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Back in the Days Lanificio F.lli Cerruti & Nigel Cabourn Innovative sensibility

Year 13 issue #23 – JULY 2013 A YEARLY MAGAZINE Spedizione in A.P. – 70% – DCI – TV registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

Free – Year 13 #23


in un mondo globalizzato, un semplice artigiano si scopre in sintonia con la sensibilità di un collega a chilometri di distanza senza conoscersi


Una storia da raccontare, un capo che si eleva dalla materia di cui è fatto per diventare sensazione, tattile, mnemonica, iconica.

Tradizione e innovazione producono oggi oggetti semplici, non gridati, utili nella loro bellezza e pulizia.

Il grande circo della moda sembra esploso, tra esasperazioni elitarie e finto lusso accessibile di massa; al suo posto una galassia di frammenti da avvicinare, identificare, decodificare.

La più disincantata osservazione ci fa vedere come, in un mondo globalizzato, un semplice artigiano si scopre in sintonia con la sensibilità di un collega a chilometri di distanza senza conoscersi. E al tempo stesso, in un mondo così veloce, un bisogno collettivo inizia a farsi sentire a più voci in un tempo brevissimo: la ricerca della concretezza, la voglia di prodotti fatti con la testa e col cuore, l’attenzione per la persona diventano un tutt’uno imponendosi come un nuovo bisogno.

Il mondo dell’abbigliamento inizia a riscoprire la ricchezza di progetti specifici che non siano più solo frutto di freddi ragionamenti di marketing ma idee e prodotti che sorgono dall’osservazione della realtà, dalla lettura della storia dell’abbigliamento, dalla reale conoscenza tecnica di materiali e tessuti.

Cover: Gardens by the Bay (Singapore)

Tutto questo, nello spirito di ricerca di Mug Magazine vuol dire rallentare e godere dei piccoli tesori che la creatività e la passione sanno generare, vuol dire sottolineare i nomi e le storie di quanti nel mondo dell’abbigliamento, del design e dell’arte stanno lavorando con passione giorno dopo giorno per costruire un nuovo orizzonte di significato estetico. In questo numero di Mug Magazine per la prima volta nessun capo è specificatamente protagonista e tutti lo sono in egual misura, a patto di fare un passo indietro e tornare a servire l’uomo, esteticamente, funzionalmente e concretamente.

ph. Nicola Facchini

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

in a global world, a simple craftsman can discover to be on the same wavelength as a far off colleague without having ever met him

A story to be told, an item of clothing that soars above the material it is made of, to become a tactile, mnemonic, iconic sensation. What with elitist exasperation and affordable mass fake luxury, the great circus of fashion seems to have exploded, replaced by a galaxy of fragments for us to approach, identify, and decode. The world of clothing is starting to discover the richness of specific projects that don’t rely only on cold marketing calculations, but on ideas and products deriving from the observation of reality, the reading of the history of clothing and a true technical knowledge of materials and fabrics. Today tradition and innovation turn out items which, far from showy, are useful for their beauty and simplicity.

A close analysis shows that, in a global world, a simple craftsman can discover to be on the same wavelength as a far off colleague without having ever met him. Needless to say, in a world where speed is essential, a collective need makes itself felt in no time: a search for realism, a liking for products made with the brain and the heart, the care for people are now becoming a new need. Mug Magazine’s attitude of research implies to slowly enjoy the small treasures that passion and creativity can engender, to emphasise the names and stories of those who are passionately working day after day in the world of clothing, art and design to establish new meaningful aesthetic standards.

In this issue of Mug Magazine no item in particular is for the first time the main protagonist; all items are equally protagonists, provided a step back is taken to give people concrete, functional, aesthetic values.

— 伝え継がれるストーリー、それは何の素材が 使われているかよりも、触れた時の感触、記 憶に確かに残る、偶像的なセンセーションと なる服のアイテム。 エリート主義者の憤慨と大量に出回る手頃 な価格のお手軽ラグジュアリーとともに ファッションの大サーカスは爆発したようで あり、ひとかけらの銀河がそれに取って代わ り、私たちはそれに近づき識別をし、解読を する。

服の世界はそろそろ、無味乾燥な収益 優先 で生産される物ではなく、現実の注視 、服 の歴史からの知識 、そして素材と生地の真 の技術的知識に基づいたアイデアや製品の 開発を特定するプロジェクトの真の豊かさを 発掘し始めたようだ。今や伝統と革新は、 外見だけの華やかさからは程 遠い美しさと シンプルさに役 立てられるアイテムへと姿 を変えている。 綿密な分析によれば、グローバルな世界で は、今まで 一度も面識がなくとも波長 が同 じであれば、例え遠方であっても単独の職 人を探す事は可能であるそうだ。言うまでも なく、スピードが 極めて重要な世界での共 通ニーズ、つまりリアリズムの追求 、知恵を 絞り気持ちの込められた製品が愛されると いう現実、また人々へのケアなどの新しい ニーズを満たすには、あまりにも時間が足り ないという感覚をもたらす。

Mug Magazineのリサーチに対する姿勢は、 ファッション、アート、デザインの世界で新 たな意義のある美的感覚の基 準を確立すべ く、情熱的に日々努力を続けている人々の 名前やストーリーを重要視する為に、情熱と 創造性 から発生する小さな宝物をゆっくり じっくり満喫することを意味している。 第23 号となるMug Magazine では、今回初 めて特定のアイテムにスポットを当てる事を 避け、代わりに全アイテムが均等に主人公 であると考え、もう一度、具体的で機能的な 美的感覚の価値を人々が考える機 会となっ てくれるようにと願っている。


Mug Magazine issue 23, year XIII


— Spotlight

Colophon Smelling Reading

8 18 138 140


MUG MAGAZINE 23 — Back in the Days

19 Puma 68 Lanificio F.lli Cerruti & Nigel Cabourn 70 Diesel Black Gold 73 Swiss Chriss 76 Brooks Brothers 78 Eastpak 80 Dualism 83 Armani 86 The Veneto Wool District 96 Private Stock 100 Diesel Kids 102 Parajumpers 105 Matchless London 109 Serio Design 112 Sbaiz Concept Store 115

— Art & DESIGN Elegant design What is the purpose of the artist? Art @ Lazzari

— Showcase

Food, clothing: 2,000 years of history How much can we consume? From Mad Men to fast fashion Authentic products are back again

118 120 132

90 92 94

— Back in the Days


— Lanificio F.lli Cerruti & Nigel Cabourn

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. Started in 2012, the prestigious collaboration between the historic Biella based Lanificio F.lli Cerruti and Nigel Cabourn has this year been strengthened thanks to the 2013-14 Fall-Winter collection created by the English designer, on display at Milan White Show in an exhibition devoted to “tradition, value and the beautiful”.


— Innovative sensibility

Primary needs and decency seem to have been born almost together, yet the fact that we see them so close to one another is probably due to an error of perspective. From time immemorial men – in particular those who have had enough food to eat - have always felt the need to stand out, to excel, to appear unique, to the extent that they created caste and class systems.




Mug Magazine issue 23, year XIII



The choice of the name is enough to express the essence of Alterrain: a perfect approach to a wide range of conditions and situations. The Alterrain collection is based on a crucial concept: form follows function. This means that design is first of all based on product functionality, whereas its merely decorative aspect and all other non functional elements are considered as secondary. The concept underlying Alterrain items opens countless possibilities, because what makes the difference are those who wear them, how and where they use them. Alterrain design develops by trial and error with a view to creating a top product, an attitude that fully embodies the spirit of Descente.

名前の選択だけでも、広範囲の条件や状況 に対応可能な製品への完璧なアプローチを 試みる、Alterrainの本質を表現するには 十分だろう。Alterrainコレクションは、 フォルムは機能性へ繋がるという、極めて 重要なコンセプトに基づき制作されている。 ここでのデザインは、製品の機能性をベース に考え出されるのに対し、単なる装飾や機能 性とは関連のない要素は全て、二次的要素 である。Alterrainアイテムの礎となるコンセ プトは、無限の可能性を切り開く事である。 着る人が、それをどのように、そしてどこで着 用するかが製品の差別化となるからである。 Alterrainのデザインは、常にトップレベ ルの 製品を目指すデサントの精神を完 全に実 践 する姿勢で、試行錯誤を繰り返し、日々開発 されているのである。

Dismayed by the over-complicated control schemes of wireless speakers that usually result in redundant playback and volume controls, Victor Johansson, an inspiring product designer, came up with a better solution: a minimalist ceramic speaker that only cares about where you place your phone. Instead of buttons or other physical controls, the speaker uses a set of sensors to determine where a phone has been placed on its surface. There are three distinct zones that control three different functions. Placing it one spot starts playing your tunes, placing it in another pauses the

playback, and the last turns on the radio instead. Volume, track selection, and other playback options are all left up to the device being used to minimize redundancy, while glowing indicators light up momentarily to indicate the current mode. 再生や音量調節程度の割に、複雑すぎるワイ ヤレススピーカーのコントロール系統の配列 に幻滅した、直感的プロダクトデザイナーで あるビクトル・ヨハンセンは、優れた解決策 を思いついた。スマートフォンの置き場所に だけ気を配ればよい、ミニマリズムなセラミッ クのスピーカーである。このスピーカーは、リ モコンやコントローラーではなく、スピーカー の表面のセンサーを利用してスマートフォン の置かれた場所を判別する。センサーは 3つ のゾーンに区分され、それぞれのゾーンが 3 つの異なる機能を果たす。あるゾーンにス マホを置けば曲の再生が始まり、また別の ゾーンでは再生を停止する。残り一つのゾー ンでは、ラジオのスイッチが入るようになっ ている。余計な操作は最小限に、既存の機 器で音量、選曲、および 他の再生オプション はすべてそのまま機能させる事が出来る。イ ンディケーターが点灯して、少しの間、現在 のモードを知らせてくれる。

Mug Magazine issue 23, year XIII


Apart(イタリア) 、Hannes Roether(デン its careful curation of each category, with マーク)、Bellerose(ベ ルギー) 、Laurence a focused point of view in womens ready Dollige(フランス)、NDC(ベ ルギー)や to wear, accessories, and lifestyle. Each D& A homeの要請により参加した Eva Evam show presents brands from both the United States and throughout the world (日本 )などである。 that are the influencers in the advanced また、国際的ブランドの参加数の増加に伴 contemporary market. In recent seasons, い、Designers & Agents では、国際的バイ D&A has experienced significant growth ヤーの来場数も飛躍的に増加した。いくつか in the number of international brands 挙げてみると、Merci やLe Bon Marche(フ on its roster, with designers such as HTC ランス) 、伊勢丹、ビームス、ユナイテッド・ (IT), Kristensen du Nord (DK), Epice (FR), A Brand Apart (IT), Hannes Roether (DE), アローズ(日本)、Luisa Via Roma(イタリ ア)、Jade(ベ ルギー)や Harvey Nichols Bellerose (BE), Laurence Dollige (FR), NDC (BE), and Eva Evam (JP) calling D&A ( 英国 )などである。 home. In addition to a increase in interDesigners & Agents ® への来場方法もしく national brand presence, Designers & は出展方法に関する詳細は、下 記 UR Lを Agents has seen substantial growth in atご覧ください。 tendance from a broad range of international buyers such as Merci and Le Bon Marche from France, Isetan, Beams and United arrows from Japan, Luisa Via Roma in Italy, Jade from Belgium and Harvey Nichols in the UK, to name a few. For more information on how to attend or exhibit at Designers & Agents, please visit: 独立系のDesigners & Agents ® は、ニュー ヨーク、ロサンゼルス、パリでショーも同時に 執り行う国際見本市で、デザイナーや小売業 者にとり、ファッションやライフスタイルのイ ンディペンデントデザインの方向性を見極め る為には、外せない訪問先である。 D & Aに展示されるレディースウェア、アクセ サリー、ライフスタイルの各カテゴリーでの、 厳しい選択眼は、よく知られる所であり定評 がある。各地の見本市では、一足先に行く コンテンポラリー市場に影響を及ぼすであ ろうアメリカのブランドをはじめ、世界中の ブランドが紹介されている。

Designers & Agents® an independent, inここ最 近の数シーズンで、D & Aの国際的 ternational trade fair with shows in New ブランドの出展数は著しく増加し、着実な York, Los Angeles and Paris is a key des成長を遂げている。新しく加わった出展者 tination for retailers and designers who は、H T C(イタリア) 、Kristensen du Nord define independent design direction in (デンマーク) 、Epice(フランス) 、A Brand fashion and life style. D&A is known for

II: Vintage advertising images, along with giant posters representing historic pictures, seek to recreate the early 1900s’ atmosphere of the local area. A special opportunity for visitors is finally offered by the video-interview shown in the exhibition. Here Giuseppina Chiesa, last owner who headed the PasseroChiesa Typolithographic Company for over 40 years, tells her family and her company history, sharing her own memories with us.

なポスターとともにビンテージ色の濃い作品 を展示。20世紀初頭当時に溢れていた地域 の雰囲気の再現を試みている。 会場では、特別編集されたビデオインタビュー も放映されており、パッセロ−キエーザリト グラフ社の最後のオーナーで、40 年の長き に渡り同社を率いたジュゼッピーナ・キエー ザ氏が、当時の思い出を私たちと共有しな がら、彼女自身の家族と会社の歴史を語っ ている。

Réclame. Manifesti e bozzetti del primo ‘900 dal Fondo Passero-Chiesa

The exhibition “Réclame. Early 1900s’ “ Réclame 〜Passero - Chiesa Collection posters and sketches from Passero-Chieからの 20世紀初頭のポスターとデッサン展” sa Collection” presents part of the Colは、ウーディネのパッセロ−キエーザリトグラ lection coming from the Technical Arフ社のテクニカル・アーカイブ収蔵品の一部 chive of the Passero-Chiesa Typolithoを紹介する展覧会である。 graphic Company from Udine. Acquired by the Fondazione Cassa di Risparmio ゴリツィア貯 蓄 銀行基 金 が現 在所有するこ di Gorizia, the Collection consists of 340 れらのコレクションは、19世紀末の10 年から works dating back between the last dec第二次世界大戦までに制作された 340の作 ade of the 19th Century and World War 品で構成され、歴史的場面を再現した巨大



Mug Magazine issue 23, year XIII

Kvadrat Basel

from offices and concert halls to hotels and private homes. Importantly, it meets all the requirements for contract usage.

スロベニアで開催される第 7 回現代美術トリ エンナーレでは、復元力の概念に類似した 物事に見られる実行力を重要視している。 すなわち、地域コミュニティを中心とした特 定地域で、参加し遂 行する、建築的であり 社会的、そして公的な実行力や、あるいは 地域共同体の原理でとりとめのない新しい 何かを模索する(または復活させる) 、例えば “ do -it -together ”精神や、都会でのガーデ ニング、共同作業などの実 行力と同時に、 我々がいかに共存するかという根本的な社 会問題に焦点を当てている。

バーゼルは、エルプフィルハーモニー・ハンブ ルクのグランドホールのためにヘルツォーク& ド・ムーロンによってデザインされた繊細で洗 練されたインテリア用の装飾毛織物である。 全部で 10 型のバリエーションがあり、フォーマ ルからインフォーマルなタイプ、スムーズな物 からラフな物までの表面加工、ダークカラー からライトカラーまでの色展開など、様々に 表現された物を提供している。 ヘルツォーク&ド・ムーロンのシニアパートナー であるアスカン・メルゲンターラーが、エルプ フィルハーモニー・ハンブルクのグランド ホールのコンクリートの壁の表面やオーク材 のフロアに、軽くて、しかも相性抜群のテキス タイルを探していた時に、バーゼルのアイデア は誕生した。

Basel is a subtle and sophisticated woollen upholstery textile, designed by Herzog & de Meuron for the Grand Hall of the Elbphilharmonie Hamburg. Available in ten versions, it offers a wide variety of expressions, ranging from formal to informal, smooth to rough, and dark to light. The idea for Basel was born when Ascan Mergenthaler, Senior Partner at Herzog & de Meuron, was looking for a textile that would play with light and fit well with the textured cement walls and oak floors of the Grand Hall of the Elbphilharmonie Hamburg. Unable to find such a fabric, he approached Kvadrat with a view to creating one. Thanks to the versatility Basel offers, it is suitable for a wide range of contexts,

だが、イメージ通りのテキスタイルは見つから なかった為、彼はクヴァドラ社に制作の依頼 を持ち掛けたのである。 こうして誕生したバー ゼルは多用途で、オフィスからコンサートホー ルまで、またホテル から一 般 家庭までと、 幅広い状況に対応する。より重要な事は、 この 製品は使用方法に関するすべての要求条件を 満たしているという事だ。

7th TRIENNIAL OF CONTEMPORARY ART IN SLOVENIA The 7th Triennial of Contemporary Art in Slovenia gives prominence to practices

that can be seen as analogous to the concept of resilience, i.e., community-oriented, site-specific, participatory, performative, architectural, social, civic and other discursive practices exploring new (or revived) community principles, such as the “do-it-together”, urban gardening, and co-working, as well as the fundamental social question of how we coexist. Blending work and everyday life forms the basis of new economic, ethical, and production principles that the younger generation of artists uses to transform the role of the creative subject in contemporary Slovenian society. On the one hand this opens dialogues with biotechnology, critical theory, and political activism, underscoring, on the other hand, the cyclic nature of time by reviving traditional knowledge and techniques. Occurring across many platforms – the exhibition, performative projects, discussions – the triennial also gives the young generations

an opportunity to express their potential through addressing urgent local and global socio-political problems and contributing to the debate in and over existing Slovenian cultural policy.

日々の仕事と生活を混ぜ合わせ新しい経済 基盤、道徳、そして現代スロベ ニア社会の 中で、より若い世代のアーティストが常にク リエイティブな主 題 が担う役割の形を変え ようと試みる生 産原理を形 作っている。バイ オテクノロジー、批判理論、政治的運動に ついて声高に討論 や意見交 換するための扉 を開いている一方で、ほ かでは伝統的知識 や技術のリバイバ ルによる時間の自然 周期 が起こっている。 エキシビション、遂行的プロジェクトやディ スカッションなど、ここでは、多彩な表現の 場を越えてあらゆる事象が起きている。 またトリエンナーレでは、若い世代 が緊急 性を持った地域の問題や社会政治的な問 題について意見を述べ たり、スロベ ニアの 既 存文化 政 策の内外の問題解決 への貢献 について発言する事を通じて、彼らの潜在 能力を表現する機 会を提供している。

Mug Magazine issue 23, year XIII


techniques which leaves her free to experiment with threads and materials to achieve her aims. With an appreciation of the natural world and love of drawing Claire has been inspired to study insects and reproduce these as tiny embroideries on felt. She enjoys the humour in producing insects that are realistic and presenting them as traditional entomological collections. Her work is a celebration of insects some of which are ironically described as ‘pests’.

すなわち Gummy は、現代の開発素材と職人 の熟練技術とが完璧に交わった結果なので ある。


GUMMY BAGS BY HIBOY Hiboy Gummy is a line of bags and accessories made with a rubberized fabric of nautical derivation. The fabric has the look and the feel of natural rubber but with superior performances, such as: durability, water repellency, easy care. All the items are free of seams, because assembled only with the use of a special glue, by hand, in Italy. Finally, a perfect mixture of contemporary materials and craftsmanship.

Claire lives and works in rural Hertfordshire she graduated in 2008 with a BA Hons in Applied Arts.

Her current work is a ‘freestyle’ form of 3D embroidery which can loosely be described as stumpwork. She is unconstrained by formal embroidery

そしてそれらをフエルトの上に小さな刺繍と して再 現する道へと導いた。本物そっくりに 創った昆虫を、昆 虫の標 本のようにして披 露する彼 女は、ユーモアを創作 に取り入れ る事を楽しんでいる。皮肉にもいくつかは ‘ 害虫 ’とされる昆虫も含まれているものの、 彼女の作品は昆虫への賛美である。


クレアは、自身が 2008 年に応用美術で学 士号を取得した 地、イギリスのハ ートフォー ドシャーの田舎に住み、制作 活動をしてい る。彼女の最近の作品は、言わば 3D刺繍の ‘フリースタイル ’型で、大枠で捉えれば、 スタンプワークであると言ってもいいだろう。 彼女は、型にはまった刺繍の技法には全く 捕われる事なく、目的を達成すべく糸と材 料を使って、自由に試 行錯誤を繰り返して いる。 クレアの自然界 への感謝の気持ちと描く事 への愛着は、彼女を昆虫の研 究へと促し、

Hiboy の Gummy は、航海用品に由来する ゴム引きの生地を使い制作された、バッグと アクセサリーのラインである。その生地は、 美しい外観とナチュラルラバーのような感触 を持ち合わせているだけではなく、耐 久性、 撥水性、イージーケアという優れた機能面 も持っている。 イタリアで制作される製品は、特 殊な接着 剤のみを使用し、すべて手作業で組み立て られている為、どのアイテムもシームレスと なっている。

“This project started with an idea to fill my loft studio wall space. I often thought how there's a lot of talk about vinyl and the growing revival of that format. This lead me to explore the graphics and layout of cassette inlay designs. The popular C60 & 90 format in some ways is a design classic. The somewhat crude, simple typography and block colours would look great on a wall and so I thought i'd fill my walls with such prints.”. Neil Stevens, a one-man studio, creative illustrator, image-maker and graphic artist, creates his artworks in his London based studio.


Mug Magazine issue 23, year XIII

ポピュラーな C 60と 90 のフォーマットは、 なんとなくクラシックなデザインだ。いくぶ ん大 雑把な印象のシンプルなタイポグラ フィーとブロックの色は壁との相性 がぴった りだから、こういうプリントで壁を埋めつく そうと思ったんだよ。” ニール・スティーブンス。 単独で創作 活動を行うクリエイティブイラス トレーターでありイメージメーカー、そして グラフィックアーティストである。 彼はロンドンを拠 点とするスタジオでアート 作品を創作している。

SOLARIUM Like a mountain chapel or Thoreau’s one-room cabin, Solarium references a tradition of isolated outposts designed for reflection.

“このプロジェクトは、私のロフトスタジオの 壁の余白を埋めたいというアイデアから始 まったんだ。しばしば、ビニールとそれを素 材とするあのフォーマットの増大する復活論 について、巷では何と頻繁に語られるのだろ うと思っていた。このことが、私に取ってカ セットの嵌め込み型デザインのグラフィック やレイアウトを探るきっかけとなった。最も

Each of the 162 panels is made of sugar cooked to different temperatures and then sealed between two panes of window glass. The space functions as both an experimental greenhouse, growing three species of miniature citrus trees, and a meditative environment. In warm months, a 5x8 ft. panel on each side of the house opens up to allow viewers

to enter and exit the house from all directions. In addition to creating a pavilion like environment, this design references the architecture of a plant leaf, where the stomata opens and closes to help regulate the plants temperature. Set within the open the landscape, the house functions as a hybrid sanctuary at once evoking a plant conservatory, a chapel, and zen garden.

きるようになっている。このデザインは、自然 環境に似たパビリオンの創造に加えて、温度 調節の為に気孔を開閉させるシステムを持っ た植物の葉っぱの構造を参考にしている。

深い山合いのチャペルのようなのか、それと もヘンリー・デイヴィッド・ソローのワンルー ムキャビンのようであるのか。Solarium は、 文明から孤立した辺境地に見られる反射を 利用した伝統的な出力方法を参考にしてい る。162 枚のパネルはそれぞれ異なる温度で 加熱された砂糖で出来ており、窓ガラスの二 つの枠の間に密閉されている。内部は、3 種 のミニチュア柑橘系樹木 が育てられる実験 的温 室と瞑想的環境の二つの機能を持つ スペースである。暖かい季節には、家のそれ ぞれの方角にある5 x 8 フィートのパネルが開 放され、見学者が全方向から自由に出入りで

抜けの良いオープンな景観の場所に配置す れば、多方面で聖域としての働きをする Solarium は、たちまち私たちに、植物の温 室、チャペルそして禅庭園を思い起こさせる 事だろう。

BROOKS BROTHERS FLEECE Many fond childhood memories are made over trips to Brooks Brothers for clothing raging from the first school uniform to polo shirts and shorts for summer camp. These early visits are the foundation of developing a lifetime of style.

FLEECE, the Brooks Brothers collection for Boys, lends a touch of old-school cool to classics ranging from suits, button down shirts, knits and rugby shirts to name a few all in sizes from 4-20. Inspired by Brooks Brothers’ vast archives the collection includes signature details such as oxford shirts with iconic repp stripe details, tartans and ginghams. Emblems in embroidery and patches reference collegiate styling, sure to appeal to boys of all ages.


Mug Magazine issue 23, year XIII

from FSC supply and well managed forests, and the case is made in Holland.

MINIOT COBRA FOR IPHONE The FLEECE collection for Boys is designed by New York-based designer Nikki Kule. In the Fleece collection, she balances sport, school and sophistication in the collection’s new clothing for boys. The result: instant classic in the highest quality that will fast become favourites – and later, beloved hand-medowns. 幼少時代の愛情あふれる思い出は、人 生の 中で初めてとなる学校の制服からサマー キャンプで着るポロシャツやショートパンツ まで、Brooks Brothers の様々なウェアを通 して作り出される。この時期に経験するたく さんのお出掛けは、その後の長い人 生のライ フスタイルを形成する土台となる。 FLEECE は、Brooks Brothers のボーイ ズコレクションである。オールドスクール系 のクールからクラシックを感じさせるコレク ションは、例を挙げるとスーツ、ボタンダウン シャツ、ニットやラガーシャツなどで構成さ れ、 全てのアイテムはサイズ 4 から 20まで と幅広い。Brooks Brothers の膨大なアー

カイブからインスパイアされたコレクション には、同社のアイコン的なレップ・ストライ プの入ったオックスフォードシャツや、タータ ンチェック、ギンガムチェックなど、Brooks Brothers の特徴的ディテールが盛り込ま れている。 エンブレムの刺繍とパッチは、 カレッジファッションのスタイリングを意識し たもので、全ての年齢層の少年から好感を 持たれるのは間違いなさそうだ。 The FLEECE collection for Boys は、 ニューヨークに拠点を置くデザイナー、 ニッキ・クーレによってデザインされている。 彼女は、コレクションの新しいアイテムにス ポーツテイスト、スクールテイストそして洗 練さをバランス良くデザインしている。高品 質の簡単クラシックスタイル、それはほどな く ‘ お気に入り’アイテムとなり、ずっと後に なると今度は‘ 愛しいお古 ’ となるのである。

A fast case for a fast phone. The Miniot cobra is made of a base of wenge or padouk, fused with stripes of maple. This fantastic phone case comes in a shade all your choosing. The beautifully crafted cases are in and of themselves unique, as they each feature wood of interesting grains and designs. Only the very best hand-picked wood species are used. All wood is obtained

ファスト (敏速な) フォン用のファスト (定着し た)ケース。Miniot cobraは、ウェンジ材ま たはパドック材をベースに、ストライプ部分 にはメープル材が使用されている。他のフォ ンケースを全て横に追いやってしまいたいほ ど、素敵なフォンケースである。独創性が光 る手作りされた美しいケースは、どれも味わ い深い木目やデザインが特徴である。 FSC森林認証を受けた、徹底した管理下に ある森林から供給される最高品質の厳選木 材だけが使用されている。オランダ製。

RICK OWENS FURNITURE Designer Rick Owens recently presented a collection of his “glunge” (glamorous grunge) minimalist furniture pieces at Salon94 at Art Basel Switzerland. First designed by Owens as a personal project back in 2006, the chairs are made of exotic materials such as antlers and petrified wood. Characteristic of Owens’s “glunge” aesthetic, the furniture showcases urban-minimalist influences from the likes of Donald Judd, Le Corbusier, and Eileen Gray. These chairs made of giant antlers and petrified wood were first designed by Owens as a personal hobby in 2006, and now, they also conveniently furnish his home in Paris. Owens calls his furniture the “antithesis” of his clothes which are fluid and drapery, but both his clothes and furniture are clearly defined by his own signature twist. See the full retrospective of his furniture collection here.

デザイナーのリック・オウエンスは、先頃、 Art Basel Switzerland のサロン94 におい て、ミニマリズムな数点の家具、 “ glunge” (glamorous grunge)を披露した。2006 年 にデザインされた彼にとって最初の個人プロ ジェクトで、鹿の角や石化した木などの風変 わりな材料が使われている。 オウエンス流“glunge”美学が特徴の家具 は、ドナルド・ジャッド、ル・コルビュジエ、 アイリーン・グレーといったアーバン・ミニマ リストの影響が感じられる。巨大な角や石化 した木から作られた椅子は、2006 年当時は 単なる個人的な趣味であったが、現在はパ リにある彼の自宅で使用されている。オウエ ンスは、これらの家具を流れるように優美な 彼の洋服と比較し“アンチテーゼ(正反対)” と呼んではいるが、実はその双方に彼の特徴 であるねじれが見られ、明確に彼らしさが現 れている。オウエンスの家具コレクション回 顧展に関する詳細は、下記をご参照下さい。

Mug Magazine issue 23, year XIII

APPLE MAC PRO DESKTOP June 10, 2013—Apple® today showed a sneak peek into the future of the pro desktop with a first look at the next generation Mac Pro®. Designed around a revolutionary unified thermal core, the Mac Pro introduces a completely new pro desktop architecture and design that is optimized for performance inside and out. With next generation Xeon processors, dual workstationclass GPUs, Thunderbolt 2, PCIe-based flash storage, and ultra-fast ECC memory, the new 9.9-inch tall Mac Pro packs an amazing amount of power into an incredibly small package.

THE EGG The Brief: Design a temporary live/ work structure within the New Forest which will accommodate an artist, Stephen Turner, in residence for a period of one year. 'The Egg' is a collaborative project between PAD, SPUD group and Stephen Turner. Located on the Exbury side of the Beaulieu River this floating wooden pod structure will move up and down with the tide. Built by local craftsmen using age-old boat building techniques, The Egg, will house a bed, desk, small stove and wet room, sufficient to allow Stephen to exist in a basic fashion. A life link and webcam will enable virtual visitors to follow Stephen's journey and to engage throughout. 概要:イングランド南部ニューフォレストのあ る場所に、芸術家スティーブン・ターナーが 一年間限定で滞在する為の暫定的な、住居 / 労働の拠点となる構造物をデザインする。 “ The Egg ”は、PAD、SPUD グループとス ティーブン・ターナーとの共同プロジェクトで ある。ビューリー川のエクスブリー 側に浮か んでいる木製のまゆ型構造物は、潮流に乗っ て上流下流へと移動する。太 古からある造 船技術を駆使して地元の職人たちが組み建 てた The Egg には、ベッド、デスク、小さな ストーブとウェットルーム (シャワールーム) と、

スティーブンが基本的生活を送るに充分な 設備が収められる予定である。ライフリンク とウェブカムにより、ネットワーク上でスティー ブンの冒険の様子の一部始終が公開予定で ある。

“With the latest Xeon processors, dual FirePro GPUs, ECC memory, PCIebased flash and Thunderbolt 2, all built around a revolutionary thermal core, the next generation Mac Pro is the most radical Mac yet,” said Philip Schiller, Apple’s senior vice president of Worldwide Marketing. “All this performance and expandability is packed into a dramatic new design that’s one-eighth the volume, and best of all, it will be assembled here in the USA.” 2013 年 6 月10日、Apple ® は、次世代のMac Pro ®を初めて披露し、 プロ向けデスクトップ の未来の 一 端を紹介した。革新的なまでに 一 体化されたサーマルコアにデザインされ たMac Pro は、性能向上の為に内側も外側 も完璧に最適化された、全く新しいプロ仕 様の設計とデザインになっている。次世代の Xeon プロセッサ、デュアルワークステーション クラスのGPUs、Thunderbolt 2 、PCIe ベー スのフラッシュストレージ、超高速 ECC メモ リを備えている新しい Mac Pro は、高さわず か 9.9 インチと驚くほど小さな筐体の中に、 驚愕するほど大量の処理能力を詰め込んで いる。 “ 最新鋭のXeonプロセッサ、デュアルFirePro GPUs、ECCメモリ、 PCIe ベースのフラッ シュ、Thunderbolt 2 、これら全ては革新的 なサーマルコアの中に設計されています。次 世代のMac Pro は、最も革新的なMacと言 えます。さらに、これら全ての性能と拡張性 を、容積にして従来の 1/8 のサイズと劇的な までに新しいデザインの筐体に詰め込んで います。そして何よりも素晴らしいことに、新 しい Mac Pro はここ米国で組 立 製造される 予定です。”と、Apple のワールドワイドマー ケティング担当シニアバイスプレジデント、 フィリップ・シラーは述べている。


FAN ZHANG Fan Zhang graduated from jewelry design in 2006 and is now one of the many young professors at CAFA. In her work there is an extraordinary blend of traditional craftsmanship and contemporary jewelry. "During my training, I had been focusing on ancient techniques. My dissertation was about Yuan Dynasty gold mesh art—something which used to be very common among royal courts and noble families in China, but also in Russia, Pakistan and many other countries. Fine gold mesh used to be shaped into precious headgear and ritual jewelry, fragile handicrafts which used to be symbols of rank and power rather than simple decorative objects." Fan Zhang goes far beyond historical heritage: she's been adapting ancient processes of gold mesh making in order to craft outstanding contemporary jewelry art. As in ancient times, the gold is blended with bronze to increase its elasticity and durability. 2006 年にジュエリー・デザイン課を卒業した ファン・チャンは、現在はCAFA(中国の中央 美術学院 )で教鞭をとる多くの若き教授の一 人である。彼女の作品には、伝統的な職人


Mug Magazine issue 23, year XIII

3L は、クリストファー・シュルトによりデザ インされるメンズファッションのラグジュア リーラインである。クリストファーのクラシッ クメンズウェアに対する敬意は、ウェアデザ インの境界の拡大と向上へと彼を推し進め る。3Lの服は、実験に基づくシルエットと構 造に重点を置いたミニマリズムである。3Lの ニューヨークの拠点は、ハイエンドストリート に漂う美的感覚を強調したムードが反映さ れている。モノクロカラーの使用で、スタイ ル、組み立て、生地がより意識されるように 考えられている。3Lの服を纏ってみて初め て、着る人はこの 3 拍子のメヌエットのディ テールに、はっきり気付かされるのである。

ph. Kathy & Mona

技と現代ジュエリーとの風変わりな融合が見 られる。 “ 教育期間中の私は古代技術に焦点 を絞っていた。卒業論文のテーマは元朝時代 の金メッシュ工芸で、当時の中国をはじめロ シア、パキスタン、その他多くの国の宮廷や 貴族の間に広く行き渡っていた。純度の高 い金メッシュは、かつて貴重な頭飾り、儀式 の際に使われる宝石類、華奢な手工芸品な どに形作られ、それらは単なる装飾品という より、階級と権力のシンボルとされていた。” ファン・チャンは、こういった歴 史遺産を遥 かに超越 する。金メッシュを材料に優れた 現代ジュエリーを手作りする為に、昔の製造 工程を脚色し現 代 に順応させようとしてい る。というのも、弾力性と耐久性を向上させ る為、古代の金は青銅とブレンドされてい たからである。

3L 3L is a mens luxury clothing line designed by Christopher Schult. Christopher's reverence for classic menswear allows him to push the boundaries and advancement of clothing design. 3L clothing is minimalist with an emphasis on experimental silhouettes and construction. 3L's NYC location reflects the underlining mood of there high-end street aesthetic. The use of monochromatic color schemes highlight style, fabrication, and textures. Only after trying on one of 3L's garments the wearer becomes more aware of minuet details.

Kuboraum LTD GOLD BURNT The Kuboraum LTD GOLD BURNT is a collection of unique pieces burnt by hand in a remarkable patent pending handcrafting technique. A really complicated process which makes every piece different from the others. Any apparent imperfection is wished for surplus value. During the burning there are inserted gold accessories made by a venetian artisan one by one exclusively for these unique masks. The gold used is 24-karat gold. The lens are the result of a long research in this field and they have a metal treatment with gold, which gives to these lens a luxury 18-karat gold finish. They are ancient powered masks from another era connecting past and future. The LTD GOLD BURNT collection is made as exclusive preview only for the Kuboraum pop up store in Isetan, Tokyo.

KuboraumのLTD GOLD BURNT は、現在 特許申請中のハンディクラフト技術を利用 した、手作業で焼き付けを行い仕上げるユ ニークなコレクションである。実に複雑な工 程を経て出来上 がる製品は、どれ 一 つとし て同じものはない。視覚的に明らかな不完全 さは、どれも禅の美学のような剰余価値を 思わせる。 ヴェネツィアの熟練職人が、焼き付けしなが ら24 金の付属品を付着させ、一 つ 一つ丁寧 にこれらのユニークなマスクを制作している。 レンズは、この分野における長い研究の賜 物で、メタル 部分には金を施す処理がなさ れ、レンズは豪華な18金仕上げとなっている。 それらは、過去と未来を結ぶ他の時代 から 来た古代のパワーマスクである。 LTD GOLD BURNT コレクションは、東 京の伊勢丹百貨店に設けられた Kuboraum ポップアップストアでのエクスクルーシブプ レビューの為の限定 制作である。

Showroom Ballantyne - Corso Italia, 49 20122 - Milano - T. +39 02 5849821 -


Mug Magazine issue 23, year XIII

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

Visit our on-line shop at:

Yearly magazine, issue #23, year XIII, July 2013. Registrazione presso il Tribunale di Treviso n° 1141 del 26 Settembre 2001.

Via Paris Bordone, 14/16 31100 Treviso - Italy Tel: +39 0422 598564 Fax: +39 0422 545456

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 Japanese text layout /日本語文デザイン Reiko Hanafusa Cover photographer /カバー写真 Steven Crosato Texts /本文 Alessandra Bortoletto (Page 68, 73, 83, 95, 100, 102, 105, 112) Davide Parpinel (Page 118, 120, 121, 122, 124, 126, 128, 130) Paolo Vitale (Page 3, 70, 78, 90, 96, 109) Correspondent / コレスポンデント Reiko Hanafusa (Tokyo)

Translation /翻訳 Mario Crosato Global srl, Texts /本文: Mug #9 / Mug 9号 Alessandro D'Annibale, Marco Altan, Reiko Hanafusa, Cesare Tonon Mug #10-11-12 / Mug 10-11-12号 Alessandro D'Annibale, Paolo Vitale, Megan Huntz Photographer /フォトグラファー: Mug #9 / Mug 9号 Fabio Gambino, Marco Altan Mug #10-11 / Mug 10-11号 Carlo Zuccarello Mug #12 / Mug 12号 Roberto Vacis Printing /印刷 Grafiche Antiga



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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。


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。

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anno 5 n°9



MUG MAGAZINE Anno 5 Numero 9

anno 5 n°9

Back in the days —


Anno 5 numero 9 - Giugno 2005 /semestrale/ Spedizione in A.P. - 70% - DCI - TV Registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

Mug Magazine issue 23, year XIII

The issue of “A Golden Anniversary”, the book which celebrates the Dries van Noten’s 50 collections, was the ideal time and space domain where to enjoy quietness and the surprise to rediscover the Belgian stylist’s creations. Top Ten is a modern representation of Turin, a space created in the ‘70s by architect Toni Cordero, in which the perfect balance between the tradition he set and his wife Cesira’s selection of fashion items has led to the proposal of a certain idea of style to a city that loves to be discovered rather than find enjoyment in its central arcades. The written history of the knife began in the days of the ancient Egyptians in whose hieroglyphics the instrument was held by priests in ritual sacrifices: knives as sacred instruments of worship. Dries van Noten の50回目のコレクションを祝うアニバーサリーブック、 “A Golden Anniversary ”の出版は、ベルギー人デザイナー、ドリス・ヴァン・ノッテンの創作を驚きと ともに再発見し、穏やかにリラックスしながら享受する、理想的な時間と空間を私達に与えて くれた。 トリノにあるTo p Ten は、建築家トニ・コルデーロにより70年代に造られたスペースに漂う 伝統と、彼の妻 、セシーラによりセレクトされたファッションアイテムが織り成す完璧なバラ ンスが作り出す現代的芸術空間である。街の中心部のアーケードで容易に見つかる楽しさよ り、むしろ都会では、探し出すのが楽しいという一つのスタイルを提案している。 ナイフの歴史に関する記述は、それが礼拝の神聖な道具として、儀式のために司祭によって使 われていたと、古代エジプト人が象形文字を用いて記した日に始まっている。


Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 9 — DESIGNER —


Articles and images from the issue #9 of Mug Magazine – June 2005 / 文章とイメージは、 2005年6月発行のMug Magazine 9号に掲載されたものです。

Mug Magazine issue 23, year XIII

When we feel the need to concentrate in our newsroom and detach ourselves from the routine of work to find a new focus of attention in tranquillity, we inevitably resort to Dries Van Noten’s works. The issue of “Golden Anniversary”, the book which celebrates the stylist’s 50 collections. From the first Men’s collection in 1992 up to the latest spring-summer 2005 women’s collection, was the ideal time and space domain where to enjoy quietness and the surprise to rediscover the Belgian stylist’s creations. As we leaf through the golden pages of the book we experience the same emotion that we feel when we open a box of keepsakes, and we are surprised at the quality and measured method of each aesthetic choice of his: fabrics, cuts, textures, colours, the overall matching, the selection of show locations, everything is interpreted

with an all-pervading Flemish irony. To go through the whole of the 50 collections means to revisit the endless sequence of creations which, since the early ‘90s, have embodied a changeable yet recognisable idea of fashion, realised in refined forms, colours and materials for people who want to express their inner moods through garments rather than consider them as mere products. A 14-year collection whose style finds its amazing correlative in Bruegel’s and Van Dyck’s atmospheres. Dries Van Noten avoids extremes, his creations are never over-elaborate or self-complacent, but are aimed at providing items to wear under precise time and life circumstances. We like the stylist for his capacity to express concepts and ideas through the right elements: colour, sewing, embroidery, and then flowers, invitations, places, light, besides cuts, forms, design, and the ability to match

them all; such details as a heel, a cuff, a look, the movement of an arm… are something we find intriguing. Like in Gerardo Mercatore’s XVI century maps the book suggests the illusion of a world and succeeds in conveying the precise idea of a geography of the mind where Dries Van Noten’s creations stand out for their measured value. above: "Golden Anniversary", Book, Dries Van Noten



Mug Magazine issue 23, year XIII

L’occasione di incontrare il lavoro di Dries Van Noten avviene ogni qual volta in redazione amiamo raccogliere il pensiero, per astrarci dalla meccanica del fare ed andare alla ricerca di uno spazio d’attenzione, di sospesa tranquillità. Perciò l’occasione dell’uscita del libro che ne festeggia le 50 collezioni, "Golden Anniversary", dal primo show per l’Uomo nel 1992 sino alla recente collezione Donna della primavera-estate 2005, rappresenta una frattura spazio/temporale cui infilarsi alla ricerca di una quiete interiore mista alla sorpresa di ri-scoprire le creazioni dello stilista belga. Passando dalle pagine dorate di questa raccolta si ha modo, come aprendo una vecchia scatola di ricordi, di rimanere stupiti dalla metodicità calibrata, in misura e qualità, di ogni scelta estetica: dai tessuti ai loro abbinamenti, dai tagli alle trame, dai colori alla scelta delle location per le sfilate, il tutto interpretato

con l’ironia fiamminga che ne percorre ogni sfumatura. Sfogliare le 50 collezioni in un salto unico dà l’idea di assistere ad una collezione infinita, che dai primi anni novanta ci ha espresso mutevolmente lungo orizzonti riconoscibili, un’idea di moda capace di accenti formali, cromatici e materici squisitamente raffinati: per coloro cercano in un capo non un prodotto ma l’espressione del proprio mood interiore! Una collezione lunga 14 anni, che ha nelle atmosfere care a Bruegel e Van Dyck il filo che incornicia una precisa idea di stile. Capace di creazioni lontane dagli eccessi, forti un’immagine mai arzigogolata e rivolta allo sterile piacere del “sé” ma protesa a rappresentare il capo come espressione di una vestibilità legata al momento e alla necessità. Dries Van Noten ci piace per la capacità che ha di esprimere idee e concetti usando la parole al posto giusto: il colore, la

cucitura, il ricamo, la trama, e poi i fiori, gli inviti, i luoghi, la luce, quindi ancora i tagli, le forme, il disegno, gli accostamenti per poi rimanere rapiti dal dettaglio di un tacco, di un risvolto, di uno sguardo, dal movimento del braccio. Questo libro, come nelle carte del 1500 di Gerardo Mercatore, rappresenta un’illusione di mondo, riesce a dare un’idea precisa di una geografia interiore che coglie nei capi di Dries Van Noten l’espressione di un valore calibrato.

2005年6月発行のMug Magazine 9号に掲載されたものです。 Articles and images from the issue #9 of Mug Magazine – June 2005 / 文章とイメージは、

Mug Magazine issue 23, year XIII


Back in the days — MUG MAGAZINE Numero 9 —

In September 2004 a new and special retail space opened in Mayfair, in the centre of London. The concept behind everything is the need, expressed by Rei Kawakubo to “create a kind of market where artists and designers from various fields gather together and encounter each other in an ongoing atmosphere of beautiful chaos, the mixing up and coming together of different kindred souls who all share a strong personal vision.” With 1200 square metres over six floors, Rei had a completely blank canvas in which to showcase a clashing, confusing, energetic environment where the traditional concept of a retail “corner” is broken down by her vision of synergy and accident. Main source of inspiration for this unusual shop was gained on the many visits of Ms Kawakubo to London`s

Kensington Market, which was very popular from the early 70`s until its closure a few years ago. London came first when choosing a perfect location because of its “energy” and “creative spirit”. As any other normal market one of the first emotion you experience walking into DSM is the curiosity that pushes you to investigate and explore everything that is on display. Approximately half the retail space is occupied by new and old collections by CdG, but many other beautiful items are also available from different designers. The limited edition collection of furniture made from ebony and black metal epoxy by Dior`s menswear designer Hedi Slimane, is available exclusively in DSM. The collaboration between artist Jan De Cock who created a stunning sculpture/installation for the stall

of Raf Simons, composed by hundreds of boxes. The weird and wonderful objects collected by Emma Hawkins, are displayed all over the shop. You can find hand picked antiques, stuffed animals, skulls from around the world all for purchase. “Attracting all sorts of customers, from various backgrounds, age and profession… the first few months have been going very well” says Annika Mc Veigh, spokesperson for Comme des Garcons. When asked about long term plans for the future and whether there will be a rotation of labels or if they will stick to the designers first invited she said:” We operate very much on a case by case basis, if both parties are happy with the agreement and the circumstances are right we continue! But of course we look to find new projects too… It`s a

market, so we are free in many ways to make changes or organise projects.” With no plans to open other “Markets” in different cities, the Dover Street Market is a one off unique shopping experience, and an essential on your “to do” list on a visit to London. After all, what other shop in London offers the chance for you to buy a tshirt from a vending machine, or to have a slice of cake from an Organic Bakery one minute and be browsing some of the finest Parisian haute couture by Azzedine Alaia a few moments later.



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 9 — STORE —

A new face of Turin, whispering its refined eccentricity.


‘In the texture of Turin’ Turin has all along been an industrial city which knows its role and the values of tradition, and expresses itself in soft never shouted tones. Yet, Turin is open to the world; it tries to grasp its novelties with keen curiosity, and to live its eccentricities with discretion. Top Ten is a modern representation of this city, a space created in the ‘70s by architect Toni Cordero, in which the perfect balance between the tradition he set and his wife Cesira’s selection of fashion items has led to the proposal of a certain idea of style to a city that loves to be discovered rather than find enjoyment in its central arcades. Top Ten is now run by Sebastiana and Sara, the couple’s daughters, who have based their activity on the store’s measured balance. In the two-storey shop in central Via Soleri they attend to the

Articles and images from the issue #9 of Mug Magazine – June 2005 / 文章とイメージは、 2005年6月発行のMug Magazine 9号に掲載されたものです。

purchase of items and accessories with quiet competence, to meet the requests of their demanding and refined clients. Their proposal avoids the excesses of current fashion and is meant to dress the soul rather than the body. Sara devotes herself to ‘communicate’ with the city through the shop-windows, the distinctive mark of a store in which an understated tone has been appreciated by regular customers over the years. Now Top Ten is also Drago, an outlet on the hillside in via Vanvitelli: another place where things are whispered, never shouted.

Mug Magazine issue 23, year XIII

Una nuova faccia di Torino, che sussurra la propria ricercata stravaganza.

Torino è da sempre città di industria, di espressioni sussurrate e mai urlate, città che conosce il proprio ruolo ed i valori della tradizione. Ma Torino è anche la voglia di guardare al mondo con attenta curiosità, di coglierne i messaggi e di viverne sottovoce le stravaganze. Di Torino Top Ten ne è moderna rappresentazione: capace di equilibrio tra la tradizione di un luogo nato negli anni settanta per mano e disegno dell'architetto Tony Cordero e le scelte d’abbigliamento di Cesi Democrito, coraggiosa di proporre una certa idea di stile ad una città che ama più farsi scoprire che bearsi tra i portici del centro. Ora Top Ten è gestito dalle figlie Sebastiana e Sara che di tale equilibrio hanno fatto regola e misura. Nel negozio della centralissima via Soleri, disposto su due piani, si occupano insieme degli acquisti dei capi e degli accessori, facendosi guidare nella ricerca dai toni quieti

di una selezione mai urlata, capace di soddisfare una clientela da sempre attenta ed esigente. Una proposta capace di allontanarsi dagli eccessi della moda imposta, dedicata a vestire un’anima prima che un corpo. Sara si dedica a “comunicare” alla città, tramite le vetrine, la distinzione di un negozio tutto da scoprire, cui una clientela affezionata nel tempo riconosce il valore di scelte dal profilo understatement. Un dialogo, con una Torino che ai più appare sonnacchiosa, ma che ha nei piccoli gesti quotidiani il linguaggio per comunicare la propria diversità. Ora Top Ten è anche Drago, un outlet sulla collina in via Vanvitelli: di nuovo un luogo, di nuovo senza urlare.



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 9 — showcase —

knives —

Laguiole prima che una intrapresa aziendale è una storia di generazioni, che scorre nei luoghi e tra i villaggi della Francia ai piedi del massicio dell’Aubrac, fatta di memoria e d’immaginario, di persone e di lavoro. Una storia raccontata con passione in ogni coltello, in ogni manico, in ogni dettaglio: il sedimento del sapere, legato all’innovazione dei tempi ma costruito ancora del lavoro rigorosamente manuale di ogni parte. E quindi le persone: capaci di infondere in ogni lavorazione il sapere di centinaia di anni di esperienza coltellinaia, di donare il gusto ed il sapore ad un oggetto che riassume in se l’atavico spirito del “coltello”, come oggetto d’uso quotidiano, da conservare in tasca, sempre. Il racconto di Laguiole passa attraverso questo sentire, ancor prima di elencare materiali, lavorazioni e forme, si inbeve della

storia delle persone più che dei resoconti aziendali e dei freddi numeri economici. E lo si comprende sempre più scovando i dettagli e scoprendone il significato: sul manico in corno la rappresentazione di una croce latina, necessaria ai campesinos che ad essa guardavano, piantato il coltello a terra, nei momenti di preghiera; sul nodo, nello stacco tra manico e lama, nella parte dorsale si legge una piccola ape in differenti forge, o anche una conchiglia, la testa di toro, un’ancora, un grappolo d’uva, la testa di cervo, la margherita o una farfalla… e poi i manici differenti per forma e disegno, nei materiali (pointe de corne o amourette, aluminium o bakelite) e nella grossezza d’impugnatura, alcuni ad accogliere il “verme” che funge da cavatappi. Su ogni lama viene stampato il marchio collettivo Laguiole Origine Garantie, che rappresenta gli artigiani dell’area

geografica Laguiole che si riconoscono nel disciplinare che certifica con precisione e rigore l’alta osservanza dei dettami per la fabbricazione di questo speciale coltello: così da offrire ai selezionati clienti un prodotto non contraffatto o copiato. Un Laguiole: si parte dalla lama stampata in pressa, in acciaio XC 75 o 440 A (l’acciaio chirurgico con un punto di Rockwell di 57), o l’acciaio T12, sviluppato in esclusiva per FORGE DE LAGUIOLE dalle Acciaierie Bontperthuis che garantisce durabilità e inalterabilita del filo. Le vrai Laguiole, ça se forge. L’acciaio, lavorato ad alte temperature così da garantire alle molecole maggiore coesione, si “addolcisce nel carattere”, quindi viene temprato per garantirne la durezza e la durabilità, e poi molato per conferirne il taglio ed il filo, con un continuo e ripetuto passaggio manuale… à la mode de Laguiole: e le mani? Le mani ora sono quelle dei sapienti artigiani di

2005年6月発行のMug Magazine 9号に掲載されたものです。 Articles and images from the issue #9 of Mug Magazine – June 2005 / 文章とイメージは、

Laguiole a dare forma e consistenza ad un sogno, a passare e ripassare e ripassare la lama sul disco abrasivo, mani che hanno dato il sangue imparando a affilare, pulire, far brillare ed assemblare tutte le parti di questi coltelli. Mani che lavorano ed amano il loro lavoro, che amano il contatto con la materia così da modellarla, plasmarla: l’acciaio della lama e dei particolari, il corno lucido o il legno caldo dei manici… E domani saranno le nostre mani a vivere di questo sogno.

Mug Magazine issue 23, year XIII

Besides being an enterprise, Laguiole is first of all a history of generations whose life has taken its course across French places and villages at the foot of the Aubrac Massif, a history made of imagination and memory, of people and work. A history reflected in each knife, in each handle and detail; knowledge sedimented in know-how, linked to the innovations that time has brought along, but still applied to rigorously handmade items and their single parts. As for the people, they are craftsmen who can pour into each handmade detail their century-old skill of knife-making, and give taste and flavour to an object that sums up the age-old meaning of a knife, as an object for daily use, always to be kept in the pocket. The story of Laguiole is based on this lore and, even before consisting of materials, forms and techniques, it mirrors

the history of the people rather than firm reports and cold economic data. Something that can be understood by browsing into details and by finding out their meaning: a Latin cross engraved on a horn handle, for peasants to watch when praying after sticking their knife into the ground, a small bee in different shapes engraved on the joint between the handle and the blade, or a shell, a bull head, an anchor, a bunch of grapes, a deer head, a daisy or a butterfly….the handles in different forms and designs, the materials (pointe de corne or amourette, aluminium or bakelite), the thickness of the handles, some of which also have a corkscrew. Each blade bears the printed stamp LAGUIOLE ORIGINE GUARANTIE, representing all the craftsmen in the Laguiole area who accept the specification that rigorously certifies that

knife-making guidelines have strictly been complied with, so as to offer customers an original product and protect them from forgeries. A Laguiole starts from its pressed blade, in XC 75 or 440 steel, (surgery steel with 57 Rockwell point), or in T12 steel, exclusively made for FORGE DE LAGUIOLE by Bontperthuis Steelworks which guarantee the durability and resistance of the cutting edge. ‘Le vrai Laguiole, ça se forge’ (a real Laguiole is forged). The steel, wrought at high temperatures so as to ensure molecular cohesion, is somehow ‘softned’ in character, then tempered to ensure hardness and durability, and eventually repeatedly whetted by hand to make a perfect cutting edge…’à la mode de Laguiole’ (the Laguiole way). What about the hands? The hands are those of Laguiole’s skilled craftsmen which give shape and

substance to a dream, as they smooth the blade again and again on the grinding stone, hands that have given their blood while learning how to sharpen, clean, polish and assemble the parts of knives. Hands which love their work and the contact with materials so as to give them shape, the blade steel and the details, the shining horn or the warm wood of handles… Tomorrow your hands will experience this dream.

De génération en génération, de l’ami à l’ami, en échange d’una piècette pour ne pas rompre l’amitié, le Laguiole se transmet, s’offre, se conserve et avec lui, toute une mémoire vive passe de poche en poche, d’imaginaire en imaginaire…



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 9 —





It is not a restaurant, but a magazine about cakes, a periodical to make the new Chinese middle classes dream. Cakes for every occasion to be found at every confectioner’s; a wealth of decorations with which middle-class Chinese can show they have westernised and can celebrate the new modernity in a very spectacular way. Here’s one of contemporary China’s many facets.

Green Tea House is a restaurant, a tea room and an art gallery. A place where nothing is shouted, and everything is suggested in a tone of gentle surprise. It is a neo-smart place where our senses and emotions are stirred and art characterises each single object. You can sit on a chair with a tentacle-like, upward-leaning back, or sprawl in huge red armchairs dotted with velvet roses. Their artful skill in setting the table enables you to experience new ways of picking food from the very special dishes. Colour plays a decisive role in letting you recognise the different tastes and flavours. The light from candle-shaped lamp holders with transparent wires suspended in the air conjures up a mystical atmosphere. The act of eating is turned into a performance within an art installation, repeated at each meal, in which dinner guests take part as they eat.

Organic Health Beverage, Auspicious Teas, Food for the mind and soul. Innovative presentation at table with seasonal changes of colour: pink in spring, blue on feast days, yellow, red and so on, with the creation of ever different atmospheres whose pure vegan philosophy is extended to food. The drinks contain such detoxicants as A, Bl, B2, C and D vitamins to prevent shortsightedness, ageing, anaemia, low blood pressure and to strengthen the heart. If you don’t finish your dish you will be given your leftover food in a nice wooden box with real leaves at the cash desk.

Non è un ristorante, ma una rivista che parla di torte. Una raccolta periodica per far sognare la nuova classe media. Torte per tutte le occasioni dove il cinese medio può mostrare la ricchezza decorativa della sua occidentalizzazione. Si trova in tutte le pasticcerie. Per festeggiare la nuova modernità, nel modo più spettacolare possibile. Anche questo rappresenta la Cina contemporanea.

Green Tea House è: ristorante, sala da tè, galleria d’arte. Nulla è urlato, tutto è suggerito con delicata sorpresa. È un ambiente neoelegante, dove sollecitare le esperienze sensoriali ed emozionarsi. L’arte tocca ogni cosa che appartenga a quel luogo. Seduti su una sedia con lo schienale che si protende verso l’alto come un tentacolo, oppure semisdraiati su enormi poltrone rosse ricoperte da rose di velluto. L'ARTE DI APPARECCHIARE LA TAVOLA permette di sperimentare nuovi modi per prendere i bocconi di cibo dai particolarissimi piatti. IL COLORE _ determinante per riconoscere i diversi sapori e odori. L'unica LUCE creata dalle candele sospese con cavi trasparenti nell'faria evoca atmosfere mistiche. L'atto del mangiare si trasforma in una pieces all'interno di un'installazione d'arte. Il commensale, nell'atto di mangiare diviene parte dell'installazione d'arte, che si ripete ad ogni pasto.

Organic Health Beverage, Auspicious Teas, Food for mind and soul. Innovative presentazioni a tavola che cambiano periodicamente in base al colore della stagione, tutto rosa in primavera, tutto azzurro durante le festività, giallo, rosso e così via creando un’atmosfera sempre nuova. In pura filosofia vegan, anche nel rispetto del cibo. Le bevande contengono elementi disintossicanti, come vitamine A B1, B2, C e D, per proteggere gli occhi contro la miopia e contro l’invecchiamento, contro l’anemia e la bassa pressione arteriosa, rinforzando il cuore. Se non si finisce la propria pietanza, alla cassa vi verrà recapitato un bellissimo pacchetto (in legno e foglie vere) con il cibo non consumato!

2005年6月発行のMug Magazine 9号に掲載されたものです。 Articles and images from the issue #9 of Mug Magazine – June 2005 / 文章とイメージは、

Mug Magazine issue 23, year XIII

The history of Scotland is the peculiar result of the endless, bloody struggles between countless families belonging to different clans; since King Malcolm IV’s accession to the throne in 1160, the Mackintoshes have been more and more strongly linked with the Royal Family, to the extent that some say they are their direct descendants. A fate written in the very name ‘the son of Toiseach’, a chief, a leader: of a line of men bound to be prominent both on the political and the military scene. A Mackintosh always in the front line: at war, in the medical field, in literary circles, up to Charles who created the item of clothing whose name the firm still bears today. In 1823, in fact, Mackintosh succeeded in patenting a rainproof material, obtained by gumming two layers of fabric with a solution of rubber in naphtha. In the span of a few years he perfected his invention to the extent that he was able to produce garments out of it and realised the ‘Mackintosh’ which went down in history as the raincoat ‘par excellence’. Early in the XX century the ‘Mackintosh’ was redesigned and the number of models increased considerably: today it comes in the trench versions, in the ones in military style with belt, in the raincoats and in the short models. Full backgrounds, colour textures and motifs, soft but precise lines, timeless details which, thanks to their charm, still make the items unmistakably… Scottish, of course.

La storia di Scozia è singolarmente tracciata nei solchi di continue e sanguinose lotte tra le numerose famiglie appartenenti ai diversi clan; dalla salita al trono di Re Malcolm IV in poi, nel lontano 1160, il legame per i Mackintosh con la famiglia reale fu sempre più forte: secondo alcuni tanto da discendervi direttamente. Un destino dunque racchiuso già nello stesso nome, “figlio di Toiseach”, un capo, un leader: per una stirpe di uomini capaci di essere protagonisti tanto nella scena politica quanto in quella militare. Un Mackintosh sempre in prima linea: nelle battaglie, in campo medico e nei circoli letterari, fino ad arrivare a quel Charles che creò il prodotto di cui ancora porta il nome questa azienda. Nel 1823 Mackintosh infatti ottenne la possibilità di brevettare un tessuto assolutamente impermeabile, prodotto dall’unione di due strati di stoffa, incollati uno all’altro con una soluzione di gomma e nafta; in pochi anni perfezionò questa tecnica al punto tale da poter cominciare a produrre indumenti con questa particolare fattura, realizzando quello che passò alla storia come il “Mackintosh”: il soprabito per antonomasia! Agli inizi del XX° secolo fu ridisegnato nella sua linea e aumentò sensibilmente il numero di modelli proposti: lo conosciamo nelle versioni trench e in quelli con cintura, di ispirazione militare, nei soprabiti da pioggia e nei modelli corti. Campiture piene, trame e motivi colorati, linee morbide ma precise, dettagli senza tempo che grazie al loro fascino rendono ancora oggi inconfondibile questi capi, naturalmente scozzesi.

"…On the corner is a banker with a motorcar The little children laugh at him behind his back. And the banker never wears a mack In the pouring rain, very strange…" Penny Lane - THE Beatles


Back in the days — MUG MAGAZINE Numero 9 —

MacIntosh —


Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 9 —

genius GROUP —

Hanno rivoluzionato il mondo del jeans, determinandone le nuove regole, i gusti e lo stile. Hanno rincorso un’utopia, abbracciato la sfida e come Icaro moderni hanno volato alti nel cielo, senza mai avvicinarsi troppo al Sole, ma danzando gioiosamente attorno la sua orbita. Sono quelli del Genius Group: Adriano Goldschmied, Renzo Rosso, Claudio Buziol… Goldie, Diesel, Replay, Ten Big Boys, Bo-Bo Kaminsky, Dieselito, Muscle che Mug ha voluto incontrare in esclusiva, per ricordare insieme come è nato il fenomeno jeans nel Veneto, per comprenderlo e condividerne la storia. La rilettura dei caratteri che hanno determinato la nascita di un comparto industriale, di un successo mondiale, di una scuola nel pensare al jeans, fatta insieme a chi quei caratteri li ha inventati, modificati, vissuti.

2005年6月発行のMug Magazine 9号に掲載されたものです。 Articles and images from the issue #9 of Mug Magazine – June 2005 / 文章とイメージは、

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 9 —

John Smedley —

Top quality is a must in the items produced by Lea Mills’ renowned firm at Matlock, Derbyshire. Just a few years after it was set up, John Smedley and Peter Nightingale decided to rely on a selection of the best available materials for their knitwear, a policy that points to their ancient know-how even today, two centuries later: from Sea Island cotton yarns to Alashan Cashmere and the far off lands of Merinos in New Zealand. We have already fully reported on the yarns and the manufacture of imperceptible but highly functional details that each item can boast, besides the careful colour matching which enable John Smedley items to strongly express at first sight their sober and elegant style. The very items enable us to get to know the firm, as they are unique élite products which guide us into the tradition of English knitwear. Their value lies in the feel that illustrates their technique better than any word, a know-how whose essence is tradition and makes the firm renowned the world over. What lies behind the sobriety and high wearability of their knitwear is its planned simplicity: the production cycle lasts three weeks, the time required to go through the various stages of such top articles.

Suffice it to think that one of the most crucial stages in the manufacture is the finishing, obtained through washing in the stream flowing by near Matlock, whose waters give knitwear their typical soft feel. Rooted in history, the firm carries out research on ever new lines, while it interprets and revives classic motifs and designs: it can revisit polo-shirts, or ribbing and decorations from sweaters of the ‘50s, or create combinations of multicoloured stripes whose strong visual impact is based on simple pastel coloured forms and lines. It is a year since we decided to celebrate the firm’s 220th anniversary; now we can look at the firm’s collections with a different awareness, conscious of the high value and quality that lies behind such a prestigious label.

Eccellenza prima di tutto nella produzione di questa prestigiosa azienda di Lea Mills, Matlock nel Derbyshire. Sin dalla fondazione del brand, John Smedley e Peter Nightingale decisero di puntare ai migliori materiali disponibili per le loro maglie e ancora oggi, più di due secoli dopo, quelle scelte rimangono testimonianza di un sapere atavico: dai cotoni della Sea Island, attraverso l’Alashan Cashmere fino alle estreme lande delle Merino neozelandesi. Abbiamo già approfondito la realizzazione dei filati e della manifattura di dettagli impercettibili ma altamente funzionali di cui ogni capo si fregia, oltre alla costante attenzione negli accostamenti cromatici che permettono alla produzione John Smedley di poter esprimere con immediatezza e forza uno stile sobrio ed elegante. Il prodotto stesso è il veicolo per conoscere questa azienda: strumento unico e privilegiato che ci guida nella tradizione della maglieria inglese. Il valore si nasconde nella sensazione tattile che meglio di ogni parola sa descrivere una tecnica: un sapere che riconosce nella tradizione l’essenza che fa di questa azienda un riferimento nel mondo. Dietro alla loro semplicità e ad un’elevata indossabilità queste maglie nascondono una complessità progettata: la manifattura

2005年6月発行のMug Magazine 9号に掲載されたものです。 Articles and images from the issue #9 of Mug Magazine – June 2005 / 文章とイメージは、

di questa eccellenza si sviluppa su tre settimane, un tempo indispensabile alle lavorazioni necessarie per ottenere l'ineludibile levatura qualitativa. Uno dei momenti più cruciali in questo processo è dato dal finissaggio ottenuto grazie al lavaggio nelle particolari acque del torrente che scorre nei pressi di Matlock, capace di conferire alle maglie la loro caratteristica morbidezza al tatto. Forte della sua storia, continuamente alla ricerca delle sue radici da cui partire per le nuove linee, quest’azienda interpreta disegni e motivi classici rivitalizzandoli: riproporre le polo-shirt, riprendere e rivisitare coste e decorazioni dei maglioni degli anni ‘50 o creare combinazioni di righe multicolore dal forte impatto visivo utilizzando linee e forme semplici a tinte pastello. È passato un anno da quando avevamo deciso di celebrare i suoi 220 anni, ora guardiamo con un’altra consapevolezza le sue collezioni, consci dell’alto valore qualitativo che si nasconda dietro un nome così prestigioso.

Mug Magazine issue 23, year XIII

Anno 5 numero 10, Dicembre 2005 SEMESTRALE


MUG MAGAZINE Anno 5 Numero 10

The Birthday Issue: Casey Vidalenc _ Chiodo in Melbourne _ Lift Etage _ The Polo Shirt Olimpias _ Diesel Bags _ The Lives of the Saints

spedizione in A.P. - 70% - DCI - TV Registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

anno 5 n° 10

Back in the days —



anno 5 n° 10

A Casey Vidalenc garment from afar may seem basic, yet a closer look reveals an unlikely contrast of dark tones of with insets of vivid antique floral patterns or classic pinstripes patched together with embroidered strips of vibrant prints. Melbourne inspires shoppers who want to discover something new and encourages independent designers from near and far to challenge big name shopping. Andrew Chiodo (owner of the same name boutique), is at the forefront of this fashion movement; and he is regarded as one of Melbourne's most cutting edge designers and shop owners of homme couture. The polo shirt’s origins can be traced to an ancient and exclusive sport like polo and to an elegant one like tennis, both of which must be taken into consideration to understand the various stages in the evolution of the polo shirt and its present-day definition. Casey Vidalenc の服は、遠目にはベーシックに見えるかもしれないが、近くで見ると 、ダー クトーンをベースに、鮮やかなアンティークのフラワーパターンやクラシックなピンストライプ から醸し出される差し色や、明るいステッチや刺繍との意表を突くコントラストがはっきりと見 て取れる。 メルボルンは、何か新しい物を買いたいと願っている人々に刺激的で、ビッグネームブランド に対抗すべく集まって来たインディペンデントデザイナーに好意的な場所である。 アンドリュー・キオード(同名ブティックのオーナー) は、こういったファッション動向の最前 線に立ち、自らメルボルンの最先端デザイナーの一人として、またメンズファッションストアの オーナーとして知られている。 ポロシャツの起源は、ポロ競技に似た古代の独特なスポーツに遡るとも、テニスのような優雅 なスポーツに遡るとも言われるが、ポロシャツの進化とその現代定義の変遷を理解するために は、いずれの説も考察の対象とすべきである。


Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 10 — DESIGNER —


Self proclaimed magpie collectors, self taught "créateurs", and hands on do-it-yourself "bricoleurs", Englishman Gareth Casey and Frenchman Philippe Vidalenc create and handcraft their collections in their Paris workshop. Spontaneity, the desire to create, and happiness are visible at each step of their creative process. The particularity of Casey Vidalenc is revealed in these simple pleasures and their great sense of humour: "We do what we like, we like what we do, and we hope you like it too".

A Casey Vidalenc garment from afar may seem basic, yet a closer look reveals an unlikely contrast of dark tones of with insets of vivid antique floral patterns or classic pinstripes patched together with embroidered strips of vibrant prints. A silk patchwork lining, a bright purple lining to set off shades of khaki, stitching in a contrasting color, the off-set placement of a label: such details give character and depth to every creation of Casey Vidalenc. Waste not, want not. Casey Vidalenc collects all of their own fabrics: used, recycled, old or new, in bulk or limited quantities. All of the fabrics are then stocked, whether they are to be used in the present collection or to be brought out another day. When the time comes to make some clothes, they begin to "play". With a mix and match color by number game, they create new

garments, composing as they go along. Nothing goes to waste or is thrown away. Even the off-cuts get mixed and patched together offering new creative suggestions. Patchwork, for which they are widely known, is simply the outcome of using up scraps. Hands-on. Casey Vidalenc describes their work as "Spontaneous, hands on, clothing design". Once the garments have been constructed, so commences a rigorous and very physical process of dyeing, over-dyeing and dyeing again, lots of washing, patchwork, and embroidery. Their so lovingly named washing machines Greta and Olga are apparently at work non stop. They compare their creative method to cooking: "good ingredients, whatever's in season, a basic recipe, then the measuring out and mixing of the ingredients and the cooking. Like a good soup you can never make it

2005年12月発行のMug Magazine 10号に掲載されたものです。 Articles and images from the issue #10 of Mug Magazine – December 2005 / 文章とイメージは、

taste exactly the same every time". Wear and repair. A Casey Vidalenc garment is made, they destroy it, then repair it. It's used and abused, worn and torn, and goes through their washing and dyeing process. Then, just as the seams are about to split open, they begin to repair the damage by using patchwork and overstitching, giving the garments a look and feel that evokes the imagination and memory. More, please! With their popularity on the rise, Casey Vidalenc is quite disconnected from "fashion", simply creating and doing what they enjoy. As they have broadened their horizons and industrialized their production Casey Vidalenc have certainly managed to maintain their hand crafted aesthetic.

Mug Magazine issue 23, year XIII

Autodefinitisi raccoglitori di cose da poco, creatori autodidatti, "bricoleurs" fai-da-te, l’inglese Gareth Casey e il francese Philippe Vidalenc creano e confezionano a mano le loro collezioni nel laboratorio che hanno a Parigi. Spontaneità, desiderio di creare e felicità sono visibili in ogni fase del processo creativo. La particolarità di Casey Vidalenc si rivela in questi semplici piaceri e nel grande senso dell'umorismo. "Facciamo quello che ci piace, ci piace quello che facciamo, e speriamo piaccia anche a voi!"

Da lontano, un capo Casey Vidalenc può sembrare "basico" tuttavia uno sguardo più ravvicinato rivela l’incredibile contrasto di toni scuri con inserti di intensi motivi floreali antichi, o righe classiche rattoppate da strisce ricamate di brillanti tessuti stampati. Una fodera patchwork di seta, un’altra viola per far risaltare tonalità khaki, cuciture di colore contrastante, un’etichetta appena fuori posto: dettagli che danno carattere e valore ad ogni creazione Casey Vidalenc. A chi non spreca, nulla manca. La Casey Vidalenc raccoglie tutti i suoi tessuti: usati, riciclati, vecchi o nuovi, in grosse partite o in quantità limitate. Tutte le stoffe vengono stoccate per essere usate per la collezione del momento o per quelle future. Quando viene il momento di creare degli abiti si comincia a "giocare". I colori, a ciascuno dei quali è stato

assegnato un numero, vengono mescolati e abbinati, e gli stilisti creano nuovi indumenti componendo man mano che procedono. Nulla va sciupato o gettato via. Anche i ritagli vengono mescolati e cuciti insieme per offrire nuove suggestioni creative. Il patchwork, per il quale sono famosi, è semplicemente il risultato dell'uso dei ritagli. Creazione pratica. Casey e Vidalenc descrivono il loro lavoro come "design di abiti spontaneo e pratico". Una volta che gli abiti sono stati confezionati, inizia un processo rigoroso e tutto fisico di tintura, sovratintura e ritintura; i capi subiscono la nobilitazione dei lavaggi, il patchwork ed il ricamo. Le loro lavatrici, affettuosamente chiamate Greta e Olga, sono a quanto pare sempre al lavoro. Gli stilisti paragonano il loro processo creativo al cucinare: "buoni ingredienti, qualunque cosa purché di stagione, una ricetta di base, poi il

dosaggio e l'amalgama degli ingredienti, infine la cottura. A una buona zuppa non si può dare esattamente lo stesso sapore ogni volta". Consumare e aggiustare. Un abito Casey Vidalenc viene confezionato, logorato, infine aggiustato. Viene usato e maltrattato, consumato e strappato, sottoposto a processi di lavaggio e di tintura. Poi, proprio quando le cuciture iniziano ad aprirsi, si comincia a riparare il danno con rattoppi e nuove cuciture, conferendo ai capi un aspetto ed un gusto che stimolano la fantasia e il ricordo. Ma c'è dell'altro! Mentre la loro popolarità cresce Casey e Vidalenc restano abbastanza distaccati dal fashion, poiché essi creano e fanno ciò che loro piace. Ampliando i propri orizzonti e industrializzando la produzione la Casey Vidalenc è certamente riuscita a conservare un’estetica artigianale.



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 10 — STORE —

Strolling through the blooming neighbourhood of Little Collins Street in Melbourne, Australia, you come across a window labelled Chiodo.


Articles and images from the issue #10 of Mug Magazine – December 2005 / 文章とイメージは、 2005年12月発行のMug Magazine 10号に掲載されたものです。

Mug Magazine issue 23, year XIII

Strolling through the blooming neighbourhood of Little Collins Street in Melbourne, Australia, you come across a window labelled CHIODO in a tucked away side street. The city inspires shoppers who want to discover something new and encourages independent designers from near and far to challenge big name shopping. Andrew CHIODO, is at the forefront of this fashion movement; and he is regarded as one of Melbourne's most cutting edge designers and shop owners of homme couture. His tactics seem to tap into a market not just with "know-how", but also "know-where". CHIODO occupies the basement space of the old Postal Hall on Russell Street, which is closer to guerrilla retail than a traditional boutique. From the front window there is little indication of what lies below the surface. At the bottom of the stairs, however, there is a sweeping view of the basement floor and the structural steel bracing of the building. Maintaining the integrity of the existing space was an important factor in the renovation. More so than a shop, the space takes on the feeling of a gallery or a museum with displays of garments surrounded by art and found objects. As both designer and retailer, CHIODO is distinguished by unconventional touches that are often quirky and have a sense of humour. The CHIODO aesthetic is visible throughout the entirety of the project from the architecture to the graphics to the clothes. As he breaks the rules of traditional fashion design and retail, CHIODO surpasses words like "branding" and "identity". Seamlessly merging all facets of design and expressing his creative message, CHIODO manages to provide an "anti-retail" retail experience.



Mug Magazine issue 23, year XIII

In una strada laterale nascosta del fiorente quartiere della moda di Little Collins Street a Melbourne, Australia, c’è una vetrina senza pretese con la scritta CHIODO.

La città fornisce stimoli agli acquirenti che vogliono scoprire qualcosa di nuovo e spinge stilisti indipendenti di varia provenienza a competere con le firme importanti. Andrew CHIODO è tra i primi di questa tendenza della moda ed è considerato uno degli stilisti e proprietari di negozio di moda per uomo più all’avanguardia di Melbourne. La sua tattica sembra essere quella di inserirsi nel mercato non solo con le sue capacità tecniche ma anche con una intelligente scelta dei luoghi. CHIODO occupa lo spazio seminterrato del vecchio ufficio postale di Russell Street e si avvicina più a un negozio al dettaglio guerrilla che a una boutique tradizionale. Dalla vetrina sul davanti ci si rende poco conto di quello che il negozio tiene in serbo. In fondo alle scale, tuttavia, c’è un’ampia veduta del seminterrato e dei rinforzi strutturali in acciaio dell’edificio. Aver mantenuto integro lo spazio esistente è stato un fattore importante nella ristrutturazione. Più che quello di un negozio, lo spazio ha assunto l’aspetto di una galleria o di un museo, in cui i capi sono esposti

Articles and images from the issue #10 of Mug Magazine – December 2005 / 文章とイメージは、 2005年12月発行のMug Magazine 10号に掲載されたものです。

fra oggetti raccolti ed opere d’arte. Sia come designer che come negoziante, CHIODO si distingue per il tocco anticonformistico caratterizzato da eccentricità ma anche da senso dell’umorismo. L’estetica di CHIODO si evince dall’intero progetto: dagli aspetti architettonici, alla grafica, ai capi. Infrangendo le regole della moda tradizionale e della vendita, CHIODO supera termini quali marchio e identità. Fondendo continuamente ogni aspetto del design ed esprimendo il suo messaggio creativo, CHIODO riesce a dar vita a un’esperienza di vendita "antivendita".

Mug Magazine issue 23, year XIII

The polo shirt has never ceased to enjoy the success it started to have many years ago, the success that has made it an icon of style, elegance and sportsmanship.

The origins of this special shirt can be traced to an ancient and exclusive sport like polo and to an elegant one like tennis, both of which must be taken into consideration to understand the various stages in the evolution of the polo shirt and its present-day definition. From the ancient Persians to the Tibetans with their 'pulu' (a typical wooden ball), different peoples have endlessly practised polo and found it exciting, including British colonists in India, many of whom soon developed a partiality for it. Widely practised during the Victorian Age, polo was officially included among national British sports; its rapid spread led to the tailoring of clothes exclusively devoted to polo players. A white shirt, with a stand-up collar to be worn under sweaters, was first adopted to match the classic white flannel trousers; later on, mounted players found it necessary to button down their high stand-up collars to the shirts to prevent them from covering their faces. For quite a few decades the longsleeved white shirt, with a down turned collar typically buttoned for a hand's span below the neck, was the uniform in

matches on Richmond Park and Hurlingham playing fields. In the first 3 decades of the XX century, when tennis players were still required to wear long-sleeved shirts and ties, champion René Lacoste introduced the use of short-sleeved shirts. In fact, in the original design by Lacoste, the shirt came in white piqué, with a small down turned ribbed collar and short sleeves with a ribbed edge. At a first glance the shirt showed an absolutely innovative detail; its back was in fact a bit longer than the front, to allow permanent tucking into trousers, no matter how sharply the player moved. So determined was René Lacoste never to give in on the tennis court, journalists nicknamed him ‘Le crocodile'; an episode which accounts for the choice of the embroidery on his comfortable shirts, their logo since they were industrially made in 1933. A few years later, Fred Perry, the first English winner of prestigious men's singles at Wimbledon, entered into a partnership with Austrian ex footballer Tibby Wegner and started the production of shirts with a small laurel wreath embroidered

on the front. Fred Perry shirts were soon to be worn by tennis champions, by film and show-business stars as well as by English and American personalities in the world of politics. Born on tennis courts and polo fields, the shirt was soon adopted as a uniform in rugby and other sports, to the extent that in the '60s the ‘Mods' themselves wore it in London streets. If Sergio Tacchini introduced the coloured shirt in tennis wear, American stylist Ralph Lauren, besides calling the shirt 'polo', chose a mounted player, the typical image of polo and an upper-class status symbol, as the logo to be embroidered on its front and on all the items of his line.


Back in the days — MUG MAGAZINE Numero 10 — showcase —

history of the polo shirt —


Mug Magazine issue 23, year XIII

Il successo di un capo come la Polo, cominciato molti anni fa, non ha conosciuto finora sensibili inversioni di tendenza e non accenna minimamente ad esaurirsi quanto piuttosto esso fa assurgere ogni giorno di più questa, che ha dimostrato di essere molto di più di una maglietta, ad icona di stile, eleganza e sportività a qualsiasi livello.

L'origine di questo particolare capo si deve tanto ad un gioco antico ed esclusivo come il Polo quanto ad uno sport elegante come il Tennis; dovremo rivolgerci ad entrambi infatti per poter comprendere i diversi momenti dell'evoluzione della polo e giungere alla sua attuale definizione. Dall'antica Persia fino al "Pulu" tibetano (tipica palla di legno) la pratica continua di questo gioco ha appassionato le più diverse popolazioni e ben presto ha trovato svariati estimatori tra le fila delle colonie britanniche in India. Largamente praticato proprio durante il periodo vittoriano il Polo venne ufficialmente inserito tra gli sport nazionali inglesi e la sua rapida diffusione portò allo sviluppo di un abbigliamento dedicato ai suoi giocatori; in principio dunque sopra ai classici calzoni di flanella bianca, sotto ai maglioni, venne adottata una maglia di colore bianco dal collo diritto; poi per i giocatori a cavallo, si poneva la necessità di abbottonare il colletto alle maglie, per evitare che fastidiosamente questo finisse sul loro volto. E per decine di anni questa maglia dalle maniche lunghe, con il colletto ripiegato verso il basso, caratteristicamente abbottonata per una spanna, in senso verticale

dal collo in giù, fu l'uniforme delle sfide sui campi del Richmond Park e di Hurlingham. Quando durante il primo trentennio del secolo scorso ai giocatori di Tennis veniva ancora richiesto di indossare maglie a maniche lunga e cravatte, il pluricampione René Lacoste introduceva l'utilizzo di queste maglie bianche da polo, nella versione a manica corta. La maglietta infatti, nel disegno originale dello stesso Lacoste (vedi foto), si presentava in piqué bianco, con un piccolo colletto a coste, ripiegato e con le maniche corte anch'esse bordate a coste; mostrava, già al primo sguardo, l'introduzione di un accorgimento assolutamente innovativo, aveva questa maglia infatti il lato posteriore appena più lungo di quello anteriore per permetterle di rimanere ben rimboccata nei pantaloni, anche nei movimenti più ampi e bruschi. "Le Crocodile", tale era soprannominato René Lacoste dai giornalisti, per la sua tenacia sui campi da tennis nel non mollare mai la preda, fu la scelta del ricamo da inserire come logo su queste confortevoli maglie, al momento della loro produzione industriale nel 1933. Pochi anni più tardi, il primo inglese a vincere il torneo di singolo a Wimbledon,

Articles and images from the issue #10 of Mug Magazine – December 2005 / 文章とイメージは、 2005年12月発行のMug Magazine 10号に掲載されたものです。

Fred Perry in società con l'ex-calciatore austriaco Tibby Wegner cominciava la produzione delle tipiche magliette con la coroncina d'alloro ricamata sul petto. Le Fred Perry in breve verranno indossate tanto dai campioni di tennis sui campi da gioco quanto dai personaggi del cinema, dello spettacolo e del mondo politico inglese ed americano. In pochi anni questo capo uscito dai campi da gioco, non solo del tennis e del Polo, si evolve in uniforme sportiva anche di altri discipline, quali il rugby ad esempio ed arriva negli anni sessanta a vestire gli stessi "Mods" per le strade londinesi. E mentre Sergio Tacchini introduce i colori nella produzione mondiale dell'abbigliamento tennistico, lo stilista americano Ralph Lauren individua come sinonimo di classe e aristocraticità intrinseca il simbolo del Polo, il giocatore a cavallo, ed oltre a dare il nome di questo sport al suo prodotto, lo sceglie come logo da apporre sulle sue polo-shirt e su tutti i capi della sua linea.

Mug Magazine issue 23, year XIII

After the great success of their first competition, Lazzari Cultural Association keep devoting their interest to the world of design and has this year undertaken another artistic and cultural initiative in the heart of Treviso: “Me Too: To Meet Treviso”. Aware of the value of the Me Too collection by Magis, on display at the 2004 Milan Furniture Show, Lazzari Association collaborated with the Motta di Livenza-based firm on an original interpretation of Treviso’s urban fabric. In fact, from October 10th to December 8th, the city’s most picturesque spots and typical views were reinterpreted by Magis’ fantastic objects devoted to the world of children. “Me Too: To Meet Treviso” was an exhibition project that made a relevant contribution to communication inside the city’s fabric; the people were definitely intrigued by the presence of colourful objects with the power of reinventing the city’s customary landscape, and of creating a fantastic route following the city streams, streets and squares, in six main different locations: the outer yard of Lazzari Space, the Buranelli stream, St Francis Bridge, the Pescheria Island, the stream under St Leonard Street, and the splendid Loggia dei Cavalieri. Six spots in the city of Treviso to be enjoyed with the same enthusiasm as children

showed while admiring and playing with the thirteen objects on display, objects with the power of transforming the city, just as children have the gift of turning everything into something different. Created by Magis and its owner Eugenio Perazza with a view to meeting the particular requirements of the world of children, Me Too does away with the ‘artificial’ distinction between furniture and games, and consists of pieces aimed at stimulating children’s imagination and at helping them create a world of their own. The work of this Veneto-based firm carries out with enthusiasm and determination, has for years been based on the conviction that “even everyday life is made of things we become aware of only through our imagination”; a conviction that has allowed them to make new objects, to redesign in their typical style and on a childs scale, items for daily use like chairs, bookcases, carpets, with the contribution of world-renowned designers like: Enzo Mari, Eero Aarnio, Javier Mariscal, Bjorn Dahlstrom, Marcel Wanders, Martì Guixé, Satyendra Pakhalé, El Ultimo Grito.

Sull’onda dell’entusiasmo per il successo raggiunto con questo primo concorso l’Associazione Culturale Lazzari ha continuato a rivolgere la sua attenzione al design e nel 2005 ha proposto un’altra iniziativa dall’alto valore artistico e culturale nel cuore della città di Treviso: “Me Too: To Meet Treviso”. Cogliendo il valore intrinseco della collezione Me Too di Magis, già presentata durante la settimana del Salone del Mobile di Milano nel 2004, l’Associazione Lazzari ha proposto in collaborazione con l’azienda di Motta di Livenza (Tv) un’inedita interpretazione del tessuto urbano di Treviso; dal 10 Ottobre all’8 Dicembre infatti gli angoli più suggestivi e gli scorci più caratteristici della città, sono stati reinterpretati da questi fantastici oggetti dedicati al mondo dell’infanzia. Un progetto espositivo quello di “Me Too: To Meet Treviso” che ha dialogato con il tessuto urbano della città e con un pubblico assolutamente incuriosito da queste presenze coloratissime, capaci di reinventare il paesaggio abituale di Treviso e di ricreare un percorso fantastico tra i molti canali, le vie e le piazze del centro, articolato in sei diverse locations: dal cortile esterno dello Spazio Lazzari al Canale dei Buranelli, dal Ponte di San Francesco all’Isola della Pescheria, dal canale di Via San Leonardo alla splendida Loggia dei Cavalieri. Sei angoli del centro storico di Treviso da guardare con lo stesso

entusiasmo di quei bimbi che hanno potuto ammirare questi straordinari pezzi e giocare con questi tredici oggetti che grazie proprio al medesimo straordinario potere dei bambini, capaci di trasformare qualsiasi cosa in un”altra cosa”, hanno trasformato la città. Il progetto Me Too è nato dalla volontà di Magis e del suo titolare Eugenio Perazza di rispondere alle particolari esigenze di un mondo particolare come quello dell’infanzia e rompe la frontiera “artificiale” tra mobile e gioco, con pezzi concepiti per stimolare l’immaginazione del bambino e permettergli di sviluppare un mondo tutto suo; il lavoro che quest’azienda veneta attua con entusiasmo e convinzione, da anni muove dalla consapevolezza che “anche la quotidianità sia fatta di molte cose e che occorra la fantasia per rendersene conto” ed oltre a proporre oggetti inediti per la sua produzione abituale, l’ha condotta a ridisegnare a misura di bambino lo scenario di oggetti di uso comune quali sedie, librerie, tappeti arricchendoli con lo stile che la contraddistingue e avvalendosi dell’esperienza dei più autorevoli nomi del design mondiale: Enzo Mari, Eero Aarnio, Javier Mariscal, Björn Dahlström, Marcel Wanders, Martí Guixé, Satyendra Pakhalé, El Ultimo Grito.


Back in the days — MUG MAGAZINE Numero 10 — ART —


Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 10 — ART —


"Forma. La città moderna e il suo Passato" _ Roma _ Colosseo _ 10 Dicembre 2004


Lazzari Cultural Association have this year concluded their cultural activities. Aimed at encouraging debate with the world of design and with local Universities, the activities started with events such as the first competition “The Magic and Emotional Object” and with an installation designed by the team of architects A12 “Sottorete”, the scene for the Association’s summer meetings. The initiatives reached their peak with the exhibition “Me Too: to Meet Treviso”, held in collaboration with Magis. Renowned international artists such as Giovanni Gastel and Alain Arias-Misson have this year collaborated on the projects. In 2006 the Association will organise more cross-cultural events attended by contemporary artists, and will announce a new Design Competition. From December l5th 2005 to March 8th 2006 Romano Abate will display his works at “Apelle figlio di Apollo..”, an exhibition on schedule at Lazzari Space, Treviso.

Articles and images from the issue #10 of Mug Magazine – December 2005 / 文章とイメージは、 2005年12月発行のMug Magazine 10号に掲載されたものです。

L’Associazione Culturale Lazzari chiude una stagione caratterizzata dal dialogo diretto con il mondo del design e delle vicine realtà universitarie, cominciata con iniziative quali il suo primo concorso “L’oggetto magico ed emozionale”, proseguita con l'installazione progettata dal gruppo di architetti A12 “Sottorete” anche scenario degli incontri estivi e culminata con la mostra “Me Too: To Meet Treviso” in collaborazione con Magis; un’annata vissuta sotto il segno di personalità artistiche di rilievo internazionale quali Giovanni Gastel ed Alain Arias-Misson. L’Associazione continuerà una selezione trasversale di incontri autentici con lo scenario artistico contemporaneo e con il proponimento di un nuovo concorso di Design; si apre questo 2006 con l’esposizione “Apelle figlio di Apollo…” di Romano Abate, dal 15 Dicembre 2005 al 8 Marzo 2006 presso lo Spazio Lazzari di Treviso.

Mug Magazine issue 23, year XIII 45442_cover_mug11




Pagina 1

Back in the days —

Anno 6 Numero 11, Giugno 2006 Semestrale Spedizione in A.P. - 70% - DCI – TV Registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

MUG MAGAZINE Anno 6 Numero 11 Tel. +39 0259901164

His work is sought after in every fashion capital of the world, he has been named an Australian Legend, and his image is on a postage stamp. For Akira Isogawa, could it get any better than this? Tad is located at 155/a, Via del Babuino in the heart of Rome. This modern concept store welcomes visitors in the brightly lighted corridor, and gives them a foretaste of the shop layout with the fresh perfume of blooms from the area devoted to floral decoration. To understand what the shirt really is we must trace the origins of this clothing item to the days when it was used as an underwear garment. Just as it was customary in ancient Rome or in the days of Charlemagne, when the Franks wore shirts with thin linen trousers. 彼の作品は、世界中のファッションの聖地で人気を博し、彼自身はオーストラリアの伝説と 呼ばれ、彼の写真は郵便切手にもなっている。五十川 明にとって、これ以上のことなどあるの だろうか? 明るくライティングされた廊下で訪れる者を迎えるモダンなコンセプトストア、Ta d は、ローマ の中心地、バブイーノ通り155/a に位置している。まずは、花々のデコレーションで飾られた エリアから香る新鮮な芳香が、その先に広がる店内のレイアウトを予感させる。 シャツとは本来何であるのかを理解するためには、私たちは、シャツがかつてアンダーウェア とされていた時代、つまりシャツの起源にまで遡らなくてはならない。いわば、古代ローマ時代 やカール大帝の時代にフランク族が薄いリネンのズボンとシャツを纏っていた時代の慣習で ある。

Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 11 — DESIGNER —


One of fashion’s most celebrated contemporary designers continues to wow his audiences and maintain a unique style that can only be called his own, simply Akira. Born in Kyoto Japan, Akira moved to Australia in 1986 where he studied fashion design at the Sydney Institute of Technology. Drawing inspiration from the mix of contemporary Japanese design and the sunny and young Australian environment, Akira’s style captures his multi-cultural background and lifestyle. His collections provide women with a way of dressing that is new, beautiful, interesting, and tireless. He makes special things for women to wear, regardless of the season or occasion. Akira says, “Just because something is lightweight doesn’t mean you can’t wear it in the winter… you don’t have to wait until the evening, you can make the morning a special occasion if you want to.” Akira’s philosophy goes beyond simply to design clothes, but to breathe soul into them and evoke emotions, to create pieces that encompass the past, present, and future. Living and working in Sydney, Akira’s inspiration comes from his everyday life; it can come from anywhere, at any moment of the day. Akira says, “The sky is so blue in Sydney. I’ve never seen a bluer sky anywhere else in the world.” Color and texture are especially of high importance in Akira’s collections. His use of color and draping techniques seem to interpret visual flavors: a bright clear ray of sunlight, the layers of a puff pastry, cold and tart lemonade, cool green grass under bare feet, being lost in a red hibiscus garden… Akira makes little distinction between work and play. By designing his own prints, embellishing fabrics, and using vintage and one-off fabrics,

Articles and images from the issue #11 of Mug Magazine – June 2006 / 文章とイメージは、 2006年6月発行のMug Magazine 11号に掲載されたものです。

ph. Stephen Ward


Mug Magazine issue 23, year XIII

His work is sought after in every fashion capital of the world, he has been named an Australian Legend, and his image is on a postage stamp. For Akira Isogawa, could it get any better than this?

his designs fully evolve and take on their own spirit. Many designers often tend to burn out their popularity immediately with design directions heavily weighted on trends and a particular moment. Akira is exactly the opposite; his expression speaks for itself. Since 1998, Akira has presented his collections in Paris where he has risen to international fame, and for the past ten years has shown his collections in Sydney, his home base. Akira has three freestanding shops: the first since 1993 and another since 2005 in Sydney, as well as in Melbourne since 2004. His collections are also available in a selection of world famous boutiques. Over the years Akira has been coherent and strong, moving ahead steadily at his own pace. The fashion world moves fast, but he has put down solid roots and, like a tree, has grown and branched out, and will stand the test of time. His longevity and sense of personal style prove that he should expect nothing short of a very long and prosperous career.

Uno dei più celebri stilisti contemporanei, continua ad entusiasmare il suo pubblico mantenendo uno stile tutto suo, lo stile Akira, appunto. Nato nella città giapponese di Kyoto, Akira si è trasferito in Australia nel 1986 dove ha studiato moda e design alla National Art School. Ispirandosi a varie tendenze del design giapponese contemporaneo e al giovane ambiente solare australiano, lo stile di Akira esprime il suo background multiculturale e il suo stile di vita. Le sue collezioni costituiscono un modo di vestire nuovo per le donne, bello, interessante e sempre attuale; lo stilista crea infatti indumenti speciali per signore senza tener conto della stagione o dell’occasione. Egli sostiene: "Poiché qualcosa è leggero ciò non vuol dire che non lo si possa mettere d’inverno… Non occorre aspettare la sera, se si vuole si può benissimo trasformare il mattino in un’occasione speciale". La filosofia stilistica di Akira non si esaurisce semplicemente nella produzione di abiti, ma consiste nella creazione di capi che abbracciano passato, presente e futuro, nell’infondervi un’anima e nell’evocare emozioni. Vivendo e lavorando a Sydney, l’ispirazione di Akira proviene innanzitutto dalla sua vita di tutti i giorni; può venire da qualsiasi luogo, in qualsiasi momento del giorno. Akira dice: "Il cielo è così azzurro a Sydney. Non ho

mai visto un cielo così azzurro in nessun’altra parte del mondo". Il colore e la struttura sono di particolare importanza nelle collezioni di Akira, quasi che il suo uso dei colori e delle tecniche di drappeggio interpretassero i suoi gusti visivi: un chiaro e luminoso raggio di sole, gli strati di pasta sfoglia, una limonata fredda e aspra, fresca erba verde sotto i piedi nudi, perdersi in un giardino di ibisco rossi… Akira quasi non fa distinzione tra lavoro e gioco. Disegnando i suoi motivi a stampa, abbellendo i tessuti e usando stoffe uniche e vintage, i suoi modelli subiscono una grande evoluzione e assumono il loro carattere particolare. Molti stilisti tendono spesso a bruciare la loro popolarità con orientamenti appiattiti sulle mode del momento. Akira è esattamente l’opposto, e le sue creazioni ne sono eloquente riprova. Dal 1998 Akira presenta le sue collezioni a Parigi, dove ha acquistato fama internazionale, e da dieci anni le propone al mondo della moda di Sydney, la città dove ha la sua sede permanente. Akira possiede due negozi a Sydney, uno dal 1993 e l'altro dal 2005, e uno dal 2004 a Melbourne. Le sue collezioni si possono trovare inoltre presso boutiques di fama internazionale. Lo stilista ha dimostrato negli anni di essere energico e coerente, e di avanzare a ritmo costante. Il mondo della moda si evolve in fretta, ma Akira ha messo solide radici e, proprio come un albero, è cresciuto e ha messo rami, e resisterà alla prova del tempo. La sua longevità nel mondo della moda e il suo stile personale dimostrano che non dovrebbe attendersi null’altro che una lunga e prospera carriera.



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 11 — STORE —


The idea of private luxury in a public space

TAD is located at 155/a, Via del Babuino in the heart of Rome. The two-level, multifunctional, 1,000-square-metre space was opened five years ago, after the former Via San Giacomo shop concluded its ten-year activity. This modern concept store welcomes visitors in the brightly lighted corridor, and gives them a foretaste of the shop layout with the fresh perfume of flowers from the area devoted to floral decoration. Like in a private home full of sophisticated details, different yet coherent spaces open around viewers. The large central hall makes a perfect showcase for Tad’s household goods and design proposals, on display also on the upper floor. Splendid selections of fabrics and home furniture follow one another, but leave enough room for the fusion restaurant (a crowded tea-parlour in the afternoon) and for the hairstyling area. The passage where cosmetics and body care items are on display leads to TADLAB, which, besides containing a selection of books and international magazines, is the scene of countless art exhibitions, and leads visitors into the area devoted to exclusive clothing proposals and accessories. Marina Coffa, who conceptualized the Tad project, is also the owner of the shop and the creator

of each detail in the store, realised by Studio Peja, Milan. The space is now run by the designer herself and her three daughters who finely interpret its crosscultural spirit. With its interplay of modern solutions, handmade products and suggestions from exotic journeys in the naturally lighted premises, TAD has a stimulating effect on the senses, and visitors find themselves in a complex, private dimension where they feel protected. Here the lighting system warms up the dark surface of the squared furniture, perfumes are all-pervading, and world renowned design brands are a perfect match for the Home Collection proposals labelled Tad: unique items of furniture and accessories designed and created by Marina Coffa herself. Alessandra Rovati Vitali’s flower selection in her Tearose shop and lab is enriched with body care products and decorative fragrances for the home from all over the world, whereas items of clothing and accessories are harmoniously displayed also outside the appointed places. After their success in Rome, in 2005 Tad couldn’t but open a new concept store at 12, Via Statuto, Milan, a four-level store where, besides household accessories and fashion proposals, clients can find an area devoted to beauty and body care, as well as a gallery, where they can relax and listen to music while enjoying the pleasure of an art exhibition.

Articles and images from the issue #11 of Mug Magazine – June 2006 / 文章とイメージは、 2006年6月発行のMug Magazine 11号に掲載されたものです。

Mug Magazine issue 23, year XIII

Nel cuore di Roma, in via del Babuino al civico 155/a, sorge Tad. Uno spazio multifunzionale di oltre 1000 metri quadri, sviluppato su due livelli, aperto cinque anni fa dopo l’esperienza decennale del primo negozio di Via San Giacomo. Questo moderno concept store ci accoglie attraverso un corridoio luminescente, facendoci pregustare il percorso espositivo creato dal negozio, avvolti nel fresco profumo dei fiori proveniente dall’area dedicata alla decorazione floreale; come in un’abitazione privata dai dettagli ricercati, spazi diversi e connaturati tra loro si alternano tutti intorno a noi. Una grande sala centrale offre l’ideale collocazione per gli oggetti casa di Tad e per le proposte di design, presenti anche al piano superiore. Mentre una splendida selezione di tessuti si avvicenda ai mobili per la casa che a loro volta lasciano spazio al ristorante fusion (nel pomeriggio frequentata sala da tè) e ad un’area dedicata all’hairstyling. Il corridoio occupato dagli articoli per la cura del corpo e la cosmesi ci porta verso TADLAB, laboratorio che ospita una selezione di libri, riviste internazionali e numerose esposizioni artistiche e ci introduce all’area destinata alle esclusive proposte moda di abbigliamento e agli accessori. Un progetto, quello di Tad, nato dalla volontà di Marina Coffa, titolare del negozio e autrice di ogni dettaglio all’interno del concept store, che è stato sviluppato dallo Studio Peja di Milano. Attualmente esso è sostenuto dal lavoro della stessa designer e delle tre figlie, interpreti autentiche dello spirito trasversale dello spazio. In un dialogo tra soluzioni moderne e manufatti artigianali, suggestioni di viaggio e luci naturali che penetrano negli ambienti, Tad sollecita sensorialmente i suoi visitatori. Li immerge in una dimensione privata complessa e protetta, dove l’illuminazione riscalda le superfici scure dei mobili

L’idea del lusso privato in un luogo aperto al pubblico

squadrati e i profumi invadono l’atmosfera, dove i pezzi dei più celebri marchi del design mondiale si coniugano perfettamente con la proposta dell’Home Collection di etichetta Tad: oggetti di arredo e complemento unici, ideati e creati dalla stessa Marina Coffa. La selezione floreale, curata invece dal negozio-laboratorio Tearose di Alessandra Rovati Vitali, si integra con le proposte internazionali di prodotti per la cura del corpo e le linee di fragranze decorative per la casa, mentre abiti ed accessori intervengono armoniosamente anche al di fuori degli ambienti a loro destinati. Dopo il successo di Roma, Tad, nel 2005, non poteva che aggiungere ai suoi negozi il nuovo Concept Store di Milano, in Via Statuto 12: uno spazio suddiviso su quattro piani che agli accessori per la casa e alle proposte moda unisce un'area Beauty dedicata alla bellezza e alla cura di sé e una Gallery dove potersi rilassare e ascoltare musica, immersi nelle frequenti esposizioni artistiche.



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 11 — showcase —

history of the shirt —

To understand what the shirt really is we must trace the origins of this clothing item

To understand what the shirt really is we must trace the origins of this clothing item to the days when it was used as an underwear garment. Just as it was customary in ancient Rome – suffice it to mention the ‘subucula’ of the Republican Age, or the ‘interula’, the tunic worn in the III century A.D. – or in the days of Charlemagne, when the Franks wore shirts with thin linen trousers. A garment that even lower-class people put on under their tunics, the shirt became a wedding gift or was donated to the poor, and took on various meanings over the centuries: it was a token of love for medieval knights who wore the shirts embroidered by their ladies, a fine linen gift that Genovese merchants diplomatically offered to the Khan of the Tatars, or an instrument of torture when convicts were made to put on shirts soaked with sulphur before being sent to the stake. Different symbolic meanings, yet connected to a garment that covers the skin. In the XIV century, the shirt made its appearance both in painting and literature, so that we find it mentioned in Boccaccio’s works or illustrated in Caravaggio’s paintings. In the XVI century, emphasis on social class was laid by the techniques and fabrics employed in the manufacture of variously shaped collars:

small and flat Italian-style collars, and those known as ruff or fraise. The latter were shown off in official portraits or in parades, and involved using up to 11 metres of fabric which a new class of female workers processed, starched and ironed. Little by little even the colours of shirts acquired a richer meaning. In 1843 Garibaldi’s red shirts made their appearance, stirring revolutionary enthusiasm; in more recent times black shirts were brought to fame by Italian fascists; the white shirt is and has always been a symbol of elegance and used on formal occasions; whereas the blue version is meant for everyday use with or without a tie. Furthermore, a shirt can be a mark of distinction, whether in the wide, button-down American-style casual version or the classic European-style, worn under a jacket. The most appropriate materials that have been tested by time are cotton fabrics of different densities, or linen, fresh and pleasant on the skin. Contrary to popular belief, doubled cotton is more suitable in damp or sultry weather, whereas lighter, soft-feeling batiste or fil-à-fil fabrics do not give all of the comfort they seem to suggest.

2006年6月発行のMug Magazine 11号に掲載されたものです。 Articles and images from the issue #11 of Mug Magazine – June 2006 / 文章とイメージは、

Per comprendere un capo come la camicia occorre sforzarsi di ricollocarlo nella sua iniziale dimensione, quella di indumento intimo. Tale è stata per i Romani, dalla subucula ai tempi della Repubblica alla tunica interula del III secolo d.C. e tale sarà per Carlo Magno, quando verrà indossata assieme a sottili braghe di lino. Necessaria sotto le tuniche, anche tra i popolani, essa si trasforma in dono nuziale e allo stesso tempo offerta per i più poveri. Secolo dopo secolo assume i più svariati significati: da segno d’appartenenza amorosa per i cavalieri medioevali che indossavano quelle ricamate dalle proprie dame a dono diplomatico per i mercanti genovesi che la regalavano di lino finissimo al Khan di Tartaria o addirittura strumento di tortura quando intrisa di zolfo veniva fatta indossare ai condannati al rogo: una simbologia, quella della camicia, sempre legata al suo essere “a pelle”. Dal 1300 la camicia inizia ad essere trattata in arte e letteratura e ne troviamo traccia tanto nei testi del Boccaccio quanto nelle tele del Caravaggio. A sottolineare poi le differenze tra classi sociali saranno, dal 1500, le lavorazioni e i tessuti che verranno impiegati per la confezione dei colli, dalle mutevoli forme: piccoli e piatti à l’italienne, a lattuga o a gorgiera. Per questo ultimo modello, da sfoggiare in parate o ritratti


Mug Magazine issue 23, year XIII


Tartan ufficiali, si utilizzavano fino a 11 metri di stoffa trattati e curati da una nuova e apposita categoria di lavoranti: le stiratriciinamidatrici. E lentamente anche i suoi colori si caricano di significato. Nel 1843 nasce la rossa camicia garibaldina, piena di passione mentre di tempi più recenti è la fama delle camicie nere dei camerati italiani; la camicia bianca da sempre simbolo di nitida eleganza, immacolata da cerimonia e l’azzurra, da usare tutti i giorni con o senza cravatta. E poi la camicia come segno distintivo, ancora oggi, tra la sportiva e ampia button-down americana e la classica europea asciutta e da giacca. I tessuti più indicati, da sempre, sono il cotone, di diverse grammature e il lino, fresco e piacevole sulla pelle. Contrariamente a quel che si pensa, il cotone doppiato è il tessuto più indicato contro l’afa e l’umidità, mentre i più leggeri batista o fil-àfil, splendidi al tatto, non rendono quanto vorrebbero far intendere.


Fabrics commonly used to manufacture shirts differ from one another in the features of their weaves1 and their density factor2. Among the most compact fabrics employed in the manufacture of shirts there are poplin, almost exclusively used for men’s classic shirts made of 100% cotton and characterised by a very high yarn count3, and satin, a fabric from a poplin base with a shiny, brilliant look deriving from web-tying4, whose loose weave creates a marked irregular diagonal pattern. High quality shirt fabrics are normally mercerised5; mercerisation can be carried out both on the yarn and on the fabric (double mercerisation). Also from a poplin base, Oxford is simply characterised by fil à fil6 weft and warp obtained through plain weave. Twill, used for winter shirts, shows the typical diagonal effect of its Saia or Batavia7 weave that gives the fabric a soft, warm feel. The most common motifs on this base are chequered or tartan patterns, generally coming in pure cotton and sometimes in a wool mix. When these fabrics reach the weight of about 160-170 grams per square metre, they can be teaselled and defined flannel. Further weaves with 36 to 40 threads per centimetre are the common cotton cloth



(taffeta) and natté or panama, whether plain or patterned. As for cheesecloth, it is a fabric made out of very thin yarns and with a very low density factor (20 threads per centimetre) that affords special lightness and transparency. Eventually, gauze is the cotton fabric characterised by the lowest density factor and realised in fairly thick yarns and low yarn count (about 15-16 threads per centimetre). Obviously all of the yarns used in the manufacture of shirts are derived from natural vegetable fibres such as cotton, flax, ramie etc. or natural animal ones like pure silk. Mixtures of natural and synthetic fibres are very seldom used. Thread weaves obtained between warp and weft yarns. 2 Yarns or wefts per cm. 3 Thinness and/or thickness of yard (the thinner the yarn, the higher its number). 4 A type of weave tying. 5 A chemical treatment to radically cleanse the yarn or fabric. 6 An effect of fake compactness obtained by weaving a clear yarn and a dark one in plain weave. 7 Fishbone patterned weaves. 1



I tessuti comunemente utilizzati per la confezione di camicie si differenziano per le diverse caratteristiche delle loro armature1 e il fattore di copertura2. Tra i tessuti più “compatti” impiegati nella camiceria vi sono il Popeline, quasi esclusivamente utilizzato nelle camicie classiche da uomo, composto da cotone 100% e titolo3 di filato molto alto ed il Raso, un tessuto su base popeline, contraddistinto da un aspetto lucido e brillante derivante dagli scoccamenti4; quest’armatura è molto slegata e produce una diagonale irregolare molto accentuata. I tessuti per camiceria di alta qualità vengono di norma mercerizzati5; la mercerizzazione può essere effettuata prima sul filato (doppia mercerizzazione) e poi anche sul tessuto. Vi è poi, sempre sulla base del Popeline, l’Oxford, tessuto contraddistinto dal semplice fil à fil6 in trama e in ordito, attraverso un’armatura Tela. Il tessuto Twill, utilizzato principalmente per camicie invernali, è caratterizzato da un effetto diagonale dell’armatura Saia o Batavia7, che lo rende molto caldo e morbido al tatto. Su questa base, le disegnature più comuni sono i Quadri più o meno semplici ed i Tartan (o quadri scozzesi), genericamente in puro cotone e talvolta anche in misto-lana. Quando questi tessuti vengono realizzati con pesi di circa 160-170 g/mq possono essere garzati e quindi definiti come “flanella”. Ulteriori intrecci con riduzioni comprese tra


36 e 40 fili al centimetro vengono definite le comuni Tela di cotone (Taffettà) e il Natté o Panama, disegnati o in tinta unita. La Mussola di cotone, a sua volta, è un tessuto prodotto con filati molto fini e da un fattore di copertura molto basso (circa 20 fili al centimetro) che permette trasparenza e leggerezza. Infine troviamo la Garza, tessuto sempre realizzato in fibra di cotone, caratterizzato dal più basso fattore di copertura e contraddistinto da filati abbastanza grossi e riduzioni basse (circa 15-16 fili al centimetro). Naturalmente tutti i filati utilizzati per la confezione di camicie provengono da fibre naturali vegetali quali il cotone, il lino, il ramié, ecc. o fibre naturali animali come la seta 100%; molto raramente si utilizzano filati composti da mischie ottenute da fibre naturali e artificiali. Intrecci di fili ottenuti fra filati di ordito e filati di trama; 2 Riduzioni: fili al centimetro/trame al centimetro; 3 Ne = “Sottigliezza” e/o grossezza del filato (più è fine il filato, più è alto il numero che lo distingue); 4 Tipologia di legatura dell’intreccio; 5 Trattamento chimico che pulisce a fondo il filato e/o il tessuto; 6 È un effetto di falso unito dato dalla tessitura di un filo di colore chiaro e uno scuro in armatura tela; 7 Intrecci derivati dalle spine. 1


Mug Magazine issue 23, year XIII


1 The collar the collar must be two centimetres higher than the jacket collar so as to hide the tie underneath and its points must lay flat on the shirt front.

1 Il colletto alto abbastanza per spuntare 2

2 The Yoke the part that covers the shoul-

2 Il carrè la parte che copre le spalle offre la

3 The seams the closer its stitches, the more

3 Le cuciture più punti presentano più la ca-

der portion is at its best when tailored and sewn separately.


resistant and valuable a shirt is. In handmade shirts, seams are made with a single needle; whereas in less valuable industrially made versions, parallel seams are often made by a two-needle sewing machine.

4 Fabric patterns must overlap

3 4


micia sarà resistente e di pregio. Nelle lavorazioni artigianali si cuce sempre con un ago singolo, nelle lavorazioni industriali inferiori invece si usa spesso la macchina a due aghi, dalle cuciture parallele.

4 Le sovrapposizioni di tessuto

segno di estrema cura è la perfetta sovrapposizione dei disegni della camicia – righe, quadretti, ecc… - nei punti in cui vengono unite parti della stessa pezza di tessuto. Difficile da realizzare e sicuramente dispendioso in termini di tempo, lavoro e tessuto.

5 The loops and button footed

5 Le asole e i bottoni i bottoni di pregio sono in madreperla, leggermente più spessi e larghi di quelli di plastica, cuciti a mano (cucitura incrociata o a giglio) e dotati di piede.

6 The reinforcing triangle

6 Il triangolo di rinforzo posto tra la parte anteriore e posteriore della camicia, ha funzione di rinforzo per evitare strappi tra le due parti lungo i fianchi.

7 The cuffs the cuff covers the wrist as far down as the thumb joint, and sticks out of the jacket sleeve by two centimetres, also with bent arms. Besides the cuff button there is another button in the shirt sleeve; it prevents the sleeve from opening when fastened and makes rolling it up easier when unfastened.

7 I polsini il polsino copre il polso e si appog-

When Oscar Wilde said that masculine elegance resides in their shirts, he held a double truth: that the care we devote to our look can be detected in the least visible details, and that we can be dressed in a presentable manner even when we are… in our shirt-sleeves.

Quando Oscar Wilde diceva che la vera eleganza maschile risiedeva nella camicia, diceva allo stesso tempo due verità: che la cura della propria immagine si nota nei particolari meno visibili e dall’essere adeguatamente “vestiti” anche quando si resta… in deshabillé.

placed between the front and the back sides of the shirt, the triangle strengthens the garment and prevents it from tearing along its sides.


miglior vestibilità quando è costruita e cucita separatamente rispetto al resto della camicia.

perfect overlapping of patterns where different parts of the same fabric bolt are sewn – stripes, small checks, etc. – points to perfect and careful tailoring; although the effect is hard to achieve and very expensive in terms of time, work and fabric quantities. pearl buttons are the most valuable; they are a bit bigger and thicker than plastic ones, and hand sewn (cross stitch or lily stitching).


cm dal collo della giacca e per nascondere la cravatta che gli corre sotto, presenta punte che non si sollevano mai dallo sparato.

Articles and images from the issue #11 of Mug Magazine – June 2006 / 文章とイメージは、 2006年6月発行のMug Magazine 11号に掲載されたものです。

gia all’attaccatura del pollice sporgendo di 2 cm dalla manica della giacca. La lunghezza della manica sarà tale da permettere questa posizione anche col braccio piegato. Oltre al bottone sul polsino ce n’è un altro sull’avambraccio: chiuso evita alla manica di aprirsi, aperto rende più facile arrotolarla.

Mug Magazine issue 23, year XIII


Back in the days — MUG MAGAZINE Numero 11 —

Mercedes Australian Fashion Week came to a close at the end of April, a show where creators from Australia and from the Asian Pacific area presented their S/S collections. Catwalks and exhibitions were held for five days running on the splendid scene of Sidney’s Circular Quay, superintended by the Fashion Division of IMG, a world leader in the management and marketing of sports and lifestyle events and former promoter of Olympus Fashion Week (NY), Fashion Fringe (London), Mercedes-Benz Fashion Week at SmashBox Studios (Los Angeles), etc. At this eleventh edition of MAFW attendance was at its highest ever, with over 300 buyers, mostly international ones, and many registered journalists. MAFW once more showed their capacity to make their way into foreign markets thanks to the precious contribution

of Austrade, the Federal Governmental Board for the promotion of Australian brands and firms. Besides entirely organising last October’s edition and the present one, IMG offered each designer two to three-minute broadbanding of their presentations on Msn, which is visited each day by about 440 million people all over the world, and is a new meeting point for the media and fashion. ‘Source’, the unfailing exhibition focused on jewellery, accessories, underwear and swimwear, is by now an ideal platform where up-and-coming brands and designers can meet new clients and improve their business. The edition showed once more the freshness and creativity of Australian proposals, and, as the previous edition, has introduced visitors to a number of future protagonists of world fashion. Next appointment: Melbourne, October 2006.

Con il mese di Aprile si è conclusa la Mercedes Australian Fashion Week, manifestazione dedicata alla presentazione delle collezioni Primavera-Estate dei creativi Australiani e della zona Pacifica Asiatica. Cinque frenetici giorni di sfilate ed esibizioni che si sono svolti nella splendida cornice del Circular Quay di Sidney, sotto l’organizzazione della divisione Fashion di IMG, azienda mondiale per la gestione e il marketing di eventi sportivi e di lifestyle, già promotrice di Olympus Fashion Week (NY), Fashion Fringe (Londra), Mercedes-Benz Fashion Week at SmashBox Studios (Los Angeles), ecc. Al suo undicesimo anno di vita la MAFW ha fatto registrare un record di presenze, più di 300 i buyer, di cui molti internazionali, e gli addetti stampa registrati, e ha dimostrato ancora una volta la sua capacità di guardare oltre oceano, grazie al prezioso lavoro svolto dall’Austrade, commissione del Governo Federale preposta a promuovere il business dei marchi e delle aziende


australiane sui mercati esteri. Oltre a fornire l’intera copertura organizzativa dell’evento, già cominciata con la scorsa edizione di Ottobre, l’IMG ha inoltre offerto a ciascuno stilista dai due ai tre minuti di broadbanding delle loro presentazioni su Msn, supporto mediatico a cui sono connessi ogni giorno circa 440 milioni di persone in tutto il mondo e nuova frontiera di incontro tra i media e la moda. Immancabile il Source, appuntamento espositivo concentrato sulle proposte di gioielleria, sugli accessori, l’intimo e il swimwear, divenuto ormai l’ideale piattaforma dei marchi e dei designer emergenti per farsi conoscere direttamente dagli ospiti della manifestazione e accrescere così i propri affari. Un’edizione che ancora una volta ha dato prova della freschezza creativa delle proposte australiane e che, come già avvenuto in passato, ci ha fatto conoscere alcuni probabili futuri protagonisti del panorama internazionale della moda. Appuntamento ad Ottobre, a Melbourne!


Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 11 — STORE —



Another new retail experiment from Comme des Garcons, after Colette meets CDG, Jan is an art. Jan de Cock, a Belgian artist, has created a shop as an art object that he calls a 'sculpture shop'. By reducing the shop space on the ground floor, he has created a big outdoor space facing the street. Inside the shop, plywood planks are placed in a grid, dividing the space, and creating another space within the space. These inexpensive materials are used even for the interior as well as an outer wall. The colour white is the basis of the interior concept; since white has the power to vignette each grid space, as if it were a wall at a museum. In this shop, clothes are art objects and the shop itself is a completed piece of artwork by displaying these objects. At a glance the shop is an empty space, wasting away. However, in just a minute you are aware that the space is a well-estimated trick to make the clothes look even more outstanding.

Dopo "Colette meets CDG", un altro esperimento della Comme des Garçons è quello con Jan de Cock, un artista belga che ha strutturato lo spazio del negozio artisticamente e lo ha chiamato Sculture Shop. Riducendo l’area del negozio al pianterreno, egli ha creato un grande spazio all’esterno proprio di fronte a una strada. All’interno del negozio l’ambiente è diviso da una griglia di compensato a formare uno spazio nello spazio. Questo materiale economico è stato usato anche all’esterno per creare una recinzione. All’interno domina il bianco che ha la capacità di demarcare ogni spazio ottenuto con le griglie. Gli abiti sono esposti nel negozio come oggetti d’arte in una mostra. Benché sembri a prima vista che lo spazio sia eccessivo, ci si rende subito conto che tale abbondanza è un espediente ben calcolato per far risaltare gli abiti ancora di più.

Articles and images from the issue #11 of Mug Magazine – June 2006 / 文章とイメージは、 2006年6月発行のMug Magazine 11号に掲載されたものです。

Mug Magazine issue 23, year XIII


A men's brand, Attachment, is located a little outside of the main fashion district of Daikanyama, Tokyo. A black door in the middle of a white brick wall has no sign indicating a shop. Maybe it is open only for someone who understands that feeling. The whole shop is unified, monotone and quiet, yet strong. Attachment is also the concept of the space from the entrance to the ceiling; just as they create a collection from a thread, attaching parts to create garments. The shop exactly matches their A/W 2006 collection theme, which expresses the last brightness that comes out of a steel wire while it is rusting. Both the collection and the shop are adhered to the theme and coexist in balance at the same level within this space. This could be another great way to create a shop. In spite of their rather short history since S/S 1999, it is quite remarkable that Attachment has already reached its high level of quality and creativity. It is a must-see, a place to check out how will be their next collection.

Attachment è un marchio di abiti da uomo con sede appena fuori del quartiere della moda di Daikanyama, Tokyo. Con una porta nera su muro di mattoni dipinti di bianco, il negozio non ha alcuna insegna, ed è aperto soprattutto a coloro che hanno un feeling per i suoi prodotti. Si tratta di uno store compatto e tranquillo, e tuttavia capace di suscitare emozioni forti con ogni suo dettaglio, dall’ingresso al soffitto. Una collezione di capi che pendono attaccati a un filo bene illustra il tema della collezione Autunno-Inverno 2006 che esprime l’idea che gli ultimi successi scendano da un filo di acciaio semi arrugginito. La collezione e il negozio aderiscono entrambi al tema e costituiscono un tutt’uno bilanciato, ciò che potrebbe essere un altro bellissimo modo per creare un negozio. Non ostante la storia di Attachment sia piuttosto breve, e risalga alla stagione Spring- Summer 1999, è assai significativo che abbia già raggiunto un livello così alto di qualità e creatività. Uno store di cui varrà la pena di controllare l’evoluzione alla prossima collezione.


Such a fun place to visit. A four-level building at the centre of the Aoyama area of Tokyo, has recently changed its face to the first Paul Smith complex called 'Paul Smith Space'; one of their worldwide retail strategy. This is the only shop in Japan, which carries all Paul Smith lines in one place. Flowers and bamboo in a garden welcome you at the entrance. In addition to Paul Smith clothes and accessories, found from the basement to the 2nd floor (same as the 1st floor in Britain), there is a little space on the left in the basement for books and objects selected personally by Paul Smith. The top floor is completely different from the lower levels. It is a gallery space and mainly used for art exhibitions. A charming airy terrace and a little garden are great options. The space is gentle and makes you breathe and relax. This sort of shop might be just what a big city is looking for most at the moment.

Visitare questo spazio è assai divertente. Un edificio isolato di quattro piano nel centro dell’area di Aoyama si è recentemente trasformato nel "Paul Smith Space", coerentemente con la strategia del marchio. Questo negozio, unico in Giappone, offre in un unico spazio tutte le linee Paul Smith, e accoglie i clienti all’ingresso con un giardino ricco di fiori e piante di bambù. Le collezioni di abiti e accessori del marchio che occupano il seminterrato e il primo piano lasciano ben poco spazio per i libri e gli oggetti selezionati da Paul Smith. L’ultimo piano è completamente diverso da quelli inferiori, poiché è uno spazio-galleria dove si tengono mostre d’arte. Ulteriori attrattive sono la bella terrazza ariosa e il giardino. Un luogo gradevole dove si può prendere una boccata d’aria e ci si può rilassare; questo è il tipo di negozio di cui oggi una grande città ha veramente bisogno.



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 11 —


The Associazione Culturale Lazzari aims to put young creators in touch with the world of design, fashion and the clothing industry. At their second Design Competition, the Association now focus their attention on textile industry. Held with the cooperation of Regione Veneto, Provincia di Treviso, Comune di Treviso and Venice IUAV University, the initiative is endorsed and sponsored by the Chamber of Commerce, Ascom, Unindustria of Treviso and Camera Nazionale della Moda Italiana. The Textile Design Contest offers entrants a chance to express their creativity and design abilities through the invention and creation of a fabric; by advocating design methods that border on actual professional performances, the competition represents a direct, concrete approach to the textile industry and the related fields of fashion and Italian fashion in particular. Among the projects submitted the Jury will choose the 10 most creditable ones, 5 for their graphic value and 5 for the technical feasibility and structural features of the fabric. Associazione Culturale Lazzari’s aim is to stimulate debate between neighbouring universities, schools, professional organisations and the entrepreneurial world to whom also this contest is addressed. The companies and institutions that have endorsed this initiative will select 2 candidates per category who will be given a chance to get in touch with first-rate fashion industries and have 3 to 6 month periods of paid on-the-job training.

L’Associazione Culturale Lazzari si propone di attivare legami tra i giovani creativi che si affacciano al mondo del lavoro e le vicine realtà dell’industria della Moda, dell’Abbigliamento e del Design in genere; giunti alla seconda edizione del Concorso di Design, essa decide di muovere verso una nuova e fertile area: l’Industria Tessile. Patrocinata dalla Regione Veneto, dalla Provincia e il Comune di Treviso, dall’Università IUAV di Venezia, Textile Design Contest è un’iniziativa promossa dalla Camera di Commercio, Ascom, Unindustria di Treviso e Camera Nazionale della Moda Italiana. Textile Design Contest ha proposto ai suoi partecipanti la possibilità di mettere in gioco creatività e capacità progettuali attraverso l'ideazione e la creazione di un tessuto; sostenendo una metodologia progettuale che si avvicini il più possibile alle reali dinamiche professionali, il concorso rappresenta un approccio concreto e diretto al settore del tessile e alla filiera della Moda e del Made In Italy. La giuria selezionerà tra gli elaborati pervenuti i 10 progetti più meritevoli, di cui 5 valutati per il loro valore grafico e 5 per la loro costruttibilità tecnica e le caratteristiche strutturali del tessuto stesso. L’Associazione Culturale Lazzari lavora per stimolare il dialogo tra le vicine realtà universitarie, scolastiche, professionali e il mondo imprenditoriale a cui anche questo concorso è rivolto; proprio nel medesimo intento le aziende e gli enti partner di questa iniziativa selezioneranno 2 candidati per categoria ai quali offrire la possibilità di avvicinare le eccellenze dell’industria manifatturiera della moda attraverso delle esperienze di stage retribuite presso aziende del settore, della durata variabile da 3 a 6 mesi.

Panel of judges:

Prof. Alberto Prandi _ President of the Jury _ Graphic and visual design Expert | Cà Foscari University of Venice Professor

2006年6月発行のMug Magazine 11号に掲載されたものです。 Articles and images from the issue #11 of Mug Magazine – June 2006 / 文章とイメージは、

Prof. Romeo Profili _ Textile Technologist _ Scientific Coordinator | Textile Techniques Course Prof. Maria Luisa Frisa _ Iuav University of Venice Representative _ Director of the Fashion Design Department Alberto del Biondi _ Industrial Designer _ Pres. Alberto Del Biondi Spa Dr. Renato Vendramel _ Marketing Manager for the brands of Meeting Group _ Owner of Meeting Group Spa A Camera Nazionale della Moda Italiana Representative.


Mug Magazine issue 23, year XIII

Spedizione in A.P. - 70% - DCI - TV registrazione del Tribunale di Treviso n. 1141 del 26/09/2001


Year 6 n° 12


MUG MAGAZINE Anno 6 Numero 12

Year 6 n° 12, Dec 2006 _ B I A N N U A L

Year 6 n° 12

Back in the days —

The Bruised Issue: Jun Takahashi _ H-Lorenzo _ The Harrington Jacket The Natural Way _ Cracking Art Revolution Modateca _ White _ Benetton 40th Anniversary

Jun Takahashi, designer of Japanese brand Under Cover, is a span of just 16 years has made a unique passage, from fashion college student to the ultimate creator of emotional and evocative fashion of our times. For the last 23 years, Lorenzo Hadar has been bringing fashion from around the world to Sunset Boulevard in Los Angeles. H Lorenzo has created one of La’s top shopping destinations, making a bold statement on this famous street. In the story of clothing there are garments which could and can still embody at best the style of the people who wear them. Baracuta is just of them. 日本のメゾン、Under Coverのデザイナーである高橋盾は、わずか16年のスパンで、ファッショ ンカレッジの学生から私たちの時代の感情と刺激を体現する究極のファッションクリエータ ーへと、ユニークな歩みを遂げた。 ロレンゾ・アダルは、23年間に渡り世界中のファッションをロサンゼルスのサンセット大通り へ届けて来た。H. Lorenzoは、ロサンゼルスでもトップのショッピングの聖地を作り上げ、こ の有名な通りに際立ったステートメントを築いた。 衣服の中には、昔の服であっても、今も着る人のスタイルを最高の状態で表現してくれる物が ある。Baracut aは、まさにそんなメゾンだ。


Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 12 — DESIGNER —


Jun Takahashi, designer of Japanese brand UNDER COVER, in a span of just 16 years has made a unique passage, from fashion college student to the ultimate creator of emotional and evocative fashion of our times. Many fashion designers spend years developing their skills and techniques as assistants at established fashion houses before they are able to launch their own brands. However, Takahashi set up UNDER COVER in the company of friends while he was still a student at the Bunka Fashion College in Tokyo; and in April of 1988 started creating and selling hand-made T-shirts. Takahashi began his wholesale operation in 1991, and gradually became a leader on the forefront of Tokyo street style. It wasn’t before too long, in the A/W season of 1994 that Takahashi participated in Tokyo Fashion Week, and in the same year officially founded UNDER COVER co. ltd. After many years of perseverance as an independent designer in Tokyo, Takahashi broke through onto the international fashion scene by presenting his collection in Paris for the S/S of 2003. Riding the wave of Japanese street fashion, Takahashi’s work is the

2006年12月発行のMug Magazine 12号に掲載されたものです。 Articles and images from the issue #12 of Mug Magazine – December 2006 / 文章とイメージは、

Mug Magazine issue 23, year XIII

"The advances of UNDER COVER made a new wind blow on the international fashion scene."

perfect example of the ephemeral shift from image-oriented to emotional and evocative. He represents a generation of youth in Tokyo that has adopted the punk rock mentality, a pop culture that welcomes the exaggeration of an ‘everything goes’ thematic irony and rebels against social norms, expressed on the street. Despite the commercialization of this aesthetic, Takahashi’s work has never been contrived; it comes out from his authentic love for music, interpretation of styles and a reality that he actually lives. We can hardly call the leaps and bounds of this designer an evolution, but it can be said that this street fashion designer has emerged into a leader of high fashion’s avant-garde, crossing over and using many different mediums to express his highly conceptual ideas, including limitless drawings and paintings, dollmaking, furniture design and collaborations with other designers of international fame. In his latest collection, Purple, the taste from the street has nearly disappeared. Takahashi said that he noticed that femininity and sexuality were missing in the collections of UNDER COVER, and needed to express that in

order to take the brand to the next level. He sought to attract his audience and tug at their emotions; something to make us say, “We want it. Right away”. In the past, the unique style and presentation of UNDER COVER has always challenged its audience, and now has made a complete change focusing more on high fashion. However, the reaction of the press was extremely good and Takahashi is quite pleased of the outcome as well. Of course, constant change is the fate of fashion, but a drastic change is always accompanied by a huge risk; but this is a risk Takahashi made outright, and from this we can still feel the punk spirit of aggressive street fashion. Takahashi’s talent, his endless craving to create, and his expression of emotion go far beyond fashion design. This charming young man dressed in black creates the surprising, the enchanting, sometimes disturbing, yet always powerful images on which we will surely continue to feast our eyes.



Mug Magazine issue 23, year XIII

Nell’arco di soli 16 anni Jun Takahashi, creatore del marchio giapponese UNDER COVER, ha fatto un salto prodigioso, passando da studente di scuola di moda alla posizione di massimo esponente di una moda evocativa dei nostri tempi capace di suscitare emozioni. Molti stilisti impiegano anni a maturare tecniche e capacità come assistenti presso affermate case di moda prima di riuscire a lanciare i loro marchi. Takahashi, invece, ha creato Under Cover con un gruppo di amici quando era ancora studente alla Scuola di Moda Bunka di Tokyo. Nell’aprile del 1988 ha cominciato a produrre e a vendere magliette fatte a mano, e ha cominciato la sua operazione su vasta scala nel 1991, fino a diventare a poco a poco una autorità di primo piano dello stile "street" di Tokyo. Poco tempo dopo, nella stagione Autunno-Inverno 1994 Takahashi ha partecipato alla settimana della Moda di Tokyo, e nello stesso anno ha fondato ufficialmente la Undercover Co. Ltd. Dopo aver a lungo proseguito con tenacia la sua attività di designer indipendente a Tokyo, Takahashi si è affermato sulla scena della moda internazionale con la presentazione parigina della sua collezione per la stagione Primavera– Estate 2003. Sull’onda della street fashion giapponese, l’opera di Takahashi è un esempio perfetto

del passaggio effimero da una moda d’immagine a una moda evocativa incentrata sulle emozioni. Egli rappresenta una generazione di giovani di Tokyo che ha fatto propria una mentalità punk rock, una cultura pop che accoglie le esagerazioni dell’ironia tematica del "tutto va bene", che si esprime in strada e si ribella contro le regole sociali. Non ostante la sua estetica abbia subito una commercializzazione, l’opera di Takahashi non è mai stata frutto di calcolo, poiché deriva dal suo amore autentico per la musica, per l’interpretazione degli stili e per una realtà che egli effettivamente vive. La rapida carriera di questo stilista si può a stento definire un'evoluzione; ciò che si può dire è che questo creatore della moda street si è affermato come leader dell’avanguardia dell’alta moda combinando e usando diversi mezzi per esprimere le sue intuizioni estremamente concettuali, che comprendono un gran numero di disegni e pitture di vari soggetti, la fabbricazione di bambole, il design di mobili e collaborazioni con altri stilisti di fama internazionale. Nella sua ultima collezione, Purple, il gusto della moda di strada è quasi scomparso. Takahashi ha affermato di aver notato che la femminilità e la sessualità erano assenti nelle collezioni di Under Cover, e di sentire

2006年12月発行のMug Magazine 12号に掲載されたものです。 Articles and images from the issue #12 of Mug Magazine – December 2006 / 文章とイメージは、

la necessità di esprimerle per poter portare il marchio a un livello superiore. Egli ha allora cercato di attirare il pubblico e di far leva sulle sue emozioni; qualcosa per farci dire “Lo vogliamo. Subito”. In passato lo stile unico e il modo di presentarsi di Under Cover ha sempre costituito motivo di sfida per il suo pubblico; attualmente c’è stato invece un cambiamento totale con una maggior attenzione all’alta moda. La reazione della stampa è comunque stata assai positiva e Takahashi è molto soddisfatto anche dei risultati conseguiti. I mutamenti costanti sono indubbiamente connaturati alla moda, ma a un cambiamento drastico si accompagna sempre un grande rischio che Takahashi si è assunto completamente, un atteggiamento dal quale si può ancora avvertire lo spirito punk dell’aggressiva moda di strada. Il talento di Takahashi, il suo desiderio illimitato di creare e la sua capacità di esprimere emozioni vanno ben oltre il fashion design. Questo affascinante giovane vestito di nero è il creatore delle immagini sorprendenti, suggestive, talvolta sconvolgenti ma sempre di grande forza che continueranno certamente a fare la gioia dei nostri occhi.

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 12 — STORE —


Articles and images from the issue #12 of Mug Magazine – December 2006 / 文章とイメージは、 2006年12月発行のMug Magazine 12号に掲載されたものです。

Mug Magazine issue 23, year XIII

"For the last 23 years, Lorenzo Hadar has brought fashion from around the world to Sunset Boulevard"

For the last 23 years, Lorenzo Hadar has been bringing fashion from around the world to Sunset Boulevard in Los Angeles.

Someone searching for something special to wear to a movie premiere is commonplace at H Lorenzo.

As his boutique began to outgrow its space, Hadar decided to dedicate it solely to women’s wear and expanded his business by opening H. Men, and H. Shoes. Now with all 3 shops on the same block, H Lorenzo has created one of LA’s top shopping destinations, making a bold statement on this famous street. Between the original 2-story shop for women, H. Men (the impressive 3,000 sq. ft. tri-level men’s shop that was designed by Oliviero Baldini), and the shoe shop, it is clear that Hadar has found the right combination of merchandise for his LA clientele.

Catering to Hollywood’s young elite, actors, musicians, and show business executives has become Hadar’s calling card; but his choice to experiment in proposing new brands in addition to the well established has earned him credibility on the research circuit, and he prides himself on introducing emerging talent and the more obscure designers that he has found on his travels around the globe. Hadar never plays it safe; he is known for choosing special products that one can find only at H Lorenzo.



Mug Magazine issue 23, year XIII

Da 23 anni Lorenzo Hadar porta prodotti di moda da tutto il mondo nel Sunset Boulevard di Los Angeles. Quando alla sua boutique non è più bastato lo spazio, Hadar ha deciso di dedicarla unicamente ai capi per signora e ha ampliato la sua attività aprendo anche H. Uomo e H. Calzature. Con tre negozi nello stesso edificio, H. Lorenzo è diventata una delle mete principali per fare acquisti a Los Angeles, e si è affermata alla grande in questa strada famosa. Con l’originale spazio moda donna su due piani, lo stupefacente negozio moda uomo di 1000 mq su tre piani progettato da Oliviero Baldini, e il negozio di calzature, risulta evidente che Hadar ha trovato la giusta combinazione di prodotti per la sua clientela di Los Angeles.

2006年12月発行のMug Magazine 12号に掲載されたものです。 Articles and images from the issue #12 of Mug Magazine – December 2006 / 文章とイメージは、

Mug Magazine issue 23, year XIII

Clienti che cercano qualcosa di speciale da mettere a una premiere cinematografica sono ordinaria amministrazione da H Lorenzo, la cui funzione consiste nel provvedere alla domanda di moda di una elite giovane di attori, musicisti e dirigenti del mondo dello spettacolo. Tuttavia la scelta sperimentale di proporre nuovi marchi accanto a quelli tradizionali ha reso Hadar credibile nel circuito della ricerca, al punto che Lorenzo va orgoglioso di aver presentato talenti emergenti e stilisti non ancora affermati che ha conosciuto durante i suoi viaggi in tutto il mondo. Hadar non va mai sullo scontato infatti è famoso per una selezione ricercata di marchi, esclusivamente distribuiti, spesso, solo da H. Lorenzo.



Mug Magazine issue 23, year XIII

Back in the days — MUG MAGAZINE Numero 12 — showcase —


In the history of clothing there are garments which could and can still embody at best the style of the people who wear them. Baracuta is just one of them. In 1937, John and Isaac Miller created this raglan-sleeved short jacket in Manchester - North of England, with features like the collar button closing, elastic wristbands and typically buttoned flap pockets. It took nearly a year before the two brothers could appear at Beaufort Castle before Lord Lovat, the head of the Fraser clan, and obtain a licence to use their red tartan for the lining of mythical model G9. Over the years the Baracuta has been able to express the personality of those who made it famous, to the extent that it has become their icon; in fact, Elvis Presley, in “King Creole”, Steve McQueen on Life’s cover and Frank Sinatra in “Assault on a Queen “, are just a few of the celebrities that contributed to its renown. At the end of the ‘50s, the garment couldn't fail to enrich the wardrobe of the Mods, the young adepts of Modernism who were in favour of an extreme aesthetic and behavioural exaltation of refinement in individual style, and chose the care of their look as a way to achieve consistency in elegance. John Simons, the owner of mythical Ivy Shop in Richmond, who had the chance of clothing most of them in the London of the '60s, was no doubt one of the main figures who contributed to make the Baracuta popular. Besides making this item of clothing an icon of ‘American Cool’, he started to lovingly call it “Harrington”, in honour of a well-known character in the serial Peyton Place, Rodney Harrington, who used to wear the garment. This name is still used today for all the jackets drawing on this style. The age of

“casual clothing” was dawning. Only a few years later, after spreading overseas and throughout the Continent, would the Baracuta be used again by members of London groups like Punk and Ska revivalists: various clothing brands, whether British-style or after the American Ivy League, have ever since proposed reinterpretations of the Harrington or reproduced many of its original features in the models they tailor. On one of their 1981 concerts in Times Square, the Clash wore a personalised version of the jacket, and since then the Harrington has day after day been considered a symbol of style in clothing.

Esistono degli indumenti nella storia dell’abbigliamento che più di altri hanno saputo e sanno rappresentare lo stile delle persone che li indossano. Il Baracuta è uno di questi. Nel 1937 nel nord dell’Inghilterra, a Manchester, John e Isaac Miller crearono questa giacca corta dalle maniche “raglan”, il colletto chiuso da bottoni, i polsini elasticizzati e le tasche dalla patelle tipicamente abbottonate; ci volle meno di un anno perché questi due fratelli, presso il Castello di Beaufort, al cospetto del XXIV Lord Lovat capo del clan Fraser, ottenessero il permesso di utilizzare quell’inconfondibile tartan rosso per foderare il mitico modello G9. Decennio dopo decennio il Baracuta ha saputo “interpretare” la personalità di coloro che l’hanno reso celebre, divenendone esso stesso l’icona: Elvis Presley prima, in “King Creole” (Ita. La via del Male), Steve Mc Queen poi, sulla copertina di Life e infine Frank Sinatra in “Assault on a Queen” (Ita. U 112 Assalto Al Queen

Articles and images from the issue #12 of Mug Magazine – December 2006 / 文章とイメージは、 2006年12月発行のMug Magazine 12号に掲載されたものです。

Mary) sono solo alcuni dei personaggi che più hanno contribuito alla notorietà di questa giacca. Indumento che non poteva mancare nel guardaroba dei Mods, giovani seguaci del “Modernismo” che alla fine degli anni '50 esaltarono in maniera esasperata la ricercatezza dello stile individuale, in senso estetico e comportamentale, e scelsero la cura del proprio look come maniera di distinguersi, perseguendo coerenza ed eleganza. John Simons, proprietario del mitico Ivy Shop di Richmond, che negli anni Sessanta seppe vestire gran parte di loro a Londra, è stato sicuramente una delle figure che più hanno contribuito alla diffusione del Baracuta. Oltre ad aver eletto questo capo ad icona di “American Cool” egli cominciò a chiamarlo affettuosamente “Harrington”, in onore di Rodney Harrington, celebre personaggio della serie televisiva Payton Place che era solito indossarlo: un appellattivo valido ancora oggi per tutte le giacche ispirate a questo stile. Cominciava allora una nuova era, quella del “casual”. E solo qualche anno più tardi, dopo essersi fatto conoscere oltre Manica ed oltre Oceano, il Baracuta tornerà nuovamente sulle spalle dei membri di gruppi giovanili londinesi come i Punk e i revivalisti dello Ska: da quel momento, uno dopo l’altro, saranno svariati i marchi di abbigliamento di gusto britannico o ispirati all’Ivy League americana che proporranno un’interpretazione dell’Harrington o che manterranno nella confezione dei loro modelli molte delle caratteristiche originali. Nel 1981 i Clash a Times Square hanno indossato per il loro concerto una versione personalizzata di questa giacca e da allora non è trascorso giorno senza che qualcuno non abbia riconosciuto nel Baracuta l’icona del proprio look e di un indiscutibile stile.

Mug Magazine issue 23, year XIII

In the late 1970’s, Japanese brand 45RPM was one of the first of its kind to create premium denim jeans by using top quality cotton thread from Zimbabwe, which is hand-dipped and oxidized 28 times by artisans using the traditional Japanese dyeing technique, Ai-zome. Now 45RPM is an international leader in this sector with shops in Tokyo, Paris, and New York City. Everything imaginable exists in New York City, but when 45RPM opened its first shop on Mercer Street in 2000, people were shocked that a pair of jeans could cost up to $500. However, 45RPM has led the way in changing the public’s perception of this kind of product. Slowly the premium denim market has expanded, and people have come to understand the philosophy behind these special jeans. 45RPM’s NYC customers want something that tells a story, a “no-logo” product that is discrete. 45RPM does all of its washings by hand, though there is something truly authentic about wearing-in your own pair of jeans; the time it takes, the fact that your jeans tell your own story. There is a term in Japanese, Wabisabi, which is about seeing the beauty

in imperfection, and clearly describes 45RPM’s homespun design concept. As of 2005, there are two 45RPM shops in NYC: the original SoHo location, and the Upper East location at 71st Street and Madison Avenue. At the SoHo location, there is a “denim waterfall” in the center of the shop. The jeans are hung up high but easily accessible to the customers for careful inspection. There are also denim experts waiting to give you advice, so it won’t be hard to find the right pair of jeans. The Upper East shop highlights the Umii collection, denim using Suvin cotton, indigo-dyed sweatshirts and T-shirts, as well as knitwear for men and women and 45RPM’s famous standard shirts. The flagship store of 45RPM is found in a charming traditional house in the style of a tea ceremony pavilion, in Aoyama, Tokyo. Open since 1999, the store, called BADOU-R, is the root of 45RPM’s history and experience. Crafted by carefully selected Japanese workmen, it took nearly 2 years to make the perfect image to express the sense and feeling of the company.

Alla fine degli anni settanta il marchio giapponese 45RPM è stato uno dei primi del suo genere a creare jeans fatti a mano con materiali naturali; un’icona americana realizzata mediante le tradizionali tecniche giapponesi per tessere il cotone naturale e tingerlo con materiali coloranti azzurri naturali. Attualmente il marchio 45RPM è leader nel settore del denim premium con negozi a Tokyo, Parigi e New York. Il responsabile del marchio per New York, John Shimazaki, ha dedicato un po’ del suo tempo per raccontare a Mug di 45RPM. New York è una città dove esiste tutto quello che si può immaginare, ma quando il marchio ha aperto il suo primo negozio in Mercer Street nel 2000, la gente rimase scossa vedendo che un paio di jeans poteva costare fino a 500 dollari. 45RPM ha tuttavia lavorato molto per cambiare la percezione che il pubblico aveva di questo prodotto. Il mercato del denim premium si è lentamente ampliato, e la gente è arrivata a comprendere la filosofia che sta alla base di questi jeans speciali. I clienti newyorkesi di 45RPM vogliono qualcosa che racconti una storia, un prodotto privo di logo che sia discreto. 45RPM fa tutti i lavaggi a mano, e c’è qualcosa di

veramente autentico nell’indossare il vostro paio di jeans per renderli comodi; il tempo che ci vuole, il fatto che i vostri jeans raccontino la vostra storia. C’è una parola in giapponese, ‘Wabisabi’, che a che fare con veder la bellezza nell’imperfezione, e descrive con chiarezza il concetto stilistico creato in casa di 45RPM. A partire dal 2005 ci sono due negozi 45RPM a New York: quello originale ubicato a Soho, e quello situato nell’Upper East, nella 71 Strada e Madison Avenue. Al centro del negozio di Soho c’è una cascata di jeans appesi in alto, ma facilmente raggiungibili dai clienti che possono esaminarli ben bene. Vi sono anche esperti di jeans in attesa di prodigarsi in consigli, per cui non è difficile trovare il paio giusto. Il negozio situato nell’Upper East presenta la collezione Umii, jeans fatti di cotone Suvin, felpe e magliette tinte con colori naturali. C’è anche maglieria da uomo e da donna e le famose magliette standard 45RPM.


Back in the days — MUG MAGAZINE Numero 12 — STORE —

45rpm New York & KAPITAL KoJima —


Mug Magazine issue 23, year XIII

The first thing that Mr. Toshikiyo Hirata did to start his own denim company was to invest his retirement money, 280,000 yen, in an old American sewing machine. Using this old sewing machine, he made several pairs of jeans and got on a night train from Kojima to Tokyo, taking the samples with him. In Tokyo, Hirata's talent and skill for creating hand crafted blue jeans was recognized and he immediately made contracts with a few brands. The OEM (Original Equipment Manufacturing) business went well with these brands; and as fruit of his labor, he was able to set up his own company in 1985, Kapital. Since then, it has grown surely and soundly and the reliable works of Hirata have made him a sort of Japanese jeans guru. Working for other companies had shown Kapital much success, but around 1994, Hirata began working on a plan for his own original brand, with the goal of making a pair of jeans that could convince 100% his biggest critic, himself. His ideal pair of jeans was not something marketable; it was something that adhered to his ideas, philosophy and technique from edge to edge without compromise. To this day, Kapital's commitment to quality is apparent in every step of the production: from the indigo dyeing process to the weaving of the fabric, sewing, and the selection of parts for jeans, all of which are done by hand and supported by a group of highly skilled technicians. The initial sewing machine set a standard for the hand made philosophy that is still at the heart of the brand. The first Kapital shop was opened in Kojima, in September of 1994. Opening a shop in Kojima seemed risky. Even though the denim industry had been prospering there for many years, it was only a small town, but

by then Hirata was known nationwide as a denim maestro and therefore had many fans coming to seek him out. From the wall to the floor, even the smallest decorations are all hand-made by the staff themselves, including installations and the merchandising of the products. Kapital's commitment to its natural philosophy is easily seen in their shops as well. Within the last ten years, Kapital has opened 11 shops, the newest of which just opened on the 23rd November 2006. The importance of teamwork at Kapital is key: for the first 6 months, every new employee must join the production team to learn, from the first step to last, how to make Kapital jeans. All of the employees seem to be proud of their brand; the unique philosophy for both the product and the atmosphere make Kapital outstanding.

La prima cosa che il Sig. Toshikiyo Hirata fece per dar avvio alla sua ditta di denim fu di investire la sua liquidazione di 280.000 yen in una vecchia macchina da cucire americana. Con questa macchina confezionò svariate paia di jeans, poi salì su un treno notturno da Kojima a Tokyo portandosene dietro alcuni campioni. A Tokyo si riconobbero immediatamente il talento e l’abilità di Hirata nella creazione di blue jeans fatti a mano, tanto che potè subito stipulare contratti con alcuni marchi. Gli affari della OEM (Original Equipment Manufacturing) con questi marchi diedero buoni proventi, tanto che nel 1985 l’imprenditore fu in grado di fondare la ditta Kapital. Da allora l’impresa ha certamente avuto una crescita consistente, e le apprezzate creazioni di Hirata lo hanno fatto diventare una sorta di guru giapponese dei jeans. Non ostante lavorare per altre ditte avesse garantito a Kapital grande successo, nel 1994 Hirata ha cominciato a lavorate a un progetto di un suo marchio originale, con l’intento di realizzare un paio di jeans che riuscissero convincenti al 100% al suo maggiore critico, e cioè a se stesso. I suoi jeans ideali non obbedivano ai dettami del mercato; essi aderivano totalmente e senza compromessi alle sue idee, filosofia e tecnica. Ancor oggi la dedizione di Kapital alla qualità è evidente in ogni fase della produzione: dal processo di tintura a base di indaco, alla tessitura della stoffa, alla cucitura, e alla scelta delle parti per i jeans, operazioni fatte tutte a mano con la supervisione di un gruppo di tecnici altamente qualificati. La macchina da cucire di partenza ha stabilito il livello della filosofia artigianale che ispira ancora il marchio. Il primo negozio Kapital è stato aperto a Kojima nel settembre 1994. Benché l’industria del denim prosperasse da molti anni in quella città, aprirvi un negozio sembrava rischioso in quanto Kojima era solo una piccola cittadina; ma Hirata era ormai

2006年12月発行のMug Magazine 12号に掲載されたものです。 Articles and images from the issue #12 of Mug Magazine – December 2006 / 文章とイメージは、

famoso in tutto il Giappone come maestro del denim e c’erano molti estimatori che venivano a cercarlo. Ogni dettaglio al suo interno e ciascuna decorazione sono state in tutto e per tutto realizzate a mano direttamente dal personale che si cura sia delle installazioni che della commercializzazione dei prodotti. L’impegno di Kapital nel portare avanti la sua filosofia naturale si evince anche dai suoi punti vendita. Negli ultimi dieci anni Kapital ha allestito 11 negozi, l’ultimo dei quali ha aperto il 23 novembre 2006. Alla Kapital il fattore chiave è il lavoro di squadra, infatti per i primi sei mesi ogni nuovo addetto deve inserirsi nella squadra di produzione, per imparare come si confezionano i jeans Kapital in ogni loro dettaglio. I dipendenti sono tutti molto orgogliosi del loro marchio, e l’unica filosofia del prodotto così come delle maestranze è di contribuire al successo dell’azienda.




Mug Magazine issue 23, year XIII


For the season AW 13 Puma’s models are focused on exploration. The line Puma by Alexander McQueen takes inspiration from Robert Falcon Scott’s expedition to the Antarctic, and transforms its most exciting and compelling aspects into footwear with satin insertions, fluorescent fabrics, thick and resistant soles and materials, vintage leather. The model Joust Boot takes inspiration from earth colours, has resistant soles, the traditional Inuit toe seams, and expresses both style and functionality; Joust III proposes a new mash up of materials and a robust functional structure; the model Joustess Mid Wedge, for the fashionable woman explorer, achieves unprecedented results. From the landscape-inspired colours to the extremely innovative design, every detail in this collection embodies the daring man who always looks ahead. Like an explorer who sails to the remotest corners of the seven seas, Mihara Yasuhiro has developed his collection Puma AW13, surpassed known solutions, transformed and combined lines and apparently improvised styles and unusual techniques. Solid lines become a little more elegant. Neat lines become a bit more elaborate. The model Puma MY-68 Sea Beast takes Puma Slipstream back to its original glory. Born in 1988 these sneakers became an icon in 2002 with their Slipstream Beast version. The 2013 model comes in the same style, is water resistant and is enriched by an inside boot. The model Puma Mihara Creel Bag merges craftsmanship with the functionality and style required by the new urban explorers. A collection that surpasses all trends thanks to its rich, versatile potential.

AW 13シーズンでプーマが焦点を当てたのは、 探検である。Puma by Alexander McQueen のラインは、ロバート・ファルコン・スコット南 極探検隊からインスピレーションを受け、最 もエキサイティングで魅力的な外観を、サテン のインサーション、蛍光生地、厚くて耐久性 に優れたソールや素材、ヴィンテージレザーを 使い、華麗なフットウェアへと創り変えた。 アースカラーからインスピレーションを受けた Joust Bootモデルは、耐久性の高いソールと イヌイットの伝統であるつま先のシームが特徴 で、スタイルと機能性の双方を表現している。 Joust IIIは、素材と強健な機能構造の新たな マッシュアップを提案。一方、Joustess Mid Wedgeモデルは、ファッショナブルな女性探 検家に捧げられ、前人未到の成果を獲得し た。風景画を思わせる色彩から、偉大な革新 的デザインまで、このコレクションのあらゆる ディテールが、常に先を見据える勇敢な男を 具象化している。 遥か彼方、七つの海を渡る探検家の如く、 ミハラヤスヒロは、Puma AW 13を発表し た。見るからに即興と思わせるスタイルに 独特の技巧とラインを組み合わせ、新しい 物に創り上げ、これまでのソリューションを 越えてみせた。 実線はもう少しエレガントに、そして上品な ラインはもう少し精巧になった。 Puma MY-68 Sea Beastモデルは、 栄光の原点に立ち戻り、Puma Slipstreamが採用されて いる。1988年に誕

生したこれらのスニーカーは、2002年、Slip Stream Beast バージョンのアイコンへと変貌 を遂げた。2013年モデルでは、同じスタイルに 耐水性を加え、インサイドブートによる品質改 良がなされている。ミハラモデルのプーマクリ ールバッグには、新らしいタイプの都会に暮ら す探検家が必要とする機能とスタイルを兼ね 備えた職人の匠が溶け込んでいる。 多才な潜在力に富み、あらゆるトレンド要素 に応えたコレクションは、これまでを超えたと 言えるだろう。

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

Lanificio Cerruti & Nigel Cabourn —

Italian fabrics and English tradition Started in 2012, the prestigious collaboration between the historic Biella based Lanificio Cerruti and Nigel Cabourn has this year been strengthened thanks to the 2013-14 Fall-Winter collection created by the English designer, on display at Milan White Show in an exhibition devoted to “tradition, value and the beautiful”. The suggestive show was conceived to celebrate the sixtieth anniversary of the English conquest of Mount Everest and is the perfect frame for items that take inspiration from original early XX century outwear clothing. Soft wraparound shapes, warm sober colours and classical models of British taste characterise a project that marks the beginning of a wider use of “Lanificio Cerruti” noble fabrics by Nigel Cabourn. A lover of outdoor clothing, famous as an expert of English vintage fabrics of which he is an enthusiastic collector, the stylist has this year created for the first time both the Men’s and Women’s collections taking inspiration from early XX century hunting and fishing wear, in keeping with the typical style of the English natureloving aristocracy. Outstanding among the main items are a reinterpretation of the traditional Montgomery in 100% cashmere, only 750 grams in weight, in vintage orange and military green, and a number of women’s items specially created for the White Show in the noble cashmere from “Lanificio Cerruti”. While enhancing taste, excellence and tradition, “Lanificio Cerruti” and Nigel Cabourn devote their collaboration to the promotion of beautiful and valuable historic items.

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

2012年に誕生した、ビエラの歴史的企業 ラニフィーチョ・セルッティと英国人デザイナー であるナイジェル・ケーボンとの令名高きコラ ボレーションは、今年、結びつきをさらに堅 固なものとし、ミラノで開催された“ホワイト・ ショー”のレビュー、 “ 伝統、価値、美しき もの”において2013 - 14 年秋冬コレクション を発表。 示唆に富むフロアセットは、英国パーティに よるエベレスト制覇 60周年を祝したデザイン で、20世紀初頭の独創的アウターウェアから インスピレーションを得た彼の新アイテムと 完璧に調和していた。柔らかく体を包み込む ようなシェイプ、暖かく落ち着いた色合いと 伝統的なブリティッシュテイストが感じられる スタイル。Nigel Cabournの手に委ねられた ラニフィーチョ・セルッティの高貴な織物の世 界がさらに広がるプロジェクトの始まりを印象 づけている。アウトドアウェアをこよなく 愛し、英国のヴィンテージ生地の情熱的コレ クターでかつエキスパートとされるケーボン は、今年初めて、メンズとレディース双方の コレクションを発表。20世紀初頭のハンティ ングウェアやフィッシングウェアからインスピ レーションを受け、英国の自然を愛する貴族 階級の典型的ライフスタイルに調和した作品 を発表した。 メインアイテムの中でも傑出しているのは、 伝統的モンゴメリーをヴィンテージオレンジや ミリタリーグリーンの750グラムのピュアカシミ アを使用して再解釈した作品や、 “ラニフィー チョ・セルッティ”の気品に満ちたカシミアを 素材にし、ホワイト・ショーのために特別に 創作した多くのレディースウェアだ。テイスト、 卓越、伝統。それらの要素を高めつつ、 “ラニフ ィーチョ・セルッティ”とNigel Cabourn は、 美しく尊い歴史的アイテムをプロモーション するため、互いのコラボレーションに献身し ている。

Mug Magazine issue 23, year XIII


DIESEL BLACK GOLD Urban American Bikers

Taking inspiration from the world of American bikers, the pre-fall collection AI13 Diesel Black Gold is the work of Andreas Melbostad, recently appointed creative director of Diesel’s women’s premium label. With a background of prestigious achievements, Melbostad, a forty-year old Norwegian stylist, is faced with the precise mission of making Diesel Black Gold a unique, recognisable brand, the icon of a rock chic, feminine, modern, sophisticated woman. The items of the collection are the outcome of meticulous aesthetic research, biker style items with a definitely distinctive design thanks to the use of denim and sartorial details. Starting from the typical structure of men’s items, Melbostad’s precise and rigorous research creates sartorial forms and streamlined silhouettes that give the woman who wears them power and authority. Rich in contrasting colours and materials, the collection comes in fluid silk fabrics combined with light jersey, unexpected matches of wool, leather and denim, with Art Nouveau prints that enhance it through daring, feminine nuances. Denim, the key material, lends itself to surprising details, like the lining of the

最近、新たにディーゼルのクリエイティブディレ クターに任命されたアンドレアス・メルボスタッ ドは、アメリカン・バイカーの世界からインス ピレーションを受けた、レディースのプレミアム レーベル、AI 13 Diesel Black Gold プレフォー ルコレクションを発表した。 そうそうたる経歴を持つ40歳のノルウェー人 デザイナー、メルボスタッドの使命は、Diesel Black Gold をユニークで認知度のあるブラン ドとして、そしてロックシックでフェミニン、モ ダンで洗練された女性のアイコンとして定着 させる事である。 コレクションのアイテムには、美学を細部に までこだわって追求した成果が見られ、 デニム 素材やテイラーに用いられるディテールの美 しさのおかげで独特のデザインが光るバイ カー・スタイルとなっている。 メンズアイテムの一般的構造からスタートした メルボスタッドの正確で厳密なリサーチに基 づいて製作された仕立て服のフォルムと流線 型のシルエットは、それを身に纏った女性に パワーと権威を与える。艶やかな色彩のコン トラストに上質な素材を用いたコレクション は、滑らかなシルクにライトなジャージを組 み合わせたり、ウールやレザー、デニムの予 想外のマッチングに、アールヌーボーのプリ ントがフェミニンなニュアンスを大胆に強調 している。 キー素材であるデニムは、あたかもレザーパン ツの美しい風合いを再現したスキニーモデル


Mug Magazine issue 23, year XIII

Skinny models which reproduce the aesthetic features of leather trousers. Jeans, sartorial and biker leather jackets are the leading items of the collection which is completed by a consistent range of accessories (boots, shoes, bags and belts). After leaving Oslo, Melbostad completed his studies at the London Royal College of Art where he met Albert Elbaz with whom he moved to Paris, first at Guy Laroche and later at Yves Saint Laurent Rive Gauche. Before being appointed creative director of Phi, he worked for Nina Ricci in Paris, and for Donna Karan and Calvin Klein in New York. Over the years his cosmopolitan frame of mind enabled him to develop a sophisticated urban style, in keeping with Diesel Black Gold’s style and with the brand’s international expansion strategy.

Mug Magazine issue 23, year XIII

pre-fall collection AI13

であるかのように、驚きとともに斬新な美しさ を醸し出している。ジーンズ、テーラー、バイ カーレザージャケットは、コレクションのリーディ ングアイテムで、それらのアイテムと相性抜群 のアクセサリーとの組み合わせにより、スタイ リングは完成する (ブーツ、シューズ、バッグ、 ベルトなど)。 メルボスタッドは、オスロを離れたのち、ロン ドン・ロイヤル・カレッジ・オブ・アートで勉学 を修了。在学中に知り合ったアルベルト・エル バスとともにパリへ移り、最初はGuy Laroche、 次にYves Saint Laurent Rive Gauche、 そして Nina Ricciのもとで働いた。その後、 N YでDonna Karan や Calvin Kleinでも経験 を積んだ後、Phiのクリエイティブディレクター に任命された。こうして長年の間に培われて きた彼のコスモポリタンな感覚構造が、洗練 されたアーバンスタイルを進化させ、それは まさしくDiesel Black Gold のスタイルと 一致し、このブランドの国際的拡大戦略の 源となっている。



Mug Magazine issue 23, year XIII


To conceive, create and tailor items that bear the mark of novelty in their spirit, materials and style but are for daily use has always been Swiss Chriss’ target. The brand’s story began in 2005 at Basel, Switzerland, where a boy called Christian Wernle (Chriss) had the idea of recovering the materials from used sleeping bags and tents discarded by the Swiss Army to create a line of outerwear. In the following seasons, in particular after 2007, the brand started to lay the foundations of its philosophy and identity, by researching and experimenting on fabrics, the basic element of innovation in the creation of garments. The brand got to a turning point in 2008 thanks to their meticulous research on materials and the exclusive creation of a new fabric made of wool and a special thermal layer that gives the items elasticity and thermal protection, at once enhancing their beauty and functionality. Both the fabric and the product are made in Italy. Each season Swiss Chriss continues his research and experiment on mixture composition, treatments and weave of new materials in the plants of Italian textile industries where his designers work side by side with textile technicians to achieve a very high number of prototypes and make endless trials on ever new mixtures and treatments. The exclusive materials that are realised each season lead to the creation of convenient, functional, stylish items. Swiss Chriss’ quasi obsessive search for innovation enables him to tower over all those who consider him a landmark and try to reproduce his products.

Mug Magazine issue 23, year XIII

魂、素材、スタイルに斬新な息吹を与え、際 立つアイテムを着想、創造し、仕立てる。そ して、Swiss Chriss がターゲットとしている のは、それらを日常的アイテムに落とし込む ことだ。 ブランドの歴史は、20 05 年、スイスのバーゼ ルに端を発す。クリスチャン・ウェルンレ(ク リス)という名の少年は、スイスアーミーに よって廃棄された使用済みの寝袋やテントを 再生させ、アウターウェアラインを創作する アイデアを思いつく。その後のシーズン、特に 2007 年以降、革新的な洋服製作のための基 本要素である布地の研究と実験を重ね、ブ ランドはその理念とアイデンティティの基 盤 を築き始めた。その結果、ブランドは 2008 年にターニングポイントを迎える。素材の綿 密な研究と、特殊なサーマル層構造により アイテムに伸縮性と保温効果を与え、その美 しさと機能性を一 気に向上させた独自の新 素材とウール素材の開発に成 功した。布地 と製品はいずれもイタリア製である。 Swiss Chriss は、こうした研究 や実 験を シーズンごとに続けている。イタリアの織物 産業施設で、Swiss Chriss のデザイナーら が繊維技術者と肩を並べてこれまでに試み た数えきれない回数のトライアル同様、素材 の混合の割合や処理方法、織り方など膨大 な回数のプロトタイプの作成を重ね、研 究と 実 験をこなしている。こうして開発される独 自素材は、それぞれのシーズンに発表される 便利で機能的かつスタイリッシュなアイテム の創造につながっている。 オブセッシブとも言えるSwiss Chriss の飽く なき革新への探索は、彼を指標とし、彼の 製品を模倣しようと試みる人々を突き放し、 かえって彼をはるか先の位置へと押し上げて しまうのである。



Mug Magazine issue 23, year XIII


Brooks Brothers stands for the 195-year history of American men’s clothing

With its unchanging spirit, Brooks Brothers stands for the 195-year history of American men’s clothing, and keeps manufacturing and proposing top quality, right priced items to the clients who can appreciate them. One of the main features of the Firm is its skill at innovating on men’s wear by enhancing form and function, by renewing the definition of classical style, at once casual and elegant. This philosophy is perfectly embodied by the Polo Shirt, the typical button down shirt first created in 1896, the most imitated item in the history of American clothing. At a time when collars were stiff, starched and detached from the body of the shirt, the idea of John Brooks, the founder’s nephew, of a soft collar joined to the shirt by two small front buttons, as was the custom with polo players he had seen in England, proved revolutionary in that it was practical and modern besides turning the shirt into a dynamic sports item. No other brand has ever succeeded in reproducing the comfort and fit of the Brooks Brothers button down, a classic by now: perfect when worn with a buttoned collar matched with a jacket and

tie, perfect even if unbuttoned thanks to the special form and consistency of a collar which remains but slightly open due to its self-supporting points. The elegance and comfort of the garment are enhanced by the quality, weight and softness of the cotton fabric employed - the mythic Supima Cotton Made in the USA- and by the fact that it is long enough to clothe the whole trunk without ever needing tucking up. The final touch and the distinctive detail of all Brooks Brothers shirts: the smart pleating on the sleeves down to the cuffs, the unmistakable mark of a sober, renowned style all over the world.


Mug Magazine issue 23, year XIII

Anatomy of a classic. What distinguishes one dress shirt from another? It's all in the details.

Brooks Brothers は、一貫して変わらない 精神を軸に、これまでアメリカンメンズウェ ア業界で 195 年の歴史を持ち、製品の良さを 理解する顧客に向けて、今尚高品質で適正 価格のアイテムを生産し、提案し続けている。 同社の主な特徴の一つは、フォルムと機能 性を強化すると同時に、カジュアルさとエレ ガンスさを取り入れながら常にクラシックス タイルの定義のリニューアルに努めてきた結 果、更なる革新を続ける技術である。 同社のポロシャツと、1896 年に初めて制作 されて以来アメリカのウェア史上最も多くコ ピーされた同社の象徴的ボタンダウンシャツ には、この哲学が完璧な形となって表れてい る。まだシャツのカラーが固く、糊付けされ、 シャツのボディから取り外しされていた頃、 創業者の甥ジョン・ブルックスは、英国で見 たポロプレイヤーのウェアのように二つの小 さなフロントボタンを使ってソフトなカラー をシャツにジョイントさせることを思い付い た。それは実用的かつモダンである上に、 シャツをダイナミックなスポーツアイテムへ と変貌させた画期的な証明となった。 そして、今ではクラシックとなった Brooks Brothers のボタンダウンシャツの快適性と フィット感を超える同アイテムは、他のいか なるブランドでも未だに作れていないのであ る。カラーのボタンを留めれば、ジャケット とタイに完璧にマッチし、またボタンを外し

たとしても、少しだけカラーの先端 がカラー の自立する性質によって開くが、特別なフォ ルムとカラーの絶妙な堅さのおかげで完璧 さは維持される。 衣服の優雅さと快適さは、品質やウエイト、 アメリカ産スーピマコットン使用によるコッ トン素材の柔らかさによって向上し、それに より袖をたくし上げることなく、胴体全体を 覆うに十分な長さとなった。Brooks Brothers の全てのシャツに見られる最後の 仕上げと独特の袖からカフスまでのきっちり 整ったプリーツのディテールは、紛れもなく Brooks Brothers の落ち着いた、そして世 界中で周知されているスタイルである。

Made from Supima® cotton The best of the best, Supima® is the highest standard in durability, long lasting color, and softness.

Single-needle tailoring Reduce seam puckering to produce a flat, clean finish. Pattern matching The pocket pattern is harmonious with the shirt pattern, making it almost invisible.

Unbreakable buttons What more can we say, they are unbreakable!

Lower button placement Allow the buttoned cuff to be rolled back, avoiding fountain pen accidents.

Signature shirring Our unique stamp at the cuff, a surefire way to tell it’s Brooks.


Mug Magazine issue 23, year XIII

Eastpak: individual urban mobility —

In 1976 Mark Goldman, the founder of Eastpak, converted the production of rucksacks and military bags made in his father’s firm into new products conceived for university students, the urban environment and the new individual needs, a far-sighted policy that allowed for people’s mobility evolution in contemporary society. As their experience continues, Eastpak propose the new models of the Authentic Returnity collection which recovers the style of their historic models, like the mythic Returnity Red, the classic vintage red Padded Pak’r rucksack worn by Martin McFly in Back to the Future, an accessory that stands out in the collective imagination as a symbol of freedom, independence and urban adventure. Furthermore, Eastpak propose new versions of the Delegate shoulder-bag, the Duffelson holdall and the Killington maxi knapsack, all of which are guaranteed for life,

1976 年、Eastpak の創立者マーク・ゴール ドマンは、父親の会社で生産していたリュッ クサックおよび軍事用バッグの生産を変革 し、大学生や都市の環境、そして新しい個々 のニーズに対応する新製品を開発した。それ は、彼の先見性のある方針に沿ったものであ り、それにより現代 社会での人々の可動性は 画期的に進化したのである。 実績と経験を重ねるにしたがって、Eastpak は、リタニティー・コレクションの新モデルを 提案してきた。自由、独立、都会での冒険を 思わせるような象徴的なアクセサリー、例え ば神秘的なリタニティー・レッドやバック・トゥ・ ザ・フューチャーでマーチン・マクフライが 背負っていたクラシックヴィンテージレッドの Padded Pak'r リュックサックなど歴史的な モデルの改良版である。更に、Eastpak は、 Delegate のショルダーバッグの新バージョン、 Duffelson スーツケースおよび Killington maxi ナップサックなど、これらはどれも、どの ような状況下においても長年使える保証付き

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

long lasting brands that never fail to see users on all occasions. Eastpak’s innovative power has also been applied to the use of colour and all-over prints. The outstanding model this year will be the printed Miami Nice that echoes the summer feeling of a famous advertising campaign of the 1980’s. The collection is completed by a line of flat and ankle high street wear sneakers matched with the rucksacks: the suede vamp, the contrasting white sole and the typical rust coloured details of the leather insertions and strings of this footwear are in the typical Eastpak style. Eastpak have recently celebrated their 35-year activity and, regardless of trends, their typical style continues to be an unquestionable symbol of present day urban mobility.

の製品である。 Eastpak の革新力は、色および全面プリント の技術にも現れている。今年最も話題のモ デルは、1980 年代の有名な広告キャンペー ン、マイアミ・ナイスの the summer feeling を再現したプリントである。 コレクションのラインナップは、リュックサッ クと、それとマッチするフラットでアンクル丈 のスニーカーである。スニーカー は、スエー ドのつま革で、白いソールと装飾された錆 色の革でコントラストをつけ、典型的な Eastpak スタイルのストリングが装着され ている。 最近、Eastpak は活動 35 周年を祝った。 トレンドの変化 にも動じない彼らの典型的 なスタイルが、現 代も都市の移動スタイル のシンボルであり続けていることに、疑い の余地などない。

Mug Magazine issue 23, year XIII



‘Something new can emerge when two different things get connected and stimulated by each other’. When two different realities merge something revolutionary can come into being, because nothing is more stimulating than the connection between two protagonists of excellence. This is what dual-ism project is precisely: an innovative ‘outdoor urban’ style, a project of sartorial engineering that combines research and tradition. Dualism is the outcome of the collaboration between Descente, a leading firm in technical clothing, and Yono, a Japanese pioneering designer who has always tried to integrate functionality and tradition. Since it was established in 1935, Descente has specialised in ski technical clothing and has devoted great care to product functionality and quality. Descente’s research and development investments have brought

about innovative item structures and tailoring techniques, besides leading to the introduction of new materials and to a steady evolution in technical items; as a result Descente has today become one of the most renowned sportswear manufacturers in the world. Yono defines his own philosophy as ‘primal futurism’, and, through his creative concept, aims to extend the use of items ‘from street to extreme’. Yono loves to define himself a researcher who enjoys step by step the taste of creation: his peculiar skill is the merging of past and future by applying the most advanced techniques to early XIX century working and military wear, which he transforms and redesigns according to present-day canons, while rooting their spirit in tradition. This is the way the useful and the beautiful combine in an extreme search for the purest functionality.


Mug Magazine issue 23, year XIII

The collection Dualism fw’13 has an ur“異なるふたつの物が結びつき、刺激を受け ban outdoor soul characterised by com- あう時、新しいサムシングが生まれる。” 異なるふたつの現実が融合する事で、革命 pact volumes. It is made up of technical, 的な何かをもたらす。卓越した二人の主人 functional, extra light, waterproof items 公の関連性は、他の何よりも刺激 的である。 whose present-day urban design is defそしてそれは、Dual-ism projectそのものを initely sophisticated. Some items are re言い表している。それは、研究と伝統を結合 alised in kevlar shape memory and polさせ、テイラーの工業技術を発展させ、革新 yester, or in high density cotton fabrics, 的な‘ 都会のアウトドア’ スタイルを創造する the organic material of jackets. Colours プロジェクトである。Dual-ismは、 テクニカル range from basic black, blue, and grey なスポーツウェアのリーディングカンパニーで to hues like red, green, camouflage, and あるデサントと、常に機能性と伝統の統合を the blue-yellow and red-green two-col試みる日本の先駆的デザイナーYono による our versions. The icon item in the colコラボレーションの結実である。 lection is an extra light, waterproof, entirely welded jacket realised in 4-way 1935年の設立以来、デサントはテクニカルな stretch fabric with a very high quality スキーウェアを専門に研究し、製品の機能と misuzawa down lining. 品質に細心の配慮を注いできた。デサントの The collection is rooted in Yono’s mini研究と開発への投資は、新素材の導入と着 mal, classic, rationalistic and intimist aesthetics. The designer’s interest for fashion 実な技術の進化に加え、革新的なアイテムの 構成と卓越したテイラー 技術を実現した。 was born with his love for fabrics and the その結果、デサントは今日、世界で最も有名 tailoring of items. A true passion for reなスポーツウェアメーカーのひとつとして認 search that starts from vintage and com知されている。 bines with his love for craftsmanship. Yonoは、自身の哲学を ‘プライマル・フュー チャリズム(根源的な未来主義)’ と定義し、 自らのクリエイティブコンセプトを通して創 り出す、 ‘ From street to extreme ’ レーベ ルアイテムの利用範囲を広げる事を目的と している。Yonoは、創作の醍醐味を一歩 一

Mug Magazine issue 23, year XIII

歩 楽しむ研究者と自身を定義することを好 む。彼の独特な技術とは、過去と未来を融 合させる事、つまり19 世紀初頭の仕事着や ミリタリーウェアに最も先進的なテクニック を加え、当時の伝 統的精神を根付かせなが らも、現代に受け入れられる形にリデザイン する事である。最も純粋に機能性を極限ま で追究する事で、実用性と美を結びつける 方法である。 Dualismの2013 FWコレクションでは、軽量 感が特徴の都会のアウトドア精神を表現して いる。テクニカルで機能性を併せ持った、防 水性の軽量アイテムであり、間違いなく洗練 された現代のアーバンデザインである。 アイテムのいくつかは形状 記憶ケブラーと ポリエステル、もしくは高密度コットンやオー ガニック素材のジャケットなどである。色展 開は、ベ ーシックブラック、ブルー、グレイッ シュレッド、グリーン、カモフラージュ、そし てブルーとイエロー、赤とグリーンの 2 色バ ージョンである。同コレクションを代表する アイテムは、軽量、防水、高品質の水沢ダウ ンの裏地付き4 -wayストレッチ素材の完全 密着性ジャケットである。 コレクションは、Yono のミニマルでクラシッ ク、合理的でインティミストな美学をルーツと している。デザイナーとしてのファッションへ の関心は、生地とテイラーへの愛着から生 まれた。彼の研究への真の情熱は、ヴィンテ ージと職人の巧みの技への尊敬の念とが結 びついた時から始まったのである。



Mug Magazine issue 23, year XIII

Armani —



A strong and precise image. No flirtatious provocations that often amount to little more than sly trickery. Clean and essential styling that portrays a virile man, defined by outerwear with a broad silhouette and trousers with a clean cut. Surfaces are opaque and warm, and underline the preciousness of the collection. Research into craftsmanship is key, and is evident in the fabric treatments and tailoring of the pieces. It is this quality of craftsmanship that brings together the apparently contrasting aesthetics of sportswear and classic menswear. Thus, neoprene envelops precious materials such as velvet and suede - a contemporary combination that makes one re-think definitions of techno and sartorial. Sportswear enters a new phase without renouncing to highperformance technical fabrics and treatments; luxury is expressed through the focus on precious fabrics and the practicality of the clothing. Leather is treated using traditional methods practiced at great Italian tanneries where hand dyeing is done with sponges and brushes. The refined knitwear is lightweight. There are complex pieces created by the interweaving of cashmere and mohair in a sensual geometrical game of colours. The colour palette is drawn from the established armani code, and is composed of tried and trusted hues, such as warm greys and shades of brown (including cocoa and colours referencing precious woods), which fuse with intense tones such as wenge, before passing to absolute black. Ruby red is a key colour for this season. Aristocratic and precious, it runs through the collection following an elegant narrative path, standing out in the male wardrobe and reaching the pinnacle of an original, rich and magical chromatic pyramid.

強くて明確なイメージ。狡猾なごまかしにし かならない軽薄な挑発など必要ない。精悍 な男を表現するクリーンで絶対不可欠なスタ イリングは、幅広シルエットのトップスとク リーンカットのボトムをにより定義される。 外 観は光沢がなく暖かい雰囲気で、コレク ションの上品さを強調している。鍵となる職 人の熟練技術への探求が、生地の処理方法 や服の仕立てに反映されている。それは、 スポーツウェアとクラシックメンズウェアの美 学の明らかなコントラストが一緒になった熟 練技がもたらす品質である。例えば、ベ ル ベットやスエードのような高価な素材をネオ プレンで包むといったように、コンテンポラ リーな組み合わせで、テクノと仕 立て服の定 義を私達に再考させる。 スポーツウェアは、高性能なテクニカル素材 や処理技術を断念することなく、新たな段階 へ入っている。ラグジュアリーなテイストは、 高価な素材やアイテムの実用性に焦点をあ わせることにより、遺憾なく発揮される。レ ザーは、スポンジやブラシを使い手染めで 仕上げる技術の確かなイタリアのなめし革 工場で、伝統的手法に従って処理されてい る。洗 練されたニットウェアは軽量で、セン シュアルな幾何学カラーゲームの中にカシミ アとモヘアを編み込んだ複雑な一点である。 カラーパレットは、アルマーニコードから選 ばれ、ウォームグレーや漆黒の一 歩手前の ウェンジのような強いトーンとしっくりくるブ ラウン系(ココアやプレシャスウッドを参考に したブラウン)といった定番カラーの色調で 構成されている。ルビーレッドは今シーズン の注目カラーである。 コレクションを通して、気高さや美しさが洗 練された物語の小道を辿って駆け抜け、男 のワードロープで 一際目を引き、独 創的で リッチ、そしてマジカルな色彩ピラミッドの 頂点に到達する。

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII



It’s a way of living, and interpreting femininity - the kind of independent spirit that ignores conformism and all that is commonplace. It’s an autonomous way of dressing and mixing pieces, a personal attitude to pairing accessories, that defines a particular style and character. Garçonne features simple lines, while its perfect cuts and combinations of materials transform it into something decidedly avant-garde. Black, its overarching colour, enhances the figure, emphasizing its shape with jewelled jackets, trousers and skirts-cum-bermuda shorts, as well as with long, hip-hugging skirts that end in a bias cut. Hints of white create luminosity and contrast, as do the golden fabrics paired with lacquered black shoes and accessories. Calculated eccentricity shines through in berets featuring special workmanship in woven velvet, their spherical forms adorning the head, as well as in exquisite suspenders, evening and daywear “garçonne” jumpsuits and embroidered tops. Woven, lacquered high-heeled shoes leave a luminous wake. Black onyx buckles are a common thread running through the jewellery, and make their mark on accessories, echoing the button motif that also runs through the collection.

それは、生き方や女性らしさの解釈、すなわ ち順応主義やあらゆる平凡さを無視した独 立精神の一種である。自主的な着こなし方 や何通りもの着回し術、またはアクセサリー との組み合わせで自分らしい姿勢の表現は、 自分 独自のスタイルや個性を明確にする。 Garçonne は、完璧なカットと素材のコンビ ネーションを明快なアヴァンギャルドへと変換 させたシンプルなラインを特色としている。 主軸カラーである黒は、ジュエリーをあしらっ たジャケット、パ ンツ、スカート風 バミューダ パンツ、裾がバイアスカットになったヒップ ハングのロングスカートで、体形を誇張しシ ルエットを強調している。白が創り出すほの かな光度と黒とのコントラストは、ゴールド の生地と黒のエナメルシューズやアクセサ リーとの組み合わせを引き立てている。 計算された一風 変わった光 沢は、球 状の フォームで頭部を魅力的に見せる、織りのベ ルベットの技ありベレー帽や、非常に美しい サスペンダー、イブニングにもデイウェアに もなる“ Garçonne ”のジャンプスーツと刺繍 を施されたトップスにも見られる。ラッカー 仕上げの布帛のハイヒールは、光の航跡を 残す。ブラックオニキスのバックルは、ジュ エリーに共通しており、コレクション全体に 用いられているボタンのモチーフと反響しな がらアクセサリーに Garçonne のマークが 入っている。





Mug Magazine issue 23, year XIII


Over the centuries peoples and empires have excelled for their taste, works of art, lifestyle as well as for the wealth and beauty they could create and enjoy.

Food, clothing: 2,000 years of history —

Primary needs and decency seem to have been born almost together, yet the fact that we see them so close to one another is probably due to an error of perspective. From time immemorial men – in particular those who have had enough food to eat - have always felt the need to stand out, to excel, to appear unique, to the extent that they created caste and class systems. Over the centuries peoples and empires have excelled for their taste, works of art, lifestyle as well as for the wealth and beauty they could create and enjoy. In fact, what is left over to us from ancient civilisations? What are the features that attract us most? Their history and magnificence, their jewellery, ornaments, artistic and technical achievements, their masterly craftsmanship. Art and technique are the two elements on which inventiveness, taste, creativity, innovation, beauty and pragmatism are focused.

根本的なニーズと良識、それはほぼ同時に誕 生したかのようだが、実際に至近距離から見 比べれば、それは恐らく将 来への見通しの 誤信であると分かる。太古の時代に生きた 人 達 −とりわけ食物に困窮する事のなかっ た人 達 − 彼らは、頭角を現すこと、人より秀 でること、唯 一 無二となることは、構築して きた特権階級や上流階級制度の力の拡大 には必要だと感じてきた。世紀に渡り、人 々 と帝国は、富と美に対してクリエイティブで 享楽的であったとともに、彼らの嗜好、芸術 作品、ライフスタイルの創造に長けていた。 では実のところ、我々に残された古代文明の 遺産とは何だろう? 我 々を最も魅了する特徴 とは何であるのか?それは、歴史や壮大さ、 宝石類や装飾品、芸術面・技術面での功績、 見事な職人の腕前である。アートと技術は、 その上に創意工夫、嗜好、創造力、革新性、 美しさ、実用主義が集中して生み出される二 つの要素なのである。

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII


How much can we consume? From Mad Men to fast fashion —

Consumerism started to gain ground in the ‘60s, and, in varying degrees, expanded all over the world transforming people into consumers and living into endless shopping. Fashion is one of the typical fields where a new relationship between people and things is established. The natural wish to stand out and show off leads to the search for unique, exclusive products of renown owing to the beauty canons they embody. While fulfilling people’s aspiration to the beautiful, fashion products tend to be more and more exclusive. The XX century was an age of great stylists whose success was due to the sartorial craftsmanship of their items combined with their research and visionary power. On a par with great artists, stylists became masters

of style and were frequently imitated to make up for the lack of creativity of Department Stores’ dressmakers. Handmade products based on research created to meet the demand of few wealthy people or new social classes are directly linked to their creator, artist or craftsman, an up-todate lover of quality materials and of formal beauty. Since the 1980’s the pursuit of comfort and the development of fashion firms have revolutionised people’s consumption standards: exclusive items have become synonymous with price and limited editions, whereas the soul of products, research on materials and handmade production have been neglected. The world of luxury has at the same time become

more and more affordable in a play of fast trend changes and collections no longer designed and created in an atelier but on a cold, accounting-prone global production chain, made as they are to rapidly disintegrate rather than to last. From the advertisements in Madison Avenue to the success of fast fashion with a pathologic hunger for copied, revised, churned out items.

Mug Magazine issue 23, year XIII

コンシューマリズム(消費者主義)は 1960 年代 から世の中に浸透し始め、その程度 や範囲を変えながら世界中に広がり、人々 を消費者へと変え、やがて私達は、果てし ないショッピングの世界に生きるように なった。 ファッションは、人々とモノの間に新しい 関係を確 立した最も典型的なフィールドの ひとつである。人より抜きん出たいという 思いや、美の規準を具体化する事が可能で あるがゆえに希少 でエクスクルーシブで 名の知れた製品を追い求め、それを自慢し たいという思いは、人間の生まれながらの 願望である。人々の美に対する願望を満た している一方で、ファッション製品はます ますエクスクルーシブな物へと進む傾向に なっている。 20 世紀は、仕 立て職人の匠の技が光るア イテムと独自の研究や先見の明とを結び

つけたことにより成功した偉大なデザイ ナーの時代であった。彼らは偉 大な芸術 家達に比肩するとされ、スタイルの巨匠と 呼ばれるようになり、百貨店のドレスメー カーに欠けていた独創力を穴埋めするか のように頻繁に模倣された。研 究に基づい た手作りの製法は、少数の裕福な人々と 新社会階 級 からのニーズを満たし、クリ エイターやアーティスト、そして職 人といっ た常に新しい高品質の素材や恒久的な美 を愛して止まない人々と直接繋がるシステ ムを生み出した。 1980 年代 以降、快適さの追求とファッショ ン企業の成長は、人々の消費基準に大革 命を起こした。エクスクルーシブアイテム は高価格と限定版の同意語となり、その 一 方で、製造の精神や素材の研究、またハ ンドメイドな仕立ての真髄は軽視されるに 至った。同時に、ラグジュアリーな世界は トレンドの素早い変化によって、段々と手

の届く存在となり、コレクションはもはや、 アトリエでデザインされ製作される物では なくなった。代 わりに、無味乾燥で収 益優 先の世界中に広がった製造チェーンで作 られるようになり、製品は長く愛される物、 長く使える物より、価格重視ですぐに消え 去る物が作られるようになった。マディソン アベ ニューの広告から、病的なまでの渇望 で製品をコピーし、修正し、アイテムを大 量生産するファストファッションの成功へと 繋がったのである。



Mug Magazine issue 23, year XIII


Authentic products are back again —

Exasperation demands a pause, for the perception of reality solely through figures can result in short-sightedness. What is the value of an item? How can it be measured? Can beauty last for the span of a pre-collection? Fast consumerism can’t hold any longer, it is becoming a fashionable event itself. To meet the pragmatic demands ahead of us we need competence and experience. Our challenge lies in resuming considering people’s demands, in having the know how to innovate with sensibility on production, on our relationship with clients, on our own inmost feelings. It is high time men got back to the centre of their universe made of ideas, actions and objects, where their intellect can open to the world and their hands grasp all they can reach.

The spirit that is pervading the world of fashion is nourished by new small realities half way between handmade production and limited editions. What we have to do is to make a new start, determined to make properly one item at a time, to ponder on each single detail of it, to enable those who choose it to feel the care and creative thought underlying the product. The new demands require new ideas, the observation of reality and the courage to carry on experiment: to diversify into new products to meet diversified demands. What lasts in time is a high quality, well made, aesthetically timeless item. At a time when assurance is needed, a long lasting product is a guarantee, the authenticity of an item, the certainty that makes us stronger.

Man who thinks with his own hands, the maker behind and inside the product: this is the main value that is reasserting itself. Simple tools create beauty out of nothing: scissors, chalk, nails, hammer, presses and sewing machines, an interest for materials, heartfelt choices rather than economically motivated ones. We need nothing more than something beautiful.

Mug Magazine issue 23, year XIII

苛立ちは、常に事態の休止を求める。数字 のみを見て現実を認識すると、近視眼的な 結果を招く恐 れがある。アイテムの価値とは 何であるのか? 一 体何が評価の尺度となる のか? 美はシーズン期間中に渡って持続可 能であるのか? ファストコンシューマリズム はもはや持ち堪えられず、ファッショナブル なイベ ントそのものになろうとしている。私 達の前 方にある実用主義的な要求に応える ためには、手腕と経験 が必要とされる。私 たちのチャレンジは、再び人 々の要求に耳 を傾ける事から始まる。これまでのノウハウ に、製品や顧客との関係、また心の奥底に 潜む感情に、繊 細な感 性を取り入れること から始まるのである。人類の知性 が世界を 開き、到達できることの 全てをつかみ取り、 アイデ アと行動とオブジェによって創られた 森羅 万象の中心に回帰する時は今である。 ファッションの世界に浸透する精神は、新し い小規模な現 実によって、ハンドメイドによ る生産と限定版の中間地点で育まれている。

我々が 今すべき事は、新たなスタートを切 る事であり、それは断固として一 つ一 つの 細かいディテールにまで熟考された正確な アイテムを、一度に一つだけ創る事であり、 それを選んだ人が製品に潜んだ作り手の心 遣いと創造性を感じられるようにする事であ る。新しいニーズは新しいアイデアを求めて いる。それに応えるには、現 実の観察と実 験を継 続 する勇気 が必 要となってくる。多 様化するニーズを満たすためには、新製品 もまた 多様化するのである。 未 来に向けて持続していくのは、ハイクオ リティ、技術を結集した仕上 がり、時 代を超 越する美的センスを持ったアイテムである。 製品に確信が必要とされる時、長期間使用 できる製品こそまさにその保証であり、アイ テムの信憑性と確実性 は私たちをより強く する。 自身の手で考案する人とその生産の内外に 関わるメーカーは、再び私達 が主張するた


めの 最も重 要な点である。はさみ、チョーク、 くぎ、ハンマー、プレス、ミシンなど、シン プルな道具は何もない所 から美を創造す る。経済 的見地 から発 生した動機 からでは なく、素材への深い関心 や心に感じた選 択 による創造である。私達 が必 要としている のは、何か美しい物、ただそれだけなので ある。


Mug Magazine issue 23, year XIII


a journey in time and quality


The green triangle made up by Follina, Vittorio Veneto and Pieve d’Alpago is the area where, thanks to its mild climate, lush pastures and abundant waters, sheep-rearing and wool processing have been traditional activities since the XII century. The push of the people this district has been inhabited by has enabled the local firms and their traditional manufactures to survive two fiercely fought world wars and to become the flagship of made-inItaly products all over the world. Love for tradition and the desire to keep alive and rediscover the district’s outstanding products have this year led to the zero edition of “La via della lana” (The Wool Road) which took place last May in the premises of the well-known Follina-based Lanificio Paoletti. Two weekends were devoted to the rediscovery of

イタリアはベネト州の三つの地域、 フォッリー ナ、ヴィットリオ、ピエーヴェ・ダルパ ゴを 結ぶ緑の三 角地帯は、その穏やかな気候、 青々と茂る牧草地、豊富な水量のおかげで、 12 世紀の昔から養羊業と羊毛 加工 産業が 盛んな地域である。二つの凄惨な世界大戦 を生き抜いて来 た地元 企 業と伝統的な製 造業で生計を立てている地域住民の長年 の多大な努力により、同地における羊毛産 業は、世界を舞台にしたメイド・イン・イタ リーの主力製品となった。 伝統を愛する心と存続 への願い、地域にお ける傑出した製品を再発見したいという思 いは、今年 5 月にフォッリーナを本拠地とす る著名企 業ラニフィーチョ・パ オレッティ社 を同社の敷地内において“ La via della lana ” (ザ・ウールロード)ゼロ・エディション の開催 へと導いた。 二 回の週 末を費やし、 4 つのテーマ、養羊業、生 産、アート、ファッ ションの発展による羊毛 産業の再発見に貢 献した。

Mug Magazine issue 23, year XIII

wool processing by developing four main themes: sheep-rearing, production, art and fashion. Lanificio Paoletti itself, has since 1795 manufactured and exported its fabrics all over the world, the fruit of research based on the revival of ancient traditions. Particularly noteworthy is the typical Alpago processing, a mixture of white and dark wool that results in splendid natural grey and brown mélanges. Another champion of innovative tradition is Vittorio Veneto-based Lanificio Bottoli, the only firm that outlived all the other wool industries of the area, and can pride itself on a 152-year tradition of fabrics conceived, spun, woven and finished in Italy. The Firm is still located in the medieval citadel of Serravalle, the ancient heart of Vittorio Veneto, on the banks of the river Meschio, and, under the guidance of Roberto Bottoli, has

ラニフィーチョ・パオレッティ社は、1795 年 から自社製品を生産し世界各国へ生地を輸 出している。同社の研究成果は古代の伝統 のリバイバ ルに基づいており、特筆すべきは 典型的なアルパゴ加工で、ホワイトと濃色 ウールを混合して織る事により、見事なナ チュラルグレー やメレンゲブラウンのミック スカラーに仕上がるのである。 革新的伝統におけるもう一人のチャンピオン は、ヴェネト州ヴィットリオに本拠地を置く ラニフィーチョ・ボットーリ社である。同社 は幾多の困 難を乗り越え存 続 する地域唯 一の羊毛 企 業で、152 年に渡り培った布地 の考案、紡ぎ、織り、仕上げに到るまで、一 貫してイタリアでの生産にこだわる伝 統的 な手法を誇りとしている。古代 の中心地で あったヴェネト州ヴィットリオの中世の要塞 都市セッラヴァッレのメスキオ川のほとりに 同社 は現 在も本部を構え、ロベ ルト・ボッ トーリの指導の下に、パターンジャケット用 のオリジナル生地製造において世界的レベ



Mug Magazine issue 23, year XIII

become the world leading firm in the production of original fabrics for patterned jackets. The mission of this wool district is to repropose and adopt traditional craftsmanship techniques to manufacture non-dyed, ecologically sustainable fabrics, free of transport costs, outstanding in the world among the mass-manufactured textiles from the Far East. (Our heartfelt thanks to Alice Scandiuzzi for her collaboration).

ルのリーディングカンパ ニーへと成長した。 これらウールの産地における使命は、伝統 的な職人の技術を生産過程に取り込み再 提案し、未染色で環境に優しい生地の生産、 そして輸送コストゼロを実践することであ り、極東で大量生産される織物の波にのま れない、世界に通用する傑出した製品を生 み出すことである。 ( 記事の執筆及び掲載にあたり、アリス・ス カンディウッチ氏の多大なるご尽力に深謝 致します。)


Mug Magazine issue 23, year XIII


With the Fall/Winter 2013 collection Jon Koon reaffirms Private Stock’s original conception of a world-inspired fashion that the world has got to like. The collection takes inspiration from a prophetic vision of Gotham City in 2088 and from the traditional concept “like father, like son”. Gotham City is a representation of New York City. The producers of Batman chose to give it this name so that spectators all over the world could associate Gotham City with their own city, just as Private Stock wants to convey a universal message and promote the contamination of cultures. For generations, especially in Italian families, the rule was that a son’s behaviour and dress should be like his father’s. In the 21st century this tradition seems to be no longer followed, for present day children want to shake off this burden. The merging of these

two inspirations has resulted in a collection which is Jon Koon’s personal idea of the future for menswear. Koon believes that the man of tomorrow wants to show his personality and assert his own individuality by choosing fashion styles that surpass the traditional canons. A sophisticated design and the care for details are the key elements of a collection that promotes fashion and originality while keeping true to tradition and comfort: formal jackets tailored by combining knitted and woven parts, knitted shirts and stretch trousers in mixed cashmere. The collection includes a capsule of lined items: T-shirts, shirts. double-breasted jackets and matching trousers with a water resistant cashmere finish. All the items in the collection are in unique valuable materials: pure cashmere, angora, chinchilla, merino, lambskin.

Mug Magazine issue 23, year XIII

2013 AWコレクションで、ジョン・クーンは、 PRIVATE STOCKのオリジナルコンセプト である世界中から愛される感動のファッション を再び主張する。コレクションは、2088 年 を予言的に描いたゴッサムシティーと、古典 的概念である“父らしく、息子らしく”から インスピレーションを得ている。

融合は、ジョン・クーンが描くメンズウェア の未来像の個人的アイデアとなり、その結 果がコレクションで表現されている。クーン は、これからの男性はファッションスタイル を選ぶ事により、これまでの原則を越え、自 分らしさを見せ強く個性を主張したいと願っ ている、と考えている。

ゴッサムシティーは未来のニューヨーク市を 表現しているが、バットマンの制作者は、映 画を観る世界中の観客が、 ゴッサムシティー から自らの都市を連想して貰えるようにこ の都市名を選んだ。同じ様に、PRIVATE STOCKも普遍的なメッセージを伝え、文化 の広がりを推進したいと考えている。 何世代にもわたり、特にイタリアの家庭で は、息子の振る舞いや装いは父親の流儀に 従うのが望ましいというルールがある。だ が、21世紀の今を生きる子供たちは、そん な重荷は背負いたくないと思っており、この 伝統はもはや継承されていかないかもしれ ない。これらの 2 つのインスピレーションの

ニットと布帛を組み合わせて仕立てた フォーマルジャケット、混合カシミア製のニッ トシャツやストレッチパンツなど、洗練され たデザインやディテールへのこだわりは、 伝 統と快適さに忠実でありながらファッ ションと独自性を推進するコレクションの 大事な要素である。その他コレクションに は、Tシャツやシャツ、耐水性カシミア仕上 げのダブルジャケットとそれにマッチするパ ンツなど様々なアイテムも含まれている。ま た、これらコレクションのアイテム全ては、 純正カシミア、アンゴラ、チンチラ、メリノ、 ラムスキンなどのユニークで貴重な素材で 作られている。




Mug Magazine issue 23, year XIII

Recycle Your Denim is a successful initiative



Ever since it was founded in 1984, the brand Diesel Kid has undergone considerable changes. Born as Dieselito, it was given the name of Diesel Kid only in 1999, to become Brave Kid in 2011, a multi-brand firm of worldwide renown always ready to face new challenges. True to their ‘brave’ soul, Diesel Kid are always on the forefront. To offer their faithful young clients a better world, on March 22nd they started a very successful pilot initiative in the three stores located in Rome, Treviso and Padua, and later extended it to all the stores in Italy. Labelled ‘Recycle Your Denim’, the initiative consists in asking clients to hand over their used jeans to have a discount on the purchase of a new pair. The stores accept used jeans up to the 16-year size; the items are stored in a Recycle Machine, a box whose bold design has the power to make a trivial gesture cool.

Recycle Your Denim is a successful initiative that involves the environment, fashion, customers and a brand which continues to have a great innovative power, as is proved by the layout of its stores, in particular of its flagship located in Treviso. Only two years after being opened in the heart of the city, this 220 square metre mega-store has renewed its interior set-up. Its wide assortment – over 600 items of clothing and 120 of footwear per season that come in threemonth to sixteen- year sizes – is further enriched by a section devoted to Brooks Brothers and its casual chic style. The character of the store and of the collections on display, with the undeniable predominance of denim and colour, merges very young boys’ craving for exploration, and very young girls’ rock chic attitude.

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

1984 年の創設以来、Diesel Kidブランドは、 いくつもの重要な変化を経験してきた。 当初、Dieselito であったブランド名は、 1999年にDiesel Kidと改名されたばかりで、 2011年にBrave Kidとなった。世界的名声を 誇るこのマルチブランド会社は、いつでも 新しいチャレンジに立ち向かう準備が出来て いるのである。 ‘ 勇敢な’ 彼らの魂に忠実に、Diesel Kidは いつも最前線に位置している。彼らの若く忠 実なクライアントへ、より良い世界を提 供す べく、この 3月22日よりローマ、トレヴィゾ、 パドヴァの 3 店舗から試験的にある試みを スタートさせ成功を収めた。そして、その取り 組みはのちにイタリア全土に拡大された。 ‘リサイクル・ユア・デニム ’ と呼ば れるその 取り組みでは、使用済みジーンズの店頭への 持ち込みを顧客に呼びかけ、それと交 換に 新品ジーンズの購入の際にディスカウントが 適用される。16 歳サイズまでの使用済みジー ンズがその対象であり、回収されたアイテム は、リサイクルマシンと名したボックスに入れ られる。大胆なデザインのそのボックスは、

ただ使用済みジーンズを持ち込むという何で もない行為をクールに感じさせる不思議な力 を持っている。 リサイクル・ユア・デニムは、環境、ファッショ ン、お客様と、革新的なパワーを持ち続ける ブランドとが参加し、関わり合う事により成 功を収めた取り組みである。その企業魂は ストアのレイアウトにも現れており、とりわけ トレヴィゾの旗 艦店では、街の中心にオー プンしてからわずか2 年で、面積 0平米のメ ガストアでは、インテリアのリニューアルを 行った。 商品の品揃えは、3ヶ月のベビー服から16歳 までの子供服まで、シーズンごとに 600点以 上のウェアと120点以上のシューズと幅広い。 その上、Brooks Brothersだけのセクション とカジュアルシックスタイルも充実している。 ストアとディスプレイされたコレクションは デニム&カラーという絶対不可欠の要素が 特徴となっており、幼い少年達の探検に憧れ る思いや、幼い少女達のロックでシックな 雰囲気が溶け込んでいる。

Mug Magazine issue 23, year XIII

Born in 2006 at Segusino (Treviso), in the North-East of Italy, Parajumpers is today an internationally oriented Italian firm of excellence. The brand proposes items of clothing, in particular technically advanced jackets of modern design in top quality materials, rich in carefully studied details. The designer Massimo Rossetti has been able to combine the technical features of American style sports jackets with the lines and taste of Italian design. His activity has resulted in extremely resistant items, accurately manufactured and in top quality materials, with a markedly original, strong taste, timeless icons of style.

イタリア北東部の街、セグシーノ (トレヴィゾ 市)で 2006 年に誕生した Parajumpers は、 今や卓越した国際的イタリア企業である。 ブランドが提案するのは、最高品質の素材 を使い細かいディテールまで綿密に研究さ れた、一歩先を行くハイレベ ルな技術が内 包された、モダンなデザインが魅力的の ジャケットをはじめとするファッションアイテム である。 デザイナーのマッシモ・ロセッティは、アメリ カンスタイルのスポーツジャケットの技術的な 特徴にイタリアンデザインのラインやテイス トを結びつけることに成 功した。その結果、 トップクオリティの素材を使用し、精密な製造 方法で作られた、際 立ったオリジナリティを 持つ個性の強い、非常に頑丈な時代を超え るスタイルのアイテムが 誕 生したのである。




Mug Magazine issue 23, year XIII

Mug Magazine issue 23, year XIII

A Parajumpers jacket has no random de- ポケットからダブルクリップファスナーまで、 ジョイント部分から裾とシーム部分の補強ま tails, in that each of them is the result of study and research aimed at top perfor- で、さらに折りたたみ式フードからエアーイン レットに到るまで、Parajumpers のジャケット mance: from the pocket to the double に、成り行きまかせでつけられたディテール clip zip, from the supports on joints to など存在しない。それらのディテールは全て、 the reinforcement of hems and seams, トップパフォーマンスを獲 得するためになさ from the foldaway hoods to the air inれた研 究と調 査の結実である。 lets. The care for details is also a feaディテール へのこだわりは、F W 13コレク ture of the FW 13 collection, which inションでも同様に顕著で、ジャケットのライン troduced a line of jackets in performant は、高性能の生地( 表地を三層にした生地 fabrics (like the three-layer outer fabric) and technical details (zips and taped のような物)が 使用され、技術的ディテール (ファスナーやテープタイプのシーム)を加え seams) to make the items perfectly airて、完璧な気密性と防水性を併せ持ってい tight and waterproof. る。同様のスタイルは、多くのセーターや The same style is also applied to other スエット製品にも適用され、さらにナイロン、 products, a wide range of jumpers and sweatshirts, unique for their lines, in non フエルト、テープなどのお洒落でごく普通の 素材や、鮮やかな色彩コントラストも、 traditional sophisticated materials like Parajumpersらしさを表す紛れもない特徴 nylon, felt, and the tapes in contrasting となっている。 colours that make these items unmistakably Parajumpers.







Mug Magazine issue 23, year XIII


MATCHLESS the scent of history — The oldest British motorbike firm is born again to bring into the world of sportswear the essence of British history, with its competitions, finishing lines, victories and research. Thanks to the love of the Malenotti family, the winged M brand that the Collier Brothers established in London in 1899 is again outstanding, a firm that started to make motorbikes and later manufactured also technical wear for pilots and bike enthusiasts. The firm’s history is summed up in the very name of the brand: “matchless, by name and for its reputation”. In 1907 the first edition of the Tourist Trophy, the historic race that still takes place in the Isle of Man, in the Irish Sea, was won by Charles Collier on a Matchless racer, whereas his brother Henry won the 1909 and the 1910 editions. Success in races was the result of passion and technical excellence, and this combination enabled Matchless to become the first bike manufacturer to design sportswear tested by the best pilots of the day and conceived to protect bikers and pilots. Between the 20’s and the 40’s the Firm specialised in leather items, and later manufactured them in special fabrics for enduro and scramble.

イギリスで最古のオートバイメーカーが、レー ス、フィニッシングライン、数々の勝利、研究 の輝かしい英国の歴史のエッセンスをスポー ツウェアの世界へもたらすために生まれ変 わった。マレノッティ家の好意のおかげで、 1899 年にコリアー兄弟によってロンドンで 創立された翼の生えた M ブランドは、オート バイ製造から事業をスタートし、のちにコー スパイロットやバイク愛好家のためのテクニ カルウェアの製造まで手掛けるようになった。 そしてまた、再び 注目を集めるに至ったので ある。 同社の歴史は、ほかならぬそのブランド名に 集約されている。 “matchless、それは社名で もあり、同社への評判でもある”。現在もア イリッシュ海に浮かぶマン島で開催されてい る権威ある歴史的レース、ツーリスト・トロ フィー( TT)の 1907 年第一回大会では、 Matchless のレーサーであったチャールズ・ コリアーが 優勝し、続く1909 年と1910 年大 会では弟のヘンリーが 優勝を飾った。レース における成功は情熱と技術の卓越である。 この二つのコンビネーションで、Matchless はその時代の最も優秀なコースパイロットに よりテストされた、バイカーとレーサーを保 護するためのスポーツウェアをデザインする 最初のオートバイメーカーとなった。1920 年 代 から1940 年代 にかけては、同社はレザー アイテムを専門的に扱い、その後は、耐久 レースやスクランブルレース用に特別な生地 を使い製造するようになった。


Mug Magazine issue 23, year XIII

Mug Magazine issue 23, year XIII

Strength, mobility and duration are the three main features of items conceived both for men and women, and today proposed with the same spirit of authenticity in the hand waxed leather version, in waxed cotton made in England and Scotland, or in materials like waterproof wool, waterproof micro-porous membranes, and waterproof fabrics. Classic and transgressive Britishness is perfectly interpreted by Kate Moss in the Autumn-Winter campaign 20132014 signed by Terry Richardson: in a London suburban black and white setting the protagonists are the leather technical items combined with a historic Matchless which have the power of making us recapture the glorious days of the Firm’s brilliant founder, the outstanding designer and engineer Henry Collier. The first Matchless of the new production, a fabulous reproduction of the bike owned by Marlon Brando, will soon be available on the market.

耐久性、可動性、持続性は、メンズとレディー スアイテム両方における三つの主な特徴で ある。現在はそれらが、当時と同様の本物の スピリットを持つハンドワックスレザーバー ジョン、イングランドやスコットランド産の ワックスコットンや、ウォータープルーフウー ル、超透過性膜のウォータープルーフ、その 他のウォータープルーフ素材などで提案され ている。 クラシックでありながらもその領域からは逸 脱している英国らしさは、テリー・リチャード ソンが手掛けた 2013 -2014 AWキャンペー ンで、ケイト・モスにより完璧に演じられて いる。 ロンドン郊外を舞台に撮影されたモノ クロ写真では、レザーのテクニカルアイテム に身を包んだ主人公が Matchless の歴史と 一 体化し、同社の輝かしい時代を支えた素 晴らしい創設者、そして優れたデザイナーで ありエンジニアでもあったヘンリー・コリアー を思い起こさせる。 そして、Matchless は今新たな段階へと突 入した。その第一弾は以前マーロン・ブラン ドが所有していたオートバイの素晴らしい復 元版の生産であり、近々発売される予定で ある。

ph. Terry Richardson



Mug Magazine issue 23, year XIII


SERIO is a project born from the colSERIO は、1959 年より市場において高品質 laboration between La Rocca, a leadアウトドアウェアとスポーツウェア製造のリー ing firm in the production of high ディングカンパニーであるラ・ロッカと、パリ quality outdoor and sports wear, on のポンピドー・センターでの展覧会 ‘ Carrefour de la création’やニューヨーク the market since 1959, and More近代美術館での‘ Safe–Design Takes on no Ferrari, a Liguria-born designer of risk ’などで世界的に知られるデザイナー、 world renown (among his exhibitions イタリア・リグーリア州生まれのモレノ・フェ mention must be made of Carrefour ラーリとのコラボレーションである。デザイン de la création, at Centre Pompidouの世界に入り込んで企画をするSERIO は、 Paris, and Safe – Design Takes on risk, 通常のファッションシステムの軌道には乗ら at MoMa, New York). Projected into ず、メンズウェアに新しい美的感覚の定義を the world of design, SERIO no longer orbits the fashion system and creates a 創造する。 new aesthetic definition of men’s wear. SERIOは、 ミラノプロジェクトの会場であり、 SERIO was presented at the latest ediモレノ・フェラーリの二つの作品が tion of the International Furniture ExPermanent Design Collectionに展示され hibition at Milan Triennale, the venue ているミラノ・トリエンナーレの直近の家具 for Milano project, where two works by 展示会でお披露目された。哲学者、アルド・ Moreno Ferrari are on show at the Perコロネッティの定義を借りれば“ボディのた manent Design Collection. Not a simple installation, but, as the philosopher Aldo めの建築 ”であるシンプルでないインスタ Colonetti defines it, real ‘architecture for レーションは、デザイナーが意図する“ 物事 the body’, which enables the designer to をどのように成すかを知ること”、言い換える とデザインを基礎とするメンズファッション emphasise how important it is ‘to know において真の歴史的価値が如何に大切な事 how to do things’, a true historical value であるかを強調している。モレノ・フェラーリ for design-based men’s fashion. To deにとってデザインする事は、それぞれ違う場 sign, for Moreno Ferrari, means to make 所の言語や経験を統合させる事を意味する。 a synthesis of languages and experiences from different places. The concept on which SERIO is founded involves a cross- SERIO が 礎とするコンセプトには、素材、 テクニック、生産方法をお互いに交差させる ing of materials, techniques, productive 事が含まれている。風雨を防ぐ外観は、落ち methods: anti-rain and anti-wind out着いた基本的なスタイルで創られ、内側の er materials create a sober and essential style, whereas the skilfully laid out of 巧みな設計はミリタリーの世界から発想のヒ ントを得たもので、凝った造りのディテール interiors takes inspiration from the milは、革新的な技術を利用し再度創り直され itary world, its rich details drawn from たものだ。 tradition and reinvented through innovative technology. A virtuous combination of craftsmanship 職人の匠の技と革新技術の高潔なコンビ ネーションを貫くSERIO は、伝統の中から and innovation, SERIO is a brand that 新しい要素を引っ張りだし、イタリアの生産 can recover new elements from tradi業に新しい想像力に富んだ可能性を与えて tion and give the Italian industry a new いるのである。 imaginative potential.

International Furniture Exhibition @ Triennale - Milan

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

Mug Magazine issue 23, year XIII

“Goods for Intelligent Lifestyle”



SBAIZ CONCEPT STORE — This is the concept behind the new Sbaiz store, which is also making its on-line debut with a new e-commerce site. The famous Sbaiz store of Lignano Sabbiadoro has expanded its offering and set up a series of corners. The homeware corner features the Vitra, Kartell, Fornasetti, Mimmo Rotella and Fish Design brands; the high-tech entertainment corner Bang & Olufsen, and the cosmetic and perfume corner Tom Ford. The eyewear corner is the first in Italy dedicated to Linda Farrow, and hosts the complete collection (Kris Van Assche, Agent Provocateur, Oscar De La Renta, Jeremy Scott, etc.). Work is ongoing on hair-style and flower-design corners too. The new store also boasts an extended fashion designer brand list that includes Gareth Pugh, If Six Was Nine, Issey Miyake, Junya Watanabe and Yohji Yamamoto. The art gallery on the second floor confirms that the store’s commitment and interest in art will continue, along with the important and valuable patronage that Sbaiz has provided for over twenty-five years. The new interior is designed to host temporary shops, events, start-up projects and joint events with partner brands in a flexible and constantly

evolving architectural setting. The idea behind the store’s transformation came from Walter and Marinella Sbaiz (Art Director and Sales Director of the Sbaiz Concept Store) who have many years of retail experience and are great believers in A. Toffler’s proposition that “Change is not just necessary for life. It is life!” especially in the digital age. Their objective was to create a path of exploration and discovery for customers, and to make shopping a seductive personal experience. The result is a concept store packed with enough stimuli and suggestions to satisfy a whole world of expectations.


Mug Magazine issue 23, year XIII

Mug Magazine issue 23, year XIII

これが、今回新しく生まれ変わり、新しく e コマースサイトでオンラインデビューをする 新しいSbaizストアのコンセプトである。 リニャーノ・サッビアドーロにある有名老舗店、 Sbaizストアは、独立したコーナーをシリーズ で設け、取り扱い商品数を拡大させた。 ホームコーナーでは、Vitra、Kartell 、 Fornasetti、Mimmo Rotella、Fishdesignを、 ハイテク・エンターテイメントコーナーでは、 Bang & Olufsen、コスメ&フレグランス コーナーでは、Tom Fordといったブランドを 取り扱っている。 アイウェアコーナーでは、イタリア初となる Linda Farrowの全コレクション ( Kris Van Assche、Agent Provocateur、Oscar De La Renta、Jeremy Scottなど)を取り揃えて おり、加えてへアースタイルとフラワーデザイン コーナーもまもなくお目見えする。ファッション デザイナーの取り扱いブランドも増え、 Gareth Pugh、If Six was Nine、Issey Miyake、Junya Watanabe Comme des Garcons、Yohji Yamamotoなど充実のライ ンナップである。 2階のアートギャラリーは、Sbaiz が 25年以上 に渡り、奨励してきたアートの重要性と価値と 店舗との関わり合いや興味を確信する事の 出来るスペースである。 一新されたインテリアは、期間限定ショップ、 イベ ント、プロジェクトの発足、ブランド・ パートナーとの共同イベントなどに利用でき るよう、フレキシブルかつ絶えず店内セッティ

ングを変化させながら進化できるデザインと なっている。 こうした店舗改装のアイデアは、ヴァルター・ スバイツとマリネッラ・スバイツ ( Sbaiz Concept Storeのアートディレクターとセールスディ レクター) の二人の考えから実現した。 長年の店舗経営の経験、そしてアルビン・トフ ラーの“変化は人 生に必要なものというだけ でなく、人生そのものである!”という言葉の 熱烈な支持者である二人、特にデジタル時代 に生きる二人ならではの発想である。 二人の目的は、ショッピングが私的で魅力的 な出来事になるように、お客様が探索して発 見できる道筋を創ることだ。その結果が、 ワクワクする気持ちを全て満足させてくれる、 刺激と暗示に満ちたコンセプトストアとなった のである。



Mug Magazine issue 23, year XIII



When fashion merges with design and relies on craftsmanship the outcome is extremely refined, elegant items. A renowned, famous maison collaborated with a great designer to make our domestic life more attractive and functional. The protagonists were Hermès and Philippe Nigro who have together conceived and created “Les Nécessaires d’Hermès”.

It is a collection of eight elements essential for home life used to carry out daily actions like sitting, relaxing, storing or hiding the objects of our everyday life. The project specifically consists of a bench with hidden drawers, a pouf, side tables, clothes hangers and decorative screens realised thanks to Nigro’s harmonious combination of sophisticated craftsmanship and valuable materials. The tradition of cabinet-making, of walnut warm shades and brushed steel combine with the refined elegance of the fabrics selected from the French Maison’s rich archive. Hermès and Nigro’s objective is to make our home at once elegant, efficient and practical.

The collection made its debut at Milan 2013 Salone del Mobile (Furniture Show) within a home-focussed installation at once scenic, sophisticated, and sumptuous. Seven structures, seven raised cubes that stand for as many home interiors were the ideal frame for Nigro’s furniture. What the designer wanted to convey was the idea of actual home interiors where Les Nécessaires d’Hermès shine and seize our life. The Studio David Chipperfield Architects collaborated with Valentino on the decoration of his Los Angeles, Milan, New York and Paris boutiques. This collaboration is also based on the idea that craftsmanship brings about a revolution in the traditional architecture of an exhibition space to make it refined and up-to-date. Totally different in quality was the collaboration between Versace Home and The Haas Brothers for the creation of objects for the house characterised by the unmistakable Versace luxury.

Mug Magazine issue 23, year XIII

コレクションは、家庭での暮らしで毎日行わ れている動 作、例えば 座る、リラックスする、 日用品を収納する、または覆い隠すといった 事など八つの不可欠なエレメントで構成され ている。 プロジェクトは、隠し引き出しの付いたベン チ、厚いクッション、サイドテーブル、ハンガー ラック、デコラティブなパーテーションで明 確に構成され、ニグロの手による洗 練され た熟練技術と価値のある素材との調和のと れたコンビネーションがはっきりと見てとれ る。伝統的手法に乗っ取り製作されたキャビ ネットは、クルミの木で出来た暖かい色合い で、艶消しされたスチールと上品なエレガン スが 漂うHermèsの膨大なアーカイブから 選択された生地とを組み合わせている。 Hermèsとニグロの目的は、私たちの家を瞬 時にエレガントに、効率的に、そして実用的 に変える事である。

コレクションは、ミラノサローネ 2013(ミラ ノ国際家具見本市)において、家の内部に 焦点を置いたリアルで洗 練され 豪華なイン スタレーションでデビューを果たした。七 つ の構造物、すなわち七 つの持ち上げられた 立 方体は、ニグロの家具を組み合わせた七 つの理想的なホームインテリア例を意味し ている。デザイナーは、Les Nécessaires d' Hermès の家具が、日常生活の中で輝き 溶け込んだ実際のホームインテリアを見せる 事で、そのアイデアを私達に伝えたかったの である。 デヴィッド・チッパーフィールド建築スタジオ は、Valentinoとロサンゼルス、ミラノ、ニュー ヨーク、パリのブティックのデコレーションに おいてコラボレートした。このコラボレー ションはまた、職人の熟練技は伝統的な建 築物内部の展示スペースに大変 革をもたら し、洗 練された最先端のスペースに蘇らせる 事が出来るというアイデアに基づいている。 全く異質の特性を持つのは、Versace Home とHaas Brothers によるコラボレーションで ある。紛れもなくVersace の贅沢な世界を 反映させた住居用のオブジェを創り上げた。

ファッションがデザインと融合し、職人の熟 練技に全幅の信頼を寄せる時、文句のつけ ようのない素晴らしく洗 練されたエレガント なアイテムが出来上がる。名高い一流メゾン と、偉大なデザイナーが、私たちの家庭での 生活をさらに魅力的で機能的にするために タッグを組んだ。名高い 一流メゾンの Hermèsと偉大なデザイナーのフィリップ・ ニグロは、構想段階から協力し、 “ Les Nécessaires d' Hermès ”を創造した。


アーティスト の目的は何 でしょう? 120

Mug Magazine issue 23, year XIII

Art —


It should become a profession. It takes time, discipline and rules to understand contemporary art; it often appears hardly comprehensible, or too complex to be interpreted without any explanatory aid. Why did an artist conceive and realise a given work of art? What did he want to convey through a creation, a story, or by capturing a certain aspect of life? Was he urged by profit or by artistic aims or by both? Contrary to what is commonly believed, however, it is not always difficult to understand an artist’s motives.

それは結局、プロになれと言う事だろう。 現代アートを理解するには時間、修養、ルー ルが求められ、それは時に、把握が困難な、 説明などの援助なしでは解釈に詰まる複雑 なもののように思われる。

では、なぜアーティストは、着想を得て芸術 作品を完成できるのだろうか? 創造やストー リーを通して、人生のある特定の局面を捕ら える事により、何を伝えたいのであろう? 利益か芸術的意図なのか、またはその双方で あるのか? 一般的概念を覆し、アーティスト の動機を理解することは、しかし、実はさほ ど困難なことではない。

Mug Magazine issue 23, year XIII


art —

P183 aka Pavel 183 aka Pasha 183 aka Pasha Andropov —

ストリートアートの使命とは、人々とコミュ ニケーションすることであると考えれば、 2013年4月2日に30歳で夭折する日まで、 全く日の目を見る事のなかった、ロシア人 ライター P 183によるデザインとクリエー ションは、その日を境に、私たちに残され た作品の意味を熟考させる機 会となった ようだ。 地下鉄の非常口に並ぶ防護盾に抵抗し、 防護盾に警官を描くことを決めた彼の行為 の目的は、今日のロシアの社会包囲体制を 同胞に認識させる事であった。そして、電気 ポールを使い雪上に一 組のメガネを創作し た時には、過ちにより右寄りとなり真実から 虚偽が映し出される装置を媒体に、再び同 胞へ警鐘を示した。 P 183 が描いた主人公たちの煌めき、生へ の強烈な意志、内包された悲しみ。モスク ワ市民は、それらのメッセージを永遠に忘 れることはないだろう。

ph. P183

Taking for granted that the mission of street art is to communicate with people, the designs and creations of the Russian writer P 183, whose death at about 30 years of age on April 2nd 2013 has to this date remained unaccounted for, offered viewers an opportunity for reflection. When he decided to design a few policemen in riot gear, sticking to their shields on the subway exit doors, it was to make his fellow countrymen aware of the social state of siege in today’s Russia. Moreover, when P 183 designed a pair of glasses on the snow by using an electricity pole as a side-piece he meant to provide his fellow countrymen with an instrument to tell right from wrong, falsehood from truth. A message for Moscow citizens who will never be able to forget the glance of the protagonists of P 183’s drawings, their intense will to live combined with a hint of sadness.


art —

Mug Magazine issue 23, year XIII

Argo By Ben Affleck Usa —

the director takes no interest in judgements or good feelings, but simply reports the bare facts

This work of Ben Affleck’s, which was on at the cinemas world wide in the second half of 2012, is a clear example that enables us to understand the motivation that lies behind an artist’s work, a film director’s work in this case. The film is about the occupation of the American embassy in Teheran, Iran, after Khomeini seized power and his regime led to an open anti-American policy. Eight American embassy officials manage to get away and find refuge at the Canadian Embassy. Tony Mendez, a CIA official acted by Affleck, on the pretext of shooting a science fiction film in the Iranian capital, tries to take the eight getaways back to their home country. As can be easily understood the film’s focus is neither on winners nor on losers; the director takes no interest in judgements or good feelings, but simply reports the bare facts and concentrates on the various episodes of the story. Affleck aims at illustrating a glorious episode in the history of the USA, and by telling how the CIA achieved a positive result the director becomes an intellectually poised interpreter of his country’s history, focusing on the theme of the Americans’ attachment to their own triumphal history, a favourite one with his fellow countrymen, which couldn’t but mean guaranteed box-office takings.

2012 年後半、世界の映画界を圧巻した ベン・アフレックのこの作品は、アーティスト の生業、この場合は映画監督の仕事の背景 にある動機について理解するヒントを示す 明確な例である。 作品は、権力を掌中に反米体制を先導する ホメイニ政権下のテヘラン(イラン)のアメリカ 大使館占領を期に、8人の大使館職員がカナ ダ大使館に逃亡避難するシーンから始まる。 監督自身が演ずるCIA職員トニー・メンデス は、イランの首都でのSF映画撮影を口実に、 8人を母国へ送還する一計を案じる。 ここでは、焦点は勝者でも敗者でもないこと が明らかであり、監督の関心は審判にも好 感を得ることにもなく、単に裸の事実を様々 なエピソードとともに伝えることに集中してい る。アフレック監督は、米国の歴史上の輝か しいエピソードを例証することにより、いかに CIAが肯定的結果を勝ち取ったかを描いた。 栄光の歴史に対する国民の忠誠心をテーマ に、米国の歴史を語る知的でバランス感覚を 備えた通訳者として、すなわち一同胞として この作品を製作し、何ら興業収入を意識した ものではなかったのである。

Mug Magazine issue 23, year XIII



art —

Mug Magazine issue 23, year XIII

Match Kunst at Deutsche Bank KunstHalle, Berlin —

The last piece of our analysis is a talent show on art promoted by Berlin Deutsche Bank. 2135 artists contributed their works, but only 345 had the pleasure of taking place in the exhibition in the bank’s KunstHalle, precisely for 24 hours between the 8th ad the 9th of April. About 6000 visitors attended the venue and voted to choose the winner. This is perhaps the best example to understand the efficacy of an artist’s work and its power to communicate. We don’t know precisely on what grounds the viewers made their choice; they may have considered how spectacular the work was and how charming its details, yet the artist’s conceptual clarity must have been decisive for the voters’ choice. The more numerous the works at an exhibition, the more important it is for each single work to be clear and effective. 分析の最後は、ドイツ銀行ベ ルリン支部が 推進する、応募者2135人の中から選考された 345人のアーティストだけが参加する事が出来 る芸術タレントショーだ。同行クンストホール で4月8日から24時間限定で催される展覧会 では、約6000人のビジターによる当日の投票 で受賞者が選ばれる。 恐らくこれは、アーティストの作品とそこから 溢れるコミュニケーションパワーの有効性を 理解する最良の例だろう。各ビジター投票者 の選 択の根 拠は他者に計り知る事は出来 ない。時にその根拠は、作品の壮観さやディ テールの素晴らしさであるかもしれないが、 作者の断固とした概念がカギとなることは 明白である。会場の作品数が多ければ多いほ ど、作品の意図がわかりやすく、印象的である ことが、さらに重要となるのである。

ph. Mathias Schormann © Deutsche Bank KunstHalle

Mug Magazine issue 23, year XIII



art —

Mug Magazine issue 23, year XIII

Three Sisters, Directed By Wang Bing, China —

Mug Magazine issue 23, year XIII

The aim of the Chinese documentarist Wang Bing is a bit different from Affleck’s. His neutral, cool, impassive but involving attitude won The Three Sisters a prize as Best Film in the section Horizons at the 69thVenice Film Exhibition. However, the director does not want to tell us about Chinese history. The three sisters in the title are three 4, 6 and 10-year-old little girls living in Yunnan, a poor and deprived Chinese region, who literally survive day after day living by themselves in that their father works far away from them. Wang Bing wants to document this universe with an eye that sees and reports without inventing. This is precisely what viewers find fascinating, because they understand that the author wants to document a different aspect of China in a realistic, truthful way. Bing wants to narrate a true story, without judging or condemning, through strong, intense images. 中国のドキュメンタリー映画監督ワン・ビンの 意図は、ベン・アフレックのそれとは、やや異 なっている。ニュートラルでクール、冷静なが ら含みのある姿勢。彼の作品“三姉妹〜雲南 の子” は、第69回ヴェネチア映画祭オリゾンティ 部門でグランプリを受賞した。しかし、監督 は、中国の歴史を語ることを好まないようだ。 作品の主人公は、貧しく生活水準の低い雲 南省に住む4歳、6歳、10歳の幼い三姉妹で、 出稼ぎで不在の父から遠いこの地で支え合っ て日々を生きる様子が描かれている。ワン・ビ ン監督は、でっち上げの存在しない、そこにあ るそのままの世界を伝えることを望んでいる。 それにより観客は、中国の別の側面を現実的 かつ忠実に伝えたいという物語の作者の意図 を理解し、この映画に魅せられるのである。 監督は、審判や非難をせず、強くインパクト のある映像を通して、淡々と真実を伝える事 に専念している。



Mug Magazine issue 23, year XIII

art —

Nguyen Thanh Hai, Aka Maika Elan, Vietnam —

What can be the aim of a photographer who portrays Vietnamese young and elderly gay couples? What may viewers understand as they watch the images of The Pink Choice, the photo collection by young Maika Elan, recently awarded First Prize in 2013 World Press Photo, in the Contemporary Issues section? Born in 1987 this very young Vietnamese Photographer graduated in Sociology and decided then to focus her research on the personal life of Vietnamese gay couples, through photos that portray their daily life. Among others two men washing each other, two women relaxing on their bed, the loving attitude of a couple of young men, two women making love to each other. Scenes of relationships from everyday life. Viewers immediately focus on Maika’s choice to represent love, for, as her portraits show, homosexuality is today accepted all over the world, but it must be remembered that it is essentially love.

青年と初老のゲイカップルの人物像を撮るベ トナム人写真家の意図とは何だろう? 先頃、 ワールド・プレス・フォト 2013 のコンテンポ ラリー部門において一 等を受賞した、若きマ イカ・エランの作品集“ザ・ピンク・チョイス” を、見る側はどう理 解したのだろう? 198 7 年生まれの若き写真家は、大学で社 会学を修めた後、ベトナム人ゲイカップルの 私的生活を撮ることを介して、自身の研究を 継 続 する決心をした。大勢の中で二人の男 性 が互いの体を洗い合っている場面、二人 の女性が 一つのベッドでリラックスしている ひと時。若い男性カップルの愛情表現や女 性カップルの愛し合う様子などである。 それぞれのカップルの愛情溢 れる仕 草が 印象的な日常生活のひとコマが、観賞者の 視 線をマイカが 描く愛ある世界 へ 即座に 集 中させる。彼女の作品が 物語るように、 今日、世界中で受け入れられている同性 愛 は、本質的な愛の形だと記憶されるべきで ある。

ph. Maika Elan

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII

art —


Dreamy greenland is a paradise, an oasis where nature triumphantly thrives. All the shades of green pervade the territory a perfect match for the bright, lively colours of flowers.

Dreamy greenland(夢のような牧草地)は、 自然が勝ち誇るように支配する、楽園であり オアシスである。その領域は緑の木陰が辺り 一面に行き渡り、明るく生き生きとした色の 花と完璧にマッチしている。

This is Dreamy greenland, 2013, the latest work by Akihiro Furuta, a Japanese photographer born in 1970. His photos offer images of vegetable life immersed in a dreamlike, oblivious, incredible atmosphere. Furuta, in fact, has always created images half way between the fantastic and the real, two elements perfectly expressed by Dreamy greenland. By playing on in focus and out of focus images, Furuta creates the sensation we have when we awake, when we shift from unconsciousness into consciousness. Furuta frames thriving nature, but the surrounding area is out of focus, as if perceived in a dream, and this is precisely what Furuta wants to convey. What we feel while watching the photos of Dreamy greenland is that nature seems to be a metaphor of the rebirth that will follow the social turmoil in the world of today.

Dreamy greenland は、1970 年生まれの 日本人フォトグラファー、古田晃広の2013 年 の最新作である。彼の写真は、夢幻的で、 普通では気付かないような得がたい雰囲気 の世界に浸っている植物の生命を写し出して いる。実際、古田は、空想と現実の境界線上 にあるイメージを創作してきた。そしてその 2 つの要素は、Dreamy greenland の中でも 完璧に表現されている。イメージにピントを 合わせたり、故意に合わせなかったりを利用 する事により、古田は、私たちが目が覚めた 時に、無意識から正気に切り替わる際に感じ る感覚を創作している。古田は、繁栄する自 然を被写体と捉えているが、まるで夢の中に でもいるかのように、被写体の周りの領域は ピントが外れている。しかし、これこそが古 田が写真を通して伝えたいと思っている事 だ。Dreamy greenland の写真を見て私たち が感じる事は、自然は今日の世界の社会混 乱の後に訪れる、再生や復活の隠喩である ようだ、という事だろう。

Mug Magazine issue 23, year XIII

I saw a dream, I've been watching by odd-looking plants in quiet forest. I felt it eerie than misterious. I was relieved when I woke up and found usual scene in my room. But I also felt like wanted to go that quiet forest in my dream. Though I can't visit I want to reproduce it in my photo.



Mug Magazine issue 23, year XIII


TRANSCENDENTAL BESTIARY — Silvio Merlino - Tobia Ravà

From September to late November 2012 Lazzari Space was the venue for “Transcendental Bestiary”, a collective exhibition of the painter Silvio Merlino and the sculptor Tobia Ravà, edited by the painter Francesco Stefanini. Francesco Stefanini himself defines Merlino as a painter-narrator whose combinations form-content must never be taken for granted. Merlino’s domain is all that can prove surprising and original. In particular, when he speaks about his works, the painter leads an interlocutor into his ancestral depths and guides him into abysmal areas of knowledge. Then, the moment the interlocutor seems to find his way, Merlino suddenly takes him by surprise and wrong-foots him with unpredictable diversions. The world of Tobia Ravà’s figures is created through a wide range of experimental techniques and pop style images. His animals change their skin and are covered with signs and figures, for Tobia Ravà has studied in depth Gematria and Kabbala both of which are a symbolic approach to the interpretation of the universe and its creation. His choice appears evident as behind his pleasant images he always conveys a deep, subtle, mysterious message, at once spiritual and subliminal.

2012 年9月から11月後半にかけて、画家 フランチェスコ・ステファニーニによって編集 された、画家シルビオ・メルリーノと彫刻家 トビア・ラヴァの集合展“ Transcendental Bestiary( 抽象的動物寓話展)”が Spazio Lazzari で開催された。 フランチェスコ・ステファニーニは、表現 形 式や意味の組み合わせは特異なものに違い ないと思わせる作品を創るメルリーノの事 を、画家ナレーターとして彼 独自に定義して いる。メルリーノの棲む領域は、すべて驚異 的でオリジナルであると証明できる。特に、 彼が自分の作品について語る時、まず会話 の相手に彼の祖先の話の深みへ 導き、それ から彼の測り知れない知識の分野へと連れ て行く。だがその後、相手が理解を示したと 思えた瞬間、メルリーノは、今度は突然の予 測不能の方向変換で相手を別の方向へと 連れて行ってしまう。トビア・ラヴァの彫像の 世界は、広範囲の実験的技法 およびポップ スタイルのイメージを通して創作されている。 トビア・ラヴァは、ゲマトリアやカバラを徹底 的に研究し、両者は宇宙とその創造の解釈 への記号的接近法であると考えている。そう 考える彼が創る動物の皮膚はサインや模様 に変えられ、全体を覆っている。楽しいイメー ジの背景に潜んでいるのは、彼が作品を通し て常に伝えようとしている、奥が深く微妙で 神秘的なメッセージと、精神的で潜在的な何 か、が明白に現れている。

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII


PARAJUMPERS MEETS HEIDELBERG PROJECT — - For the FW 2012-13, Parajumpers has decided to support the Heidelberg Project in an attempt to save the future of the people involved through art… The result was a collection of photos taken in wonderful Heidelberg Street, Detroit, on show at Lazzari Space early in 2013 to present the items of the Italian brand and to show that the power of art can lead to radical change.

Parajumpers は、FW 2012 -13のシーズン に、アートを通じて人々の将来の救済を試 みるハイデル ベ ルグプロジェクト( HP)を サポートすることに決めた。その結果が、 デトロイトにある素敵なハイデルベ ルグ・ ストリートで撮った写真のコレクションであ る。これらの写真は、Parajumpersのアイ テムの披露に伴い、2013 年初めに Spazio Lazzari で展示され、アートが人の根本的 な変革に作用する力の大きさを証明した。

Heidelberg Project is a non profit organisation located in Heidelberg Street, Detroit, aimed at promoting the arts as a means to save the city. Born from an idea of Tyree Guyton, HP gathers in two blocks the works of several artists who work mainly with materials found in dilapidated buildings or with discarded objects like clothing, cars or wood and iron bits. The result is a museum in the open air where the children of the district play, learn how to recognise art works and help the artists create and maintain works.

ハイデルベルグプロジェクトは、デトロイト のハイデルベ ルグ・ストリートを拠点とする 非営利団体で、アートを振興することにより 都市の救済を目指している。H Pのアイデア は、タイリー・ガイトンから生まれた。 彼は、数人のアーティストが主に廃 屋で見 つけた物や、廃棄された衣 類や車 、木材や 鉄屑などを素材として制作した作品を、 2 つの区画内に集めた。それが結果として 野外の美術館となり、子供達の地域の遊び 場となった。子供達は、常にアート作品を 目にする環境の中で、アートを認識する方 法を自然と学習する。それはまた、アーティ ストの創作活動や、作品のメンテナンス作 業の為の新たな力となるのである。

Mug Magazine issue 23, year XIII



Mug Magazine issue 23, year XIII


RAPHIA, THE GLOCAL CHAIR — by Casamania. Designed by LucidiPevere studio

In April 2013 the exhibition season at Lazzari Space continued with the preview of Raphia, the new chair made by Casamania. Designed by LucidiPevere studio, the chair will be on show at next International Furniture Show, Milan. Born from a research project on the use of materials in the creation of furniture, Raphia is a combination of modernity and tradition, of technology and craftsmanship. The combination merges the two souls of the production connected with the Italian territory: the metal industries and the small firms that manufacture rattan wicker items. The exhibition opened with an installation and a choice of images focussed on the project selections, and continued in the inner yard of the Space with the exhibition of a wide range of coloured chairs. Raphia embodies at once history, tradition and modernity through the balanced use of two materials: the metal of the frame and the rattan wickerwork which makes up the seat of the chair.

Mug Magazine issue 23, year XIII

2013 年 4月の展示シーズンに、Spazio Lazzariでは、カーサマニアによって作られ た新しい椅子、 “ Raphia”のプレビューを続 行した。LucidiPevere Studioのデザインに よるこの椅子は、次回のミラノサローネ(ミラ ノ国際家具見本市)でも披露される。 家具製作で使用する材料の研究プロジェクト から生まれたRaphiaは、現代性と伝統、そし て技術と職人技の組み合わせから出来てい る。そこには、イタリアの金属工 業と、籐小 枝の細工品を製造する小規模企業の、それ ぞれに流 れる2 つの製造業の魂が繋がり 融合されている。 展示はまずインスタレーションから始まり、 それから製造工程に焦点を当てた写真へ、 そして広範囲のカラフルな椅子を展示した 店内の 一 角へと繋がっている。Raphiaは、 フレーム部分の金属と、座席部分の籐枝 細 工の、2 つの素材の間に保たれた良いバラン スを通して、歴史や伝 統と現代性とのバラ ンスを具象化している。




Mug Magazine issue 23, year XIII

SMELLING — Lena Brombacher

Etro Rajasthan Voilà, the new Rajasthan by Etro. I have been waiting for a long time to experience the Italian interpretation of India. I thought I would get an oriental perfume, of course, and was really surprised when I smelled something so delicate and shy. Soft, clean, powdery – it seems as if they have even added some ambroxan which I can only smell the next day. The rose is slightly sour, similar to Chloé, mixed with lemon and mimosa. The pink pepper adds a little spiciness but only as much as pink pepper is able to reveal in general. Somewhere hidden I sense a sandy wood. Amber and labdanum may sound oriental, but they are added sparingly. Hours later I can still smell some sugar with a hint of vanilla. When I smell Rajasthan I rather picture a European beauty lying in the middle of nowhere at the poolside of a luxurious desert resort. Rajasthan is an absolutely wearable scent for the daytime in summer. Notes: lemon, Rosa damascena, mimosa, amber, white musk, pink pepper, labdanum, acacia

Etroの新フレグランス“ Rajasthan”。私は 長い間、イタリアのブランドがインドを解釈 して作ったフレグランスを使う機会を、興味 を持って待ち望んでいた。東洋の香りを持つ フレグランスを当然想像していた私は、その デリケートでやや内気な香りに驚かされてし まった。柔らかくてピュアで儚い。それはまる で、翌日にしか香らない数滴のアンブロキサ ンを足したかのようだ。ローズは、ほんの少 し酸味を感じ、Chloéに似てレモンとミモザ をミックスした香りである。ピンクペッパーを ほんの少し加え、スパイシーさが全体にほん のり香る程度に留め、どこからかサンダルウッ ドの隠れた香りを感じる。東洋っぽい響きの アンバーとラブダナムの香りが、遠慮がちに 添えられ、数時間経っても、まだバニラのよう な甘い香りを感じる。 Rajasthanの香りを感じる時、砂漠の真ん中 にぽつんと建つ豪華なリゾートホテルのプー ルサイドで寛ぐヨーロピアンビューティを思い 浮かべる。Rajasthanは、まさしく夏の日中に まとうべきフレグランスである。 ノート:レモン、ダマスクローズ、ミモザ、アン バー、ホワイトムスク、ピンクペッパー、ラブダ ナム、アカシア

Diptyque L’Eau Trente-Quatre On the occasion of its 50th anniversary celebration in 2011 Diptyque launched 34 Boulevard Saint-Germain. Named after the address of the first Diptyque boutique in Paris the unisex scent presents a mixture of green notes, spices and a woody base. I smell geranium and finest suede and think it is a very delicate scent for men. Perfumer Olivier Pescheux created a soft spring melody with citrus notes like bitter orange, lemon, grapefruit and verbena in combination with spicy nutmeg and cinnamon on a base of incense, patchouli, moss and musk. The result: A great citrus scent with longevity that doesn’t drown in the quicksand of thousands of other citrus scents. Notes: bitter orange, lemon, verbena, grapefruit, lavender, juniper berries, nutmeg, cinnamon, geranium, tuberose, musk, patchouli, incense, cedar wood, cistus

50周年記念の祝典を機に、Deptyqueは 2011年、 “ 34 Boulevard Saint-Germain”を 発表した。パリの第一号店の住所に因んだ 名を持つユニセックスのフレグランスは、 グリーンノート、スパイス、ウッディーがミックス された香りがベースになっている。ゼラニウム と最高級スエードの香りだが、男性にはかな り繊細な香りだろう。調香師オリヴィエ・ペ シューは、インセンス、パチョリ、モス、ムスク のベースに、スパイシーなナツメグとシナモン が、ビターオレンジ、レモン、グレープフルー ツ、バーベナからなるシトラスのノートが出会 い、奏でる、柔らかな春のメロディーを創作し た。こうして出来上がった長く持続する気高 いシトラスの香りは、ほかの数あるシトラスの 香りの流れに引き込まれる事などない。 ノート:ビターオレンジ、レモン、バーベナ、 グレープフルーツ、ラベンダー、ジュニパーベ リー、ナツメグ、シナモン、ゼラニウム、チュー ベローズ、ムスク、パチョリ、インセンス、 シダー、シトラス

Mug Magazine issue 23, year XIII

Chanel Coco Noir The day of Coco Chanel’s birthday, August 19th, Chanel launched its new flanker Coco Noir in an elegant, amazing black vial. For me Coco Noir smells less like the deep oriental Coco as than the romantic Coco Mademoiselle. It could also have been named Coco Mademoiselle Eau du Soir. The Coco devotees will be rather disappointed, I guess. Coco Noir is sensual and yes: sweeeet. On a blotter Coco Noir is very intensive, on skin there has been written a lot concerning longevity. It works for me: even the next day I can smell Coco Noir everywhere – on my skin, on my clothes, in the apartment. It’s a statement. To be honest, I expected something completely different, but I am not disappointed. Notes: grapefruit, bergamot, pink pepper, jasmine, rose, narcissus, geranium leaves, vetiver, sandalwood, patchouli, frankincense, vanilla, tonka bean, musk

Serge Lutens Tubereuse Criminelle ココ・シャネルの誕生日の8月19日、Chanel は、新しく仲間に加わったフレグランス、エレ ガントで素敵な黒い小瓶に入った Coco Noir を発表した。私の感覚でのCoco Noir は、 深いオリエンタルを思わせるCocoより香りは 弱く、ロマンティックなCoco Mademoiselle よりは香りが強い。Coco Mademoiselle Eau du Soirと呼んでも良かったかもしれない。 だが、Cocoの愛好者は失望するかもしれな い、と私は見ている。Coco Noirは官能的 で、そう、 ものすごく甘〜い。ブロッターでは、 Coco Noir はとても強烈で、肌にのせた時の 持続性について多くを書かれている。確かに 私にもそうだ。日付が変わっても、肌から、服 から、リビングから、Coco Noir はどこでも 香っている。これは宣言だ。正直なところ、 私は全く異なる何かを予想していた。けれど も私は、決して失望などしていない。 ノート:グレープフルーツ、ベ ルガモット、ピン クペッパー、ジャスミン、ローズ、スイセン、 ゼラニウムリーフ、ベチバー、サンダルウッド、 パチョリ、フランキンセンス、バニラ、トンカ ビーン、ムスク

This is by far the most bizarre tuberose scent I know and a supreme example for a love-it or hate-it fragrance. Is it an olfactory pain or just shockingly beautiful? The term 'criminelle' seems way too harmless for this beast, that sparks indolic jasmin, burns you off with a can of gasoline, shoots you down with moth balls while chewing bored on her Juicy Fruit bubblegum and washing down an overdose of Vicks VapoRub. „Bang, bang, I hit the ground…” Tuberose Criminelle needs to calm down like an Italian fury, time to show its feminine side, a waxy, buttery tuberose heart. After about ten minutes Tuberose Criminelle morphs out of its rubber shell. Past the outlandish top notes the fragrance gets a little bit more pleasurable. Orange blossom, jasmin, hyacinth and nutmeg reveal a certain warmth not without loosing the slight bubblegum note in the background. Now, I can believe that people get compliments for this perfume! Notes: jasmin, tuberose, hyacinth, nutmeg, vanilla, rubber, gasoline, moth balls, menthol, mint, bubblegum, leather

これは、私の知る中で、最も奇想天外な チューベローズの香りであると断言でき、好 きか 嫌いかがはっきり分かれる典型的なフレ グランスだ。それは、嗅覚の苦痛なのか、それ とも衝撃的な美であるのか? ヴィックスヴェポ ラッブの過剰摂取をフルーツ味のバブルガ ムでうんざりしながら口直しをしている間に、 インドールジャスミンで発火して、ガソリンで 焼き払い、モスボールで撃墜してしまうこの 獣を形 容するには、' criminelle( 犯罪者)' という言葉は、あまりにも無害なように思え る。 “バンバ ン、地面に命中だ!” Tubereuse Criminelleは、イタリア人の激情 のように穏やかになる必要がある。そしてそ れから、フェミニンな一 面や柔軟さ、チューベ ローズのハートを見せる時がやって来る。 10 分を経過した頃、この香水はラバーシェル に変身する。風変わりなトップノートが去れ ば、少しばかり心地良い香りが訪れる。オレ ンジの花、ジャスミン、ヒヤシンス、ナツメグ が、表に立たないバブルガムのノートを緩め る事なく、暖 かさを解放する。あぁ、これなら ば、この香水の称賛を私は信じられる! ノート:ジャスミン、チューベローズ、ヒヤシ ンス、ナツメグ、バニラ、ラバー、ガソリン、 モスボール、メンソール、ミント、バブルガム、 レザー




Mug Magazine issue 23, year XIII


Faema Espresso 1945-2010 by Enrico Maltoni The first (and only) book to tell the history of Faema, the most important coffee machine company since the 1950s, and the story of a successful man, founder Ernesto Valente an enlightened entrepreneur who established continuous modernization as the only rule for all his factories. The entire history, together with that of the technical innovations, the founder of Faema and the social changes and customs which swept across Italy at the time are illustrated with 500 images of which 300 previously unpublished, donated by the Valente family to Enrico Maltoni who used them to put together the beginning of the history. A journey through the history of customs and design only a keen enthusiast could write, and who chose to feature Faema’s first advertising campaign on the cover, the poster designed by painter, designer and advertising agent, Gino Boccasile.

1950 年代 以来、コーヒーメーカー製造の 基幹企業であり続けるファエマ社の歴 史と、 全製造工場での唯一のルールを近代化の促 進と定め成 功へと導いた、同社の創業者で あり、また優れた起業家でもあった、エ ルネ スト・ヴァレンテについて語られた最初(で 最後)の本である。 著者のエンリコ・マルトーニは、創業家の ファエマ家から譲渡された 300 枚の未発表 写真を含む 500 枚余りの写真と共に、技術 革新の変遷とともにあった同社の歴史、ファ エマ社の創業者、当時イタリア全土に吹き 荒れていた社会の変化や思想、風習などを 一 冊にまとめた。 ある時代の流行や風習、またデザインの歴史 の推移など、心底それに熱中している人にし か書けない。そして、ここでの著者は、著書の 表 紙に、広告エージェントで画家でありデザ イナーでもあったジーノ・ボッカシーレのデザ インによる、ファエマ社初の広告キャンペー ンポスターを選んだのである。

Frank Lloyd Wright: Graphic Artist by Penny Fowler While his contribution to architecture is universally acknowledged, until now Wright's graphic art has been largely overlooked. Author Penny Fowler discusses Wright's work in this area in the context of such art movements as Arts and Crafts, Bauhaus, and De Stijl. Fowler focuses on Wright's designs in books (The House Beautiful and An Autobiography) as well as his work on the Wasmuth Portfolio and his mural designs for Midway Gardens and the Imperial Hotel. Covers Wright created for Liberty magazine are also discussed, considered too radical a departure from the trends of his time to have been published. A succinct review of this important aspect of the architect's work, the ten chapters in the book are amply illustrated and carefully annotated. Exhibitions and publications are included in the last chapter. 144 pages, 132 color and black-and-white illustrations and photographs.

建築界での彼の功績は、普遍的に誰もが認め る所ではあるが、ライトのグラフィックアート のそれはどうかと言えば、大部分が今尚見過 ごされたままである。著者ペニー・ファウラー は、 アーツ&クラフト、バウハウス、デ・ステイル などの芸術運動という状況下での、ライトの グラフィックアート作品に関して本書で論じ ている。ファウラーは、 “ Wasmuth Portfolio” のリトグラフや、ミッドウェイ・ガーデンや 帝国ホテルの壁画デザインと同時に、 “ The House Beautiful and An Autobiography” に掲載されているライトのデザインに着目し ている。また、当時の出版物の風潮からはず れ、過激すぎるデザインであるとみなされて いた、ライト制作のリバティ誌の表紙デザイ ンについても議論されている。 建築家としてのライトの業績については、簡 潔なレビューに書かれており、全10章の中で は、丁寧な注釈付きの写真やイラストと共に 述べられている。彼の作品や出版物は最終 章にまとめられている。全 144頁で132 枚のカ ラーおよびモノクロのイラストや写真の入っ た一 冊である。

Mug Magazine issue 23, year XIII

この本は、歴史に基づいた知識、つまり現代 中国のファッションとファッション産業の民俗 学的な基盤と解釈に基づいた分析を述べて いる。中国の国家政治、市場の実勢相場、 地域社会と文化的要素、さらに国際政治経 済学と、中国のファッション産業の台頭、そ れにファッションを専門とする中国人の仕事 と人生との相互作用について考察している。

これらの写真の累積効果は、人々のいつも の都会の風 景の順 序を反転させる事であ る。人々にとって、木 はもはや 背景としての 役割だけではなくなり、人々の生活や建築 物は木々を基準に計画されるようになる。


ニューヨークの舗道や公園、共同墓 地に根 をおろす木。また、束縛もなくワイルドに育 っている木。周囲の環境に適応するため、 自ら幹をよじりながら成長する木がある傍ら で、品評会の為に剪定の鋏を入れられる木。 都市開発 が縄張りを浸食し、そして覆いか ぶさっても、ニューヨークの木々は驚異的に 成長し続ける。

Published By Steidl

いかにしてこの驚異的な変遷は起こったの か? 中国のファッション産業の成長は、ポス ト毛沢東時代の中国のいったい何を私たち に伝えるのか? 国内はもとより世界レベ ルで 劇的な変化を遂げるこの舞台では、どういう 役割を担うのか?

ミッチ・エプスタインの新作は、ニューヨーク 市に生息する特有の木々のシリーズ写真であ る。これらの写真は、都市生活における樹木 の存在の重要性を力説し、木々と人 間との 複雑な関係を写し出している。


Mitch Epstein’s new work is a series of photographs of the idiosyncratic trees that inhabit New York City. These pictures underscore the importance of trees to urban life and their complex relationship to their human counterparts. Rooted in New York’s sidewalks, parks, and cemeteries, some trees grow wild, some are contortionists adapting to constrictive surroundings, while others are pruned into prize specimens. As urban development closes in on them, surprisingly, New York’s trees continue to thrive. The cumulative effect of these photographs is to invert people’s usual view of their city: trees no longer function as background, but instead dominate the human life and architecture around them.

ほんの30年程前まで、中国では布地や衣類 を購入する際、政府発行のクーポンを使用し なければならなかった。いまや中国のファッ ション産業は、世界で最もダイナミックな 産業の 一 つとなった。増え続ける、見る目を 持ち出した国内市場への供給のみならず、 国際市場で販売された衣類全体の三分の一 の量をも供給している。

Isbn 9783869305813

Less than three decades ago, when the Chinese bought cloth or clothes, they would have had to use a government-issued coupon. Today the Chinese fashion industry is one of the most dynamic in the world - it not only supplies fashions to the increasingly discerning domestic market, but also provides one-third of the clothing sold in the global market. How did this phenomenal transition come about? What can the growth of the Chinese fashion industry tell us about the post-Mao China? What roles do the local and the global play in the dramatic changes? This book offers a historically informed, ethnographically grounded and interpretive analysis of contemporary Chinese fashion and the fashion industry. It examines the interplay of state politics, market forces, local social and cultural factors, and the global political economy, both in the rise of the Chinese fashion industry and in the life and work of Chinese fashion professionals.


New York Arbor by Mitch Epstein

© New York Arbor By Mitch Epstein

The Chinese Fashion Industry. An Ethnographic Approach by Jianhua Zhao


ph: raffaele crocetta concept: steven crosato

Diesel Kids store Treviso at la z z a ri w eb. i t / k i ds

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Mug Magazine #23  

Mug Magazine issue #23 - more stuff on