? Without a doubt the two are connected. Unfortunately, due to necessity, sometimes companies are bought up by large groups. I am proud to be part of one of the few companies which are symbols of Italian excellence. All of us are personally linked to the brand. The concepts of home and business are intertwined. All the domestic situations are linked to the day to day running of the business. None of us felt obliged to become a part of the Missoni business. You were the brand ambassador for the menswear collection. How important is it today to put oneself personally on the line in this business? It is part of the home and shop concept. Before the Missoni brand comes the Missoni family. It is almost natural for us to be brand ambassadors. No one can wear Missoni as naturally as we do. In this sense, we are all ambassadors for the brand. It is unusual for us to wear something else. When we were kids we were endorsers of the kids’ line. More recently, we have all starred in an advertising campaign. The photos were shot at home during a family lunch, a portrayal of the Missoni lifestyle. What does America represent for Missoni? Are there differences compared to Italy in terms of targets for example? The United States is one of the main foreign markets. We have been present in the USA for a long time with large sales volumes. I wouldn’t say that there are differences in brand perception. Even though it is over 60 years old, it has always managed to renew itself and be contemporary, thanks to the involvement of the younger generations and a faithful public. After all, the world is globalized and far off countries look like each other, thanks to the fact that people travel and above all to the internet. The main difference in the American market is the might of the department stores. It is just a question linked to distribution. We know about your passion for motorbikes, do you have other hobbies? Perhaps too many, from fishing to surfing. My free time has always been about sporting activities. You said that you usually wear Missoni. Do you have favourite items? Is there an item which should never be missing from your suitcase? Each of us from the third generation wears Missoni in a different way. My brother uses suits, my cousin big cardigans, whilst I am a mix of classic and sporty. I like unstructured jackets, above all those in knitwear that I use a lot. They are elegant and casual and can cover a reasonable variety of events. Most importantly they don’t need ironing. I can’t do without Missoni socks. Even when I wear suits from other brands, I can’t give them up. I would never wear basic blue socks. Projects for the future and new goals, personal and professional? Professionally speaking, there is always something new from the possibility of new collaborations to entering new markets. There are many projects in the air, but as I am superstitious, I will keep them to myself. And from a personal point of view, I have something big brewing which involves the world of motorbikes.
22-25 Settembre 2017 TORTONA27_superstudiopiÃ¹_MILANO STAND 211
JAMES DEAN OF FASHION BY ALBERTO CORRADO
His death had as much of an impact as that of the American actor. These lines are dedicated to him and to those who believe in the supreme power of beauty and in the fundamental importance of memory.
uirino Conti says: “Fashion extracts, makes geometric, conceptualizes and gives colour to what is sex, this is where its unstoppable seductive power lies.” Fashion therefore creates “signs of seduction”. One must however remember that these signs take on the character of the person wearing them, much as a perfume reveals different fragrances on different individuals and personalities. Gianni Versace was a true seducer. The origin of the word is found in the Latin se ducere - to bring to oneself - and no one knew quite like Versace how to attract attention, affection and interest to himself. He also had the ability to transfer this authentic gift to what he did. His clothes, real objects of global desire are a demonstration of this. Everything took on new aspects if it was thought about, pronounced or created by Versace, becoming exciting and indispensable. He nurtured an unconditional faith in the paradox of seduction and the strength of femininity. Firstly, in a woman’s body: the soft, sensual provocative body of the femme-femme, which Versace exalted and caressed with dresses created expressly to make the body desired, to make the image theatrical and to multiply the attraction. Leggings, which had been covering women’s legs for a decade, became worthy of being shown in an art gallery when re-imagined by him. Prints from that era, which even the most nostalgia prone had shut away in the darkness of trunks, after a rereading by him suddenly became a must. Neoclassical art, the Baroque, Miami, the songs of Elton John and punk seemed to be covered in a sight patina of dust, but once Versace became passionate about them, they came back as a cultural phenomenon, desired by people across the world. Gianni Versace was a man who was in love with beauty and this allowed him to investigate its mysteries and to acquire its power and strength: he was nourished by beauty, he travelled and acquired works of art to create and give more beauty. The Sun, the energy of the South, heat, seduction and pleasure have always been elements which live today as before in Versace fashion. I believe that they were rooted in his story and in his destiny, when he decided to write the first and last pages of his life in two seaside towns. For very few fashion designers, life, personality, friendships and interests coincide with their work. Versace is one of them. His creations were inspired by art as they were by the street, by Miami and by his wandering the world, constantly searching for beauty from the Greek and from Neoclassicism, the culture of magazines of reference, Harper’s Bazaar and Vogue, the allure of the English Royal Household, personified by Lady Diana and the brazen chameleon-like Madonna, everything flowed together in a fabric, in a cut and in an embroidery.
Moda ad alta tensione, Donna n.6, July-August 1990, model Lynn Koestner (Photo Courtesy of Giovanni Gastel)
Cover, Donna n.57, September 1985, model Linda Evangelista (Photo Courtesy of Giovanni Gastel)
Le notti di Kandinskij, Donna n.98, October 1989, model Jenny Brunt (Photo Courtesy of Giovanni Gastel) Photo by Giovanni Gastel
Versace su Milano in relazione alla moda, Donna n.10, October 1992 (Photo Courtesy of Giovanni Gastel)
Donna n.3, March 1993, model Valery Jean (Photo Courtesy of Giovanni Gastel)
Le notti di Kandinskij, Donna n.98, October 1989, model Jenny Brunt (Photo Courtesy of Giovanni Gastel)
Vogue Spagna, 1990, model Tatjana Patiz (Photo Courtesy of Giovanni Gastel)
Furthermore, emotions and private experiences and daily life poured into his fashion, with the same ease with which emotions are laid out in the pages of a personal diary: he visits a Kolo Moser exhibition at the Contemporary Art Pavilion, today PAC in via Palestro, Milan and transfers the lesson in Viennese secession onto a coat; he watches a tennis match which then gives rise to a collection of collar-less men’s shirts; the Soviet invasion of Afghanistan inspires the Fall Winter 1980 collection, created after studying the ethnic costumes of the country; he sees the rehearsals for the Josephlegende at the Scala theatre with choreography by Joseph Russillo and he creates the costumes for Leda and The Swan for the choreographies of Béjart, with a magical tutu of ostrich feathers for Luciana Savignano (when the curtain went up its impact took the audience’s breath away before the ballet had even begun); he visits Ravenna with Ingrid Sischy and is spellbound by the millions of gold mosaic tiles, embellishing the Gallia Placida mausoleum and which bedazzle in the figure of Teodoro di Bisanzio, in the Basilica of San Vitale, and spreads this gleam onto his last Atelier Versace collection, presented in Paris a few days before his death. Everything becomes a dress and a creation. In a word, fashion. The old prejudices, which wanted to present a woman’s body as weaker than a man’s, were cast aside in this unbridled revolution in the way of creating, which outlined future years and influenced the dialectic of the sexes. Versace grasped immediately the importance of this evolution in the female body and knew how to create a fashion which followed these developments, to bring back to the fore the renewed power of seduction. An image of women was thus created, which reveals all the force of each woman’s femininity, a femme-femme who knows how to conquer with imperious authority, a seductress who gives herself up to the pleasure of exercising her charm with a knowing wink and amused detachment. Versace’s fashion was and is a fashion placed on the border between antique and modern, between the luxury of creations which call to mind the excesses of haute couture and the practicality of daily life, between the virtuosity exercised in the antique art of draping and the strength of technical fabrics. An incredible example of technological research applied to the exaltation of new negligence. “He who has no memory has no future”. So warned Primo Levi and this also holds true for fashion, condemned as it is to continuously reinvent itself. To not remember Gianni Versace would mean to forget a phenomenon like that of the top model and of Italian prêt-à-porter. His death has certainly taught something to the world of fashion. He himself taught this world that it is possible to be a very successful man and stay true to yourself, kind, humble, smiling and curious. As only the greats can.
Uni q u e Ti mel es s C rea t i o ns
Showroom Luxury Distribution - via della Spiga, 15 - Milano www.maisonmilano.com | email@example.com
SPRING SUMMER 2018
IN BLOOM BY THE EDITORIAL STAFF
looming sensuality. A cornucopia of decoration invades Spring Summer 2018 wardrobes. It is a baroque season, as seen in an abundance of arboreal graphics. A preciousness which contributes lavishly to the language of dress. Fabrics are immersed in a decorative subculture, worked in total looks bursting into flower before our eyes; from precious branches and eye-candy plants. These are the Alma Tadema and the Millais’ Ophelia for the digital era. They wear mannish suits like those by Ottod’Ame and country style dresses by Aniye By in fluttering chiffon starred with violets. Flowers become erotic for Veronica Rossi, Xacus, Bresciani and Pierre Mantoux and hosts of daisies are printed on E. Marinella scarves and Unfleur’s silk bomber jackets. For delicately powerful women, a manifesto for a new era.
Unfleur Ottod’ame E. Marinella Alessandro Dell’Acqua
A MADE IN ITALY LEGEND Persol celebrates a centenary of successes with a precious limited edition of one of their most iconic styles.
ersol, acronym of per il sole (for the sun), is by any standard a legend in the world of
eyewear and this year it celebrates a century of undisputed success. The label founded by the Italian optician and photographer Giuseppe Ratti, has a history studded with characters like the poet Gabriele D’Annunzio (who wore them to fly to Vienna on August 9th 1918), the actors Steve McQueen (in the film The Thomas Crown Affair) and Marcello Mastroianni (in Divorzio all’italiana), who chose the label as a distinguishing feature and fetish, both in front of the cameras and in their private lives. Persol is synonymous with technological innovation and has entered the hearts and minds of men of style who wear it uncompromisingly. With its first boutique on Rodeo Drive in Beverley Hills California the label won over Hollywood and its stars. At the same time, thanks to the quality and continuous research like the Meflecto system – a patent which makes the arms flexible and close fitting to the face – Persol eyewear has always been the perfect choice for extreme weather conditions, from expeditions to the Svalbard Islands to survival manoeuvres for Russian astronauts and also for the Paris Dakar rally. From the first ever style, Protector, the brand has produced a new object of desire for its hundred-year anniversary, renewing its character as an emblem of Italian craftsmanship. Thus, the iconic 649 becomes the 964SG, leaner in silhouette and embellished with small cylinders in 18 carat gold. Furthermore, the date of the centenary and the certificate of limited production are embossed in gold on the inside of the arms, thereby becoming an integral part of a perfectly thought out design. Precious and unique forged details, not only aesthetic but functional, give new life to the extraordinary legend of style and Italian culture. ITALY ILLUSTRATED
SPRING SUMMER 2018
SHINY HAPPY PEOPLE BY THE EDITORIAL STAFF Chiara Ferragni
AGL Attilio Giusti Leombruni
n optical illusion. A whirlwind of dazzling total looks settles sinuously on the body. The soul of Spring Summer 2018 glitters with sequins, wraps itself in sparkling dresses with ostentatious 70’s glamour. The shimmer of Donna Summer or The Supremes echoes in the mind, with those masterpiece clothes flowing down to the ground, declaring their undisputed star status. You can once again judge a book by its cover as in times past, ready to ratify the rise on Earth of a sacred femininity, surrounded by a luminous aura. The N°21 and Au Jour le Jour collections and also the daily charm of Roy Roger’s are sculpted in light. The silhouette is illuminated with pop up floral embroideries, bright as diamonds at Piccione.Piccione. It becomes three dimensional for Sara Battaglia’s way of thinking with maxi discs of iridescent PVC. A luminous shine is also celebrated by It girls like Giorgia Tordini and Gilda Ambrosio, with dazzling evening dresses imagined for their label Attico, and by Chiara Ferragni for her eponymous brand. Even the shoes from AGL Attilio Giusti Leombruni are brightened with shiny bugle beads and the bags from Maliparmi are scattered with a shower of sequins. N°21
Au Jour Le Jour Piccione.Piccione
SONO APERTE LE ISCRIZIONI AI NUOVI MASTER IN FASHION DIRECTION 2018. SCOPRI SE FANNO PER TE.
SPRING SUMMER 2018
CONTEMPORARY ESSENTIAL BY GIULIANO DEIDDA
ne of the merits of the nineties is that of interrupting the growth of excess, which characterized the preceding decade, with a clean-up, which culminated in extreme minimalism. The decisive cut off moment from the eighties was of a clear and, as far as fashion is concerned, unusually rapid nature. It was now important not to be noticed for excesses, but because one was wearing beautiful clothes with lean silhouettes which suited the wearer, with pure and almost conceptual lines. It is not by chance that many are attempting the same operation today, even though real life and the contemporary public are very different. These wardrobes have a day to day appeal and consist of classic pieces re-adapted to current taste, from Albino Teodoro’s chaste blousons to Blazé’s masculine blazers. Back under the spotlight, the modest half length skirt hoping to win over both one-time fans as well as young contemporary fashionistas, like the denim shirt dresses from Maryling which amply cover the knee. Accessories to match this new normal style are distinguished by a linearity of design, in particular bags designed for the demands of work, but with style. Blaze
Santoni Edited by Marzo Zanini Eleventy
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SPRING SUMMER 2018
POPPING COLOURS Capucci
BY GIULIANO DEIDDA
Marco De Vincenzo
omic books, hypervisual shout-outs and lettering from TV adverts are at the heart of the narrative. Bags talk. Scattered with dots they shout fiesta for Alessandro Enriquez. They call out their names for Plinio Visionà and they are dyed in multihued colour fields at Pollini. It is urban folklore. Coriamenta’s sandals and Paula Cademartori’s mules are enlivened with the most saturated shades of the visual spectrum, like the colour block dresses from Capucci or the pieces chosen by Madame Berwich. Spring Summer 2018 sees the birth of a new pop art open to most popular forms of communication. High quality day to day objects are raised to Dadaist artistic showings. They are hyper accessorized and have a high provocative charge like the lucha libre wrestlers on dresses, imagined by Stella Jean or those by Marco De Vincenzo, inspired by his native Sicily, to admire whilst sitting on an open-air cinema seat, watching cult films like 9 ½ weeks, Lolita or King Kong, their iconography settling on the collection.
SPRING SUMMER 2018
NEW ROMANTIC BY GIULIANO DEIDDA Elisabetta Franchi
F.R.S For Restless Sleepers
nyone who thinks that fashion should make us dream will be more than satisfied next season. Perhaps it’s because pop culture has created and/or reconsidered the figure of the poetic heroine, but the fact remains that the proposals for Spring Summer 2018 are headed in a direction, which is so feminine and romantic as to seem almost unreal. Inspiration comes from afar. As is the case of Elisabetta Franchi, a trunk full of memories, adapted to modern times, gives rise to voluminous dresses in silk voile and tulle. Fausto Puglisi has chosen an even more extreme route in relation to his career. The designer has created a tribute to the innate elegance of Sicily, the region where he was born, with extreme attention to handcrafts and the quality taken over detail, beginning with lace-making. Ruches are a constant for most of the proposals in this vein, used to define shoulders at Melampo and Ottod’Ame, or in the construction of dresses as at Vivetta, in an ankle length version fastened at the throat with an outsized bow.
Amato Daniele Ottod’ame
AGL Attilio Giusti Leombruni
ARIZONA MUSE FOR ROBERTO COINÂ®
POIS MOI COLLECTION | robertocoin.com
SPRING SUMMER 2018
NEO-FETISHISM BY THE EDITORIAL STAFF AGL Attilio Giusti Leombruni Coliac
arbarella 3.0. Sculptural and monumental dresses with a sensual touch for Madame. New technologies in fabric become the material from which to create forbidden dreams or to cultivate fetishes, which are not to be revealed. Spring Summer 2018 fashion hovers between fetish and high-tech. The link between haute couture and fetish is examined in the severe architectures of Ter et Bantine and Vladimiro Gioia. The subtle fluctuation between the cushioned atmosphere of the atelier and the naughty lights of the underground club scenes of London and Berlin is shown in looks from Arthur Arbesser and Cristiano Burani. In the background, a subtle scent of the eighties, articulated in puffy vinyl coated structures designed by Massimo Giorgetti for his MSGM. Luxury fetishes in deluxe PVC bear the signature of AGL Attilio Giusti Leombruni or of Elena Ghisellini, as do the designed-to-seduce patents from Coliac by Martina Grasselli and Baldinini.
Ter et Bantine
Arthur Arbesser MSGM
Vladimiro Gioia Cristiano Burani
SPRING SUMMER 2018
URBAN BON TON BY GIULIANO DEIDDA Parronchi Cashmere
he femininity that is central to the daywear proposals for Spring Summer 2018 is obvious but in no way showy, this is where polite glamour and conceptual casualwear meet and mix. This contemporary bon ton is developed through the use of natural fabrics and precious yarns, presented in shades of red, from pink to burgundy, combined with classic white, as seen on Alessandro Dell’Acqua’s fluid outfis, and black, as on the more ladylike looks by Rosso Rame. The concision in the essential chromatic choices contrasts with the strength of pure design found in shirts seen at Giangi Napoli, which are distinguished by their experimental volumes. Patterns and prints also herald sobriety, although one which is defined and recognizable, from Ballantyne’s trompe-l’oeil to the scarf prints at Parronchi Cashmere. The choice of sportswear accented accessories, such as sneakers and backpacks, makes for extremely contemporary style. Again, in this case, clarity of design is the dominating element, from the essential geometries proposed by Maison Milano to the conceptual reworking of running shoes from Voile Blanche. Bilancioni
Voile Blanche Alessandro Dell’Acqua
ITALIAN THEY GO BY THE EDITORIAL STAFF
Nine women at the peak of the top ranking 3.0. These influencers based in America, queens of the web, choose brands flying the Italian flag.
@carolinevreeland Caroline Vreeland Special ambassador & Diana Vreelandâ€™s nephew 252.000 followers/Instagram
@songofstyle Aimee Song Interior designer & New York Times bestselling author of #CAPTUREYOURSTYLE 4.600.000 followers/Instagram
@bat_gio Giovanna Battaglia Engelbert Fashion editor and creative director 704.000 followers/Instagram
@leandramcohen Leandra (Medine) Cohen Founder of a nudist colony called Man Repeller 521.000 followers/Instagram
@haileybaldwin Hailey Baldwin Model & Alec Baldwinâ€™s nephew 10.600.000 followers/Instagram
Eva Chen Fashion at Instagram/erstwhile writer 772.000 followers/Instagram
@peaceloveshea Shea Marie Designer @ Same, creative director, stylist 1.100.000 followers/Instagram
@oliviapalermo Olivia Palermo Actress & fashion icon 5.000.000 followers/Instagram
@ericapelosini Erica Pelosini Leeman Special ambassador 124.000 followers/Instagram
THE SEASON’S GUIDE
BRAVE CHOICES BY ROBBIE SINCLAIR
Spring Summer 2018 sees the continuing rise of the Millenials’ aesthetic approach with new experiments into beauty. TRENDS ACCORDING TO WSGN From the street to the upcoming collections for the summer season, these are the changes according to the trends developed by WSGN, supplier of trend forecasts, data on product performance and industry information for retail and style. Over the years it has built up a solid reputation for supplying global information services and long-term 5 year trend forecasting. Its services and innovative products allow its 75.000 users world-wide to reduce risk and make safer decisions / www.wgsn.com
outhful styling takes over as a key inspiration for Spring Summer 2018, but youth is not just about age, it’s about brave choices and an open mind. As Millennials become a key influence on the fashion industry their take on life also influences too. Gender fluidity have been buzz words for a few seasons and we start to see more experimentation with ideas of beauty. Younger generations are dressing for how they feel, rather than gender expectations, and denim styling plays a big role here. Unisex double denim looks are becoming more popular and see injections of newness from surface interest. Looped textured denim has a towelling feel and comes through in supersized silhouettes, that consume the body giving a slight 90’s feel. Plissé (micro pleated) fabrics give simple woven tops some dimension and look youthful, when styled with cross body bum bags. Cropped tops and bad taste animal prints also pay homage to the 1990’s and fit with the ad-hock styling coming through for Spring Summer 2018. As the hype around active and sportswear inspired dressing slows down, we still see subtle references, but design become more obscure and less literal. Reimagined track suits come through in Bermuda short silhouettes and hybrid bomber jackets. After the huge trend around sleeve details last season, interest still remains high on this area, with oversized sleeves that take notes from kimono silhouettes. The look seems slightly smarter when styled back with relaxed masculine shirts. Head to toe colour or print still remains relevant with trousers, jackets and woven tops, all sharing the same colour or print for a brave impact and a new take on the suit. The off-duty model look of skinny jeans, easy skirts and gigantic hoodies has become a trend in itself, with street style looks boasting effortless, thrown together styles that play a big part in our wardrobes. The rise of skater styling and the growing popularity in skate focused brands has led to the hoodie being a key item leading to layered, Jersey focused looks of midi skirts and outsized sweatshirts and hoodies. The look is dressed up with heels and bold accessories that give a perfect balance of smart and casual.
Spring Summer 2017...
…To Spring Summer 2018
AND CRAFTMANSHIP BY MARCO MARTELLO
New from Ballin, starting with Spring Summer 2018
allin, the long-established shoe factory from the Veneto region, has for 72 years been synonymous with artisanal excellence and luxury, having a product which is the quintessence of Made in Italy. In 1945, the brothers Guido and Giorgio Ballin laid the foundations of an entrepreneurial and aesthetic vision in the area around the river Brenta and began a series of collaborations with the most prestigious brands. Thanks to their unceasing passion, Ballin has shown great perception in understanding the market’s requirements and the signs of change. The brand is distributed in 35 countries through stand-alone boutiques and 300 selected sales points in Italy and abroad. Today Ballin, headed by the second generation, Gabriella, Reanna and Alessandro and with Roberto Barina’s creative direction, stays true to its founding values, combining tradition and innovation. To present the Spring Summer 2018 collection the label chose MICAM and then Milano Moda Donna for the inauguration of the new showroom. “A prestigious space of over 200 square meters of modern and sophisticated design in a first-rate location at n. 46 via della Spiga”, so the company’s managing director Gabriella Ballin tells us. “We want to highlight and reinforce Ballin as an international brand, to make sure it is known, recognized and rediscovered”. Indeed, the new collection also sees its bag division reinforced: “This is a project which we care about very much, it has been well received by the market and it will be more widely developed, following the logic of business segmentation. We are getting ready to launch our new iconic bag, bearing the name of an international celebrity who perfectly represents our values of joie de vivre, style and contemporary femininity.”
Amal bag, Spring Summer 2018 collection
Versailles slingbacks, Spring Summer 2018 collection
Versailles sandals, Spring Summer 2018 collection
OF ITALIAN STYLE Miroglio celebrates a prestigious anniversary with a tribute to its history and to the area.
iroglio celebrates seventy years and puts on an exhibition in Alba, Miroglio 70 anni – L’innovazione e la tradizione del nostro territorio (Innovation and tradition of our area). The exhibition, which runs until the 20th of October at Palazzo della Banca d’Alba, at the same time as the local truffle fair, shows a journey through the activities of the group, which holds in its sphere the labels Motivi, Oltre, Elena Mirò and Fiorella Rubino. Images and video installations tell the story of the company, which was founded by Giuseppe Miroglio at the end of the 19th century, as a commercial enterprise, and then was transformed into an industrial entity in 1947. As the exhibition’s central theme are twenty exclusive garments, inspired by the 50’s and taken from prints selected from Miroglio Textile’s historical archives which contain over 50.000 designs. The original drawings have been re-issued in a contemporary key, thanks to 3D digital systems of pattern cutting, mixed with the know-how of dressmakers from the factory’s atelier. “The combination of tradition and innovation is the philosophy which inspires our work”, explains Giuseppe Miroglio, group president and grandson of the founder. “A philosophy and a way of working typical to this area, where concrete practicality fuses with creativity and innovation and where the crises and changes in the market have always been seen and faced up to as a necessary moment to enable change”. Elena Miroglio, vice president, talks about the spirit of the celebration: “We have journeyed through our past reworking all the available material from a new point of view. The concept of territory is fundamental to us, with its diversity, and through the years we have involved new generations in our business. There have been difficult moments, due to changes in the market, but we have always faced them as a new beginning. We are an unusual company, because our labels cover different segments. Today our efforts are turned towards a clearer definition of the positioning of different brands, without disregarding a certain flexibility. The markets are ever more unstable and so a double vision is needed, classic strategies are no longer of value. The online world has accelerated this phenomenon exponentially, therefore it is a sector which requires greater attention and investments.”
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Reese Witherspoon in Home Again (Photo Courtesy of Eagle Pictures)
FA SHI ON Belle de Jour Prints and patterns from vintage to ethnic and graphic meet denim.
ACC ESS ORI ES Hard Glam
Defined lines, bold colours, precious materials and metal details.
BELLE de jour STYLE_ GIULIANO
DEIDDA LEPORATI MODEL_ MAGALI BUHRMANN @ THE LAB HAIR_ MARCO STERI MAKE-UP_ THAIS BRETAS STYLISTâ€™S ASSISTANT_ GRETA FUMAGALLI PHOTOGRAPHY_ MAELA
EMBROIDERED DRESS, GUCCI SILVER BRACELET, GIOVANNI
KNITTED MOHAIR CREW-NECK, PRINTED MIKADO SKIRT AND LIZARD BELT, ALL BY PRADA PATENT LEATHER BOOTS, MARNI
DENIM JACKET WITH EMBROIDERED SEQUINS, DIESEL JACQUARD WOOL PANTS SKIRT, TERRE SILVER BRACELET, GIOVANNI
PRINTED SILK DRESS AND LEATHER BOOTS, ALL BY FENDI METAL AND PLASTIC EARRINGS, MARNI
PRINTED WOOL AND FOX FUR COAT, VLADIMIRO PRINTED VISCOSE BLOUSE, SHIRTAPORTER FLAT-FRONT DENIM PANTS, MADAME BRONZE NECKLACE,
JERSEY DRESS AND PATENT LEATHER BOOTS, ALL BY MIU UNWASHED DENIM FLARES, ROY
hard GLAM STYLE_ GIULIANO
NICKEL FREE SUPERLAMPO T5 ZIP WITH VELVET RIBBON AND FLOCKED PULLER, LAMPO
MESH AND CALFSKIN BOOTS, VERSUS
SILVER BRACELETS, NOVE25
SUEDE SABOT, BALLIN
PYTHON HANDBAG, FELISI
GOATâ€™S FUR AND SUEDE BOOTS WITH RUBBER SOLES, MOON
ACETATE SUNGLASSES, PERSOL
QUILTED LEATHER HANDBAG, MIU
Fashion Who Reads
TRASFORMANIA BY ROSE VILLAIN
Artwork di Nicola Gobbetto
am an Italian who feels at home in America and who writes international music. I make horror pop, pulp pop, mafia pop. I write my videos and the imaginary world comes from television series and films, where the photography is almost more important than the story. Mine is a de-dramatized (or perhaps over-dramatized) commercial genre, with visuals and texts which contrast with the peaceful soul of this slightly discredited genre. I am able to do it, because in the United States there is unprecedented open-mindedness towards music. I could put a ska band together singing in Flemish and it would find a space and a following. It wouldn’t be like this in Italy, where too little space is given to youngsters who experiment and where there is none of the vibrant air of the Big Apple, a city which is stimulating and pulsing with life. Quite the contrary, when I am in New York I miss my family and focaccia - not necessarily in that order! A poster hanging on the bedroom wall? The Backstreet Boys and I’m not ashamed to say it. When I was in diapers, I would only stop crying when my mum played Prince, any other singer and I screamed. Today, however, I am inspired by Tarantino, Kubrick, Kurt Cobain, Kanye. And Madonna, who has had a career spanning thirty years and is still a style icon. This is because in life we have to keep changing. I dress differently every day, with no logic, to remix my personality with flair, contrasts and elegance. I like to transform my look, to be someone else every day. I don’t care about trends. These items are definitely never missing from my wardrobe: jeans, biker boots and a leather jacket and I am attached to a jumper with the Italian flag that my mum gave me and a pair of Ramones limited edition Vans slip-ons that I have had since I was young. I buy everything in America, no way would I buy online. In the stores there, you have more choice and I like to touch fabrics and try things on. The sales assistants are also so friendly and helpful, something which is rarer in Milan. Obviously, fashion is an integral part of my work, but music comes first. I care about working with brands who really reflect my style and this is why I have collaborated with some brands, but I have also turned down a lot of work. I am not a blogger, I am a singer and although I prefer to concentrate on my own project, if I were asked to write music for a TV series, I’d certainly think about it.
“I make horror pop, pulp pop, mafia pop and fashion is an integral part of my work but music comes first”
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