Mug Magazine #25

mug magazine – year 15 issue #25

BACK IN THE DAYS FAD THREE PRESENT AND FUTURE

Year 15 issue #25 – JULY 2015 A YEARLY MAGAZINE Spedizione in A.P. – 70% – DCI – TV registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

Free – Year 15 #25

photo: alessandromoggi.com

FIRENZE ROMA PARIS NEW YORK BEVERLY HILLS TOKYO HONG KONG TAIPEI SEOUL SYDNEY ILBISONTE.COM

Mug Magazine issue 25, year XV

3

EDITORIAL —

社説 Duemilaquindici - in un mondo in continua evoluzione, dove i costumi e i valori appaiono fragili e desueti, ripercorriamo la storia che ci ha contraddistinto all’interno del sistema moda il quale è sempre più ricco di appariscenti contenitori e povero di reali contenuti. Il desiderio di tornare alle origini ci porta a valorizzare ogni azione, rivisitando i canoni in un contesto proiettato all’agire in una forma di progresso fondata sul passato.

La contemporaneità, regolata dalla velocità e dalla fragilità, ha accantonato l’estetica soppiantandola col valore intrinseco, dove ogni fattore e ogni passaggio giocano un ruolo chiave. La riscoperta e la valorizzazione del saper fare, sia esso legato all’artigianato, alla tecnologia o all’arte, risulta l’iter per rilanciare la vita del singolo e della collettività.

Il desiderio di comunicare, informare e formare diventa il cuore del venticinquesimo numero di Mug Magazine, al cui interno è presente per l’ultima volta la sezione Back in the Days, nel quale ribadiamo i pilastri che caratterizzano il nostro progetto dalla sua nascita.

Cover: Kokusai-tenjijō-seimon

Two thousand fifteen – in an ever changing world, where customs and values appear fragile and outdated, we want to go back over the experiences that have characterized us within the fashion system, which is richer and richer in eyecatching containers but lacks substantial contents. Our desire to go back to our origins leads us to give actions a special value, to revisit the canons in a context based on acting with the belief that progress is rooted in the past.

Today’s world, dominated by velocity and fragility, has set aside aesthetics and has supplanted it with the concept of intrinsic value so that each factor and shift play a key role. The increased value and rediscovery of people’s know-how connected with craftsmanship, technology or art have become the way to bring about a new vital dynamism in individuals and society.

A desire to communicate, to inform and form is the very heart of the 25th issue of Mug Magazine which for the last time offers the section ‘Back in the Days’ where can be found the basic principles that have characterized our project from the very beginning.

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

4

Mug Magazine issue 25, year XV

MUG MAGAZINE 25 — Spotlight 6

Colophon 18 Back in the Days 19 Parajumpers 68 Trippen 72 Oxydo 75 Leather Crown 78 All Terrain 82 Fad Three 86 Isetan Living 90 Made in Used 94 #fashiontech Berlin 98 Max Mara 104 Alessia Xoccato 107 Candiani Denim 110 Martelli Lavorazioni Tessili 112 Isetan Salone 114 Nidaba 118

— ART & DESIGN The Merging Of Functions The Essence Of Japanese Design Art @ Lazzari

122 128 134

Present and Future

102

— SHOWCASE

19

— BACK IN THE DAYS

Fifteen 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.

86

— FAD THREE

The Japanese have designed clothing all along and by so doing they have realized creative reproductions of things that have long existed in people’s daily life, as the history of the Kimono testifies.

102

— PRESENT AND FUTURE

The present age is characterized by the creation of a number of containers that can influence the fashion, design and art markets. Similar to machines devoted to sales but lacking in contents, such containers are aimed at taking advantage of the current trends regardless of any project’s sustainability.

SINCE 1952

eastpak.com

6

NEWS —

SPOTLIGHT —

Mug Magazine issue 25, year XV

IMJIT35020 MANUFACTUS IMjiT35020 Manufactus, is an acronym for IMpresa jeans iTalia and 35020 zip code of Due Carrare in the province of Padua, where the company has been based since 1988. Within the laboratory/studio, which is specialized in the production of first quality handmade selvedge denim items, are packed jeans "Made in 35020". IMjiT35020 produces denim garments with refined fabric weights from 7.5 oz to 32 oz, using only natural fiber yarns. The production process is internal, every jeans needs about 60 manual stages by specialized artisans.

The studio offers a variety of Rare selvedge jeans from different cuts and fit as well as custom clothes.

STUDIOPRETZEL IMjiT35020 Manufactusという社名は、 IMpresa jeans iTaliaの頭文字と同社が 1988年より本拠地を置くイタリアのパドヴァ 県ドゥエ・カッラーレ地域の郵便番号である 35020 から出来ている。高品質のハンドメイ ド・セルビッジデニム製品を専門とする研究 所兼アトリエからは“Made in 35020”のタグ を付けたジーンズが出荷されていく。 IMjiT35020では、天然糸のみを使用した 7.5オンスから32オンスまでの洗練された デニムウェアを製造。どの型のジーンズにも 必要となる60余りの生産工程は、専門の職 人たちの手作業により、すべて自社内で行わ れる。アトリエでは、様々なカットやフィット から特注まで、多彩でレアなセルビッジジー ンズが製作されている。

imjit35020.com

Studiopretzel draws Inspiration from the customs and traditions of ancient Japan; Emiliano Laszlo's work is influenced by martial arts and Asiatic lifestyle. The designer develops soft lines and easy-towear clothes, sartorial cuts, completely “Handmade In Tuscany”.

The 'Black and White' collection, two opposite but not separate entities, is like a continuous exchange of clothes and tones between him and her, an easy and flexible fit, a true way of replacing the idea of two wardrobes, merging them together. Studiopretzel offers a bond between those two elements, defining each other.

デザイナー、エミリアーノ・ラズロが 描く Studiopretzelは、武道やアジア的ライフ スタイルの影響を受けた、古代日本の文化 や伝統 からのインスピレーションを形にし ている。彼は、ソフトなラインで着やすく、 テーラードカットが持ち味の賢明で完璧 な“Handmade in Tuscany”製品を制作し ている。まるで相反しつつも切り離せぬ存在 のような“Black and White”コレクション は、2 つの異なるワードローブのアイデアを 交換するような事、彼と彼女の間や、楽な服 とフィット性の高い服の間で起こるような、 日常に見られる服と雰囲気の交換のような 出来事をすべて融合したようなコレクション だ。Studiopretzel は、そういった確固たる 境界線を持つ 2 つのエレメントの間に絆を提 供してくれる。

studiopretzel.com

SINCE 1952

eastpak.com

8

Mug Magazine issue 25, year XV

THE ART OF PAINTING A HORSE: JOHNY DAR’S “HORSE WHISPERS” The art series “Horse Whispers” by Johny Dar pioneers a unique expression in art merged with the majestic beauty of the horse. Determined to take on the next challenge in his quest to offer original, inspirational artwork to a global audience, Dar decided to apply his unique hand-painted body art to a stallion, inspired by his personal love for horses.

The series was created with ‘Bada’ an Arabian stallion who was photographed in 12 different looks constructed under Dar’s creative direction. Dar’s “Horse Whispers” is a captivating and powerful fusion of art and nature. The photo series will be exhibited worldwide starting 2015 - exhibition dates published at www.johnydar.com 独特なアート表現の先駆者として知られる ジョニー・ダルのアートシリーズ“Horse Whispers”は彼の才能と荘厳たる馬の美 しさが見事に結合したアートである。独創 的で刺激的なアートワークを全世界の観衆 に届けたいと願う彼の探求は、ある時、次 なる挑戦を決意させた。彼は自身の馬への 愛情からインスピレーションを受け、彼独特 の手描きのボディー・アートを一頭の種馬 に施したのである。同シリーズはダルの監 督下で創作された12の異なるルックスのア ラビア馬、 “Bada”を写真に収めた、ダルと Badaとの共同作品である。ダルの“Horse Whispers”は魅力的、それと同時にパワフ ルであり、芸術と自然の融合である。

同シリーズ 写真は2015 年から世界各国で展 示予定。展示日程は、www.johnydar.comに てご確認を。

johnydar.com

PROMOTEDESIGN.IT ANNOUNCES WHAT'S NEW AT DIN 2016 Thanks to the great success of previous editions, Promotedesign.it presents Din - Design In once again. The event is dedicated to self-produced design, during the Fuorisalone in Milan, in the heart of Lambrate district.

During past editions more than 400,000 visitors visited the 8,000-square-meter venue set up with 2,500 items created by 500 designers from all over the world.

Din 2016, will keep showcasing quality self-produced design with interesting news and more events.

In order to participate and receive more information please send an e-mail to: fuorisalone@promotedesign.it 前回の成功を受け、Promotedesign.it は Din - Design Inを再度開催する事を決定し た。セルフプロデュースデザインを対象とし た同イベントは、ミラノ・フォーリサローネ 期間中にランブラーテ地区の中心部で開催 される。過去のイベントでは、8,000 平米の スペースに世界中から集まった500人のデザ イナーによる2,500余りのアイテムが展示さ れ、400,000人を超える来場者を記録した。 Din 2016 では、前回と変わらずクオリティー の高いセルフプロデュースデザインが、興味 深いニュースと多彩なイベントと共に披露さ れる。出展に関するお問い合わせと詳細は、 fuorisalone@promotedesign.it.までメール でご連絡を。

promotedesign.it

SINCE 1952

eastpak.com

10

Mug Magazine issue 25, year XV

ARRIVO ARRIVO is a project that reinterprets the masculine wardrobe inspired by the world of cycling '40s. Designed by Stefano Ughetti and Matteo Gioli, ARRIVO was born from a common passion for cycling and as tribute to their grandparents, celebrating not only the two wheels but also all those men of the Second World War who braved life and have reached their goal. The collection consists of three individual items in three different fabrics, combined in 27 looks mixing modernity and tradition, memories and passions.

ARRIVOは、1940年代の自転車競技から インスパイアされた、マスキュリンなワード ローブを再解釈するプロジェクトである。 ステファノ・ウゲッティとマッテオ・ジョリの デザインによるARRIVOは、彼らが共に情 熱を抱くロードレーシングと彼らの祖父母 へ の敬意から誕生した。また、その敬意は、 二 輪へのみならず、勇敢に立ち向かい境地 に達した第二次世界大戦を生きた男たちへも 向けられている。コレクションは、3 種類の生 地から出来た単体の3 枚のピースから構成さ れ、それらを組み合わせ完成した 27のルック スの中には、現代と伝統、そして回想と情熱 が 織り交ぜられている。

camofactory.com

NICK WOOSTER X THE WHITE BRIEFS A capsule collection 100% produced

by Australian Merino wool is the result of the friendship between Nick Wooster and Peter Simonsson, founder and designer for The White Briefs. The collection is made up of knitted coats, training shorts, elegant briefs and spacious dresses with a rich pattern of colours: dark grey, black, dark blue and olive. Nick Wooster x The White Briefs is a minimal collection with essential and well-finished shapes, achieved through the revisit of a basic style; Merino wool clothes are comfortable and include technical details and terry material. Peter Simonsson presented the collection “This collaboration gave us the privilege to explore the marvelous characteristics of high-end Merino wool, as well as it provided an incentive to use it in a novel sartorial context.”

オーストラリア産メリノウール100 %から作ら れたカプセルコレクションは、ニック・ウース ターとThe White Briefs の創設者でありデ ザイナーであるピーター・シモンソンとの友情 の証である。コレクションは、ニットコート、ト レーニングショーツ、エレガントなブリーフ、 ゆったりとしたドレスから構成され、ダーク グレー、ブラック、ダークブルー、オリーブの 豊富な色で展開されている。Nick Wooster x The White Briefs は、素晴らしいシェイプ に仕上がった必須アイテムからなるミニマル なコレクションである。それは、ベーシックス タイルを今一度見直すことから生み出された もので、メリノウールウェアは、快適で技巧 的なディテールが随所に見られるテリ素材で ある。ピーター・シモンソンは、 “このコラボ は、革新的な仕立て技術によるモノづくりと いう環境を与えてくれただけでなく、ハイエン ドのメリノウールが持つ素晴らしい特性を探 究する特権を我々に与えてくれた。”とコレク ションを描写した。

thewhitebriefs.com

Mug Magazine issue 25, year XV

VSNK VEESHOO X NAKADEN TAKUMI VSNK, Veeshoo X Nakaden Takumi, blends the tradition of Italian shoe making with the artisanal unique of Japanese textiles. Veeshoo, the all around zipper shoes, with a special patent that makes them flat-pack and perfect for traveling are produced with Italian premium leathers and Nakaden Takumi's made in Japan textiles, that enrich the product with colorful patterns. The collaboration presents six different styles of shoes combined with hats and wallets made with the same combination of leather and textile. This special collaboration brings together two different cultures united by the same tradition and passion for artisanal manufacturing.

VSNK、Veeshoo X Nakaden Takumiは、 イタリアの靴作りの伝統と日本の職人技の素 晴らしい織物との融合である。オールラウン ドジッパースタイルのシューズ、Veeshooは、 フラットに折りたためるシューズとしての特殊 な特許を持った旅に最適なシューズで、最高 品質のイタリア製レザーとNakaden Takumi の日本製テキスタイルで出来ており、そこにカ ラフルな模様を加え、製品の価値を向上させ ている。このコラボでは、6 型の異なるスタイ ルのシューズと共に、同じレザーとテキスタイ ルを使い制作された帽子や財布も同時に紹 介されている。今回のスペシャルコラボは、 二つの異なる文化が職人によるモノづくりへ の伝統と情熱という共通点を通じて一つにな り実現されたのである。

veeshoo.com

LUCA LARENZA “Fashion stylist? No, rather creative artist” is how Luca Larenza presents himself. Starting from his passion for knitwear and outerwear, going through a research on new manufacturing, a series of structured and refined items was born, combining tradition and innovation. The designer proposes a metropolitan bohemian taste through a creative revisit of men’s wardrobe. The collection was inspired by New York City in the ‘70s and ‘80s, and joins the street-art world with the sartorial elegance, reexamining the typical elements of those years, like revers and the comfortable wearability of clothes. “ファッションスタイリスト？いや、むしろクリ エイティブアーチストかな。 ”ルカ・ラレンツァ は自己をこう分析する。彼のニットウェアとア ウターウェアへの情熱からスタートし、新しい 製造方法の研究を経て、伝統と革新とが上手 く組み合った構造的で洗練された一連の アイテムが誕生した。デザイナーは、メンズ ワードローブをクリエイティブに再度見直す事 から考案した、メトロポリタンでボヘミアン なテイストを提案する。70年代から80年代の ニューヨークからインスパイアされたコレク ションは、ストリートアートの世界に当時の 典型的だった裏使いや服の快適な装着感な どの要素を再検証し、仕立て技術のエレガン トさが加えられ仕上がった。

lucalarenza.com

11

12

Mug Magazine issue 25, year XV

MYAR The cult for military clothing involves a set of values and rules. These values and rules are the guidelines of MYAR, a vintage and military-inspired collection of trousers. Each piece tells a story made of individual features, materials and fabrics; it is identified by a style, a passion for these garments that connects different people. Myar is the anagram of ARMY and also the initials of the designer, whose aim is to honor vintage, through archival research, with a modern interpretation in order to increase its value. "Myar is the modern interpretation of the military-styled garments used in the street".

The collection consists of 15 types of trousers and a basic MYAR logo tshirt. ミリタリーウェアへの礼賛には一連の価値や 規範が伴っている。これらの価値と規範は、 ヴィンテージ＆ミリタリー風パンツコレクショ ンを展開するMyarでは、ガイドラインとなっ ている。どの製品にも、それぞれの特徴、素 材や生地から生まれる物語があり、それは、 それぞれの分野で関わった人たちの製品に 対するスタイルや情熱からも識別が出来るの である。Myar はARMYのアナグラムである とともに、また、ヴィンテージに敬意を払い、 アーカイブの研究を通してミリタリーを現代 風に解釈し、その価値向上を試みるデザイ ナーの原点でもあるのである。 “ Myar は、 街着のミリタリー風ウェアの現代的な解釈で ある” 。コレクションは、15種類のパンツと ベーシックなMYARのロゴ入りTシャツから 構成されている。

instagram.com/joinmyar

IL BY SAORI KOMATSU (TOKYO-JAPAN) A brand that in a few years, has been appreciated all over the world, the designer Saori Komatsu proposes a knitwear collection realized through Japanese technology (WHOLEGARMENT®) using the best fibers of the most prestigious yarn manufacturers.

Clean yet sophisticated lines, the knitwear to live and to love, fashion beyond fashion. The brand is now sold and distributed worldwide in the best select shops and department stores. The new winter collection is to discover the superb touch of fur finished cashmere, the soft and rich look that has immediately drawn the attention of many buyers. Thanks to this finishing technique the knitwear is realized with unique volumes. il by Saori Komatsuのデザイナーである 小松さおりは、超一流の糸メーカーの最高品 質素材を使い、日本のホールガーメント （WHOLEGARMENT ®）技術を駆使した ニットウェアコレクションを提案し、わずか 数年で、世界中から賞賛を浴びる存在となっ た。無駄を省いたコレクションのラインは、 考え抜かれたデザインで長く着用でき愛さ れる、ファッションを超えたファッションの ニットウェアである。同ブランドは、今や世界 各国の一流セレクトショップや百貨店で販売 されている。秋冬の新作コレクションでは、 素晴らしく優しい感触のカシミアファー仕上 げで、しなやかでゴージャスなルックスを持っ たアイテムが、数多くのバイヤーを虜にした。 卓越したフィニッシュ技術で作られたこれら のニットウェアは、他にはないボリューム感と 質感に仕上がっている。

iliannloeb.com/il

Mug Magazine issue 25, year XV

HANSENGARMENTS "Denmark has a strong architectural tradition, Swedish people learnt from the industrial design and the natural environment in Norway is amazing." said Aase Helena Hansen to describe her origins and sources of inspiration. Hansen Garments reinterprets the traditional working uniform with a sartorial cut; the items are simple, well made and comfortable; the high quality materials come from the best Japanese, Italian and Scandinavian suppliers, so that each article can resist longer. The products are well-finished with a functional taste and different elements that may be added or removed depending on the season. “デンマークには優れた建築学の伝統があ り、スウェーデン人は工業デザインから多く を学び、ノルウェーには感嘆すべき自然環境 があります。”アーセ・ヘレナ・ハンセンは彼 女の血筋とインスピレーションの源をこのよう に説明する。HANSENの服は、仕立ての カット技術で伝統的な職場でのユニフォーム を再解釈したものである。アイテムはシンプル ながら見事な出来映えで快適な着心地であ る。日本、イタリア、スカンジナビアの一流の 業者から仕入れる高品質素材を使用してい る為、それぞれの製品は耐久性に優れ、長く 着用出来る。製品は機能的テイストを備えた 上質な仕上がりで、シーズンに応じて着脱可 能な別のエレメントも用意されている。

hansengarments.com

MISMO "Simplicity without stress" distinguishes MISMO, a Danish brand creating bags, backpacks and leather goods; the union between functionality and research for refined materials gave birth to a simple and timeless brand. Being firmly rooted in the Danish design tradition, MISMO offers a personal companion to modern travellers who appreciate classic craftsmanship. The bags and backpacks are produced using solid rubbed-on fabrics and premium leathers with highly resistant zips, brass fastenings and a graphic texture. “ストレス無しのシンプルさ” 、これがバッグ、 リュックサック、レザーグッズを制作するデン マークのブランド、MISMOのひと目でわかる 特徴である。洗練された素材の研究と機能 性の結合により、シンプルかつ不朽のブラン ドが誕生した。ダニッシュデザインの伝統に しっかりと根を張り、MISMOは一流の職人 技の真価を理解している現代のトラベラー に向けて、自分専用の気の合う旅の道連れを 提供している。バッグとリュックサックは、 かっちりとして磨かれた生地と最高級レザー から作られ、それに耐久性の高いジッパー、 真鍮の留め具やグラフィックテクスチャーが 使用されている。

mismo.dk

13

14

Mug Magazine issue 25, year XV

SEALUP Sealup was founded in Milan in 1935, when the first raincoat was created. Four generations later, thanks to the know-how developed over the years, the brand produces each piece by hand with passion and care, paying extreme attention to detail and functionality. In Lomazzo (Como) and Calusco d'Adda (Bergamo), in northern Italy, Sealup develops, explores and produces its own models, thanks to an internal team which help guarantee the best quality. Since it was founded, Sealup has combined innovation and research, tradition and history, creating modern garments for men and women in technical and traditional fabrics, with treatments specifically for outerwear.

REGENESI 最初のレインコートが制作された1935年に、 Sealupはミラノで設立された。四世代の長 きに渡り、培い育てて来たノウハウのおかげ で、同ブランドは現代においても、ディテール と機能性に徹底的に注意を払った製品に情 熱と思いを注いで手作りしている。Sealup は、イタリア北部のロマッツォ(コモ市)とカル スコ・ダッダ (ベ ルガモ県)において、確実に 最高品質の製品を作り出す為には努力を惜 しまない社内チームの尽力を得て、独自モデ ルの開発、探究、そして製造を行っている。 創業以来、Sealupは、革新と研究、そして伝 統と歴史を結びつけ、テクニカルで伝統的な 生地にアウターウェアに最適となるよう特別 な加工を行い、モダンなメンズウェアとレディ ースウェアを製作し続けている。

sealup.net

In the field of design and fashion Regenesi is the first brand to totally focus its investments on the concept of sustainability. The high- quality fashion, home and office accessories that the brand creates are projected by wellknown international designers and realized with recycled materials. The challenge is to transform a hundred cans into a very smart dish, to fold regenerated leather as an origami to obtain a refined basket for paper, to obtain out of all kinds of waste materials and rejects poetic items that merge beauty, style and functionality, objects of desire that represent a new concept of luxury. The underlying idea is to create a “sustainable beauty” and a new lifestyle.

A positive brand that makes ethics, elegance and style harmoniously coexist. デザインとファッションの分野において、 Regenesiは、コンセプトをサステナビリティと いう一点に絞り、投資をした最初のブランド である。高品質のファッションアクセサリー、 ホームやオフィス用品は、リサイクル素材を 使い、著名な国際的デザイナーとのプロジェ クトによって制作されている。その挑戦は、 100 余りの缶を用いてスマートな皿に変身さ せたり、再生皮革を折り紙のように曲げて洗 練された紙製のゴミ箱を創作したりと、あら ゆる種類の廃棄物を美とスタイルと機能性を 兼ね備えたクールなアイテムとして蘇らせる 事であり、それは、ラグジュアリーの新しい概 念となり得るようにと願う製品なのである。 基本的アイデアは、 “サステナブル・ビュー ティー（持続可能な美）”と新しいライフスタ イルの創造である。時代に前向きなブランド は、倫理、気品、スタイルを調和させ共存さ せる力を持っている。

regenesi.com

Mug Magazine issue 25, year XV

PAUL EASTERLIN

A person you are never tired of listening to. As I was sitting, I watched his designs and listened to his stories, and I was literally stunned. He showed me one of his masterpieces in glass-making, remarkable for the forms, colours and creativity it conveyed. A handmade art object whose authenticity and beauty are the embodiment of pure design.

This is only the beginning! Paul Easterlin is an artist who wants to tell about himself and expresses his entire creativity in his passions and creations.

Told by a great friend… 台湾行きの飛行機の私の席には、ひときわ目 立つ赤と青のシューズを履き、至極珍しいメガ ネをかけた紳士が座っていた。彼が窓側の席 に移動するのを見て、フライトの終わりもまた 同じであるのだろうと思いつつ、私は自分の 席に座る。これが私とポール・イースターリン との出会いだった。 人を飽きさせることのない話。隣に座り、私 は彼のデザインを見ながら話に耳を傾け、文 字通り唖然としてしまった。彼はガラスで出 来た傑作の一つを私に見せてくれた。その 形、色彩、そこから伝わって来る創造性は、 極めて並外れていた。真正であって素晴らし く美しい手作りのアートオブジェは、まさに 純粋なデザインの具現化である。

SHOTO The passion for unique handmade items makes Shoto footwear really special. Totally handmade in Italy, Shoto footwear is characterized by the use of special leathers such as elk, horse, kangaroo, peccary combined with handcrafted constructions like blake/rapida and bologna.

これは、あくまでも始まりに過ぎない！ポー ル・イースターリンは、自身について語る事を 好み、情熱と創作の中に己の独創性を余すと ころなく表現するアーティストである。 真の友人の話より…

pauleasterlin.com ph. Nico Vettore

On a plane flying to Formosa my seat is taken by a gentleman wearing a pair of spectacular red and blue shoes and very uncommon glasses. As he moves to the seat near the window I take my seat suspecting our flight’s end may be the same. This is how I met Paul Easterlin.

15

The spring-summer 2016 collection comes in natural colors ranging from ecru to sand brown and off white.

Stone washing and the treatments with natural polishes and sophisticated creams give Shoto footwear its distinctive uniqueness and craftsmanship.

どこにもないハンドメイドアイテムを作りたい という情熱が、Shotoのフットウェアを特別な 存在へと押し上げる。完全なイタリアでのハ ンドメイド製法のShotoは、エルク、ホース、 カンガルー、ペッカリー等の珍しいレザーの 使用と、ブラックラピド式製法とボロネーゼ 製法といった手作業による組み立て方法を 結合させて作られているのが特徴である。 2016年の春夏コレクションは、エクルベー ジュ、サンドブラウン、オフホワイトといった ナチュラルカラーがコレクションの中心と なっている。 ストーンウォッシュや、ナチュラルポリッシュ と高級な靴クリームを使ったトリートメントに よって、Shotoのフットウェアからは特有の個 性と独特の職人技が滲み出ている。

shoto.it

16

Mug Magazine issue 25, year XV

GBS TROUSERS GBS trousers was born in 2009, after over 60 years of history in the making of classic sartorial trousers entirely Made in Italy. The family-run business launched the brand combining knowhow and innovation, focusing on the research of new materials, fabrics and accessories. GBS trousers brings together past and present, blending the passion and experience in handcrafted trousers making with an original and contemporary design.

RUDE RIDERS 60 年に渡るメイド・イン・イタリーのクラシッ クな仕立てで仕上げるトラウザー製作の歴史 を経て、2009年にGBSトラウザーは誕生し た。家族経営ビジネスであるGBS trousers は、新しい素材、生地、パーツの研究に焦点を 当て、ノウハウと技術革新を共存させたブラ ンドとして立ち上げられた。同ブランドは、 過去と現在の両要素を持ち合わせており、手 作りされるオリジナルでコンテンポラリーデ ザインのトラウザーには、彼らの情熱と経験 が融合されている。

gbstrousers.com

Tokyo/Los Angeles: inspirations. Dark rock atmospheres and generous doses of grunge for the new Rude Riders collection. Green light for overshirts reminiscent of hippy and outdoor elements typical of the west coast.

Enriched with flounces in true biker style, leather is always the protagonist with the traditional studs. Sheepskin is reinterpreted and developed in typically custom style.

Each single item has a flavor of its own: checks, spots, treatments, ageing techniques enable us to recapture the true flavor of Hollywood in the 70’s. 東京/ロサンゼルス、インスピレーション。 ダークロックの雰囲気と満載のグランジ感が Rude Riders の新しいコレクションである。 オーバーシャツにデザインされたグリーンの ライトは、ヒッピースタイルと西海岸独特のア ウトドアスタイルの要素を彷彿とさせる。 真のバイカースタイルはひだで豪華さが演出 され、伝統的なスタッズがあしらわれた レザーはコレクションの永遠の主人公である。 再解釈されたシープスキンは、典型的なカス タムスタイルを用いて展開されている。 それぞれのアイテムに独自のフレーバーがあ り、チェック、まだら模様、数々のトリートメン ト、エージングといった独自性を実現させる 技術こそが、70年代 ハリウッドの真の魅力の 再現を目指す私たちに力を貸してくれる。

ruderiders.us.com

18

Mug Magazine issue 25, year XV

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

—

Yearly magazine, issue #25, year XV, July 2015.

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 info@mugmagazine.com mugmagazine.com

—

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

Steven Crosato Graphic layout /デザイン Nicola & Luca Facchini – Ubis Three ubth.it Japanese text layout /日本語文デザイン Reiko Hanafusa Texts /本文 Alessandra Bortoletto (Page 75-77) Steven Crosato (Page 68-71; 94-96) Andrea Da Villa (Page 102-103) Davide Parpinel (Page 122-133) Correspondents / コレスポンデント Reiko Hanafusa (Tokyo) (Page 82-92; 114-116)

Translation /翻訳 Mario Crosato Global srl, made-in-global.eu Texts /本文: Mug #17-18-19-20 / Mug 17-18-19-20号 Alessandra Bortoletto, Alessandro D’Annibale Mug #19 / Mug 19号 Enrico Carniel Mug #19-20 / Mug 19-20号 Paolo Vitale Mug #20 / Mug 20号 Luca Salvatore Photographer /フォトグラファー: Mug #17-18-19-20 / Mug 17-18-19-20号 Francesco Rachello Mug #18-19-20 / Mug 18-19-20号 Lino Vecchiato Printing /印刷 Grafiche Antiga graficheantiga.it

—

HOW TO SUBSCRIBE MUG —

MUGの

購読方法 —

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

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

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

—

WHERE THE HELL IS MY MUG? —

MUGはどこで 手に入るの？ —

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

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

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

Mug Magazine issue 25, year XV

BACK IN THE DAYS —

MUG MAGAZINE ANNO 9 NUMERO 17 2009 —

19

20

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 17 — SHOWCASE —

THE WORK BOOT —

LA STORIA DI CIASCUN MODELLO DI WORK BOOT È STATA TRACCIATA DALLE AZIENDE CHE NE HANNO AVVIATO LA PRODUZIONE. The function of Work Boots consists in protecting our feet and covering our ankles, although they can sometimes be knee or waist high. The peculiar, specific use to which they are devoted make them suitable to answer particular requirements.

Over the past fifty years this kind of boot hasve very often become part of our daily clothing, either because it had become fashionable or because it had been adopted by youth movements.

One of the clearest examples is that of Dr Martens, simple cherry-red, eighthole Wellington boots used in the ‘sixties by English workers (postmen, policemen, workers and dockers). The Skinhead movement, made up of working class young men, decided to adopt the boots as their official footwear, to emphasise their proletarian origin as opposed to the middle class origin of other English movements.

The history of each work boot model has been made by the firms that have started and continued their production, to the extent that some of them are exclusively associated with a brand’s name.

To fully understand their features, the values of the world they belong to and the ‘rough’ spirit that characterises them, it is important for us to become acquainted with the story of the brands that have made them timeless legends.

Il Work Boot, lo stivale da lavoro, è una calzatura che, per definizione, serve a proteggere il piede e copre interamente la caviglia; in alcuni casi può arrivare fino al ginocchio o spingersi sino alla vita. La sua peculiarità risiede nel fatto di essere destinato ad un uso specifico e di rispondere a particolari esigenze.

Negli ultimi cinquant’anni sono state moltissime le incursioni di questo tipo di stivali nell’abbigliamento di tutti giorni, o perché divenuti moda o perché adottati da alcuni movimenti giovanili. Uno degli esempi più lampanti è sicuramente il caso dei Dr. Martens, semplici anfibi a 8 buchi di colore rosso ciliegia, utilizzati negli anni ‘60 dai lavoratori inglesi (postini, poliziotti, operai e scaricatori di porto). Il movimento Skinhead, costituito proprio dai figli della working class, decise di adottarli come calzature ufficiali, per contrapporre la propria appartenenza proletaria a quella borghese degli altri gruppi inglesi.

La storia di ciascun modello di work boot è stata tracciata dalle aziende che ne hanno avviato e mantenuto la produzione. Alcuni di essi infatti finiscono per essere associati esclusivamente al nome di quel brand. Per comprendere fino in fondo le loro caratteristiche, i valori del mondo cui appartengono e lo spirito “ruvido” che li contraddistingue dobbiamo conoscere da vicino la storia dei marchi che li hanno resi leggenda.

RED WING SHOES Red Wing was established by Charles H. Beckam in 1905, in the homonymous small city of Minnesota in the Mississippi Valley. It is the place where H. Beckam started to manufacture and sell work shoes and boots. He soon became a supplier of the US Army, and the firm had its first productive boom at the outbreak of World War I when American soldiers’ equipment included model NU 16. Throughout the war the firm developed its production of military boots in over 239 versions, suitable for the different foot sizes of the various ethnic groups in the army. The development led to a considerable growth and refinement of Red Wing’s productive potential, and, as a result, the firm survived two World Wars and the economic crisis of 1929.

During the Fifties Red Wing footwear grew in popularity in the US, and in little more than a decade it was exported to Canada, Mexico, South America and Europe. In 1985 the yearly production of Red Wing reached a peak of two million pairs in something like 150 different models.

Comfort, quality and strength are still Red Wing’s typical features: classical models that combine robustness with the understatement of American tradition, and have kept their qualities unaltered to our day. Very high quality standards are achieved through seven stages, from the inspection of materials to final checking operations. The meticulous management of production, the very high quality of leather, and the combination of handmade work and new technologies prove that the Firm, aware of the rough charm of its footwear, is deeply rooted in tradition but looks ahead to the future.

Articles and images from the issue #17 of Mug Magazine – June 2009 / 文章とイメージは、 2009年6月発行のMug Magazine 17号に掲載されたものです。

esides the traditional models like EnB gineer ( originally used by the workers of American railways), or Pecos (used by the cowboys of the Old Wild West), Red Wing currently manufactures new footwear in exclusive leather qualities, different colours and soles, while anti-acid and anti-scratch treatments enable the firm to continue the supply of Corporate America following the tradition of great American reliability.

Red Wing Shoes Women’s Collection is an exclusive creation for ladies who appreciate this peculiar lifestyle; these shoes, although specially designed to enhance wearers’ femininity, preserve all of the brand’s typical features. The ‘bruiser leather’, still employed to these days, is exclusively tanned for Red Wing and undergoes treatment with natural oils that make it water resistant and long-lasting.

La Red Wing nasce in Minnesota nel 1905, ad opera di Charles H. Beckam, nell’omonima cittadina della Missisipi Valley. Lì Beckam inizia il suo lavoro di confezione e rivendita di scarpe e stivali da lavoro. Presto diviene fornitore delle Forze Armate Statunitensi, raggiungendo un primo boom produttivo con lo scoppio della Grande Guerra e l’adozione da parte dei soldati americani del modello NU 16. Durante tutto il conflitto l’azienda sviluppa la produzione dell’anfibio militare in ben 239 varianti, sulla base delle differenti misure della pianta del piede delle svariate etnie che compongono l’esercito; questo accresce ed affina sensibilmente la capacità produttiva di Red Wing mentre l’azienda attraversa ben due guerre mondiali e supera la crisi economica del 1929.

Saranno gli Anni ‘50 ad accrescere la popolarità delle Red Wing in tutto il paese,

Mug Magazine issue 25, year XV

che in poco più di un decennio saranno esportate in Canada, Messico, Sud-America ed Europa. Nel 1985 la produzione annua di Red Wing raggiunge i 2 milioni di paia e una gamma di ben 150 modelli.

Comfort, qualità e resistenza sono ancora oggi alla base di questa produzione: modelli classici, in grado di combinare la robustezza con l’understatement della tradizione americana, arrivati inalterati fino ai giorni nostri. Ben sette fasi garantiscono questi elevati standard qualitativi: dall’ispezione dei materiali al controllo finale.

Una gestione maniacale di tutti i processi produttivi, eccezionali qualità dei pellami e l’abbinamento del lavoro artigianale alle nuove tecnologie sono la testimonianza dell’attenzione di quest’azienda al futuro, radicata nella tradizione e ben consapevole del fascino ruvido di queste calzature.

I modelli storici, come l’Engineer (usato in origine dagli operai delle ferrovie americane) o il Pecos (adottato dai cowboys dell’Old Wild West) sono ora affiancati da nuove calzature dai pellami esclusivi, differenti colori e suole; i trattamenti antiacido e antigraffio consentono a Red Wing di proseguire la fornitura di Corporate America nella tradizione della grande affidabilità americana.

La Red Wing Shoes Women’s Collection è stata creata esclusivamente per la donna che apprezza questo particolare lifestyle; ciascuna di queste calzature, seppur disegnate perché la femminilità di chi le indossa venga esaltata, mantengono tutte le caratteristiche tipiche del marchio. I pellami “bruiser leather” ancora oggi utilizzati, vengono conciati esclusivamente per Red Wing e trattati con olii naturali, a garantire resistenza all’acqua e durata nel tempo.

CATERPILLAR FOOTWEAR For over a hundred years Caterpillar has been a leading company in the supply of machinery for the heavy industry and building companies. Its story began in 1890 when Benjamin Holt’s and Daniel Best’s firms started experiments on the production of the first steam tractors for agricultural use. In 1904 Holt built the first steam tracked tractor ( soon replaced by an internal combustion engine model) which came to be known as Caterpillar. Less than ten years later the model would be adopted by the allies in World War I. In 1925 Holt Manufacturing Company and C. L. Best Tractor Co. merged to establish Caterpillar Tractor Co. In a short time they widened their production and started to export the machinery that would make the brand famous all over the world.

Caterpillar became synonymous with efficiency, strength and hard work. In those years they also started their production of footwear: only five models all of which were created for strictly professional use. Boots that were to guarantee robustness, comfort and protection to workers of the most varied fields.

Despite technological progress has led to a spread of this kind of footwear, the brand has kept unaltered over the years its typical authenticity of character. A basic fact that led to the development of the collection was the brand’s partnership with Wolverine World Wide, a world leading firm in the production of casual and leisure footwear. The firm, in fact, could contribute to the American brand the competence from their long productive tradition, a sound know-how and a capillary distribution network.

At present Cat Footwear proposes safety collections side by side with casual footwear that has a fashionable appeal.

The collection Work is completed by the line Women, the typically handcrafted line Legendary Raw, the urban-style, sportive looking Srx Sport, Kids and the latest iTechnology. The footwear of the iTechnology collection, introduced in 2005, is outstanding for the introduction of a new solution, called Techniflex: the front part of the shoe, realised through Goodyear technology, perfectly combines with the back part, provided with the flexibility and comfort typical of running footwear, through a shock-absorbing heel in printed “eva”.

Da oltre 100 anni Caterpillar è leader nella fornitura di macchinari per l’industria pesante e l’edilizia. La sua storia comincia nel 1890, anno in cui Benjamin Holt e Daniel Best, all’interno delle loro rispettive aziende, sperimentano la produzione dei primi trattori a vapore per uso agricolo.

Holt, già nel 1904, costruisce il primo trattore cingolato a vapore (presto sostituito da un modello a motore) che risponde al nome di Caterpillar®. Meno di 10 anni dopo il modello verrà adottato dalle forze alleate nella Prima Guerra Mondiale.

Nel 1925 la Holt Manufacturing Company e C. L. Best Tractor Co. si fondono per formare la Caterpillar Tractor Co. In breve tempo la loro produzione si amplia e cominciano le prime esportazioni dei macchinari che renderanno celebre il marchio in tutto il mondo. Caterpillar diviene per tutti sinonimo di concretezza, solidità e duro lavoro. Sono quelli gli anni in cui è avviata la produzione delle sue calzature: solo 5 modelli, tutti destinati ad un uso prettamente professionale.

Stivali che dovevano garantire robustezza, comfort e protezione a chi li utilizzava negli ambienti lavorativi più disparati. Calzature in grado di mantenere nel tempo,

21

nonostante l’evoluzione tecnica e l’espansione della loro gamma, tutta l’autenticità tipica del marchio.

Fondamentale per lo sviluppo della collezione è stata la partnership con la Wolverine World Wide, realtà leader a livello mondiale nella produzione di scarpe casual e per il tempo libero. L’azienda infatti è stata in grado di assicurare al brand americano la competenza della sua lunga tradizione produttiva, una grande perizia costruttiva ed una capillare rete distributiva.

Cat Footwear attualmente affianca alle collezioni prettamente safety, calzature casual e dall’appeal fashion. La collezione Work si completa infatti con la linea Women, la più artigianale Legendary Raw, la Srx Sport, dall’approccio urban e un look sportivo, la Kids e la più recente iTechnology. Proprio le calzature di quest’ultima collezione, introdotta nel 2005, si distinguono per l’utilizzo di un’inedita soluzione, denominata Techniflex: la parte anteriore della scarpa, realizzata con lavorazione Goodyear si combina perfettamente con la parte posteriore, dotata della flessibilità e del comfort tipico delle calzature running, attraverso un tacco in “eva” stampato in grado di assorbire ogni tipo di sollecitazione.

22

Mug Magazine issue 25, year XV

SOREL It is commonly believed that our fitness also depends on keeping our feet warm and dry. Sorel have for over forty-five years devoted their activity to the production of footwear that enables us to face any weather conditions, and spend even the coldest days at our ease.

The quality of the materials employed, strength and comfort are the distinctive features of this historical brand created by a Canadian, William H. Kaufman, and the property of Columbia Sportswear Company since 2000.

The most representative model of the whole Sorel collection is definitely the Caribou, a boot that has become popular for its great versatility and functionality. Originally created to be used on the snow and to be worn by mushers (sledgers), this winter boot has a sole that perfectly fits the surface of sledge runners, is made waterproof by the outer sole in vulcanised, hand finished natural rubber sewn to the waterproof leather uppers by heat sealed seams, and guarantees extra foot insulation through a warm removable footbed in 9mm.-thick Thermoplus felt.

Forty years after its first appearance, the Caribou is still made by hand, and if the version Wool is provided with an inner wool footbed, the model Reserve 09 (in buffalo skin) is sold in a richly finished felt bag. The Classic has been further improved by employing the best of leather for the outside of the boot, to make it softer and more long lasting.

The gem of Sorel production is the exclusive limited edition Caribou Ostrich, very few items in valuable ostrich skin, provided with a removable, fur-finished inner footbed.

Today Sorel look forward to the future as they further enrich their wide range of proposals, season after season, with footwear for everyday use like modern Arctic Sneakers or the Women’s 64 Re-Skin, suitable for life in the open air, as well as for casual use when strolling down city streets.

The leading item of line 64 Re-Skin is the limited edition TORINO™, the latest urban style model of Sorel brand: devoted to the particular stylistic requirements of a very demanding feminine public, these models guarantee comfort, very high performances and an appealing look. The pile inside, the EVA inner sole, and the Thinsulate™ insulating layer combined with the construction typical of the Caribou guarantee top foot protection even when the temperature is well below zero.

Si dice che per star bene si debbano avere i piedi al caldo e ben asciutti. Sorel è impegnata, da oltre 45 anni, nella produzione di calzature in grado di farci affrontare al meglio tutte le situazioni meteo e trascorrere serenamente anche le giornate più fredde.

Qualità dei materiali impiegati, resistenza nel tempo e comfort sono le cifre distintive della produzione di questo storico marchio, fondato dal canadese William H. Kaufman e dal 2000 di proprietà di Columbia Sportswear Company.

Il modello più iconico dell’intera collezione Sorel è senza dubbio il Caribou, uno scarpone divenuto popolare per la grande versatilità e funzionalità. Pensato originariamente per l’utilizzo sulla neve ed essere indossato dai musher, i guidatori delle sleedog (la suola è strutturata per aderire perfettamente alla superficie dei pattini delle slitte), questo winter boot è reso

impermeabile dal guscio esterno in gomma naturale vulcanizzata e rifinita a mano, fissato alla tomaia in pelle idrorepellente attraverso cuciture termosaldate. L’isolamento del piede viene garantito attraverso una calda scarpetta completamente estraibile, realizzata in feltro ThermoPlus® dello spessore di 9 mm.

A quarant’anni dalla sua nascita il Caribou è realizzato ancora attraverso lavorazioni artigianali e se la versione Wool è appunto dotata di una fodera interna di lana, il modello Reserve 09 (in pelle di bisonte) viene addirittura venduto all’interno di una sacca in feltro con pregiate finiture. Il Classic è stato ulteriormente migliorato attraverso l’impiego, per l’esterno della calzatura, di una pelle in pieno fiore in grado di aumentarne durata e morbidezza.

Fiore all’occhiello dell’intera produzione è l’esclusiva limited editon Caribou Ostrich, realizzata in pochissimi esemplari in pregiata pelle di struzzo e dotata di scarpetta interna amovibile rifinita in pelliccia.

Sorel oggi guarda avanti, ampliando, stagione dopo stagione, la sua già vasta proposta con calzature per tutti i giorni come le moderne Arctic Sneakers o le Women’s 64 Re-Skin, adatte a lunghe giornate all’aria aperta così come a un utilizzo casual, tra le vie della propria città.

Punta di diamante della gamma 64 Re-Skin sono le limited edition TORINO™, che rappresentano la più recente evoluzione in stile “urban” del brand Sorel: dedicati al pubblico femminile più esigente, in termini stilistici, questi modelli garantiscono comfort e prestazioni elevatissime senza rinunciare ad un look accattivante. L’interno realizzato in pile, la soletta in EVA e lo strato isolante in Thinsulate™ abbinati alla costruzione tipica del Caribou permettono infatti massimo isolamento anche sotto lo zero.

Articles and images from the issue #17 of Mug Magazine – June 2009 / 文章とイメージは、 2009年6月発行のMug Magazine 17号に掲載されたものです。

THOROGOOD SHOES Thorogood is a leading American brand in the production of work footwear, born in 1892, owned by Weinbrenner Shoe Company. Many of the building elements typical of footwear for professional use owe their origin to this firm, whose production is to this day characterised by great experience, craftsmanship and a constant urge for innovation.

The line American Heritage Work is currently added to the wide range of footwear for the police, for the workers of heavy industry and the building industry: an entire collection of work boots that have the authentic and rough taste of the brand’s traditional footwear.

Proudly ‘Made in the USA’ the American Heritage embodies the perfect combination of craftsmanship and comfort that characterises Thorogood products.

Each model shows a robust Goodyear Storm Welt construction; in fact, the inner sole is directly sewn to the rubber external one, rigorously in Vibram®, so as to make the shoes absolutely waterproof. The multiple contrasting sewing ( quadruple at the points of greater stress), an emblem of the great resistance of these work boots, designs the whole outline of the shoes. All of Thorogood models have the logo branded near the heel, on the outside of the boot.

The 6’’ Moc Toe, available both in black and in tobacco-coloured leather, has the classic Moc toe, characterised by handmade sewing all along the front part of the shoe; the model 6’’ Plain Toe is different to the former in that it has a typically rounded toe.

Mug Magazine issue 25, year XV

Thorogood è un marchio americano leader nella produzione di calzature da lavoro, nato nel 1892 e di proprietà della Weinbrenner Shoe Company. Molti degli elementi costruttivi tipici delle calzature destinate ad un uso professionale devono proprio a questa azienda la loro origine.

Esperienza, artigianalità e costante desiderio di innovazione sono ancora oggi alla base della produzione di Weinbrenner.

Thorogood, alla vastissima gamma di calzature destinate alle forze di polizia, ai lavoratori dell’industria pesante e dell’edilizia, affianca la linea American Heritage Work: un’intera collezione di work boot dotate del gusto autentico e ruvido delle calzature tradizionali del marchio. Orgogliosamente Made in Usa, le American Heritage rappresentano la perfetta combinazione dell’artigianalità e del comfort che caratterizza i prodotti Thorogood.

Ciascuno dei modelli evidenzia una robusta costruzione Goodyear Storm Welt: la suola interna è infatti cucita direttamente a quella esterna in gomma, rigorosamente Vibram®, in maniera tale da rendere ermetiche queste calzature. Le cuciture multiple in contrasto (addirittura quadruple nei punti di maggiore sollecitazione), emblema dell’elevata resistenza di questi work boot, disegnano l’intero profilo della scarpa. Il logo marchiato a caldo in corrispondenza del tallone, all’esterno dello stivale, è presente in ciascuno dei modelli Thorogood.

Il 6” Moc Toe, disponibile sia in nero che in color tabacco, mostra la classica punta Moc, caratterizzata da una cucitura completamente realizzata a mano che corre lungo tutta la parte anteriore della scarpa; il modello 6” Plain Toe si differenzia invece per la tipica punta tonda.

VIBERG BOOTS Viberg’s story began in Canada in 1914, the country where Ed Viberg emigrated from Sweden with his parents and sisters. At the age of twenty his great renown as a saddler started to spread about the prairies, so much so that in 1930 Viberg decided to move to Shellbrook, Saskatchewan, to start his saddle and boot firm.

Ed and his wife Gladys worked hard throughout the years of the Great Depression, and were by then famous as makers of saddles and resistant high quality work boots.

In 1970 their son Glen joined the firm, which had meanwhile been moved to Victoria B.C. The father-son partnership soon led to the creation of new models of soles, like those used by woodcutters provided with easily removable and changeable screw-in-caulks. At the end of 1971 Viberg started to manufacture the first boots provided with removable caulks (until then screwed to the sole), which immediately enriched the equipment of woodcutters.

Glen and his son Brett still guarantee the high quality of these legendary boots, by selecting the best materials and through meticulous check-operations carried out by hand. In fact, from the tanning of leather to the polishing of the boots, the product goes through 218 different rigorously handcrafted treatments.

La storia della Viberg comincia nel 1914 quando Ed Viberg emigra in Canada dalla Svezia, assieme a genitori e sorelle; già intorno ai vent’anni la sua ottima reputazione di sellaio comincia a diffondersi per tutte le praterie. Tanto che nel 1930, Viberg decide di trasferirsi a Shellbrook,

Saskatchewan, per iniziare la sua attività di sellaio e produttore di stivali.

Ed e la moglie Gladys attraversano gli anni della Grande Depressione lavorando duramente. La loro fama di artigiani in grado di realizzare selle e stivali da lavoro di qualità e grande resistenza è ormai grande.

Nel 1970 la Viberg Boot, trasferitasi a Victoria B.C., vede l’ingresso del figlio Glen; un sodalizio tra padre e figlio che porterà presto alla nascita di nuovi modelli di suola, come quelle destinate al taglio del legname e dotate di screw-in-caulks facilmente rimuovibili e sostituibili. Alla fine del ‘71 Viberg mette in produzione i

23

primi stivali dotati di chiodi rimovibili (fino a quel momento fissati direttamente alla suola), in breve divenuti parte integrante dell’equipaggiamento dei lavoratori dell’industria del taglio del legno.

Ancora oggi Glen e suo figlio Brett garantiscono l’altissima qualità di queste autentiche “leggende di pelle”, attraverso scrupolose operazioni manuali di verifica e selezionando i migliori materiali. 218 lavorazioni diverse separano la fase della concia del pellame dalla lucidatura degli stivali finiti, tutte operate rigorosamente in maniera artigianale.

24

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 17 — STORE —

10 CORSO COMO SEOUL —

1O Corso Como Seoul was born in 2008 from the collaboration with Samsung Fashion Group, a 1,400 square-metre multifunctional space on three storeys located in Cheongdam-dong, the heart of the Korean capital.

Designed by the American artist Kris Ruhs, the store is a combination of the most updated Korean retail and the ten-year experience of the famous Italian concept store’s ‘slow shopping’. A large multicoloured glass window offers a view of the space where body-care products and cosmetics are displayed with accessories and jewellery.

At the Café Lounge you can choose to sip a cocktail or a glass of wine from the rich choice of Italian wines from Roberto Ferrari’s cellar.

The gentle sound from the cascades in the outside garden is the musical background for the evenings that it is possible to spend in the magic atmosphere of the Garden Café.

The route to the store bookshop (provided also with an entrance of its own) shows a succession of masterpieces by the most important Italian and international designers. New publications, books ranging from art, to photography, design, fashion and architecture are on display with a wide selection of music

Articles and images from the issue #17 of Mug Magazine – June 2009 / 文章とイメージは、 2009年6月発行のMug Magazine 17号に掲載されたものです。

pieces and the latest technological novelties. The Café is the ideal place to relax after shopping, tasting a glass of good wine or the dishes of the store’s restaurant, which combines traditional Italian cuisine with the flavours of Korean cooking.

A number of design works can be admired by visitors as they walk through the corridor linking the areas devoted to women’s and men’s fashion. At more or less regular intervals photography, art, and design exhibitions follow one another in the exhibition premises of the store.

At 10 Corso Como Seoul, the brand’s traditional aesthetics, combined with the modernity of architectural solutions offers visitors a sophisticated allround sensorial experience made of art, books, fashion, design and refined Italian dishes.

Mug Magazine issue 25, year XV

Nel 2008, in collaborazione con Samsung Fashion Group, è nato 10 Corso Como Seoul. Uno spazio multifunzionale di 1400 mq, disposto su tre livelli, collocato nel cuore della capitale coreana, il Cheongdam-dong.

Lo store interamente progettato dall’artista americano Kris Ruhs si pone come la sintesi del retail coreano più evoluto e della decennale esperienza dello slow shopping del celebre concept italiano.

Una grande vetrata multicolore permette di immergersi all’interno dello spazio dove i prodotti per la cura del corpo e la cosmesi si alternano ad accessori e i gioielli.

Presso il Café Lounge si può decidere di sorseggiare un cocktail o di visitare la nutrita cantina di vini italiani di Roberto Ferrari. Le cascate del giardino esterno sono invece la colonna sonora delle serate che è possibile trascorrere immersi nella magica atmosfera del Garden Café.

Il percorso che conduce al bookshop dello store (accessibile anche attraverso un ingresso indipendente) è segnato dal susseguirsi di capolavori dei più importanti nomi del design internazionale ed italiano. Nuove pubblicazioni, libri d’arte, fotografia, design, moda e architettura trovano spazio accanto a una vasta selezione musicale e alle più recenti novità in fatto di tecnologia. Il Cafè è invece il luogo ideale

dove rilassarsi dopo lo shopping, degustando un buon bicchiere di vino o apprezzando i piatti del ristorante di 10 Corso Como, dove la cucina tradizionale italiana incontra i sapori di quella coreana.

Numerosi pezzi di design accompagnano i visitatori lungo il corridoio che collega l’area dedicata alla moda femminile a quella della moda maschile. Mostre fotografiche, esposizioni artistiche e di design si alternano invece periodicamente all’interno dello spazio espositivo dello store.

Qui l’estetica tradizionale di 10 Corso Como, combinata alla modernità dell’architettura, offre ai suoi visitatori una sofisticata esperienza multisensoriale, fatta di arte, libri, moda, design e raffinata cucina italiana.

10, CORSO COMO SEOUL 79 CHEONGDAMDONG, GANGNAM-GU, 135-100 SEOUL

25

26

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 17 — ART —

REPLAY IN BLOOM —

SPAZIO LAZZARI, Treviso

12 dicembre 2008 - 28 febbraio 2009

Articles and images from the issue #17 of Mug Magazine – June 2009 / 文章とイメージは、 2009年6月発行のMug Magazine 17号に掲載されたものです。

Mug Magazine issue 25, year XV

On February 28th last the exhibition In Bloom came to an end, an evocative installation realised by Omoproject with the support of Fondazione Claudio Buziol. The event, presented at Lazzari Space on Friday, Dec. 12th 2008, was aimed at celebrating the brand Replay. The installation consisted in the reconstruction of an artificial and visionary garden, in which the leaves and blooms of the trees planted in the gallery outside Lazzari Space were made of fabric, paper and buttons. The main stages of the brand’s history, embodied by a selection of the most significant items from Replay archive, were displayed in the shade of the trees.

Si è conclusa il 28 febbraio scorso l’esposizione In Bloom, una suggestiva installazione realizzata dal duo creativo Omoproject, con il supporto della Fondazione Claudio Buziol. L’evento, presentato presso lo Spazio Lazzari venerdì 12 dicembre 2008, è stato promosso allo scopo di celebrare il brand Replay. L’installazione era costituita dalla ricostruzione di un giardino artificiale e visionario, dove le foglie e i fiori degli alberi, improvvisamente “piantati” nella galleria esterna dello Spazio Lazzari, erano fatti di tessuto, carta e bottoni. Alla loro ombra sono state riproposte tutte le tappe del percorso storico del marchio, attraverso una selezione dei capi più significativi dell’archivio Replay.

27

28

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 17 — DESIGNER —

ANTONIO MARRAS —

Antonio Marras’ clothing production does not exclude any expressive language that may combine and merge with his work.

He often catches an openly artistic glimpse, or uses references to an experience in craftsmanship or to a purely intellectual one. The domain in which he moves and the matter that enables him to express his creativeness are exquisitely human.

Each collection springs from the personal elaboration, re-framing and combination of elements that come to the surface again and again, and change. He is the creator of fashion products that are defined as “texts to read and to wear”, products that share the nature of tales, and have to do with his individual story and personality.

He had his training (not only a professional one) mainly at Alghero, Sardinia, in the family store where Marras could experiment and work on finished items of clothing. His contributions and personal interpretations immediately enjoyed more success than the items on display.

In 1987, a Roman firm asked him to design a few collections of ready-to-wear clothing. It was the combination of his intellectual qualities and technical competence that led him to the creation of the first collection that bears his name.

In 1999 he made his debut in the field of the ready-to-wear.

From the very start his attitude in the creation of collections was one of disruption, which led to a break with set conventions and to the recovery of forgotten style details. Unlike his break, disruption is in fact an active process that brings about a sudden, instantaneous flow of energy. A sort of induced short-circuit.

His creative experience is dotted with

Articles and images from the issue #17 of Mug Magazine – June 2009 / 文章とイメージは、 2009年6月発行のMug Magazine 17号に掲載されたものです。

collaborations, even if only intellectual ones, with extraordinary protagonists of the Sardinian and international scene.

Such collaborations turned out to be temporary inspiration sources for segments of his creative activity, but also permanent ones.

He has always had a great interest in the peculiar nature of popular cultures, starting from Sardinian culture ( and in particular the Catalonian culture in the area where he was born), but has always avoided the superficial aspects of folklore. His studies focus on Sardinian artists and cultural movements, and the world of women plays a primary role in his intellectual research. Heroines like Eleonora d’Arborea, travellers like Annemarie Schwarzenbach, film stars like Rina De Liguoro or photographers like Tina Modotti are only some of the protagonists of his “tales for clothing”.

Also in his role of creative director of Kenzo maison, Marras can read the Japanese creator’s capacity to merge elements from different worlds, to use images and styles from distant countries, to turn them into something different through an item of clothing.

Furthermore, Marras is a man who entirely belongs to his time. The public is a fundamental element in his ever changing creative activity. What already exists is endlessly re-structured and changed into something new which previously did not exist as such.

Mug Magazine issue 25, year XV

29

30

Mug Magazine issue 25, year XV

Ogni collezione nasce da un personale percorso di rielaborazione, riconfigurazione e combinazione di elementi che affiorano, riaffiorano, si trasformano. È autore di una moda che viene definita come “un testo da leggere, da indossare”, dotata di una dimensione inseparabile da quella del racconto che non smette mai di dialogare con il suo autobiografismo e l’individualità umana.

La sua formazione (non solamente professionale) avviene in prevalenza ad Alghero, in Sardegna, all’interno delle boutique di famiglia dove Marras ha la possibilità di sperimentare e lavorare sui capi finiti. I suoi interventi, le sue personali interpretazioni riscuotono subito maggiore consenso degli abiti pronti alla vendita.

Nel 1987 Antonio Marras viene chiamato da una ditta romana a disegnare delle collezioni di prêt à porter. Proprio la coesistenza del suo fervore intellettuale e della sua competenza tecnica costituirà la base per la creazione della prima collezione che porta il suo nome. L’anno del suo debutto nel prêt à porter sarà invece il 1999.

Fin dagli esordi il suo atteggiamento, nella creazione delle collezioni, è quello della disruption, ovvero della rottura con gli schemi precostituiti e del recupero di elementi dimenticati. A differenza della rottura, la disruption è infatti un processo attivo, portatore di un flusso improvviso e istantaneo di energia. Un cortocircuito indotto.

La sua esperienza è costellata di collaborazioni, anche solo mentali, con figure straordinarie del panorama artistico sardo ed internazionale. Quest’ultime possono rivelarsi semplice fonte di ispirazione di alcuni segmenti del suo percorso creativo così come autentiche compagne di viaggio.

Il suo interesse nei confronti della particolarità delle culture popolari è grande,

Articles and images from the issue #17 of Mug Magazine – June 2009 / 文章とイメージは、 2009年6月発行のMug Magazine 17号に掲載されたものです。

proprio a partire da quella sarda (ed in particolare quella catalana della sua zona di origine) ma distante dal folclore più superficiale. Artisti e movimenti culturali sardi sono oggetto costante dei suoi studi così come il dialogo con il mondo femminile gioca un ruolo primario nella sua indagine intellettuale.

Eroine come Eleonora d’Arborea, viaggiatrici come Annemarie Schwarzenbach, dive cinematografiche come Rina De Liguoro o fotografe come Tina Modotti sono solo alcune protagoniste dei suoi “racconti per abiti”. Anche nel suo lavoro di direttore creativo della maison Kenzo, Marras rilegge la capacità del creativo giapponese di mescolare componenti che provengono da mondi differenti.

Come Kenzo preleva immagini e stilemi appartenenti a geografie distanti, per trasformarli, attraverso un abito, in qualcos’altro. Marras è inoltre uomo del suo tempo.

Il pubblico è elemento fondamentale del suo processo creativo, sempre in divenire.

Ciò che già esiste è soggetto a continua restrutturazione, ad evoluzione in qualcosa di inedito, che prima non c’era.

Mug Magazine issue 25, year XV

BACK IN THE DAYS —

MUG MAGAZINE ANNO 10 NUMERO 18 2009 —

31

32

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 18 — SHOWCASE —

BALLERINA —

The ballerina is a feminine accessory that has lent itself to countless original and unexpected stylistic interpretations over the years. Borrowed from the ballet world, it became fashionable at the end of the Forties, although examples of very similar footwear can be traced to the Middle Ages, when very flat shoes were worn. The fashion lasted until 1533 when Caterina de’ Medici, on the occasion of her marriage to the Duke of Orleans, first wore slightly higher-heeled shoes. Heeled shoes gradually started to supplant flat ones, which became fashionable again only after the French Revolution, when heeled shoes, typical of the Paris aristocracy, began to be considered a vulgar ostentation of power, and were replaced by soft footwear, more similar to gloves than to shoes. In the days of the Industrial Revolution and then throughout the Nineteenth Century, flat shoes became synonymous with practicality and comfort for both sexes. Between the end of the Eighteenth century and the early Nineteenth the first point shoes also made their appearance. First worn by ballet dancers in Neapolitan theatres, they soon became a prerogative of female ballet dancers. Used to wearing heeled dancing shoes, in those days, ballerinas began to choose lower and softer ones, such as would enable them to dance on points. As this dancing technique nearly achieved perfection and more and more complex dance steps

were introduced, ballet shoes were strengthened and suited to the shape of feet. Yet, the “ ballerina” shifted to daily use only in the Forties, when it made its appearance in the world of the movies. An icon of the changes in those days’ elegance, Audrey Hepburn turned the “ ballerina” into a long lasting fashion myth by wearing a pair of smart Gattinoni patent leather jetty-black shoes in the film Sabrina. It was 1954. The crimson of Repetto’s dancer Cendrillon in 1956, was given enduring fame in the unforgettable tango of the film “And God Created Woman” by Brigitte Bardot’s matchless sensual nonchalance. After quietly evolving for a few years, the “ ballerina” suddenly came to the forefront in the Sixties, when young people’s revolution was underway; it represented a “desertion of the foot”, and meant lightness, comfort and a deep change in the existing canons of feminine beauty.

It was a free, full, everchanging and ever-evolving idea of femininity.

La ballerina è uno degli accessori femminili che si è prestato di più, nel corso degli anni, alle interpretazioni stilistiche originali e inaspettate. Sdoganata dal mondo della danza, diventa fenomeno di moda già alla fine degli anni ’40 ma è possibile trovare esempi di calzature ad essa molto simili fin dal Medioevo, quando era costume indossare scarpe dalla suola molto bassa. Una moda stabile fino al 1533, quando la nobildonna Caterina De’ Medici, in occasione del suo matrimonio con il Duca d’Orleans, indossò per la prima volta delle calzature leggermente “rialzate”. Gradualmente le scarpe dotate di tacco cominciarono a prevalere su quelle a suola bassa, nuovamente in voga solo dopo la Rivoluzione Francese. In quegli anni

Articles and images from the issue #18 of Mug Magazine – December 2009 / 文章とイメージは、 2009年12月発行のMug Magazine 18号に掲載されたものです。

il tacco (tipico dell’aristocrazia parigina) comincia ad essere considerato una volgare ostentazione di potere e viene sostituito da calzature morbide, molto più simili a guanti che a scarpe. Ai tempi della Rivoluzione Industriale e durante il XIX° Secolo, le scarpe basse diventano una scelta di praticità e comodità per entrambi i sessi. Tra la fine del Settecento e l’inizio dell’Ottocento fanno la loro comparsa anche le prime scarpe “basse” destinate alla danza classica. Inizialmente impiegate dagli interpreti maschili nei teatri napoletani, divengono presto prerogativa femminile. Abituate fino a quel momento ad indossare scarpe da ballo con tacco, le ballerine si orientano verso calzature meno sostenute, più morbide, che consentano di alzarsi agevolmente sulle punte. Con il perfezionarsi della tecnica di danza sulle punte e l’introduzione di passi sempre più complessi, le scarpe da ballo vengono progressivamente rinforzate e adattate alla morfologia del piede. Ma il passaggio della ballerina ad un uso quotidiano avviene solamente negli anni ‘40, grazie all’incontro con il mondo del cinema. Icona dell’eleganza riformista, Audrey Hepburn consacra la ballerina ad uno dei miti più indissolubili della moda, indossando un paio di eleganti Gattinoni in vernice nera nel film Sabrina. È il 1954. Il rosso carminio della ballerina Cendrillon di Repetto, nel 1956, viene immortalato nell’indimenticabile tango del film “E Dio creò la donna” da una Brigitte Bardot ineguagliabile per sensuale nonchalance. Con passo lieve, il fenomeno esplode negli anni ‘60, nel pieno della rivoluzione giovanile: la ballerina rappresenta una “diserzione del piede”, è leggerezza, comodità, è destrutturazione dei canoni della bellezza femminile fino ad allora imposti. È la femminilità libera, completa, mai identica a se stessa, in perenne divenire.

Mug Magazine issue 25, year XV

It was 1947. The ballet dancer and choreographer Roland Petit worked very hard, his feet and body submitted to the ordeal of endlessly rehearsing ‘pirouette’ and ‘entrechat’; in the meantime in a small workshop in Rue de la Paix, his mother, Rose Repetto, was trying hard to make exceptionally soft points for him, with a technique she had borrowed from the manufacture of gloves. The Repetto points, stitched and assembled inside out before being returned, would soon become a benchmark for international ballet stars. Ten years later, Madame Repetto created shoes for daily use as light and comfortable as her soft points. Brigitte Bardot wore a red patent leather model of them in the film “And God ….Created Woman”, and Repetto made her debut in the world of fashion.

Today Repetto firm is located at Saint Medard d’Excideuil, its production still characterised by the made-in- France style, its know-how the same as sixty years ago. The firm manufactures 2500 pairs of ballerinas a day, which are completely hand made with a technique that involves 150 different treatments. Repetto’s still ongoing connection with the world of the ballet accounts for nearly 50 % of its turnover. Repetto’s points are considered the last word in the ballet world, and the firm has for years been researching and experimenting on revolutionary techniques to obtain more comfortable and soundless dancing shoes.

Repetto fashion ballerinas often come in precious limited editions thanks to their collaboration with great fashion designers of international renown like Issey Miyake and Yoshij Yamamoto. The maison’s team of stylists must be credited with the re-interpretation and updating of this timeless classic season after season to the rhythm of contemporary trends. The secret of Repetto’s success lies in their will to keep in line with the past and be true to their origins.

È il 1947. Il danzatore e coreografo Roland Petit lavora moltissimo. I suoi piedi e il suo fisico sono sottomessi alla tortura delle interminabili prove di pirouette e entrechat. Nella piccola bottega di rue de la Paix, la madre Rose Repetto crea per lui una punta da ballo di eccezionale morbidezza, rubando il segreto alla fabbricazione dei guanti. Le punte con cucitura a rovescio risvoltata di Repetto diventeranno punto di riferimento per le etoile della danza internazionale. Dieci anni dopo, Madame Repetto inventa una calzatura leggera e gradevole come la punta da ballo per l’uso quotidiano. Brigitte Bardot ne indossa un modello in vernice rossa nel film “Et Dieu… crea la femme”. Repetto fa così il suo ingresso nel mondo della moda. La fabbrica Repetto si trova oggi a Saint Medard d’Excideuil, la produzione è rimasta orgogliosamente made in France, e il know-how è lo stesso di sessant’anni fa. Dallo stabilimento escono 2500 paia di ballerine al giorno, prodotte interamente a mano con un procedimento fatto di 150 impercettibili gesti. Intatto rimane il legame con il mondo del balletto, che realizza quasi la metà del giro d’affari della maison. Le punte di Repetto sono considerate il non plus ultra del balletto, da anni si studiano tecniche rivoluzionarie e sperimentali con l’obiettivo di creare una scarpa più comoda e più silenziosa sulla scena. Le ballerine Repetto per la moda sono spesso realizzate in preziose edizioni limitate, con la collaborazione di grandi fashion designer internazionali, come Issey Miyake e Yoshij Yamamoto. E grazie al team interno di stilisti, stagione dopo stagione questo classico senza tempo viene riletto e aggiornato al ritmo dei trend contemporanei. Il segreto del successo di Repetto sta in una personalità che non abdica di fronte al passato e che rivendica e resta fedele alle proprie radici.

IL SEGRETO DEL SUCCESSO DI REPETTO STA IN UNA PERSONALITÀ CHE NON ABDICA DI FRONTE AL PASSATO E CHE RIVENDICA E RESTA FEDELE ALLE PROPRIE RADICI.

33

34

Mug Magazine issue 25, year XV

PRECISIONE E ATTENZIONE: IL SEGRETO DEL MITO CHANEL

Simplicity is the key to true elegance. This is the concept that, exactly a century ago, was underlying the rise of an all-time revolutionary fashion designer, Coco Chanel and the firm that still bears her name.

Chanel must be given credit for changing the typical lushness of Belle Epoque women’s clothing at the turn of the Twentieth Century with a simple, sober and refined style, and for accompanying woman through the crucial process of transition from wife and mother to the new role of worker. It is enough to couple a simple jacket with a gown and, as a final touch, a pair of two-tone shoes to match: and there you are! According to Coco Chanel shoes are the last touch of elegance, and the two-tone ones, born over fifty years ago, have a timeless style. Drawing their inspiration from the men’s sports footwear of those days, the two-tone shoes amount to pure design, refinement and unequalled comfort. Manufactured in the heart of Lombardy, renowned for its long standing tradition of authenticity and modernity in the production of luxury footwear, the twotone shoes comply with all the standards of excellence and professional know how. Each shoe achieves perfection in detail through 50 to 100 precise and careful stages: and this is the secret of the Chanel myth. Production starts from the shoe-tree, which determines the volume, toe type and fitting of the shoe.

The shoe-tree is then wrapped in paper, to which the technical design is applied to make up the paper model, a guide to the next stages of production: the cutting of leather, the application of the logo (the famous double C) toe and vamp, the fitting of the heel and sole, and the finishing.

Once it is ready, the legendary ballerina is wrapped in a soft cloth, placed in the unmistakable black box, ready to give life to a dream today just as it did fifty years ago.

Articles and images from the issue #18 of Mug Magazine – December 2009 / 文章とイメージは、 2009年12月発行のMug Magazine 18号に掲載されたものです。

La semplicità è la chiave di volta per la vera eleganza. Parte da questa visione, esattamente cento anni fa, l’ascesa di una delle stiliste più rivoluzionarie di tutti i tempi, Cocó Chanel, e della maison che ancora oggi porta il suo nome. A Chanel va reso il merito di aver sostituito alla sontuosità tipica dell’abbigliamento femminile Belle Époque uno stile semplice, raffinato, sobrio, e di aver accompagnato la donna nel delicato passaggio da moglie e madre al nuovo ruolo di lavoratrice. Basta unire una semplice giacca ad una gonna e, tocco finale, abbinarvi un paio di scarpe bicolore: et voilà, il gioco è fatto! Secondo Cocò Chanel le scarpe sono l’ultimo tocco di eleganza: le two tones, nate più di cinquant’anni fa, sono un tocco di eleganza senza tempo. Ispirate alle calzature sportive maschili dell’epoca, le two tones sono design puro, raffinatezza e comfort ineguagliabile. Prodotte nel cuore della Lombardia, simbolo di tradizione, autenticità e modernità nella produzione della calzatura di lusso, le two tones sono sottoposte agli standard di eccellenza del know how artigianale. Ogni scarpa richiede dai 50 ai 100 passaggi fatti di precisione e attenzione al dettaglio: questo è il segreto del mito Chanel. Il processo produttivo parte dalla forma, che determina il volume della scarpa, il tipo di punta e il fitting. La forma viene avvolta nella carta su cui è successivamente applicato il disegno tecnico. Nasce così il cartamodello, lo schema che guiderà le fasi successive: il taglio dei pellami, l’applicazione del logo (l’emblematica doppia C), la chiusura della punta e della tomaia, l’applicazione del tacco e della suola, la rifinitura. Una volta pronta, avvolta in un morbido panno e alloggiata nell’ inconfondibile scatola nera, la leggendaria ballerina è finalmente pronta per dar vita al sogno, oggi come cinquant’anni fa.

Mug Magazine issue 25, year XV

Kartell stands for excellence in design and a perfect combination of creativity and technology, glamour and functionality. The brand is outstanding for its updated versatile products, which are easy to use and have a strong aesthetic appeal. Their endless evolution in the use of materials and experiment in new technologies are the key to the brand’s achievements in functionality and inimitable aesthetic features. It was in 1999 that Kartell presented their first transparent item of furniture, ‘Marie’, a chair designed by Philippe Starck and realised in polycarbonate. Since then the brand has been permanently connected with the world of fashion, both by getting the best international fashion designers to give different interpretations of Philippe Starck’s chair, and by proposing sophisticated brand extensions.

In 2009 the brand first proposed ‘Glue Cinderella’, a collection of plastic ballerinas, renewed in 2010, that merge Kartell’s know-how in the design of plastic materials with .normaluisa.’s style. Refined but easy-to-wear, the ‘Glue Cinderella’ are ballerinas whose essential but elegant silhouette makes them ideal for the ‘Cinderellas’ of today, keen on combining classic moods and presentday trends, irony and elegance. Available in a palette that ranges from total transparent, to opaque single tone, or two tones, Glue Cinderella are manufactured in 100% recyclable plastic material. The collaboration between Kartell and Normaluisa was further strengthened by Lady, the single tone or twotone square-toed plastic sandals with plateau. The design of Glue Cinderella and Lady draws its inspiration from the concept ‘easy chic’, which combines a sophisticated and an easy look in an accessory for daily wear.

Chi dice Kartell dice Design con la D maiuscola, connubio perfetto tra creatività e tecnologia, glamour e funzionalità.

Un cammino iniziato 60 anni fa da quella che oggi è considerata una vera e propria griffe del design. Plus di Kartell sono i prodotti: oggetti contemporanei e trasversali, di facile fruizione e dall’indubbio appeal estetico. La continua evoluzione nell’utilizzo dei materiali e la sperimentazione di nuove tecnologie, sono la chiave attraverso cui Kartell ottiene le migliori prestazioni funzionali e peculiarità estetiche inimitabili. È il 1999 quando Kartell presenta il primo oggetto d’arredo trasparente realizzato in policarbonato: la Marie, la sedia disegnata da Philippe Starck. Da allora il brand si lega a doppio filo al mondo della moda, dapprima prestando la poltroncina di Philippe Starck alle interpretazioni dei maggiori fashion designer internazionali, successivamente proponendo sofisticate brand extension. Nasce così nel 2009 e si rinnova nel 2010 la collezione di ballerine in plastica “Glue Cinderella”, frutto dell’incontro tra il know-how di Kartell nel design dei materiali plastici e lo stile di .normaluisa. Raffinate ma easyto- wear, le Glue Cinderella sono ballerine dalla forma essenziale ma elegante, ideali per le Cenerentole di oggi che amano mixare mood classico e contemporaneità, ironia e bon ton. Disponibili in una gamma che va dal trasparente totale, al monocolore opaco, al bicolore, le Glue Cinderella sono prodotte in materiale plastico riciclabile al 100%. Il sodalizio Kartell e Normaluisa si rafforza ulteriormente con Lady, il sandalo in plastica spuntato con plateau, in tinte unite e bicolor. Il design di Glue Cinderella e di Lady si ispira al concetto di “easy chic”, che abbina a un’immagine ricercata, la facilità di un accessorio da indossare ogni giorno.

FRUTTO DELL’INCONTRO TRA IL KNOW-HOW DI KARTELL NEL DESIGN DEI MATERIALI PLASTICI E LO STILE DI .NORMALUISA.

35

36

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 18 — STORE —

L’ECLAIREUR PARIS —

The Group’s ninth store, the boutique l’Eclaireur, Rue de Sevigne, Paris, is a mode of expression, an experience that frames our inner dreamlike universe, an experience that everybody can share by making an imaginary personal journey shaped by our own emotions, history and recollections. The boutique l’Eclaireur, Rue de Sevigne, is the outcome of the convergence of two gifted minds. Armand Hadida opened his first Paris store in 1980. A pioneer in merging fashion with design, he broke the rules of classic distribution to give retail a new direction: those who visit his stores are not simply clients but active protagonists taking part in the scene of a purchase experience as leading actors rather than as extras. The interiors of the latest l’Eclaireur have been realised by Arne Quinze, the designer who can interpret at best XX Century changes and the relationships between human beings, matter and technology. L’Eclaireur, Rue de Sevigne, is a sort of dreamlike labyrinth centred not only on the eclectic collections on display but also on the emotions that their sight stirs up in our mind; a fantastic, womblike world lined with

Articles and images from the issue #18 of Mug Magazine – December 2009 / 文章とイメージは、 2009年12月発行のMug Magazine 18号に掲載されたものです。

wooden boards and salvage. 147 monitors, fitted in the walls, show Quinze’s wife’s eyes staring at visitors. The outcome of all this is a really interactive installation in which reality and illusion merge in an endless interplay of lights and shadows, voids and solids. An ordered chaos, according to the definition of Hadida himself, which favours an approach to a sensual, natural fashion, in turn reflected in a lifestyle. The store also offers the French preview of the eagerly awaited Microsoft Surface: a computer that can recognise physical objects and make them the main actors of an apparently virtual context, in which touch breaks the traditional barriers between the human being and technology.

Mug Magazine issue 25, year XV

La boutique l’Eclaireur in Rue de Sevigne a Parigi, nono negozio del gruppo, è una forma di espressione, un’esperienza che dà vita all’universo onirico che abita ognuno di noi. Un’esperienza che tutti possono fare propria, intraprendendo un immaginaraio viaggio personale, plasmato attraverso le emozioni, la storia e i ricordi che ogni individuo trattiene. La boutique l’Eclaireur in Rue de Sevigne è il risultato dell’incontro di due spiriti geniali. Armand Hadida apre il primo negozio a Parigi nel 1980.

Pioniere del connubio tra fashion e design, rompe le regole della distribuzione classica per dare una nuova direzione al retail: chi entra nei suoi negozi non è solo un cliente ma un protagonista attivo che prende parte alla sceneggiatura di un’esperienza di acquisto non come semplice comparsa, ma come attore, protagonista. Gli interni del nuovissimo L’Eclaireur sono stati realizzati da Arne Quinze, il designer che meglio interpreta le metamorfosi del XX° secolo e le interconnessioni tra essere umano, materia e tecnologia. L’Eclaireur di rue de Sevigne è una sorta di labirinto dei sogni, che fa perno non solo sulle eclettiche collezioni esposte ma soprattutto sull’emotività dell’esperienza offerta dalla

visita; un mondo fantastico, quasi uterino, rivestito di assi di legno e materiali di recupero. Incastonati alle pareti, 147 monitor mostrano gli occhi della moglie di Quinte che scrutano intimamente i visitatori. Ciò che ne deriva è una vera e propria installazione interattiva in cui realtà ed illusione si intersecano continuamente, in un gioco di vuoti e pieni, di luci e ombre. Un caos ordinato, secondo la definizione dello stesso Hadida., che dà adito a un approccio alla moda sensuale, naturale, che si riflette in uno stile di vita. Nel negozio anche l’anteprima francese dell’attesissimo Microsoft Surface: un computer capace di riconoscere gli oggetti fisici e di farne attori principali di un contesto che sembra virtuale ma che in realtà, attraverso il tocco, rompe le tradizionali barriere tra l’essere umano e la tecnologia.

L’ECLAIREUR 40 RUE DE SÉVIGNÉ, PARIS – FRANCE

37

38

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 18 — ART —

TEXTILE DESIGN CONTEST3 WINNERS —

On September 8th 2009, the official Jury of the 3rd edition of the Textile Design Contest met at Treviso Chamber of Commerce to evaluate the handed-in works. In this third edition of the TDC candidates were asked to plan and design a fabric that could enhance the features of the yarn employed; not only a proposal to make a fabric, then, but also a synthesis of a whole creative process, from the choice of a yarn, its structure and fibres, to the technical solutions each candidate believed could enhance it. The members of the Jury were: Prof. Romeo Profili, Scientific Coordinator of the School for Textile Technicians, Doctor Maria Luisa Frisa, Director of the Course for the Degree in Fashion Design, I.U.A.V. University, Mrs. Deanna Ferretti Veroni, the owner of Modateca Deanna, Fashion documentation International Centre, and Elda Danese, Professor of Fabric Technology at the Course for the Degree in Fashion Design, I.U.A.V. University, Venice. After carefully examining the works the Jury chose the following projects: Category “Research”: Giulia Ciuoli Category “Graphics”: Arianna Moroder Each candidate was awarded a prize of 1,500.00 Euros

Articles and images from the issue #18 of Mug Magazine – December 2009 / 文章とイメージは、 2009年12月発行のMug Magazine 18号に掲載されたものです。

(before tax and other deductions).

An initiative of Lazzari Cultural Association, the Textile Design la manifestazione, promossa dalla Facoltà di Design e Arti dell’Università Iuav di Venezia e dalla Camera di Commercio di Treviso, è stata patrocinata dalla Regione Veneto, dalla Provincia di Treviso, dal Comune di Treviso, da Banco Desio e da Unindustria Treviso. Contest was born with the aim of introducing young creators into the world of textiles for fashion and furniture. Promoted by the Faculty of Art and Design of I.U.A.V. University, Venice, and

by Treviso Chamber of Commerce, the event was held under the patronage of Veneto Regional and Provincial Administrations, by Treviso Municipal Authority, Banco Desio and Treviso Unindustria.

Mug Magazine issue 25, year XV

Lo scorso 8 Settembre 2009, presso la Camera di Commercio di Treviso, si è riunita la giuria ufficiale della terza edizione del Textile Design Contest allo scopo di valutare gli elaborati pervenuti. La terza edizione del TDC ha proposto ai partecipanti la progettazione e il disegno di un tessuto che fosse in grado di valorizzare ed esaltare le peculiarità del filato impiegato; non solamente dunque la proposta di un tessuto ma la sintesi di un intero percorso creativo, dalla scelta di un filato e della sua composizione fibrosa e strutturale alle soluzioni tecniche in grado di determinarne la valorizzazione, secondo il candidato. La giuria ufficiale era così composta: Prof. Romeo Profili, Coordinatore Scientifico del Corso per Periti Tessili, Dott. ssa Maria Luisa Frisa, Direttrice del Corso di Laurea in Design della Moda dello I.U.A.V., Sig. ra Deanna Ferretti Veroni, titolare della Modateca Deanna, Centro Internazionale Documentazione Moda e Prof.ssa Elda Danese, Docente di Tecnologia del Tessuto presso il Corso di Laurea in Design della Moda dello I.U.A.V. Dopo attenta valutazione degli elaborati da parte dei giurati sono stati selezionati i seguenti progetti: Categoria “Ricerca”: Giulia Ciuoli Categoria “Grafica” Arianna

Moroder Ciascun candidato ha ricevuto un premio, al lordo di imposte, tasse e trattenute di legge, di 1.500,00€. Textile Design Contest è un’iniziativa dell’Associazione Culturale Lazzari nata allo scopo di promuovere e favorire l’avvicinamento dei giovani creativi al mondo dell’industria Tessile per la moda e l’arredamento; la manifestazione, promossa dalla Facoltà di Design e Arti dell’Università Iuav di Venezia e dalla Camera di Commercio di Treviso, è stata patrocinata dalla Regione Veneto, dalla Provincia di Treviso, dal Comune di Treviso, da Banco Desio e da Unindustria Treviso.

39

40

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 18 — DESIGNER —

TOM FORD —

Articles and images from the issue #18 of Mug Magazine – December 2009 / 文章とイメージは、 2009年12月発行のMug Magazine 18号に掲載されたものです。

Mug Magazine issue 25, year XV

To define Tom Ford a versatile figure may indeed sound belittling. Fashion, cosmetics and the cinema are only a few of the achievements of a man whose world is constantly evolving and expanding. After spending his childhood in Santa Fe, New Mexico, Ford, a Texan by birth, in the early Eighties moved to New York where he devoted himself to the study of art and architecture and got in touch with the stimulating world of pop art. 1990, the year when he started working for Gucci, was a turning point in his career as a designer. In 1992 he became Design Director and in 1994 he was appointed Creative Director of the brand, in charge of all the lines from clothing to perfumes, as well as of the Group’s official image, advertising campaigns and stores. In 2000 he was appointed Creative Director also of Yves Saint Laurent

Rive Gauche and YSL Beauté, and worked side by side with the brand’s creators for a repositioning and rehandling of the brand’s image. In 2002 he was given the post of Vice President of Gucci Group’s Board of Directors, but in 2004 he resigned when the firm was taken over by Pinault Printemps Redoute. Exactly a year after resigning, Tom Ford, together with Domenico De Sole, Gucci’s former President and Chief Executive, announced the creation of the brand TOM FORD. That same year he went into partnership with Marcolin Group for the production and distribution of the new brand’s sun shades and eye glasses, and in November 2005 he made an agreement with Estee Lauder for the creation of Tom Ford Beauty. In February 2006 the stylist announced an agreement with Ermenegildo Zegna Group

for a production and distribution licence of luxury readyto- wear and custom made men’s clothing, footwear and accessories labelled TOM FORD. In 2007 the brand launched the first men’s fragrance “Tom Ford for Men”. The debut of his first men’s clothing and accessories collection coincided with the opening of his first single- brand store, in the prestigious frame of Madison Avenue, Manhattan. The first European single brand store was opened in Milan in 2008, in central Via Verri, and the brand is now planning to expand its retail to the main cities of Europe, Asia, South America and the Middle East. Within the next decade, the brand’s target is to set up a network of a hundred Tom Ford stores with select, top quality multibrand partners.

The countless awards that the designer has been given over the last fifteen

years and his closeness to the world of the movies and the Hollywood jet set have led him to the decision of starting a new artistic career as film producer and director. After acquiring the performing rights of Isherwood’s “A Single Man”, in 2008 Ford started filming the homonymous movie. Presented at Venice 66th International Film Festival, the film was given a good reception, and the protagonist, the British actor Colin Firth, was awarded the Volpi Cup as best male interpreter. Julianne Moore and Matthew Goode also starred in the film, the story of an English Professor who loses his partner in a tragic street accident. A love story but also a reflection on life, on how its meaning can be lost and recovered. The story of a man who can neither imagine his own future nor live in the present, but who, attracted to a young student he makes friends

41

with, will be able to rediscover the beauty of life. ‘A Single Man’ is a tribute to a man who has the courage to live to the full, even when he feels the end approach, confident that he has lived something that many people will never experience.

A LOVE STORY BUT ALSO A REFLECTION ON LIFE, ON HOW ITS MEANING CAN BE LOST AND RECOVERED

42

Mug Magazine issue 25, year XV

Definire la figura di Tom Ford come “poliedrica” è davvero semplicemente riduttivo. La moda, la cosmesi e il cinema sono solo i contorni già delineati del suo mondo, in costante evoluzione ed espansione. Dopo aver trascorso l’infanzia a Santa Fe, nel New Mexico, Ford, texano di origine, si trasferisce a New York agli inizi degli anni ’80.

Lì si dedica agli studi d’arte e successivamente a quelli di architettura, entrando direttamente in contatto con la fervente scena artistica pop. Il 1990 è l’anno di svolta della sua carriera di designer, quando egli approda presso la maison Gucci. Nel 1992 è investito del ruolo di Direttore del Design e già nel 1994 diviene Creative Director del marchio, responsabile di tutte le linee, dall’abbigliamento ai profumi e persino dell’immagine istituzionale del Gruppo, delle campagne e degli stores.

Nel 2000 è promosso Direttore Creativo anche di Yves Saint Laurent Rive Gauche e YSL Beaute, lavorando al fianco dei creativi del marchio, per il risposizionamento e la nuova definizione dell’immagine. Nel 2002 assume addirittura la carica Vice Presidente del C.d.A. del Gucci Group per poi dimettersi da ogni incarico, nell’aprile 2004, a seguito dell’acquisizione da parte di Pinault Printemps Redoute. A un anno esatto dalla sua dipartita, Tom Ford, al fianco dell’ex-Presidente e A.D. di Gucci, Domenico De Sole, annuncia la creazione del brand TOM FORD. In breve arriva la partnership col Gruppo Marcolin per la produzione e distribuzione di occhiali da sole e da vista del nuovo marchio e l’accordo con Estee Lauder, nel novembre 2005, per la creazione della TOM FORD BEAUTY. Nel febbraio 2006 Tom Ford annuncia

l’accordo di licenza con l’Ermenegildo Zegna Group per la produzione e distribuzione di abbigliamento maschile di lusso prêt à porter e su misura, di calzature e accessori marchiati TOM FORD. Nel 2007 avviene invece il lancio dellla prima fragranza maschile TOM FORD FOR MEN. Il debutto della prima collezione maschile di abiti e di accessori coincide l’inaugurazione della sua prima boutique monomarca, sulla prestigiosa Madison Avenue a Manhattan. Il primo monomarca europeo viene invece aperto a Milano nel 2008, nella centralissima via Verri mentre il marchio prepara già un’espansione del retail nelle principali città di Europa, Asia, Sud- America e Medio-Oriente.

L’obiettivo è quello di raggiungere, entro i prossimi dieci anni, una rete di 100 punti vendita TOM FORD e di selezionati partner multibrand di alta

gamma. I riconoscimenti ricevuti dal designer negli ultimi quindici anni sono innumerevoli e la sua vicinanza al mondo del cinema, al jet-set hollywoodiano lo hanno spinto ad aprire una nuova via nella sua carriera artistica: quella di regista e produttore cinematografico.

Dopo l’acquisizione dei diritti di “Un Uomo Solo” di Isherwood, nel 2008 Ford comincia le riprese di “A SINGLE MAN”. Presentato alla 66° Mostra Internazionale d’Arte Cinematografica di Venezia, il film ottiene una buona accoglienza e il protagonista, l’attore inglese Colin Firth, viene insignito della Coppa Volpi per la migliore interpretazione maschile. Al suo fianco la celebre Julianne Moore e Matthew Goode sono gli interpreti del lungometraggio che racconta la vicenda di un professore universitario inglese che perde il suo partner, a causa di un tragico

Articles and images from the issue #18 of Mug Magazine – December 2009 / 文章とイメージは、 2009年12月発行のMug Magazine 18号に掲載されたものです。

incidente stradale. Non solo una storia d’amore ma anche una riflessione sulla vita, sulla perdita di senso della propria esistenza e sul suo ritrovamento. Il racconto di un uomo che non immagina più un futuro e non vive più il presente ma che grazie ad una grande amicizia e all’attrazione verso un giovane studente riuscirà a riconciliarsi con la bellezza della vita. A SINGLE MAN è un tributo al coraggio di vivere fino in fondo, anche quando si sente la fine vicina, con la certezza di aver vissuto qualcosa che molte persone purtroppo non avranno mai.

Mug Magazine issue 25, year XV

BACK IN THE DAYS —

MUG MAGAZINE ANNO 10 NUMERO 19 2010 —

43

44

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 19 — SHOWCASE —

THE WORK JACKET —

Workwear is unquestionably widely developed and widespread on the American market. The need to wear a specific item of clothing while performing a given activity is deeply rooted in American culture, and so is the need to manufacture models that can guarantee comfort, functionality and protection. Since the early 20th century some firms, family owned ones at the very start, have specialised in the production of clothing for specific activities, but also in the supply of sections of the army and different sports activities. When we speak of “work jacket” we generally refer to the models used by workers in different professional fields, items that frequently end up by being used in their leisure time. Some of these jackets used for technical reasons have become synonymous with a practical, open air lifestyle. Timeless models, by definition ‘detached’ from the trends that have eventually influenced them in recent years. From “hunting & fishing” clothing, to pure workwear made in the USA, to early 20th century American railroaders, we will revisit together the history and the evolution of the protagonists of this fantastic world, which may be rough at times, but is always authentic and genuine.

L’abbigliamento da lavoro è indiscutibilmente un settore che trova massimo sviluppo e larghissima diffusione nel mercato americano. Non solo è radicata nella cultura americana la necessità di indossare un capo specifico per ciascuna attività lavorativa ma anche l’esigenza di produrre dei modelli che garantiscano comfort, funzionalità e protezione. Già dagli inizi del secolo scorso alcune aziende, inizialmente a conduzione familiare, si sono

specializzate nella produzione di capi di abbigliamento destinati ad ambiti lavorativi specifici ma anche nella fornitura di corpi militari e nelle diverse discipline sportive. Quando si parla di “giacca da lavoro” si fa genericamente riferimento ai modelli impiegati dai lavoratori delle diverse professionalità, capi che sempre più di frequente finiscono per essere impiegate anche nel tempo libero. Alcune di queste giacche, di utilizzo prettamente “tecnico”, sono divenute sinonimo di uno stile di vita all’aria aperta, all’insegna della praticità. Modelli senza tempo, per definizione “distanti” dalle mode che di fatto hanno finito, negli ultimi anni, per influenzarle direttamente. Dall’abbigliamento “hunting & fishing” al workwear puro, Made in Usa, per giungere fino ai ferrovieri americani dei primi del Novecento, ripercorreremo insieme la storia e le evoluzioni dei protagonisti di questo fantastico mondo, talvolta ruvido ma sempre autentico e genuino.

CARHARTT CARHARTT was established in Detroit in 1889 by Hamilton Carhartt, and has for over 120 years devoted its activity to the “Best in Class apparel for active workers”. In 1994 Carhartt Inc. started the distribution of their collections in Europe through Work in Progress. It was the start of a spontaneous, gradual process that led to products that suited the brand Carhartt to the European market.

Over the years Carhartt Europe has been able to involve the metropolitan universe by conveying the basic principles that have made the brand renowned: comfort, quality, resistance and versatility. The Carhartt universe has always welcomed the pioneers of street culture in all its aspects, from action sport (skateboarding, bmx, surf and snowboard) to music, and art (writing, design); the combination of these elements turns the philosophy of a clothing brand into a culture, a largely shared world view.

Straight from the historic archive we are

Articles and images from the issue #19 of Mug Magazine – June 2010 / 文章とイメージは、 2010年6月発行のMug Magazine 19号に掲載されたものです。

pleased to present the “Detroit Jacket”, that bears witness to the brand’s evolution in style. Such evolution is today acknowledged at the international level, as has been proved by their countless collaborations over the years; among the latest ones the “Chore Jacket”, a vintage model revisited by Junya Watanabe, a historic collaborator of the Japanese maison Comme des Garçons. Carhartt is distributed in Italy by Slam Jam. Fondata a Detroit nel 1889 da Hamilton Carhartt, da oltre 120 anni Carhartt dedica la sua mission al “Best in Class apparel for active workers”. Nel 1994 tramite Work in Progress inizia la distribuzione in Europa delle collezioni Carhartt Inc. Attraverso un processo graduale e spontaneo nasce una produzione volta ad adattare il brand Carhartt al mercato Europeo. Con gli anni Carhartt Europe è riuscita a trasmettere all’universo metropolitano i principi essenziali che hanno reso celebre il marchio americano (comfort, qualità, resistenza e versatilità). L’universo Carhartt accoglie da sempre i pionieri della street culture in tutti i suoi aspetti, dall’action sport (skateboarding, bmx, surf e snowboard), alla musica, all’arte (writing, design); l’unione di questi elementi fa sì che la filosofia di un marchio di abbigliamento si trasformi in una cultura, una visione del mondo largamente condivisa. Direttamente dall’archivio storico presentiamo la “Detroit Jacket”, testimonianza dell’evoluzione stilistica del brand. Maturazione oggi riconosciuta a livello internazionale, come dimostrano le diverse collaborazioni fatte negli anni. Tra le più recenti: la “Chore Jacket”, modello vintage rivisitato da Junya Watanabe, storico collaboratore della casa di moda giapponese di Comme des Garçons. Carhartt è distribuita in Italia da Slam Jam

Mug Magazine issue 25, year XV

LEE Back in 1889 industrialist H. D. Lee, disappointed with the poor quality of work wear, started to experiment on new solutions and in 1911 created the first denim overalls which would become a must for workers and farmers. In 1917 Lee were the biggest work wear manufacturers, renowned for the quality and strength of their fabrics, like Chetopa Twill, and for the attention they devoted to functional details.

Research led to iconic items, like the Loco jacket, the first jeans with a zipper, or the slim and closefitting Rider jacket for cowboys.

But the real turning point was in 1955, when James Dean wore a pair of Lee jeans in “Rebel Without a Cause”, and denim, now made popular, became an icon of pop culture. Today Lee celebrate their heritage with the line The Archives, with items that draw inspiration from last century’s models and repropose their authentic spirit, comfort and functionality. Lee. Comfort clothes

for work and play. The 91-J Original Loco Jacket (in the sanforized denim DRY version) was the first jacket to be introduced in Lee’s production in 1921. Specially realised for American railways workers (as its name implies) in 8oz denim, the “Loco” displays along the sleeves and sides the typical triple contrasting stitching; the large front pockets have a wool lining, and the sleeves are provided with threebutton de-structured wristbands. Under the original label “Lee Union Made”, the left front pocket bears a small pocket into which railwaymen could slip their pocket watch.

The brass buttons are branded Antique Wear “Long L”. The Jelt denim label of the trade mark registration is no less than a replica of a piece dating back to the 1940’s. The Loco Jacket of Lee Workwear FW 2010-2011, instead, represents the redesigned updated equivalent, in 11oz washed denim, of the model of the 1920’s. The chest pockets draw on the original model but come without buttons, whereas the front ones, are reduced in size and slanting to more easily introduce the hands. The collar and the wristbands are softened and also draw on the Original. The “Durabilt” logo stands for the basic principles of the brand: resistance, quality and comfort.

Siamo nel 1889. L’industriale H.D. Lee, scontento della scarsa qualità dell’abbigliamento da lavoro, inizia a sperimentare soluzioni nuove, fino a creare nel 1911 la prima salopette overall in denim che diventerà un must per operai e contadini. Nel 1917 Lee è la più grande azienda produttrice di workwear, apprezzata per la qualità e resistenza dei tessuti, come il Chetopa Twill, e per la ricerca

45

di dettagli funzionali. Proprio la ricerca è la chiave per dare vita a dei capi iconici, come la Loco jacket, il primo jeans con la zip, o la Rider jacket, asciutta e in figura, per i cowboys. La svolta epocale avviene nel 1955, quando James Dean indossa un paio di jeans Lee in “Gioventù Bruciata”: il denim, sdoganato, diventa icona della cultura pop. Oggi Lee celebra il suo heritage con la linea The Archives, in cui ciascun pezzo è ispirato ai modelli originali del secolo scorso, riproponendone lo spirito autentico, il comfort e la funzionalità. Lee. Comfort clothes for work and play.

La 91-J Original Loco Jacket (nella versione DRY, in denim sanforizzato) è la prima giacca introdotta nella produzione di LEE nel 1921. Realizzata appositamente per i lavoratori delle ferrovie americane (da cui il nome), in denim 8oz, la “Loco” evidenzia lungo le maniche e i fianchi le triple cuciture in contrasto; le ampie tasche frontali sono foderate in lana e le maniche dotate di polsini destrutturati, a tre bottoni. Nella tasca pettorale sinistra, sotto l’etichetta originale “Lee Union Made”, trova spazio un piccolo taschino dove i ferrovieri potevano comodamente infilare l’orologio da tasca. I bottoni in ottone sono marchiati Antique Workwear “Long L”. L’etichetta Jelt denim della registrazione del marchio di fabbrica è addirittura replica di un pezzo anni ‘40. La Loco Jacket della Lee Workwear FW 2010-2011 rappresenta invece il corrispettivo moderno, in denim lavato 11oz, del modello degli anni ‘20 ridisegnato in chiave contemporanea.

Le tasche pettorali vengono riprese e proposte senza bottoni mentre le frontali, ridotte e inclinate, per un più pratico inserimento delle mani. Il colletto è ammorbidito così come i polsini, direttamente ispirati a quelli della Original. Il “Durabilt” logo, i principi fondamentali del brand, quali resistenza, qualità e comfort.

46

Mug Magazine issue 25, year XV

FILSON Filson’s career has since 1897 been linked to the adventurers who took part in the great Gold Rush in Klondike. Clinton C. Filson, the founder of the brand, in his Seattle- based firm manufactured and sold the clothing needed to resist the polar temperatures of North America. When the Gold Rush came to an end, Filson made a reputation by supplying hunters, loggers, explorers, engineers, miners, fishermen and sailors.

In particular, it was the Filson Cruiser, patented in 1914, that earned the brand a place in the history of outdoor clothing, to this day the firm’s item that sells best. In the last hundred years the brand’s philosophy has never changed: “we must make sure that we always offer only the best”; they have been able to do so even thanks to their endless dialogue with customers whose suggestions they have always considered, to the protection, product quality and resistance they guarantee in items that will never be out of fashion. One of the novelties of the Spring-Summer season 2011 derives from the work jacket-shirt patented in March 1914 by Filson’s founder, registration number 1.088.891. It is an anorak-style jacket, provided with a hood for head protection. Realised in the new, very resistant cotton and cordura canvas, the jacket shares all the functional details with the model of the 1920’s: the four front pockets, arranged asymmetrically, of different size and use, and the typical fastening. The model ’s registration number 1.088.891 was valid until 1927, the year when exclusive rights expired and it became one of the most imitated jackets by manufacturers of work wear.

Also the Mackinaw Cruiser Style 110 represents an evolution of this garment, from which it borrows the front opening with a button fastening, here stretching from top to bottom. The Cruiser, with its typical black check on a red background, has a renewed fit specially created for the European market, that does not impair the functionality, warmth and resistance for which it has long been outstanding.

Realised in pure Mackinaw virgin wool, the Cruiser is a real barrier against the wind, cold and snow. An inseparable companion of American timber cruisers during their long days in the woods, this model is provided with something like four front utility pockets and practical side hand-warmers. With a view to offering only the best, in terms of durability, comfort and functionality.

da Seattle l’abbigliamento necessario a resistere alle temperature polari del Nord America.

Sfumata la Grande Corsa, Filson ha costruito la propria reputazione servendo

cacciatori, boscaioli, esploratori, ingegneri, minatori, pescatori e marinai. In particolare, è la Filson Cruiser ad aver scritto il nome del brand nella storia dell’outdoor: brevettata nel 1914 è tuttora il capo più venduto dell’azienda. In oltre 100 anni la filosofia del brand non è mai cambiata: “assicurarsi di offrire solo il meglio”, anche grazie al dialogo continuo con i clienti e alla

Dal 1897 la storia di Filson è legata agli avventurieri che parteciparono alla Grande Corsa all’oro nel Klondike. Il fondatore del marchio, Clinton C. Filson, produceva in proprio e commercializzava

Articles and images from the issue #19 of Mug Magazine – June 2010 / 文章とイメージは、 2010年6月発行のMug Magazine 19号に掲載されたものです。

raccolta dei loro suggerimenti, per continuare a garantire qualità totale su ogni prodotto, protezione e durata nel tempo, per capi che non passano mai di moda. Dalla giacca-camicia da lavoro brevettata e depositata con il nr.

1.088.891, nel Marzo del 1914, dal fondatore di Filson, deriva una delle novità della Spring-Summer 2011: una giacca in stile anorak, dotata di cappuccio, da infilare dalla testa. Realizzata nel nuovo e resistentissimo canvas di cotone e cordura, riprende tutti i dettagli funzionali del modello degli Anni ‘20: le 4 tasche frontali, disposte asimmetricamente, di dimensioni e destinazioni diverse e la caratteristica abbottonatura. La registrazione del modello 1.088.891 è rimasta valida fino al 1927, anno in cui sono decaduti i diritti di esclusiva ed è diventata una delle giacche più imitate dai produttori di abbigliamento tecnico da lavoro. Anche la Mackinaw Cruiser Style #110 rappresenta un’evoluzione di questo capo, dal quale riprende l’apertura frontale con bottoni, divenuta totale. La Cruiser, nel caratteristico disegno a quadri neri su fondo rosso, torna infatti rinnovata nella vestibilità, appositamente concepita per il mercato europeo, senza compromettere funzionalità, calore e resistenza che l’hanno resa famosa nel tempo.

Realizzata in pura lana vergine Mackinaw, la Cruiser è un’autentica barriera contro il vento, il freddo e le intemperie. Compagna inseparabile, durante le lunghe giornate trascorse nel bosco, dai timber cruiser americani, questo modello è dotato di ben 4 tasche utility frontali e di pratiche scaldamani laterali. Ancora una volta allo scopo di offrire solo il meglio, in termini di durata, comfort e funzionalità.

Mug Magazine issue 25, year XV

WOOLRICH Woolrich Woolen Mills was born in 2006 from the long standing tradition of Woolrich, a brand established in Pennsylviania in 1830, which created some of the most relevant masterpieces of American men’s wear. Under the guidance of Daiki Suzuki, Woolen Mills drew upon Woolrich’s archive models to repropose the inimitable taste of the age in an updated version. The project starts from the rediscovery of the American manufacturing tradition of the 1950’s and its hand crafted methods, and brings them up-to-date so as to create the authentic spirit of outdoor clothing.

Woolrich Woolen Mills interprets the relationship between past and future, the synergy between the textile tradition and present day forms, to create items in which every single structural detail has a significant impact on functionality. From the next season the brand’s new creative manager will be the 100% American designer Mark Mc- Nairy, a choice that represents the brand’s natural evolution towards the Made in USA tradition: an American designer whose task will be to interpret a product deeply linked to the history of made in USA work wear. The Upland Jacket is one of the models that best illustrate the philosophy of Woolrich Woolen Mills; the inspiration of this item (here portrayed in its summer version, in cotton tahoe) derives from its original use, as a hunting jacket, with which it shares every functional detail: from the practical collar, with a removable tab, that allows horizontal fastening if necessary; the three utility front pockets; the practical pocket on the left front; the typical vertical game pocket, still to be found on both sides of

the jacket, allows to easily reach into the garment; the typical heritage- inspired reinforcement directly matched with the front stitching on the right shoulder. The Stream Jacket of the Fall- Winter season 2001-2011, a model that Woolen Mills have now proposed for three years, comes in wool with the typical “Hudson Bay” pattern ( black and dark blue horizontal stripes); derived from the work wear models, the item is a good interpretation of the updated, unwashed, sartorial approach of the whole collection, and shares, although in decorative terms only, the functional details of the hunting jacket. The sleeves bear two large, leather elbow

patches in black. The front left pocket, the collar back and the jacket’s bottom end are provided with a thin wool loop that can be buttoned. The two front pockets have different forms and fastening methods: the right pocket has a central button and is matched to a corresponding pocket on the back, whereas the left pocket, closed at both its ends, opens all along the side and is completed by a

small vertical pocket. Woolrich Woolen Mills is distributed by WP Lavori in Corso and is available at the best department stores all over the world.

Woolrich Woolen Mills nasce nel 2006, dalla lunga tradizione di Woolrich, marchio fondato nel 1830 in Pennsylvania, in grado dare vita alcuni tra i più importanti masterpieces dell’abbigliamento maschile americano. Sotto la guida di Daiki Suzuki, Woolen Mills riprende i modelli d’archivio di Woolrich per riproporre, in chiave contemporanea, il gusto inimitabile dell’epoca. Un progetto che muove dalla riscoperta della tradizione manifatturiera degli anni ‘50 americani, da metodologie produttive artigianali, riattualizzate per raggiungere lo spirito autentico dell’outdoor. Woolrich Woolen Mills è interprete del dialogo tra passato e futuro, della sinergia tra tradizione tessile e forme attuali, in cui ogni dettaglio strutturale ha un ruolo fondamentale in termini di funzionalità.

Dalla prossima stagione il testimone passa a Mark McNairy, nuovo direttore creativo, designer 100% americano. Una scelta che rappresenta l’evoluzione naturale del marchio verso la tradizione Made In Usa. Un designer americano chiamato ad interpretare un

47

prodotto profondamente legato alla storia del workwear made in USA. La Upland Jacket è uno dei modelli più rappresentativi della filosofia di Woolrich Woolen Mills; l’ispirazione di questo capo (qui ritratto nella versione estiva, in cotton tahoe) viene dal suo utilizzo originale, come giacca da caccia, della quale conserva tutti i dettagli funzionali: dal pratico colletto, con tab rimovibile, che consente all’occasione di chiuderla orizzontalmente; le 3 tasche utility frontali; il comodo taschino sul pettorale sinistro; la caratteristica game-pocket verticale, ancora presente su entrambi i lati della giacca, permette facilmente di accedere all’interno; il rinforzo caratteristico delle giacche di ispirazione heritage è richiamato direttamente dall’impuntura a vista presente frontalmente sulla spalla destra. La Stream Jacket della FW 2010-2011, modello presente ormai da tre stagioni nella proposta di Woolen Mills, è presentata in lana nel caratteristico motivo “Hudson Bay” (a fasce orizzontali blu e nere) è un capo derivato dai modelli workwear che ben interpreta l’approccio sartoriale, contemporaneo e unwashed della collezione. Essa riprende in termini esclusivamente decorativi i dettagli funzionali della hunting jacket. Sulle maniche sono presenti due ampie toppe in pelle di colore nero. La tasca pettorale sinistra è dotata di un sottile passante in lana abbottonabile, presente anche sul retro del collo e a fondo giacca. Le due tasche frontali evidenziano forme e abbottonature diverse: alla tasca destra che si abbottona centralmente, è abbinata una corrispondente sul retro della giacca mentre la sinistra, chiusa alle due estremità, continua lungo tutto il fianco, per terminare con un taschino verticale. Woolrich Woolen Mills è distribuita da WP Lavori in Corso ed è presente nei migliori department stores del mondo.

48

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 19 — STORE —

ISETAN MEN'S —

Articles and images from the issue #19 of Mug Magazine – June 2010 / 文章とイメージは、 2010年6月発行のMug Magazine 19号に掲載されたものです。

Long before Isetan Men’s made a drastic renewal in 2003, they started fumbling for their style and the meaning of Isetan Men’s for customers. Following the basic concept “Customer Oriented” they abandoned the existing ways of a department store. Yet, the fact that they were modern and genuine enabled them to keep an unwavering position as a department store, with an original style of their own. One of their most distinctive traits is the great variety of articles they sell. On the second floor many small and new born brands are blended, although the introduction of such a blend is no longer the role of a concept store.

The floor staff and executives often question one another about what a customer may be looking for at the next stage. Another important point is to offer a perfect customer service, so that customers can feel a sense of fulfilment while shopping; that’s why any customer can ask for advice or help concerning shopping. A member of staff sometimes sees a customer around the store on request.

Should another customer wish to buy a camera, he can be given a photography lesson by a professional photographer.

Isetan are also sensitive to environmental issues. In fact, they have developed an environment-friendly fabric called APEXA R in collaboration with a leading textile company. More than twenty brands have endorsed the project and designed exclusive items for Isetan, due to appear on the market in the AutumnWinter 2010-2011 season. The themes of the AW 2010-2011 season are Archive, Ecology, Country, Military and British Advance. From the reborn cowichan sweaters designed by ten Japanese stylists to many others, Isetan products are something that people can’t but admire.

Mug Magazine issue 25, year XV

Molto tempo prima che la Isetan Men’s attuasse un drastico rinnovamento nel 2003, il marchio era alla ricerca di un suo stile e di un suo significato per i clienti. Seguendo il concetto fondamentale “Customer Oriented”si sono abbandonati i tipici modi di essere di un department store. Tuttavia, la modernità e la genuinità del marchio gli ha consentito di mantenere stabilmente la sua posizione di department store con un suo proprio stile. Uno dei suoi tratti più distintivi è la grande varietà di articoli che vende. Al secondo piano si può trovare un mix di marchi piccoli e nuovi, anche se l’introduzione di questo mix non rientra più nelle funzioni di un concept store. Il personale del piano e i dirigenti si domandano spesso su che cosa possa star cercando un certo cliente nel reparto successivo.

Infatti, un altro elemento importante consiste nell’offrire un servizio clienti perfetto, in modo che essi possano provare un senso di appagamento mentre fanno shopping; questa è la ragione per cui qualsiasi cliente può chiedere consigli o aiuto riguardo alle spese che sta facendo. Un commesso talvolta accompagna un cliente in giro per il negozio su richiesta. Se un altro cliente desidera acquistare una macchina fotografica, può avere una lezione di fotografia da parte di un professionista. Isetan è anche sensibile ai problemi ambientali. Infatti, in collaborazione con una importante industria tessile, ha creato un tessuto non nocivo per l’ambiente, l’APEXA R. Più di venti marchi hanno sottoscritto il progetto e hanno creato dei prodotti esclusivi per Isetan che faranno la loro comparsa sul mercato nella stagione Autunno- Inverno 2010-2011. I temi della stagione AW 2010-2011 sono Archive, Ecology, Country, Military e British Advance. Dai rinati maglioni cowichan, creati da dieci stilisti giapponesi, a molti altri ancora, i prodotti Isetan sono qualcosa che la gente non può non ammirare.

49

50

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 19 — ART —

GIANCARLO MARCALI —

Giancarlo Marcali left Brianza, his homeland, and settled in the Pavese plain where he grew as an artist thanks to the teachings of maestro Martino, and by making stained-glass windows.

Back to his homeland for a few years, he grew tired of routine, left his native land for the second time and moved to Milan where he decided to start a project aimed at promoting young artists in the field of design: “Spazio LowTech”. Marcali later moved to Sydney

where he devoted himself to the study of Aboriginal art and the cultures of South Pacific islands. The artist’s life took a new turn, and, without ever choosing a permanent residence, he kept travelling from Australia to London, from London to Asia and to Barcelona. Back to Brianza again, Marcali started working as a decorator and by combining his sensitivity and life experience he realised works strongly characterised by the influence of tradition.

The artist’s expressive means are in constant change: from life-size pictures to sculptures with strong architectural features. As Davide de Francesco writes: ”Giancarlo’s images mirror a man who loves to create, to express his inmost feelings through matter, and to freely decide. Whenever his ideas are given shape, things have the power to transform what we perceive of them, and, perhaps, here lies the essence of beauty. The exhibition “We

Articles and images from the issue #19 of Mug Magazine – June 2010 / 文章とイメージは、 2010年6月発行のMug Magazine 19号に掲載されたものです。

Are All Prophets” on show at Lazzari Space, Treviso, from April 9th to May 30th 2010, was a synthesis of the artist’s latest works which illustrate different creative approaches, a search for an expressive technique whose filter and leit motif is the human body both in its essence and as a container.

Mug Magazine issue 25, year XV

Giancarlo Marcali abbandona la Brianza, sua terra nativa, per la pianura Pavese dove cresce artisticamente al fianco del maestro Martino, attraverso l’ apprendimento del lavoro delle vetrate artistiche; dopo qualche anno trascorso nella sua terra natia, stanco dell’abitudine, evade da quella terra una seconda volta, trasferendosi a Milano, dove decide di iniziare un nuovo progetto per promuovere giovani artisti nell’ambito del design: lo Spazio Low-Tech. Trasferendosi successivamente

a Sydney Marcali si dedica allo studio dell’arte Aborigena e delle culture delle Isole del Sud del Pacifico. Così ha inizio una nuova fase della vita dell’artista, senza mete fisse, dall’Australia a Londra, da Londra all’Asia e dall’Asia fino a Barcellona. Al ritorno in Brianza, Marcali inizia l’attività di decoratore e grazie alla sua esperienza di vita e grande sensibilità realizza lavori caratterizzati da un forte attaccamento al fascino della tradizione. I mezzi espressivi dell’artista sono in costante cambiamento:

dai quadri a misura d’uomo alle sculture, dotate di una forte valenza architettonica. Come scrive Davide de Francesco “Le immagini di Giancarlo raccontano di una persona innamorata del creare, dell’atto di esprimersi e di decidere liberamente, la materia si appropria di questi sapori: e ogni volta che i capricci trovano e prendono una forma, le cose hanno la capacità di trasformare quello che si percepisce di loro, e, forse, sta qui l’essenza del bello”. L’esposizione “Siamo tutti profeti”

presso lo Spazio Lazzari di Treviso, andata in scena dal 9 Aprile al 30 Maggio 2010, ha costituito un percorso espositivo di sintesi dell’ultimo anno di lavoro dell’artista: la presentazione di una serie di lavori che spaziano all’interno di diversificati processi creativi e che sfociano in una ricerca di un metodo espressivo nel quale il corpo umano, inteso sia come involucro che come essenza, ne è filtro e filo conduttore allo stesso tempo.

51

52

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 19 — DESIGNER —

DAIKI SUZUKI —

Articles and images from the issue #19 of Mug Magazine – June 2010 / 文章とイメージは、 2010年6月発行のMug Magazine 19号に掲載されたものです。

Mug Magazine issue 25, year XV

Daiki Suzuki’s career started in Boston in 1989, over twenty years ago. After working as a buyer for some of the most exclusive Japanese stores, Suzuki launched on the American market a line of handmade moccasins, hunting wear, and the traditional shirts and sweaters of the leading American universities. It is precisely his buyer experience that accounts for his fondness for American outdoor clothing. It was the starting point for his research

on traditional men’s wear, to the extent that he definitely became one of the leading experts in the field. The authenticity underlying models devoted to a specific function like hunting or fishing, was something that greatly involved him, and gradually transformed him into an expert designer. In 1999 Suzuki moved to New York where he established Engineered Garments, his brand of clothing made in New York. The word ‘engineered’

emphasises the importance of details in the tailoring of an item, and hints at the idea of providing each model with details from sports garments, military uniforms and outwear often missing in contemporary sportswear.

In 2005 Daiki Suzuki became the designer of Woolrich brand’s black label, the exclusive Woolrich Woolen Mills, presented at the Milan fashion week in January 2006. Woolen Mills is a line of unique hand finished items

in the original fabrics from the historic Woolrich wool mills, Pennsylvania.

Authentic, functional, discreetly exclusive clothing created by using the small constructive details from the American outwear tradition. A new way of dressing, that can reinterpret a particular model of jacket or trousers through the knowledge of its evolutions, to bring it back to its original dimension of “clothing”. Daiki Suzuki’s endless success has involved the whole

53

international markets; in 2008, the designer was granted the prestigious GQ US Award as “Best New Menswear Designer of the Year”.

54

Mug Magazine issue 25, year XV

Il percorso di Daiki Suzuki comincia oltre vent’anni fa, nel 1989, a Boston. Dopo aver lavorato come buyer per alcuni tra i più esclusivi store giapponesi, Suzuki si occupa del lancio sul mercato americano di una linea di mocassini handmade, di huntingwear e delle camicie e dei maglioni tradizionali delle università americane più prestigiose. Sarà proprio dalla sua esperienza di “compratore” che Daiki si appassionerà all’abbigliamento outdoor americano. Lì comincia infatti il

suo lavoro di ricerca e di studio di questo settore tradizionale del menswear, del quale è indiscutibilmente uno dei massimi conoscitori. L’autenticità alla base di quei modelli, destinati ad una funzionalità specifica, come la caccia o la pesca, lo tocca profondamente e lo trasforma gradualmente in un esperto designer. È il 1999 l’anno in cui Suzuki si trasferisce a New York e fonda Enginereed Garments, il suo marchio di abbigliamento made in New York. Enginereed

per sottolineare l’importanza dei dettagli nella costruzione di un capo nell’intento di dotare ciascun modello di quei particolari, troppo spesso mancanti nello sportswear contemporaneo, che provengono dall’abbigliamento sportivo, dall’outdoor o dalle uniformi militari. Nel 2005 Daiki Suzuki diviene il designer della black label del marchio Woolrich, l’esclusiva Woolrich Woolen Mills, presentata al pubblico nel Gennaio 2006, in occasione della settimana della

moda di Milano. Woolen Mills è una linea caratterizzata dall’unicità dei capi, tutti finiti a mano e realizzati con tessuti originali provenienti dagli storici lanifici Woolrich della Pennsylvania. Ancora una volta il desiderio è quello di creare dell’abbigliamento “autentico”, funzionale, silenziosamente “esclusivo”, grazie ai piccoli dettagli costruttivi della tradizione outwear americana. Una nuova maniera di “vestirsi”, in grado di reinterpretare un particolare modello di giacca o

Articles and images from the issue #19 of Mug Magazine – June 2010 / 文章とイメージは、 2010年6月発行のMug Magazine 19号に掲載されたものです。

di pantalone, grazie alla conoscenza delle sue evoluzioni e riportarlo alla dimensione originale, quella della “vestizione”. Il successo riscosso dalle proposte di Daiki è inarrestabile e interessa l’intero mercato internazionale, tanto da fargli meritare, nel 2008, il prestigioso GQ US Award 2008 come “Best new Menswear Designer of the year”.

Mug Magazine issue 25, year XV

BACK IN THE DAYS —

MUG MAGAZINE ANNO 11 NUMERO 20 2011 —

55

56

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 20 — SHOWCASE —

WEARING A "CHINO" —

The history of clothing and military adventures, a web of events that gives birth to one more iconic item of men’s wear: ‘chino’ trousers, universally known in their typical “khaki” version. The famous trousers, first adopted by the English army and then used by the American one, invariably appear in the images of early twentieth century colonial campaigns, and owe their name to the Philippine farmers who originally wore them, and were called “chinos” by the soldiers back from the Hispanic-American war. The item is also known as “khaki” because of its typically “dusty” colour (from the Persian word “ khak”) obtained by dipping the white cotton items in a mixture of coffee and sand that could give a mimetic colouring to the uniforms of mid-nineteenth century British colonial troops. Besides being used as a military garment, the trousers achieved great success as a civilian item of clothing when the USA soldiers returned to their home country after the two world wars.

“Chino” trousers, in fact, became widespread with campus university students who welcomed ex-soldiers and favoured their social readjustment. Due to its tight weave, the heavy and soft feeling cotton twill these trousers are made of is highly

resistant and symbolises the traditional values of the American military tradition besides recalling the feats of the USA air force and navy. The no- dart trousers have a loose fitting waistline but closely fit the ankle, and their easy, smart look is due to their sports and classic cut. The “chinos” were immediately adopted by the scions of well-off, conservative American families, and became a true icon in the preppy clothing of the American W.A.S.P. (the acronym for White AngloSaxon Protestant, the élite of American society), to go with blue blazers, moccasins, button- down shirts, regimental ties and Shetland sweaters. An alternative to the more “proletarian” denim, the khaki chino continued to be widespread with the students’ circles of the IVY League and the traditional clothing brands for university students from the post-war period to the Eighties, when Ralph Lauren launched the item by celebrating and exporting all over the world the style and the icon items of American sportswear.

With its lighter fabrics and updated fit, Chino keep sticking to their original understatement, versatility and exotic allure….their creases and turn-ups above the shoes, still collect the mixture of earth and sand from which their myth started.

Storia dell’abbigliamento e avventure militari, un intreccio che ancora una volta genera un capo iconico del guardaroba maschile: il pantalone “chino”, universalmente noto nel suo caratteristico color “khaki”.

Questo celebre pantalone, adottato prima dall’esercito inglese e successivamente da quello americano, è onnipresente nelle immagini delle campagne coloniali dei primi del Novecento e deve il suo nome all’originario impiego da parte dei contadini Filippini chiamati “chinos” dai soldati di ritorno dalla guerra Ispanico-Americana. Il capo è tuttavia è noto anche come “khaki” in ragione del suo tipico colore “polveroso” (dal persiano “khak”) ottenuto immergendo i capi di cotone bianco in una mistura di caffè e sabbia, in grado di conferire un aspetto mimetico alle uniformi delle truppe coloniali inglesi della metà del 1800. Parallelamente al suo utilizzo in ambito militare, esso deve il suo grande successo in ambito civile al ritorno a casa dei soldati statunitensi a seguito dei due conflitti mondiali: il “chino” infatti si diffuse tra gli studenti universitari dei campus che accoglievano, nei loro corsi di laurea, gli ex-soldati per favorirne il reintegro nella società civile. Questo pantalone in pesante twill di cotone, morbido al tatto e resistente grazie alla fitta tramatura, oltre a simboleggiare i valori

Articles and images from the issue #20 of Mug Magazine – January 2011 / 文章とイメージは、 2011年1月発行のMug Magazine 20号に掲載されたものです。

caratteristici della tradizione militare americana e rimandare alle gesta degli aviatori e della marina U.S.A., è sempre stato contraddistinto da un look elegantemente disinvolto, grazie al suo taglio classico e sportivo al tempo stesso: privo di pinces, è ampio e comodo in vita ma termina stretto sulla caviglia. Il chinos fu immediatamente adottato dai rampolli delle famiglie facoltose e conservatrici statunitensi, divenendo un’autentica icona della divisa preppy dei W.A.S.P. americani (acronimo di White Anglo-Saxon Protestant, l’elite della società U.S.A.) abbinato a blazer blu, mocassini, camicie buttondown, cravatte regimental e maglioni in shetland. Alternativo al più “proletario” denim, il khaki chino continuò ad interessare i circoli studenteschi dell’IVY League e gli storici marchi d’abbigliamento per universitari, dal primo dopo guerra fino agli Anni ‘80, quando Ralph Lauren li sdoganò celebrando ed esportando in tutto il mondo lo stile e i capi icona dell’abbigliamento sportswear americano. Alleggerito nei tessuti e aggiornato nella vestibilità, il Chino continua oggi a mantenere l’understatement, la versatilità e l’allure esotica delle origini… tra le sue pieghe e nei risvolti, sopra le scarpe, ancora si raccoglie e si confonde quel misto di terra e sabbia dal quale la leggenda cominciò.

Mug Magazine issue 25, year XV

DOUBLE RL Ralph Lauren have for over forty years been an American icon in the world of fashion, with top quality items whose timeless style is universally known. The outcome of their creative process are models conceived to emphasise and enhance the beauty of those who wear them, creations whose underlying drive is the desire to conjure up a charming, f ilm-like vision of the stars-and-stripes world. Following their love and passion for original American clothing, Double RL revisit the chinos, an iconic item in made-in-the USA clothing and an ever present garment in Ralph Lauren collections. The trousers are tailored in warm, compact, pleasant-feeling, itemdyed khaki cotton, without darts and with soft front creases. The pockets’ and the waistband’s inside is in natural colour to emphasise the care for details that characterises this model: the back pocket rims are strengthened, the turn-up sewn, the seams doubled, with robust belt carriers to prove that the trousers have got to be extra resistant. Evidently, Double RL’s aim is to celebrate the original military vocation of an item used in war actions by the American Air Force.

A modern version of the classic chino, the model brilliantly merges tradition and modernity while respecting the item’s distinctive features and updating it with a slim cut and a low waistband.

Da oltre 40 anni Ralph Lauren rappresenta l ’iconograf ia americana nel mondo della moda, producendo capi di qualità che incarnano uno stile senza tempo e universalmente conosciuto. Il risultato di questo processo creativo sono modelli pensati per mettere in risalto la bellezza di chi li indossa, senza nasconderla, nati dal desiderio di riprodurre una sempre affascinante visione “cinematograf ica” del mondo a stelle e strisce. Nel solco dell ’amore e della passione per l ’abbigliamento originale americano, Double RL rivisita il chinos, un capo iconico delle produzioni made in USA e continuativo nelle collezioni Ralph Lauren. Il pantalone è realizzato in un caldo cotone color khaki tinto in capo, compatto e piacevole al tatto, senza pinces e con una morbida riga frontale. All ’interno, le tasche e il cintone sono in tinta naturale, allo scopo di lasciare in evidenza la cura dei dettagli di questo modello: i bordi delle tasche posteriori rinforzati, i risvolti cuciti, le cuciture ribattute e i robusti passanti per cintura evidenziano la volontà di proporre un pantalone ultraresistente. L’intento è chiaro, Double RL celebra la vocazione militare originaria del capo, impiegato nelle eroiche azioni di guerra dell ’Aviazione Americana. Questo modello è una def initiva versione moderna del classico chino in cui tradizione e contemporaneità vengono brillantemente esaltate nel rispetto dei tratti distintivi del capo e nell ’attualizzazione tramite taglio slim e vita ribassata.

57

58

Mug Magazine issue 25, year XV

DOCKERS Born in 1986 in San Francisco the brand Dockers specialised in the manufacture of men’s and women’s khaki trousers. In 2010 the brand launched a massive campaign for the use of trousers to redefine today’s self-assured masculinity: their claim “Wear the Pants” is clearly an invitation to rediscover the pleasure of wearing trousers, and making them an element of both casual and business clothing. Determined to focus on young customers, Dockers propose their iconic item in an incredibly high number of varying fits (classic, slim, straight, big & tall, relaxed) and colours ( from the classic sand, beige and earth to the more recent blue, purple, black and green), in limited editions and special fabrics (pied de poule and pinstriped), with and without darts, with front creases or in no-ironing treated cotton. The collection Fall/Winter 2011 presented at the 79th edition of Pitti Uomo is devoted to all those who work honestly, to their integrity and steadfastness. Outstanding among the new models are K1 – for those who look at great men in history and want a classic and versatile item characterised by a tight fit, without renouncing the comfort typical of khaki pants -, and Alpha Khaki, created for younger clients who want a high quality item that combines the fit of 5-pocket trousers and the aesthetics of khaki trousers. The updated version of these chinos trousers (new washing and used vintage effects) is ideal for people whose taste is on the border line where denim ends and khaki starts.

Articles and images from the issue #20 of Mug Magazine – January 2011 / 文章とイメージは、 2011年1月発行のMug Magazine 20号に掲載されたものです。

Dockers nasce a San Francisco, nel 1986, come marchio specializzato nella produzione di pantaloni khaki per uomo e per donna. Nel 2010 lancia una massiccia campagna per ridefinire la mascolinità moderna e più disinvolta attraverso l’uso del pantalone: il claim “Wear the Pants” è un chiaro invito a riscoprire il gusto di indossarlo e farne un elemento dell’abbigliamento quotidiano, sia casual che business. Pensando ad un pubblico giovane, Dockers propone il proprio capo-icona in un’impressionante numero di varianti di vestibilità (classic, slim, straight, big & tall, relaxed) e colori (dai classici sabbia, beige e terra ai più recenti blu, viola, nero e verde), in edizioni limitate e tessuti speciali (pied de poule e gessato), con o senza pinces, con piega frontale o in cotone trattato anti-stiro. La collezione Autunno/ Inverno 2011 presentata alla 79° edizione del Pitti Uomo è dedicata a tutti coloro che lavorano con onestà, alla loro integrità e determinazione. Tra i nuovi modelli si distinguono in particolare il K1 - per coloro che si ispirano ai grandi uomini della storia e vogliono un capo classico e versatile, dal fit asciutto ma senza rinunciare al comfort tipico del khaki pants – e l’Alpha Khaki, pensato per i più giovani che ricercano un capo di qualità con la vestibilità tipica del 5 tasche e l’estica del khaki: questo chinos, rivisitato in chiave moderna (nuovi lavaggi ed effetto vintage used) è ideale per coloro che si trovano sulla linea di confine dove “finisce” il jeans e “comincia” il khaki.

Mug Magazine issue 25, year XV

BROOKS BROTHERS Fondato nel 1818, Brooks Brothers è il brand che maggiormente ha segnato l’evoluzione dell’abbigliamento classico americano, divenendo punto di riferimento sia per il tradizionale business suit che per l’abbigliamento casual.

La Casa rappresentata dal “vello d’oro” è stata pioniera nella metà dell’800 nel servizio di abiti “in pronta consegna”, è stata tra i primi ad utilizzare cotone anti-piega e speciali trattamenti anti- macchia, ha inventato il disegno delle cravatte regimental americane e il famoso collo button-down per camicie sportive. In quasi 200 anni di storia ha vestito l’esercito degli Stati Uniti e ha servito i più celebri Presidenti degli Stati Uniti, da Lincoln ad Eisenhower, da Roosevelt a Kennedy, fino a Clinton e Obama, garantendo capi confortevoli e di qualità superiore sia in occasioni formali che informali: tra questi, uno dei prodotti continuativi di maggior successo è in assoluto il pantalone chino di origine militare. Realizzato in supima cotton (cotone 100% americano di qualità superiore), il chino è oggi disponibile in tre diversi modelli: il classico Advantage, realizzato in gabardine di cotone e declinato nei tradizionali colori khaki, stone, blu navy e nero; il Vintage-Chino, ideale per le temperature più basse, finito in modo da risultare particolarmente morbido eleggermente “garzato”. Quest’ultimo modello presenta inoltre il sacco tasche interno realizzato con l’oxford tipicamente impiegato da Brooks Brothers per le camicie e il cintone arricchito di un inserto in seta degli storici colori della BB1, la prima cravatta prodotta dalla Casa. Di recente è stata presentata l’ultima variante, il Garment Dyed Chino: tinto in capo e offerto in una vasta gamma di varianti;

questo pantalone ha il sacco tasche realizzato in sear-sucker, un altro cotone tradizionalmente impiegato da Brooks Brothers per l’abbigliamento estivo americano. Dal 2008, il chino è stato ripensato nella vestibilità: al classico fit confortevole americano è stato affiancata la versione “Milano”, dalla vestibilità più asciutta e più vicina ai gusti europei.

Established in 1818, Brooks Brothers is the brand that has most characterised the evolution of American classical clothing, to the extent that it has become a benchmark both for the traditional business suit and for casual clothing. Represented by the ‘golden fleece’, by mid nineteenth century the Maison pioneered in the spot delivery of clothes, invented the pattern of American regimental ties and the famous buttondown collar for sports shirts. Throughout its two-hundred- year-old history the Firm has supplied with clothing the USA Army and the most famous American Presidents, from Lincoln to Eisenhower, Roosevelt, Kennedy, Clinton and Obama with top quality, comfortable items both for formal and informal occasions. Among these, the originally military chinos trousers are definitely one of the most successful products they have been selling all along. Tailored in supima cotton ( 100% high quality American cotton), chinos trousers are today available in three different models: the classic Advantage, realised in cotton gabardine in the traditional colours khaki, stone, navy blue and black; the Vintage-Chino, ideal for low temperatures, with a finish that makes them particularly soft and slightly teaselled. This model comes with the pocket inside in the oxford fabric that Brooks Brothers typically employ in

the manufacture of shirts, their waistband enriched with a silk insertion in the typical colours of BB1, the first tie the Maison manufactured. One more model has been recently presented, the Garment dye Chino, itemdyed and in a wide range of colours. The pocket inside of these trousers is in sear-sucker, another kind of cotton traditionally used by Brooks Brothers for American summer clothing. In 2008 the chinos’ fit has been revised by coupling the classically comfortable American fit with the version ‘Milano’, characterised by a slimmer fit that better suits the European taste.

59

60

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 20 — STORE —

SAN CARLO DAL 1973 —

Giorgina Siviero has been a leading Turin entrepreneur for over forty years.

In 1965 she set up her first store, the start of a series of successful activities that can be epitomised by San Carlo.

How was San Carlo born; what is its underlying philosophy? Forty years ago, when I studied architecture, I realised that it was not the right track for me to follow; I felt the need of finding a new way of my own and decided to invest in something I was very good at, like proposing a taste that could be shared by my generation. I turned my talent for aesthetics into a job, and I still continue to do it today with the same enthusiasm. The philosophy underlying San Carlo is that ideas come first, and business must necessarily follow. San Carlo-Palazzo Villa is defined a “live store”: what makes it different from a concept store? A Concept is something you work out in theory; you think, write and then you give it all the structure of a project. Live, instead, is something spontaneous: it means to be sensitive to cues and ideas from daily life, to experiment on them and propose them, pursuing the idea before business, at all times. Who is the creator that embodies at best San Carlo’s philosophy?

Miuccia Prada. She is something more than a designer. If I were able to do her work, I think I would be her! She starts from a higher concept and draws inspiration from art to work out ideas that she applies to fashion. She doesn’t start from the street like so many other designers. What does Turin give San Carlo and viceversa? If something achieves success in Turin, it’ ll be successful everywhere. Today we have clients from all over Italy who do not consider us mere retailers, but “ a brand that sells other brands”. They often ask for our gift packs. It means we have become as authoritative as a brand. In Turin we are currently serving the third generation: if a Turin-born customer relies on you, he will never betray you. Our typical client travels all over the world, but when he gets back he buys his clothing in our store. I have never thought of exporting San Carlo somewhere else: I am like a craftsman, I must touch all that I do with my hands. What can you tell us of the Palazzo- Villa residence? I still had a floor left… and I liked the idea of getting to this conclusion. Everything inside it has a story of its own to tell. It represents my very self, it is the kind of hospitality I would like to find when I travel.

Articles and images from the issue #20 of Mug Magazine – January 2011 / 文章とイメージは、 2011年1月発行のMug Magazine 20号に掲載されたものです。

Mug Magazine issue 25, year XV

Giorgina Siviero è protagonista dell’imprenditoria torinese da più di 40 anni.

Nel 1965 inaugura il suo primo negozio, l’inizio di una catena di successi, che si possono riassumere sotto l’insegna San Carlo. Come nasce San Carlo e qual’è la sua filosofia? 40 anni fa, quando ero una studentessa di architettura, mi resi conto che non era quella la mia strada, sentivo il bisogno di reinventarmi e decisi di investire in qualcosa che mi riusciva molto bene: proporre un gusto che potesse essere condiviso dalla mia generazione. Ho reso la mia attitudine all’estetica un lavoro, e continuo a farlo tutt’oggi con lo stesso entusiasmo. La filosofia di San Carlo è che viene prima l’idea e poi l’aspetto commerciale. San Carlo-Palazzo Villa è definito un “live store”: cosa lo differenzia da un concept store? Un Concept si elabora a tavolino, si pensa, si scrive e poi si struttura in un progetto.

Live è invece qualcosa di spontaneo: significa cogliere spunti dalla quotidianità, sperimentarli e proporli. Perseguendo l’idea, sempre, prima del business. Qual è il creativo che incarna meglio la filosofia di San Carlo? Miuccia Prada. È qualcosa di più di una stilista. Se sapessi fare il suo lavoro credo sarei lei! Parte da un concetto più alto, si ispira all’arte per

elaborare idee che applica alla moda.

Non parte dalla strada come tanti altri.

Cosa dà Torino a San Carlo e cosa San Carlo a Torino? Se qualcosa ha successo a Torino, avrà successo ovunque. Oggi abbiamo clienti di tutta Italia, che non ci considerano un semplice retailer ma un “marchio che vende grandi marchi”.

Spesso chiedono le nostre confezioni regalo. Vuol dire aver acquisito l’autorevolezza di un brand. A Torino serviamo la terza generazione: se un torinese si fida di te, non lo perdi più. Il cliente tipo viaggia per il mondo ma quando torna veste da noi. E io non ho mai pensato di esportare San Carlo altrove: sono come un artigiano, devo toccare con mano tutto quello che faccio. Ci parli del Residence Palazzo Villa. Avevo un piano in più… e mi divertiva l’idea di chiudere il cerchio così. Tutto all’interno racconta una storia. Mi rappresenta, è il tipo di ospitalità che vorrei trovare quando viaggio.

61

62

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 20 — ART —

aA DESIGN MUSEUM —

A small ‘a’ and a capital ‘A’. The small ‘a’ stands for ‘art’, ‘architecture’, and the capital ‘A’ for the highest possible mark. Each level plays a different role in the exhibition layout of aA, a place where the icons of past and presentday design are within reach, in a space specially designed for masterpieces.

Each room interprets a different concept, and if level 2 in the Basement has a more industrial approach, level 1, labelled aA Life, is devoted to the sale of architecture books and pieces of design. On the first floor of the building we can find the aA Café, where the exhibition continues in a different way: the chairs on which we sit, the small tables at which we have rigorously organic cakes and drinks, have all a unique history that they seem willing to share with us. A quiet spot in the heart of Seoul where to sip a hot coffee, far from the city’s frantic life, sitting on the creations of the most outstanding masters of international design. The second floor is devoted to ‘Scandinavian’ creations, whereas the third, labelled Bauhaus, offers modern vintage pieces and present- day articles. The Museum’s underlying idea consists in proposing design furniture hardly available in Korea, while emphasising its features and authors. The ever growing collection is constantly updated. The above section contains an exhibition of the major masterpieces of industrial design, available from their first editions to the most recent re-visitations. aA Design Museum, a place where the past and presentday history of world design unfolds under our eyes.

Articles and images from the issue #20 of Mug Magazine – January 2011 / 文章とイメージは、 2011年1月発行のMug Magazine 20号に掲載されたものです。

Mug Magazine issue 25, year XV

a minuscola e A maiuscola. Minuscola a significare “arte”, “architettura” e maiuscola come la “A”, il massimo voto raggiungibile. La vocazione è subito chiara. Ciascun piano gioca un ruolo diverso all’interno del percorso espositivo di aA, il luogo dove le icone del design passato e del presente possono essere “toccate con mano” dal pubblico, in uno spazio a misura di “masterpiece”. Ogni ambiente interpreta un concetto autonomo e se il livello 2 del Basement (seminterrato) ha un approccio più industrial, il livello 1, denominato aA Life, è invece destinato alla vendita di libri d’architettura e pezzi di design. Al primo piano dell’edificio troviamo il Cafe aA dove l’esperienza espositiva continua in maniera diversa: le sedie sulle quali ci accomodiamo, i tavolini su cui ci appoggiamo, consumando dolci e bevande rigorosamente organiche, hanno tutti una storia unica che sembrano voler condividere con noi. Un angolo tranquillo nel cuore di Seoul dove assaporare un caffè caldo, lontani dalla frenesia urbana e seduti sulle creazioni dei più importanti maestri del design internazionale. Il secondo piano è dedicato alle produzioni “scandinave” mentre il terzo, intitolato “Bauhaus”, propone pezzi vintage moderni e articoli contemporanei. L’idea alla base del Museum è quella di proporre mobili di design difficilmente reperibili in Corea, valorizzandone peculiarità e autori. La collezione è in continuo accrescimento e in aggiornamento costante. Al suo interno troviamo esposti, come in un museo, i maggiori capolavori dell’industrial design, disponibili dalle prime edizioni sino alle rivisitazioni più recenti. La storia passata e presente del design mondiale prende forma sotto i nostri occhi.

63

64

Mug Magazine issue 25, year XV

BACK IN THE DAYS — MUG MAGAZINE NUMERO 20 — PEOPLE —

CARLA SOZZANI —

Articles and images from the issue #20 of Mug Magazine – January 2011 / 文章とイメージは、 2011年1月発行のMug Magazine 20号に掲載されたものです。

Mug Magazine issue 25, year XV

In 1990 Corso Como was a small street with council houses on both sides dating from the early industrial age, and mostly inhabited by country people who had moved to Milan to work in the city factories. In 1990 Galleria Carla Sozzani was opened at 10, Corso Como, in an industrial building located within the yard of a historical Milanese palace, for years the only concept store in Milan: 10 Corso Como. Over the last 20 years 10 Corso Como has evolved into a multifunctional space that merges culture and business, a space whose multiple identity of store, gallery, bookshop and café perfectly embodies the philosophy of its creator. Carla Sozzani has always been one of the icons of the Italian fashion world, the inspirer and forerunner of trends and styles. 10 Corso Como is the microcosm where all that represents Carla comes to life: art,

fashion, photography, design, music besides a café and a small hotel, a space that can be defined a ‘virtual magazine’, through which she unfolds her narration, not only to create business but above all to welcome and involve clients in an absorbing experience of slow shopping. Carla’s conception in no time became one of international renown that made 10 Corso Como a model of global retail and aesthetics, successfully exported into avant-garde cities like Tokyo and Seoul. Through 10 Corso Como, Carla Sozzani has managed to express the true meaning of creativity, positively and fearlessly facing the world of the irrational, the emotions and talent. Since 1990 she has managed to merge far off worlds and different arts in a space whose constant changes suggest a more and more modern intellectual evolution. On 10 Corso Como’s

20th anniversary, the exhibition of Loretta Lux, a young and talented photographer, confirms the open-minded intellectual contribution that Carla Sozzani makes to all forms of creativity.

65

66

Mug Magazine issue 25, year XV

Nel 1990, Corso Como era un piccola strada di edifici popolari costruiti al principio dell’era industriale, che ospitavano per lo più gente che emigrava dalle campagne per lavorare nelle fabbriche della città. Al numero 10, in un edificio industriale posto all’interno del grande cortile di uno storico palazzo milanese, aprono nel 1990 la Galleria Carla Sozzani e quello che, per anni, è stato l’ unico concept store di Milano: 10 Corso Como.

In 20 anni, 10 Corso Como si è evoluto fino a diventare uno spazio multifunzionale, crocevia tra cultura e commercio, che attraverso il passaggio tra store, galleria, bookshop, ristorante e cafè riflette perfettamente la filosofia di chi l’ha pensato. Carla Sozzani è da sempre una delle icone del fashion world italiano, ispiratrice e anticipatrice di gusti e di stile. 10 Corso Como

è il suo microcosmo, in cui prende vita tutto ciò che la rappresenta: arte, moda, fotografia, design, musica, oltre ad un Cafè e un piccolo Hotel. 10 Corso Como può essere definito un ‘magazine virtuale’, attraverso cui Carla Sozzani crea una narrazione volta non solo a creare business, ma soprattutto ad accogliere e coinvolgere il cliente in un’esperienza totalizzante di slow shopping. Il pensiero di Carla ha catturato in fretta quell’attenzione internazionale che ha reso 10 Corso Como un modello di retail ed estetica globale, esportato con successo in città all’avanguardia come Tokyo e Seoul. Attraverso 10 Corso Como, Carla Sozzani è riuscita a trasmettere il vero senso della creatività, affacciandosi positivamente e senza timore al panorama dell’irrazionale, dell’emozionale, del talento. Dal 1990 ad oggi,

è riuscita a unire mondi lontani e arti differenti in uno spazio che si muove verso una sempre più moderna evoluzione mentale. I vent’anni di 10 Corso Como si chiudono con una mostra di Loretta Lux, giovane e talentuosa fotografa, a conferma della vocazione di Carla Sozzani di dedicare alla creatività, in tutte le sue forme, un tributo di generosa apertura intellettuale.

Articles and images from the issue #20 of Mug Magazine – January 2011 / 文章とイメージは、 2011年1月発行のMug Magazine 20号に掲載されたものです。

68

Mug Magazine issue 25, year XV

—

STORIES BY PARAJUMPERS — parajumpers.it

Far from being conceived as simply moving from place to place, for the brand Parajumpers, established in 2006, travelling is a search for cultures, experiences and lifestyles, its basic sources of inspiration.

After a few years their travel continues and takes the form of a tale. A travel in stages through cultures and people whose life is focused on passions and emotions.

Hauruk Porarinsson’s story follows that of his grandfather, who started his career in the ‘40s. Haukur is one of the most experienced horse breeders in Iceland and the owner of Laxnes a horse hire firm for all those who wish to undertake challenging adventures in the cold Icelandic climate. Haukur sticks to his roots and traditions shaped by historical hardships; a challenging travel started in the X century, when only the strongest horses managed to

survive and adapt to cold Iceland. Originally from southern China, the horses evolved as they moved through Siberia, Russia and Norway and finally found their ideal environment in Iceland.

Haukur’s commitment to carrying on family traditions fully embody Parajumpers’ principles. Steadfastness, strength and spirit of adventure are the basic values that lead to never ending progress, and become one with the concepts of longevity and endurance.

Like the sturdy Icelandic horses Parajumpers is the perfect expression and merging of these features.

Laxnes Horse farm is only the first of the seven episodes that make up Parajumpers’ latest communicative project: a multi-media travel diary in serial form devoted to the description of the landscapes, cultures and personages it comes across. Parajumpers identifies with such personages, at once ‘ordinary’ and special.

Mug Magazine issue 25, year XV

69

70

Mug Magazine issue 25, year XV

旅とは決して、単に場所から場所へと移動 するだけのものではない。2006年に創立し たブランド、Parajumpersにとっての旅と は、文化、人生経験、そしてライフスタイル の探求であり、それはまた彼らのインスピ レーションの源でもあるのである。そして、 数年の旅を続けた後に、彼らの旅は物語と なった。旅は今、様々な文化や人々の生活 の中の情熱 や感情を、少し足を止めて見つ める段階 へと進んだのである。 ハウクル・ポラリンソンのストーリーは、 1 940 年代にキャリアをスタートさせた祖父

の話の続編である。ハウクルは、アイスラン ドで最も経験豊かな馬のブリーダーの一人 で、また、厳寒のアイルランドの地で冒険に チャレンジするべく訪れる人たちを対象と した馬のレンタルファーム、ラクスネスの オーナーである。歴史的苦難により形成さ れた自身のルーツと伝統を、彼は今も守り 続けている。 挑戦に満ちた旅の始まりは、最強の馬のみ が何とか生き残り、アイスランドの冷厳な 風 土に適応できた10 世紀の昔へと遡る。 もともと中国南部で生まれた 馬たちは、

Mug Magazine issue 25, year XV

シベリア、ロシア、ノルウェーと旅を続ける うちに段々と進化し、やがて辿り着いたア イスランドの地で理想的な環境を手に入れ たのだった。 一族の伝統を守り続けるというハウクルの コミットメントは、Parajumpers の理念を 完璧に表現している。確固たる事、忍耐 強くある事、そして冒険の精神は、進歩を し続ける道への基本的価値であり、長命 で耐久力を説くコンセプトと一体化して いる。屈強なアイスランドの馬たちと同様 に、Parajumpersは、そういった特徴を融

合させ完璧に表現している。 ラクスネス・ホースファームは、 Parajumpersの最新コミュニケーションプロ ジェクト、マルチメディア旅行記を構成する 7 つのエピソードの最初に登場するストー リーである。連載小説形式の旅行記は、 旅路で出会った景色や文化、そして人々に ついて描かれている。Parajumpersと、こ ういった登場人物たちの‘普通’であり特 別でもある部分は、互いに共感し合ってい るのである。

71

72

Mug Magazine issue 25, year XV

FROM BERLIN TO ANTWERP AND PARIS — trippen.com

Mug Magazine issue 25, year XV

Trippen's modern design combines environmental friendliness, sustainability and social responsibility. Trippen has been using this concept since its beginnings in the early 1990s.

The designs take fashion trends on board, but resist their throwaway nature, with shapes of lasts and sole units, for example, as well as the types of materials used, remaining unchanged. The different collections, with over a thousand styles, are not replaced every season; rather existing models remain permanently available.

The shoes are unique in pattern technique and design. These unparalleled designs are supplemented by fashionable colour schemes. All manufacturing takes place in Trippen’s own factory, 80 km north of Berlin, as well as in small family businesses in Northern Italy.

The materials are obtained exclusively from European suppliers. Single components can easily be exchanged and replaced. Environmental regulations and ecological production methods are not only taken into consideration, but have a direct influence on the design.

The hands-on production facilities allow attention to be paid to individual customer requests. A series of international product design awards and collaborations with other fashion designers during Mercedes-Benz Fashion Week Berlin, Paris Fashion Week and Fashion Week Poland underline Trippen’s success. Over 450 stores worldwide stock Trippen shoes. In addition, Trippen maintains partner stores in Germany, Great Britain, Israel, Japan, Taiwan and Hong Kong.

The distinctive design is implemented in all stores worldwide: undulating white walls with illuminated boxes that radiate the airy atmosphere of a gallery, low platforms that permit a bird’s eye view of the collection and floors covered with handmade terracotta tiles decorated with reliefs of the first wooden shoe collection. In view of the eclectic concept and the wide product range, Trippen’s own stores in Germany play a vital role in its corporatepresentation. Against this backdrop, Trippen breaks new ground. Following the celebrated opening of its new store in Antwerp in May, another Trippen store is due to open in the Paris borough of Marais later this year.

73

74

Mug Magazine issue 25, year XV

Trippenのモダンなデザインは、環境への 配慮やサステナビリティ、そして社会的責任を 兼ね備えている。1990年代初めの創立以来、 Trippenはこのコンセプトを守っている。

は簡単に交換とリペアが可能で、環境規制と エコロジカルな製造方法は、ただ単に配慮し ているというだけではなく、ダイレクトかつ具 体的にデザインそのものへも影響している。

デザインはファッショントレンドに乗りつつも、 シーズン限りの使い捨ての風潮には対抗し、 長く愛される型とソールユニット、例えば、 使用される素材のタイプも同様に、当初より 変える事なく同じものが使用されている。 コレクションの度に増えるスタイルは都合 1,000型を超え、シーズンごとの入れ替えは 行わないため、既存モデルは永続的に入手 が可能である。

製品は、ハンズオン方式を導入した生産設 備により、顧客の個別リクエストへの対応も 可能だ。一連の国際的なプロダクトデザイン 賞や、ベ ルリンのメルセデス・ベ ンツファッ ションウィークや、パリおよびポーランドの ファッションウィーク期間中に行われる数々の ファッションデザイナーとのコラボは、 Trippenの成功の証である。現在、世界で 450以上の店舗でTrippenの取り扱いがあ り、ドイツ、英国、イスラエル、日本、台湾、 香港では路面店も展開している。

Trippenのシューズは、独創性溢れるパター ン技術とデザインが特徴であり、ファッショナ ブルなカラースキームもデザインを比類なき ものへと押し上げる大きな力となっている。 製造工程は、ベ ルリンの北80kmに位置する Trippen の自社工場と北イタリアの小さな家 族経営企業で全てが行われ、素材は欧州の サプライヤーからのみ入手される。各パーツ

広々としたギャラリーを、起伏のある白い壁 が覆い、壁に組み込まれたボックス内の照明 が光を放つ。ロープラットフォームに展示され たコレクションは、俯瞰で見る事ができ、フロ アは最初のコレクション、木靴のレリーフをあ しらったテラコッタで埋め尽くされている。

こういった独特の店舗デザインは、各国で展 開する店舗にも反映されている。折衷的なコ ンセプトと広範囲の製品レンジから判断する と、ドイツのTrippen 直営店は、企業のプレ ゼンテーションに関して非常に重要な役割 を果たしている。これを背景に、Trippenは 新天地の開拓に着手する。5月のアントワー プ店のオープンを皮切りに、今年後半には、 パリのマレ地区に新店舗をオープン予定で ある。

Mug Magazine issue 25, year XV

75

OXYDO

—

oxydo.net

Oxydo is an innovative brand of Safilo Group devoted to a young, creative, clientele of trendsetters.

The new collection emphasizes the basic features of the brand: an innovative, unconventional approach, an essential updated minimal design, and its revolutionary handling of colours with four color stories for each model. The brand’s distinctive marks are its design in light and bold volumes, the laser printed logo on the right endpiece and the iconic “step hinge”, a metal element integrated in the hinge which creates a contrast with the side arms and provides the profile of the glasses with an original detail.

Oxydo presents also two fantastic collectors capsule collections. The first is a collaboration with the Dutch visual artist Sigrid Calon. Drawing inspiration

from her style, Oxydo models avail themselves of prism graphics to create a wide range of tridimensional, psychedelic effects, which in turn result in innovative design models whose colour contaminations draw inspiration from handmade processing and matter textures, and lead to surprising effects that recall visual art.

The second collaboration was designed with the contribution of the Berlin-born illustrator Felix Bauer who gives the brand’s enthusiasts a new, irreverent interpretation of the most significant models in the collection. His surreal, unconventional graphics characterizes the incisive black and white frames, conjuring up five fable worlds that share stylized, dream-like natural elements.

76

Mug Magazine issue 25, year XV

Safilo Groupの革新的ブランドである Oxydoは、トレンドセッターである若くて 創造力豊かな人たちに向けたブランドで ある。 新しいコレクションは、革新的で自由奔放 なアプローチ、最新版必須要素のミニマル デザイン、そして画期的な色使いの各モデ ルは 4色展開で、顔とも言うべきブランドの 特徴が強調されている。同ブランドらしさと 言えば、ライトで大胆なボリューム感のある デザインに、右側テンプルの端にレーザー プリントされたロゴ。それに、ヒンジ内部に 埋められたメタルのパーツが両サイドのテ ンプルとのコントラストを創り出し、メガネ の側面を個性的に見せる役割を果たす、ブ ランドの象徴とも言うべき“ステップ・ヒン ジ”である。 また Oxydoは、2 つの素晴らしいコレクター ズ・カプセル・コレクションを発表。その一 つ はオランダ人ビジュアルアーティスト、シグ リード・カロンとのコラボである。彼女の

スタイルからのインスピレーションで仕上 がった Oxydoモデルは、広範囲に3D的サ イケデリック効果をもたらすプリズムグラ フィックが使用されている。手作りの織物の 織目や模様からヒントを得て考案されたデ ザインは、色と色との重なりから生まれる視 覚的錯覚によって革新的なデザインのモデ ルとなり、ビジュアルアートを思わせる驚き の効果まで持ち合わせている。 もう一つはベ ルリン生まれのイラストレー ター、フェリックス・バウアーとのコラボで ある。コレクションの最も重要なモデルに、 元々のイメージからは掛け離れた解釈を与 え、ブランドの熱狂的ファンに新しいイメー ジのモデルを提案している。シュールで型 破りな彼のグラフィックは、様式化された非 現実的な自然界のエレメントで表現された 5 つの寓話の世界を思い起こさせ、きっちり とした黒と白のフレームを特徴づけている。

Mug Magazine issue 25, year XV

77

78

Mug Magazine issue 25, year XV

LEATHER CROWN — leathercrown.it

Available since 2009, the brand Leather Crown was established in the heart of the Brenta Riviera by Oscar Cavallin and his son Giovanni, a brand totally made in Italy, and aimed at meeting the demands of customers who want up-to-date, refined sneakers for their leisure time.

Season after season Leather Crown has become widespread in the world of fashion, has constantly evolved its style by searching for up-to-date, quality materials, by devoting great care to details and attention to changes in market trends, the turning-points in the creation of its image.

A preview of the brand’s evolution has already been presented in the best stores with a spring-summer 2015 flash and will be confirmed in the coming seasons starting from the winter show.

Having achieved a balance and maturity of its own, the Venetian brand’s aim is to keep growing and widen its perspectives and sales network also thanks to its recent Paris-based collaborations and the TRANOI show.

The change can first of all be perceived in the choice of the new logo with the stylized crown coupled with a linear font, in the combination of different materials chosen to create an urban look, and in the new mood of the collection characterized by neat lines. The key word is synthesis.

A small but significant side event is the Lab project, sneakers available only online to support Unicef’s PIGOTTA program ( Further information about the program are available on the official Leather Crown site: leathercrown. it/shop).

Today’s objective is to create a product recognizable even without a label.

Mug Magazine issue 25, year XV

79

80

Mug Magazine issue 25, year XV

100%メイド・イン・イタリーのブランド、 Leather Crownは、イタリアのヴェネト州 リヴィエラ・デル・ブレンタの中心部にオス カー・カヴァリンとその息子ジョヴァンニに より設立された2009年から、オフの時間に 楽しむ為の最新かつ洗練されたスニーカー を求める顧客のニーズに応える事を目的と している。 シーズンを重ねるごとに、Leather Crown はファッション界で周知の存在となり、時代 の求める高品質素材の探究や市場トレンド の変化やイメージ作りにおけるターニング ポイントに最新の注意を捧げる事で、その スタイルを常に進化させてきたのである。 ブランドの進化を披露するプレビューは、 すでに一流のファッションストアで springsummer 2015 flashコレクションとして紹 介されており、ウィンターショーからスター トする来シーズンにはその全貌が明らかに なる予定である。 独自の調和と円熟の域に達した今、ヴェネ ツィアンブランドが今後目指す所は、成長 の維持とブランドの視野並びに販売網の 拡大である。最近のパリを拠点としたコラ ボやTranoi での出展は、それに一役買っ ている。 それを実現する為の最初の試みは、マーク 化された王冠と細い書体で描かれたブラン ド名とが組みになった新しいロゴとなって 現れた。加えて、都会的なルックスを醸し出 すよう選ばれた異素材のコンビネーション や、すっきりとした綺麗なラインに特徴づけ られた新しい雰囲気のコレクションにもそ れは感じられる。キーワードは synthesis （統合）である。 また、規模は小さくとも重要な意味を持つ サイドイベント、Lab project にも参加して おり、ユニセフのPIGOTTAプログラムを サポートするスニーカーをオンライン限定 で販売している。 （プログラムの詳細は、Leather Crown 公式サイト leathercrown.it/shop にて） 同ブランドの現在の目標は、Leather Crownのラベ ルがなくとも人々に認識され る製品の創造である。

IMAGES (LEFT TO RIGHT, TOP TO BOTTOM ) : WARREN DU PREEZ & NICK THORNTON JONES, HORST DIEKGERDES, JAIR LANES, DAVID GOLDMAN, BILLY KIDD, JACOB AUE SOBOL, CAMERON McCOOL, AZIM HAIDARYAN, LEONN WARD, JULIA NONI, ISMAEL MOUMIN, HARRY GRUYAERT

THE CUSTOM MADE TRADESHOW WITH THE WORLD’S BEST IMAGE MAKERS & CONTENT CREATORS

RD SöDRA BLASIEHOLMSHAMNEN 8 REGISTER NOW! WWW.LEBOOK.COM/CONNECTIONS

Rose Photographers Stylists & Art direction

www.rose-paris.com

Julia Noni

Photographers Olivier Arnaud Alexandre Guirkinger Julien Oppenheim Delphine Chanet Marion Poussier Martin Bruno Julia Noni Fashion stylists Claire Dhelens Set design Props stylists Claude Neron Marcel van Doorn Art direction RVB BOOKS

82

Mug Magazine issue 25, year XV

DESCENTE ALL1TERRAIN — descente.com/allterrain

Every single product that is carefully handcrafted has an original, unique story to tell. A history of techniques handed down over the years and the life of the craftsmen who have devoted themselves to a work are condensed in such items, which now exist as a result of endless trial and error.

With Descente, the whole ethos of craftsmanship is sustained by the technique and creativity of a large number of people. An initial idea from the marketing team is visualized and turned into a drawing by the designers. In accordance with the massive amount of very precise production directions from specialists in each relevant stage of development, the drawing is transformed into a real 3D product. No compromise is allowed in the shaping process from 2D to 3D. This is the

basics and the very heart of Descente’s craftsmanship.

Descente’s DNA is lavishly embedded in their ALLTERRAIN collection. The brand’s name combines two words, “all” and “terrain”. Since the basis of design for ALLTERRAIN is scene-less, ageless and timeless, it concentrates only on pure craftsmanship and leaves any specific age group, scene or location, and fashion trend behind.

The phrase “form follows function”, first used by the American architect Louis Sullivan, is the design concept of ALLTERRAIN, a brand for which design is not decoration for its own sake but must have an underlying reason and be related to functionality. This is the kind of design that ALLTERRAIN has been suggesting to customers.

Descente’s conception of craftsmanship has a lot in common with architecture, and therefore they take design very seriously to mean the assembly of carefully crafted functional plans rather than simply an expression of decorative beauty.

In their items simplicity bridges the gap with the infinite, and opens up countless possibilities for wearers and for the way of using them.

Descente’s desire, passion and spirit are aimed at enriching people’s lives through superlative sportswear. All intricate planning and design come from here after trial and error. The only thing which remains after removing all nonessential elements is simple design. And that is the essence of ALLTERRAIN.

Mug Magazine issue 25, year XV

手仕事によって丁寧に作られたモノには、 ひとつひとつ固有の物語がある。モノには 技を守り受け継いできた歴史や、職人たち の人生が凝縮されている。そうしてようや く出来上がった形がいまここに存在して いる。 デサントのモノづくりは多くの人の技術や 創造力に支えられている。マーケティング チームのアイデアは、デザイナーにより一 枚の画となる。やがてその 一枚の画は各分 野のスペシャリストによる緻密な何枚もの 設計書をもとに立体へと変化する。一 切の 妥協なく平面を立体へと変化させるこの工 程こそ、デサントのモノづくりの心臓部で あり、また原点でもあるのである。 ALLTERRAIN（オルテライン）コレクシ ョンには、デサントのそういった DNAが究 極なまでに組み込まれている。all（ 全て） とterrain（地形）を組み合わせ名付けら れたALLTERRAINブランドは、Sceneless、Age-less、Time-lessをデザインの

83

84

Mug Magazine issue 25, year XV

根底におき、特定の年齢層、シーンや領域 を敢えて無視した、流行に左右されない真 のモノづくりに取り組んでいる。 アメリカの建築家、ルイス・サリバ ン氏の 言葉である「Form follows function.（デ ザインはすべて機能性に従事したものであ る。）」をデザインコンセプトとし、装飾の ためのデザインではなく、理由のあるデザ イン、機能性を伴ったデザインを追求し提 案している。 『モノづくり』と『建築』は近似すると考える デサントのデザインには、 「設計する」 「機 能を含ませて組み立てる」という意味合い が色濃く反映されている。その中で試行錯 誤されるALLTERRAINのデザインの現 場では、装飾はすべて排除され実用的な 機能だけが選び抜かれる。最後に残るの は、シンプルで機能を研ぎ澄まされたパー ツのみである。 シンプルさは可能性を無限大へと広げる。 それは、着る人により、または使い方によっ て、無限の可能性を秘めている。スポーツ ウェアを通して人々の心を豊かにしたいと 願う、デザントの思いや情熱、そしてスピリ ット。そこからは試行錯誤を繰り返された 緻密な設計やデザインが生み出される。 そうしてすべてが引き算され、極められた シンプルデザイン。それがALLTERRAIN なのである。

Mug Magazine issue 25, year XV

85

86

Mug Magazine issue 25, year XV

FAD THREE — thewall.co.jp/fourth/fadthree/

“WATCHING, LISTENING AND FEELING THE FOUR SEASONS.”

The Japanese have designed clothing all along and by so doing they have realized creative reproductions of things that have long existed in people’s daily life, as the history of the Kimono testifies.

Since it was founded in 2003, the Tokyobased brand FAD THREE has been designing clothing drawing on the Japanese cultural and historical tradition. In Japan’s ancient history the number 3 implied coexistence, community and collaboration.

FAD THREE’s number 3 is derived from the ancient 3 which they want to reproduce the 3 in today’s fashion. By combining change or trend consciousness in fashion, another element of ‘fad’, the original brand concept is completed.

3 is interpreted in the current style through collaborations with various artists and designers from all over the world, who share an aesthetic sensibility

in fashion and answer the different needs of design. Each creator’s sensibility grasps the spirit of the times and converts it into fashion. At that very moment FAD THREE, a new brand based on collaboration, is completed.

By combining the revolution of the free imagination and unisex with the asymmetry of symbols, FAD THREE brings about its reconstruction in pursuit of something new which has never existed before. Every balance is considered as vision and expresses “Hybrid design of the stream in the past style”. The phrase faithfully follows the brand theme which is “Street fashion for High brand image”, which turns casual fashion into quality fashion or prestige fashion. To make this come true, FAD THREE devotes itself to the development of an original textile every season. A high quality textile suits

prestige fashion and is also an essential element which allows no compromise as far as design is concerned.

The design source of the 2015 AW season is a nostalgia for the 70’s. Transformed from the present and the past fashion into the primitive elegance, the main silhouettes are “No Gender”, “New Structure” and “Voluminous”.

They express a simple, luxurious, structural collection, yet the relaxing silhouette at once expresses both soft and feminine atmospheres.

FAD THREE has created a fashion which makes people feel happy because they can find a clue to communication between clothing and people.

Mug Magazine issue 25, year XV

87

88

Mug Magazine issue 25, year XV

Mug Magazine issue 25, year XV

『見る、聞く、そして心で四季を感じる。』 元来、日本人は、例えば着物にも見られる ように、日々の暮らしの中にある色や形に 創造を加え、時代に合った服をデザインし て来た。 東京を本拠地とするFAD THREEは、

2003 年の設立以来、そういった古くから伝 わる日本の文化や歴史に着眼点を置き、そ こから発展させた服作りをしている。古来 日本では、3という数字には共存、地域社 会、共同作業という意味があると考えられ ていた。FAD THREEの“ THREE（3）” は、古来の3に由来し、彼らはファッション の世界で 3という数字の意味を再現する。 そこに、 “ FAD（流行）”という要素を加 え、時代に合わせて常に進化し続ける独自 のブランドコンセプトが確立した。 毎シーズン、美意識を共有する世界中に 散らばる様々な分野のアーティストやデザ イナーとのコラボレーションで、3という数

字は現代形に解釈され、時間とともに変化 するデザインへの要求に敏感に応えている。 それぞれのクリエーターが持つ繊細な感覚 や感性でその時を捉え、ファッションへと置 き換えられる。そうやって完成するのが新 しい形のコラボレーションブランド、FAD THREEである。 自由な想像力とユニセックスのハイレボ リューション・非対称的なシンボルをミック スし、そして再構築。既存にはない新しい 見え方を追求する。あらゆる対極のバラン スをビジョンとし、 “過去のスタイルに今の 気分をハイブリットしたデザイン”を表現。 ブランドの永遠のテーマ、 “ストリートを ハイブランドイメージへ”に忠実に、カジュ アルをもっとプレステージの高いモードへ と変革させている。変革の為にはデザイン に限らず、オリジナルの生地の開発にも余 念がない。プレステージのモードに相応し い質の高い生地もまた、妥協の出来ない要 素である。

2015AWシーズンは、70年代ノスタルジック をデザインソースに、現代と過去のファッ ションをプリミティブエレガンスに表現。 “ No Gender”、“ New Structure”や “Voluminous”などをキーシルエットとし、 構築的でありながら、ソフトでフェミニンな エットで、ラグジュアリー感溢れるシンプリ シティーなコレクションを提案している。 FAD THREEは、何故だか人を幸せな気 分にさせてくれるような、古くからあった服 と人との間で起こるコミュニケーション作 りを可能にするファッションを、人々に届け てくれる。

89

90

Mug Magazine issue 25, year XV

SHOPS —

ISETAN LIVING

— isetan.mistore.jp/store/shinjuku/

In March 2015, “The World Best Fashion Museum ISETAN” was finally completed with the opening of the remaining two remodeled floors, ‘Living’ and ‘Baby & Kids’. On the 5F Living Floor, whose interior was designed by Yasumichi Morita, ISETAN’s ideas for living are presented in a space based on white.

Living means enjoying your own space, time and yourself. According to a concept of the floor, “Living in season and its needs and beauty”. ISETAN considers living as fashion and proposes a comfortable free living without any preconceived ideas.

A target group is made up of over-thirteen who are highly conscious of their own aesthetic and sense values, and have a desire to make their own identity and living overlap. The floor is subdivided into three thematic areas: ‘Gather (Kitchen & Dining)’, ‘Relax (Lounge & Personal)’, and ‘Heal (Bed & Bath)’. Furthermore, each thematic room consists of three areas called Park, Décor and Element. The three areas stimulate the five senses in a different way, and give a chance to experience every possible aspect of an item or an object. Park is the core of the floor and works as an information dispatch station. More specifically, a very liberal exhibition or an original item relate to each category introduced here at the Park and constantly change the program in a short span.

Furthermore, Décor is an area where the items on display are very conscious of the times in terms of seasons, needs or trends. It is clearly different from the Element area, where can be found masterpieces by craftsmen and carefully selected, highly functional and high quality items.

Another aspect worthy of special mention after the remodeling is that the Living floor offers time and space for customers to experience the items on the spot.

At ISETAN an interior coordinator is not just somebody who can give good advice, he also undertakes customers’ renovation requests and makes a total interior decoration possible.

Customers are served traditionally made Japanese tea in the tea things section. Coffee and wine tasting is available at the tasting counter. In the kitchen studio next to it, a professional chef or the food coordinator of the day demonstrates cooking and the secret of hospitality right in front of a customer. A few bedrooms are provided at the bed & bath section. A sleep Master and a pillow fitter help visitors find the very best fitting bedding items individually.

Wearing a favorite fashion item is not enough to tell who you are. Some people want to reflect their own aesthetics even in their life and health. For those who desire both fashionable clothing and a lifestyle the Living floor of ISETAN Shinjuku department store offers a surprisingly lovely experience.

Mug Magazine issue 25, year XV

91

92

Mug Magazine issue 25, year XV

2015 年 3月にリビングフロアとベビー子供 フロアのリモデルを終え、世界のどこにもな い店を目指す伊勢丹新宿本店の“世界最高 のファッションミュージアム”が、ついに完成 した。そして、森田恭通氏による白を基調 としたインテリアの5 Fのリビングフロアで は、伊勢丹流の暮らしのアイデアがお披露 目となった。 暮らすことは、空間を楽しむこと。時間を楽 しむこと。自分らしさを楽しむこと。リビング フロアでは“季のある暮らしと用と美”をコ ンセプトに、毎日の暮らしもファッションと 捉え、どこまでも自由に、居心地のいい暮ら しを提案している。 感性と価値観を高く持つ30代以上の、考え を暮らしに結びつけていく人々をターゲッ トに、フロアを『つどう（キッチン＆ダイニ ング）』 『くつろぐ（リビング＆パーソナル）』 『やすらぐ（ベッド＆バス）』の3つのテーマ に分け、さらに各テーマのルームは、パー ク、デコール、エレメントの3つのエリアで 構成されている。あらゆる側面から五感を 刺激する空間でモノやコトとの出会いを演 出する。情報発信基地という役割でフロア の核となるパークでは、それぞれのカテゴ リーに関連する自由度の高い独自性溢れる 企画展やオリジナル商品が、短いスパンで 次々と展開されていく。デコールでは、季節 やニーズ、トレンドを意識したテーマ性の 高いスタイリングが展開され、職人の手仕 事による逸品や、高機能、高品質の商品を 厳選し展示するエレメントのエリアとは明 確な棲み分けが成立している。 また、他にはないアイテムの販売に限らず、 それらを体感出来る時間と場所が提供さ れているのもリモデル後の大きな特徴だ。 インテリアコーディネーターは、リフォーム から請負い、内装のトータルコーディネー ションを可能にしてくれる。茶道具の売り 場では立てたお茶が振舞われ、テイスティ ングカウンターでは、コーヒーやワインのテ イスティングが出来る。隣のキッチンスタジ オでは、シェフや料理家が日替わりで調理

法やおもてなし術の実演を行っている。ベッ ド＆バスのスペースには、いくつかの寝室が 設けられスリープマスターやピローフィッター による自分に一番適した寝具選びのサポー トも利用出来る。 好きなファッションを身につけているだけで は人は成り立たない。人生や健康、暮らし に到るまで自分の感性を大事にしたい。伊 勢丹新宿本店のリビングフロアは、着るだ けではない、暮らすファッションを求める人 にとって、素敵な時間を提供してくれる。

94 VIC CASERTA

Mug Magazine issue 25, year XV

MADEINUSED.COM — madeinused.com

Mug Magazine issue 25, year XV

Vic Caserta has for forty years collected and treasured in his archive items from all over the world. The extremely rich collection of fabrics, garments, objects and accessories has been the source of inspiration for his collaborations. The 60,000 items in the archive include historical items dating from the late XIX century and the early XX century and from the ’40s, ’50s, ‘60s and ‘70s. Fabrics, designs, matched items, details and accessories in a careful selection of over 2,500 items that Vic has for the first time put at the disposal of those who enjoy research.

Unique, unavailable items for pundits, creators, fabric dealers, collectors, costume designers…

This first selection includes different categories and typologies created over the years, to be integrated with more, monthly updated proposals.

95

96

Mug Magazine issue 25, year XV

ヴィク・カゼルタは、40年に渡り世界中から アーカイブアイテムを収集し続け、それらを 所蔵している。生地、衣服、オブジェ、アク セサリーなどからなる極めて豊富な量のコ レクションは、色々なコラボのインスピレー ションの源となっている。総数60,000点に 登るアーカイブアイテムには、19世紀後半 から20世紀初頭の歴史的アイテムや、 1940、50、60、70年代のアイテムなどが含 まれている。ヴィクの所蔵する生地、デザイ ン、マッチしたアイテム、ディテール、アクセ サリーなど2,500を超える厳選されたアイテ ムが、リサーチを目的とする人たちの為に 今回初めて公開された。専門家、クリエー ター、生地ディーラー、コレクター、衣裳デ ザイナーなど、彼らにとっては、ユニークで 手に入らない貴重なアイテムの数々である。 長年に渡って製作されて来た異なるカテゴ リーやタイプのアイテムを含む初のセレク ションは、以降毎月更新され、アイテムの数 は更に増える予定である。

98

Mug Magazine issue 25, year XV

#FASHIONTECH BERLIN

#FASHIONTECH BERLIN CONFERENCE TAPS THE PULSE OF THE FASHION INDUSTRY

— fashiontech.berlin

More than 2,100 attendees celebrated the grand opening of the new conference on the future of fashion, #FASHIONTECH BERLIN, during Berlin Fashion Week.

Already for the third time this year the latest tech trends and projects of big players and innovative start-ups were presented with overwhelming response at #FASHIONTECH BERLIN. The new conference is all about the latest technologies that serve as potential game changers for many areas of the fashion business.

An overwhelming and record-setting 2,100 international participants crowded the fourth floor of the STATION-Berlin’s Cold Store event space. They had been travelling from far and wide, from places such as Toronto, Seattle, Dubai, Rio de Janeiro and Japan, to learn more about 3d printers, new digital concepts and emerging technologies, such as the iBeacon. Renowned speakers of literally all the important brands (Amazon Fashion, Facebook, Google, Microsoft, Drykorn and Zalando among others) arrived to tell about their best practices.

Hristiyana Vucheva, Creative Director of Berlin-based VOJD Studios, showed her delicate jewellery made with the

3d-printing technology – more delicate than any goldsmith could meticulously create with his handiwork. Alexander Köth, CEO of Minodes, a start-up specialising in the online analytics of customer data, explained the potential and the possibilities of iBeacon at the point of sale. Developed by Apple, the iBeacon is a wireless communication technology via Bluetooth. For example, it can be used to send notifications about bargains to a customer’s mobile. It can also recommend certain products based on the customer’s purchase history.

Apart from the lectures attendees could explore – and get a hand-on experience of – the new products and technologies in the Exhibition Area of the conference.

One of the brand-new exhibits was ElektroCouture, a Wearable collection by Lisa Lang. Her ingenious creations combine a design statement with new technologies, recently known as Wearables. The designer and founder created a line consisting of jewellery glimmering with LED lamps, glowing evening gowns made of neoprene, and an ‘intelligent’ scarf including an on and off button.

At #FASHIONTECH BERLIN the future of fashion was presented with great success!

Mug Magazine issue 25, year XV

99

Mug Magazine issue 25, year XV

ph. Nils Krueger

100

ベ ルリン・ファッションウィークの期間中、 2,100名を超える出席者により、ファッション の未来を語る新しいコンファレンス、 #FASHIONTECH BERLINグランドオー プンの祝賀が行われた。 すでに3回目の開催となった今年は、大手 企業と革新的新興企業の双方から最新技術 動向やプロジェクトが発表され、 #FASHIONTECH BERLINにおいて圧倒 的な反響を呼ぶ結果となった。このコンファ レンスは、あらゆる最新テクノロジーを対象 としており、ファッションビジネス界の多岐 分野において潜在的なゲームチェンジャーと しての役割を担っている。 過去最高となる総勢2,100名の世界各国から の参加者が、イベント会場となった STATION-Berlin Cold Storeの4階に勢 揃いした。遠方からの来場者も多く、トロン ト、シアトル、さらにドバイ、リオデジャネイ ロ、そして日本からも、3dプリンターや新デ ジタルコンセプト、そしてiBeaconをはじめ とする最新テクノロジーに関する知識をさら に深めるべく参加者が訪れた。また、言わず と知れた世界的なブランド（Amazon Fashion、Facebook、Google、Microsoft、 Drykorn、Zalandoなど）の著名なゲストス ピーカーが、彼らのベストプラクティスを伝 授するために招かれていた。 ベ ルリンを本拠とするVOJD Studiosのクリ エイティブ・ディレクターであるHristiyana

Vuchevaは、3 dプリンター技術を駆使して 制作された非常に繊細なジュエリーを披露 した。その繊細さは、熟練の金細工職人た ちが細心の注意を払って仕上げる技巧をも 凌駕するほどの出来映えである。顧客データ のオンライン分析のスタートアップの専門家 で、Minodes のCEOであるAlexander Köthは、販売現場でのiBeaconの潜在的な 可能性を講義した。Appleによって開発され た iBeacon はBluetoothを使って接続され る無線通信技術で、例えば、顧客の携帯電 話にバーゲンの案内通知を送信する目的で 使用出来たり、顧客の購入履歴に基づいて 特定の製品を推奨することも出来る。 講義に加え、コンフェレンス会場内の展示会 エリアでは、参加者が新製品や新テクノロ ジーを実体験出来る機会も与えられていた。 今回初出展の一つであるLisa Lang による ウェアラブル・コレクションElektroCouture は、デザインのステートメントとWearables として知られる最新のテクノロジーとが融合 された独創的な創作である。デザイナー兼 設立者は、LEDランプがほのかに光るジュ エリーやネオプレン製の発光するイブニン グドレス、それに onとoff のスイッチのつい た“インテリジェンス”なスカーフから構成 されるファッションラインを発表した。 #FASHIONTECH BERLINにおいて、 ファッションの未来は大成功のもとに発表さ れたのである！

Arctic Anorak

Paolo Ventura for WoolrichArt

shop online woolrich.eu

Military Eskimo

THE 102 PRESENT AGE IS CHARACTERIZED BY THE CREATION OF A NUMBER OF CONTAINERS THAT CAN INFLUENCE THE FASHION, DESIGN AND ART MARKETS. SIMILAR TO MACHINES DEVOTED TO SALES BUT LACKING IN SHOWCASE — CONTENTS, SUCH CONTAINERS ARE AIMED AT TAKING ADVANTAGE OF THE PRESENT CURRENT TRENDS REGARDLESS OF ANY PROJECT’S SUSTAINABILITY. ARTAND GALLERIES, TRADE CENTERS AND E-COMMERCE HAVE IN TURN BECOME CONTAINERS WHICH, COUPLED WITH THAT OF FUTURE BRANDS, BRING ABOUT THEIR SUCCESS OR DECLINE. — SUCH FAST-FASHION-ORIENTED CONCEPTION DOES NOT ALLOW FOR CONTENTS OR THE INTRINSIC VALUE OF OBJECTS. EACH TRANSACTION IS SIMPLY JUDGED IN TERMS OF SALES. AS WE BUCK THE TREND AND GO BACK IN TIME WE ARE LED TO REDISCOVER OUR FORGOTTEN ETHICS AND ITS VALUE, WHEN BEING AN ARTIST AND A DESIGNER WAS NOT MARKET-ORIENTED BUT A FORM OF SELF-EXPRESSION, POETIC CREATIVENESS FOR ITS OWN SAKE, WHEN THE URGE TO DISCOVER AND INVENT LED TO VARIOUS FORMS OF PROGRESS WHICH IN TURN GAVE LIFE TO ICONS, BRANDS AND INVENTIONS THAT WE TAKE FOR GRANTED TODAY AND CONSIDER FUNDAMENTAL. DESIRE IS THE URGE THAT TRIGGERS LIFE, THAT HAS BROUGHT ABOUT REVOLUTIONS, THAT LEADS US TO STAKE OUR LIFE AND INVEST ON OURSELVES; IF WE LACKED IT WE WOULD HAVE Mug Magazine issue 25, year XV

The present age is characterized by the creation of a number of containers that can influence the fashion, design and art markets. Similar to machines devoted to sales but lacking in contents, such containers are aimed at taking advantage of the current

trends regardless of any project’s sustainability.

Art galleries, trade centers and ecommerce have in turn become containers which, coupled with that of brands, bring about their success or decline. Such fast-fashion-oriented

conception does not allow for contents or the intrinsic value of objects.

Each transaction is simply judged in terms of sales.

As we buck the trend and go back in time we are led to rediscover our forgotten ethics and its value, when

being an artist and a designer was not market-oriented but a form of selfexpression, poetic creativeness for its own sake, when the urge to discover and invent led to various forms of progress which in turn gave life to icons, brands and inventions that we

take for granted today and consider fundamental. Desire is the urge that triggers life, that has brought about revolutions, that leads us to stake our life and invest on ourselves; if we lacked it we would have no chance of projecting ourselves into the future.

今の時代は、ファッション、デザイン、アートの市場に影響を及ぼす引 103 き出しを、いかに数多く創造するかに特徴づけられている。それは中身 の欠けた販売に没頭し続けるマシンによく似ており、そういった引き出 しはサステナビリティに取り組むプロジェクトなどまるで意に介さず、 こういう最近のトレンドを都合良く利用する事に目的を置いている。 アートギャラリー、商業センター、Eコマースは、次々にブラン ドとあいまって、成功または衰退をもたらす引き出しへと変貌 した。このようなファストファッション志向の概念は、内容や モノに本来備わっている価値を見越してはいない。それぞれ の取り扱い方は、単に販売の観点からだけ判断される。 トレンドに逆らい時間を遡るほど、忘れられた倫理とその価値を再発 見するよう私たちは導かれる。現代のようにアーチストやデザイナー の創作が市場中心で発想される時代ではなく、それが自己表現の形 であったり、自身のための詩的な創造であったり、あるいは、発見や 発明への止められない衝動がやがて様々な形の発展へと繋がり、結 果として今の私たちには当たり前で必要不可欠な物となっているアイ コン、ブランド、数々の発明品に初めて命が吹き込まれた時代へであ る。欲望とは、人生の引き金を引きたい、変革をもたらしたい、自分 の人生を賭けてやってみたい、または自分自身へ投資したいという思 いへ導かれる強い衝動である。我々の中からそれが欠落してしまえ Mug Magazine issue 25, year XV

今の時代は、ファッション、デザイン、アート の市場に影響を及ぼす引き出しを、いかに数 多く創造するかに特徴づけられている。それ は中身の欠けた販売に没頭し続けるマシン によく似ており、そういった引き出しはサステ ナビリティに取り組むプロジェクトなどまるで 意に介さず、こういう最近のトレンドを都合良

く利用する事に目的を置いている。 アートギャラリー、商業センター、e コマース は、次々にブランドとあいまって、成功または 衰退をもたらす引き出しへと変貌した。この ようなファストファッション志向の概念は、内 容やモノに本来備わっている価値を見越して はいない。それぞれの取り扱い方は、単に販

売の観点からだけ判断される。 トレンドに逆らい時間を遡るほど、忘れられ た倫理とその価値を再発見するよう私たち は導かれる。現代のようにアーチストやデザ イナーの創作が市場中心で発想される時代 ではなく、それが自己表現の形であったり、 自身のための詩的な創造であったり、あるい

は、発見や発明への止められない衝動がや がて様々な形の発展へと繋がり、結果として 今の私たちには当たり前で必要不可欠な物 となっているアイコン、ブランド、数々の発 明品に初めて命が吹き込まれた時代 へであ る。欲望とは、人生の引き金を引きたい、変 革をもたらしたい、自分の人生を賭けてやっ

てみたい、または自分自身へ投資したいと いう思いへ導かれる強い衝動である。我々 の中からそれが欠落してしまえば、自分達 の未来を考える可能性などなくなってしまう のである。

104

Mug Magazine issue 25, year XV

MAX MARA AT PERU MODA 2015 — maxmara.com

Particularly appreciated by the Inca civilization, alpacas were believed to be quasi magic creatures. As they were not exploited for work, they started to be bred for their valuable soft and warm coat. The history of the alpaca began in Peru, a country where weaving has always been an extremely important activity.

In this South American area the most important alpaca farms survive under the severe weather conditions in the 15,000-foot-high uplands, and give the richest and softest fiber for high end garments.

Max Mara has been invited to celebrate alpaca on the occasion of Peru Moda 2015. The renowned Italian fashion house took the centre of the stage with an elaborate presentation of 25 coats made of the most precious alpaca in the suggestive venue of Huaca Pucllana. “Max Mara has been using in its garments this luxury fiber, the pride of Peru, since the 50s. Through its collections Max Mara has contributed to make this fiber even more known in the world", commented Mrs. Magali Silva, Minister of Foreign Trade and Tourism of Peru.

During the event, attended by hundreds of international buyers and fashion experts, a special tribute was recognized to Mrs. Laura Lusuardi, Fashion Director of the Max Mara Group.

Mug Magazine issue 25, year XV

drawing by Gerardo Larrea & Antonio Choy-Kay

105

106

Mug Magazine issue 25, year XV

DURING THIS EVENT A SPECIAL TRIBUTE WILL BE GIVEN TO MRS. LAURA LUSUARDI, FASHION DIRECTOR OF THE MAX MARA GROUP.

インカ文明において崇められていたアルパ カは、不思議な力を持った生き物だと信じ られていた。その為であるのか労働目的に 使われていた過去はなく、代わりにそのソ フトで暖かい貴重な被毛のために飼育され るようになった。そうして、いつの時代でも 織物産業が盛んであった国、ここペ ルーに てアルパカの歴史は始まったのである。 地上 15,000フィートの高地という苛酷な気 象条件下に位置する南米で最も重要なア ルパカ農場で、ハイエンドなファッションに 相応しい最も贅沢で柔軟性に富んだ繊維 が生産されている。

このたび Max Maraは、Peru Moda 2015 の行事の一環で、アルパカを祝賀する式典 への招待を受けた。イタリアの著名なファッ ションメゾンであるMax Maraは、ワカプク ヤーナ遺跡を思わせるステージの中央を与 えられ、最も貴重なアルパカを使い入念に 作り込まれた25着のコートのプレゼンテー ションを行った。 “ Max Maraは、50 年代 よりペ ルーが誇るこの高級繊維を使用して 服作りをされています。彼らはこれまでの数 々のコレクションを通じて、この素晴らしい 繊維が世界でさらに広く周知されることに 貢献をされてきました。”ペ ルー商工観光 大臣のマガリ・シルバ 女史は、このようにコ メントした。 また、何百人もの外国人バイヤーやファッ ション界のエキスパートが出席した同イベ ントでは、Max Maraグループのファッショ ン・ディレクター、ラウラ・ルスアルディ女史 へ業績を讃える特別な賛辞が呈された。

Mug Magazine issue 25, year XV

107

DESIGNER —

ALESSIA XOCCATO

—

alessiaxoccato.com

Made-in-Italy design, creativity and quality are the three basic elements that distinguish Alessia Xoccato’s collections. Characterized by an essential and international aesthetic appeal the brand is aimed at creating a clean-cut, timeless aesthetic at once sartorial, artistic and sophisticated.

Relying on a family tradition dating from the early Fifties, Alessia

presented her first capsule collections in 2009 and won prestigious competitions at Milano Fashion Week, Next Generation 2009 and “Who is on next?” promoted by Vogue Italia and Altaroma in 2012.

Alessia’s creative process is articulated bilaterally between product design, clothing architecture and project design and concreteness of forms and

material constituents. Continuous research into fabrics and materials informs the structure of her garments.

Their architectural shell and outer skin play with material contrasts and chromatic matchings for a decisive emotional impact.

The shirt identifies the brand, the wardrobe classically reinterpreted through the generation of new transversal ideas in the development of the collection. Outerwear, simultaneously, remains the iconic garment par excellence.

Clean, graphic and linear geometries define fresh and modern products.

Alessia’s collections dictate a complex femininity and a sweet formal rigour.

108

Mug Magazine issue 25, year XV

Mug Magazine issue 25, year XV

メイド・イン・イタリーのデザイン、創造性、 そしてクオリティという三要素は、アレッシ ア・ソカートのコレクションを識別する材料 である。エッセンシャルでインターナショナ ルな審美的魅力に特徴づけられるブランド は、すっきりとしたカッティングと時代を超 越する美的感覚、それに高い仕立て技術と 芸術的な洗練さを兼ね備える事を創作の 意図としている。 1950 年代初頭から受け継がれてきた一家

109

の伝統に支えられ、アレッシアが 2009年に 発表した初のカプセルコレクションは、ミラ ノファッションウィーク中に行われる権威 あるコンペティション、Next Generation 2009 で入賞を果たした。また、2012 年に はヴォーグ・イタリアとアルタローマ主催の “ Who is on next? ”でも賞を獲得した。

えるプロジェクトデザイン方向の双方から 明確に表現される。生地や素材への絶え間 ないリサーチは、彼女のデザインする服の 形に影響を与え、その構造の殻や表層は、 対比する素材と心に決定的なインパクトを 与えるのにマッチした淡めの色を表現する のに上手く利用されている。

一目でブランドを認識できるシャツは、コレ クションの制作段階で物事をクロスオーバ ーさせて考える世代のアイデアから生まれ た物で、古典的に再解釈されたワードロー ブである。同時にアウターウェアも、特に優 れたもう一つのアイコン的アイテムとして 存在している。

アレッシアのクリエイティブなプロセスは、 服の構造から考えるプロダクトデザイン方 向と、形の具体性と素材の構成要素から考

すっきりとして記号のような直線的な形は、 フレッシュでモダンな製品の特徴となって いる。

アレッシアのコレクションは、複雑なフェミ ニンとスイートで厳格なフォーマルとはこう あるべきだと教えてくれる。

110

Mug Magazine issue 25, year XV

CANDIANI DENIM — candianidenim.it

In 1938 Luigi Candiani set up a small fabric industry for the production of working clothes. Located in the Ticino parkland, a few kilometers from Milan, the firm has developed in the following decades focusing on the production of denim. Candiani Denim can boast today the most advanced industrial structure in the history of denim. The success of the Firm’s management and of the Candiani family, now at its fourth generation, is based on innovation and product differentiation. Made-in-Italy, innovation and sustainability are the three basic values of Candiani Denim, a leading world industry in the production of denim, and the biggest in Europe, a firm that has with its fabrics given life to the first, unprecedented global premium denim industry. All the innovations developed and adopted by Candiani Denim support the sustainability of the whole productive structure. The most recent innovation developed by Candiani is a special nitrogenbased dyeing line called N-Denim. The N-Denim dyeing line involves a drastic reduction of water consumption (33%) and of chemicals (50%), a technique through which Candiani has created the most ecological way of indigo dyeing. For Candiani “Innovation” equals “Sustainability”, hence its reputation as “The greenest mill in the blue world”.

As far as products are concerned Candiani is outstanding also for its stretchdenim which performs well in terms of elasticity, recovery and comfort.

The most recent innovation in this section is a combination of techniques developed by Candiani Denim named “Sling”, the very heart of the firm’s premium stretch denim.

1938年、ルイジ・カンディアーニは作業着の 製造を専門とする小さな織物工場を設立し た。ミラノから数キロ離れたティチーノ緑地 に位置するこの会社は、その後デニムの生産 に焦点を置き、数十年の間に目覚ましい発展 を遂げた。そして今日、Candiani Denimは、 デニムの歴史における最も先進的な産業構 造を誇りとするまでに成長した。会社経営と 現在は四世代目となったカンディアーニ一族 の成功は、技術革新と製品の差別化に基づ いている。メイド・イン・イタリー、革新、サ ステナビリティを基本的価値の三本柱とする Candiani Denimは、デニム産業において 欧州最大且つ世界有数のリーディングカンパ ニーであり、それまで存在していなかったグ ローバルなプレミアムデニム業界に息を吹き 込んだ最初の企業である。Candiani Denim によって開発、認可された全ての技術革新 は、生産構造全体のサステナビリティをサポ ートしている。同社開発による最新の技術革 新は、N-Denimと呼ばれる特殊な窒素系染 色ラインである。N-Denim 染色ラインは、カ ンディアーニが開発した最もエコロジカルな インディゴ染色テクニックで、水消費量(33%) と化学物質(50%)を大幅に削減出来る。カン ディアーニにとっての“革新”とは“サステナ ビリティ”と同意語であり、 “ブルーの世界に おける最もグリーンな工場”として信望を集 めている。 一方、デニム製品の分野でもカンディアーニ のストレッチデニムは、傑出した柔軟性、リ カバリー力、快適さで高い評価を受けてい る。この分野における最新の技術革新は、 Candiani Denim 社のプレミアムストレッチ デニムの心臓部である同社開発の“ Sling” と呼ばれる技術のコンビネーションである。

Mug Magazine issue 25, year XV

111

112

Mug Magazine issue 25, year XV

MARTELLI LAVORAZIONI TESSILI — martelli.it

Beginning as a tint-house and artisan laundry, since the mid seventies Martelli has become a partner to important international players within the fashion industry, developing innovative and creative finishes and treatments.

Today, with seven establishments in Europe and the Mediterranean basin, a total production area of 120,000 m2 and a workforce including approximately 3,000 people, Martelli continues to guarantee creativity, originality and innovation through perfectly organized and industrialized production.

Since 1965 Martelli Lavorazioni Tessili has developed finishes and techniques that have marked the progress of jeans and in 2015 celebrates its 50th anniversary.

Fifty years of ideas, experimentations and solutions that have generated and characterized some of the most ingenious innovations in industry; adding a touch of uniqueness and originality to each canvas, an infinite array of offerings that speak to designers ready to translate them into their own fashion creations.

These languages have given birth to a fascinating story and collection of iconic pieces, which represent as many milestones in finishing and treatments: from

tie & dye, stone wash, sandblasting, acid washes, brush robots, hand scraping and dirty effects to modern technology like laser and 3D. The innovation and research that has characterized Martelli from its beginnings, continues today, encouraging choices that promote environmental awareness and sustainability like ozone, ice finishing, laser and innovative and particular treatments such as Bio Nut Wash and natural pigments and dyes.

This awareness has contributed to the ongoing success of D.ECO.R; Martelli’s techno-creative platform which encourages to a search for solutions which respect both the environment and the population.

The excellent results guaranteed through D.ECO.R benefit the entire supply-chain, and every day the Martelli Group becomes greener: reducing emissions, waste, energy and water consumption and the usage of chemical products.

It’s an improved way of treating denim as well as our planet; it’s thinking green today for a bluer tomorrow.

Mug Magazine issue 25, year XV

当初、染色店兼熟練のクリーニング店として スタートしたMartelli は、1970年代半ばには ファッション産業界でも国際的に重要な企業 のパートナーとなり、以降、革新的でクリエイ ティブな仕上げと加工を開発してきた。現在、 欧州内と地中海沿岸に7つの事業所を持ち、 120,000㎡の総生産面積に約3000名の従業 員を抱える企業に成長したMartelliは、今で は完全に組織化され工業化された生産方法 を通し、ハイレベ ルな創造性、独創性、革新 性への要求に応え続けている。 1965年より、ジーンズの進化を物語る仕上げ 加工と技術の開発に尽力してきたMartelli Lavorazioni Tessiliは、今年で創業から50 周年を迎える。 50年間で培ってきたアイデア、試み、解決策 は、これまで同産業界において最も創意に満 ちた数々の新手法を生み出し特徴づけてき た。期待に応えるために、個々の要望に対し てユニークなタッチと独創性を加え、無限の 方向性を提案する事でデザイナーが求める それぞれのクリエーションの世界の実現に貢 献してきたのである。 そういった努力は、ジーンズの仕上げや加工 にまつわる多数の象徴的なコレクションアイ テムや魅力的なストーリーとなって誕生して 来た。タイダイ、ストーンウォッシュ、サンド ブラスト、アシッドウォッシュ、ブラッシュロ ボット、ハンドスクレイピング、レーザーや3D などの現代的テクノロジーを使ったダーティ

加工はすべて彼らの功績である。 創業以来 Martelliの特徴と言える技術革新 と研究は今日に受け継がれ、現在では環境 への配慮とサステナビリティを助長する方向 へと舵を取り、オゾン、アイス仕上げ、レー ザー、革新的で特殊な処理法であるバイオ ナットウォッシュや、天然顔料と染料などが 使用されるようになった。こういった意識は、 D. ECO.Rの継続的な成功へ貢献してきた。 D.ECO.Rとは、環境と人間の双方を尊重す るソリューションの追求を促す、Martelliの テクノでクリエイティブな社会への約束事の 基盤である。そのD.ECO.Rにより保証され る素晴らしい成果とは、サプライチェーン全 体に利益をもたらす上、排出物、廃棄物、エ ネルギーや水の消費量、化学製品の使用料 削減へと繋がり、それによりMartelliグルー プは日に日に環境に優しい存在へとなって いく。 それは、私たちの故郷である地球に対する気 持ちと同じ気持ちでデニムを取り扱う為の進 歩した方法である。今日のグリーンを考える 事が、未来のブルーへと繋がるのである。

113

114

Mug Magazine issue 25, year XV

SHOPS —

ISETAN SALONE — isetan.mistore.jp/store/ shinjuku/isetansalone/

On the 13th of April in 2015, Isetan unlocked another door to a new challenge. A new business model of Isetan, “ISETAN SALONE” store opened inside of Tokyo Midtown building located in Roppongi, Tokyo.

Edgy fashion items from all over the world, such as clothes, shoes, cosmetics and accessories are lined up in 900 m2 of space. A privilege of rather small space is that store staff attend to a customer more privately. Here, it is very smooth to coordinate Isetan selection totally in the same space without any hedge among brands.

Another striking point of the store is to appreciate characteristic of local. Roppongi is an art town where always demands something refined and quality.

Those who have sensitive artistic sense come to here in favour. ISETAN SALONE has replied to such regional demand as well. Not only the selection of items, but also its interior design. A contemporary artist Hiroshi Sugimoto and an architect Tomoyuki Sakakida were appointed to a store design.

They used many Japanese traditional materials, such as Yaku cedar, Japanese cypress, Towada stone and Japanese tile, and it shows a genuine craftsmanship in details everywhere. This is a masterpiece which fused Japanese traditional aesthetic and modernity.

People come here expecting the same with ISETAN Shinjuku store. This is rather compact “ISETAN”, however even more luxurious in a way. That’s why it is still difficult to take one's eyes off their future development.

Mug Magazine issue 25, year XV

115

116

Mug Magazine issue 25, year XV

2015 年4月3日、伊勢丹の新たな挑戦が始 まった。六本木の一角、東京ミッドタウンに 新業態店舗、 『イセタンサローネ』がオープ ンした。2フロアの900㎡のスペースには、 世界中から選び抜かれたエッジィな洋服、 靴、コスメ、雑貨などが並べられ、百貨店 ではないことの特権を活かした、よりプライ ベートなサービスを展開している。ここでは 伊勢丹セレクトの商品が、同じスペースで ブランドの垣根なくトータルコーディネート する事が可能である。 地域の特性が十分に意識されているのも、 イセタンサローネのもう一つの特徴だ。旬 に敏感な感度の高い人々が集うアートの 街、六本木では、品良く質の良いモノが求 められる。商品のセレクションに限らずイン テリアでもそういった地域の要望に応えて いる。杉本博司氏＋榊田倫之氏による内装 デザインには、屋久杉、ヒノキ、十和田石、 敷瓦といった日本の伝統的素材が用いら れ、ディテールには職人技の光るこだわり が随所に見られる。日本の美意識を見事に 現代に融合させた空間だ。 人はここへ伊勢丹を求めてやってくる。 コンパクトながらも贅沢な伊勢丹がここに ある。今後も伊勢丹の展開から目が離せそ うにない。

MANIKETTA.COM ph. Nico Vettore

118

SHOPS —

Mug Magazine issue 25, year XV

NIDABA — nidabaspirit.it

A drinkery, taproom, gastropub… An original meeting place, outside the hustle and bustle of the city-centre and perfect for families and the youthful alike. All this and much more is Nidaba, the realm of Andrea and Daniela, designers in the eighties of a truly unique pub experience that assuredly keeps up to date with the times.

There is no shortage of originality in food and beer pairings, from gourmet panini to ever more select ingredients.

On tap and hand-pumped, there are permanently around 20 varieties of beer, plus specials and bottle reserves. Here, it’s difficult not to quench even the most fathomless of thirsts or curiosity.

The menu clearly demonstrates a constant commitment to combining taste, simplicity and ingenious strokes of personality. The craft-bread sandwiches and toasts are garnished to absolute perfection. You’d do well even to pick completely at random between the flawless Cheddar-burger, the classy Norwegian Sandwich with artfully smoked salmon or the exquisite truffle toast with cooked ham and grilled Dobbiaco cheese. Easily well beyond satisfactory is also the selection of indulgent fried delicacies, freshly prepared from scratch in the kitchen, and throughout the menu, including the desserts, there are tantalising options for vegetarians.

Mug Magazine issue 25, year XV

119

120

Mug Magazine issue 25, year XV

バー、ビヤホール、それともパブレストラ ン…、都会の喧騒から離れた、家族連れ や若者に人気の昔ながらの出会いの場所。 そうであって、またそれ以上でもあるのが、 ここNidabaである。生みの親でデザイナー のアンドレアとダニエラの王国 Nidabaは、 誕生した 80 年代から今も変わらずユニーク で、また最先端な場所であり続けている。 美味のパニーニから常に厳選された素材ま で、フードとビールの組み合わせに創意性 が失われる事などここでは考えられない。 樽から手動ポンプで注がれるビールの種 類は常に20を越え、加えていくつかのスペ シャルビールに瓶ビールも用意されている。 要するに、喉の渇きと好奇心を打ち負かす ことは、まさしく至難の業なのである。 メニューを見れば、彼らが常に味や素朴 さ、創意に満ちた閃きのアイデアをどのよ うに組み合わせるかに力を注いでいること が、はっきりとわかる。手作りパンのサンド イッチとトーストは間違いなく最高の付け 合わせである。また、文句の付けようのな いチェダーチーズバーガーや絶妙なスモー クサーモンのノルウェー風サンドイッチか、 それともハムを添えた上品なトリュフのトー ストとグリルで焼いたドッビアーコ産チー ズのどれを無作為に選んだとしても、どれ もアタリである。オーダーの度に下ごしら えの段階から調理される揚げたてフライも 評判の一品で、デザートを含む全メニュー にべジタリアン向けのオプションも用意さ れている。

FASHION / DESIGN / ART / MODEM MAG / CITY GUIDE

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

FREE COPY - NOT FOR SALE

modemonline.com

NEW YORK LOS ANGELES COLLECTION FALL WINTER 2015 2016 FREE COPY - NOT FOR SALE

FREE COPY - NOT FOR SALE

modemonline.com

modemonline.com

PARIS WOMEN’S COLLECTIONS FALL WINTER 2015 2016

ALL T

HE

SA CAMPLAES PLACE I S A GN

ND DA TES

FALL/WINTER 2015 2016

LONDON FIRENZE MILANO PARIS MEN’S COLLECTIONS SPRING SUMMER 2016

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

INTER NAT FASHI IONAL REFER ON ENCES O

NLINE

122

Mug Magazine issue 25, year XV

ART —

THE MERGING OF FUNCTIONS: ARCHITECTURAL INTERIOR DESIGN —

It is always worth remembering that both architecture and interior design aim to support, contain and make vertical space functional and livable.

After the achievements of the 20th century, when the structures supporting architectural works were studied per se and architecture merged with interior design, we can today speak of architectural interior design. The term is used to define such founding modules as have the function to support and decorate with a view to obtaining the maximum result through minimal resources of space, time and materials. In this way architecture becomes clearer, more flexible and understandable in its supporting task; its structural function merges with an integrative one, to compact the fittings that evolve into micro architectural solutions. Hence merging is one of the basic concepts on which the idea of architectural interior design is focused. Different functions interact, interlock and provide hybrid, lively, bright, artistic and stimulating solutions thanks to the clues they can give. Once they are set within a room, such objects make it more flexible, create functionality and space so as to make our place meet our demands and enable us to find new interactions with it. Our home changes its standard structure and looks more like a lab where planners, designers and architects study each single square metre with a view to making it an exhibition space of functionality in a vertical and horizontal perspective. 建築にもインテリアデザインにも、支える、収納する、垂直空間にも機能性と住みやすさを兼ね備える、という同様の目的がある事を覚えておいて損はない だろう。建築物を支える構造自体が研究され、建築がインテリアデザインとの統合を成し遂げた20世紀の時を経て、今日、私たちは建築的インテリアデザ インについて語る事が出来るのである。建築的インテリアデザインの定義とは、備え付けられたモジュールが、最小限の空間、時間、材料で最大限の結果を 得て、支える、装飾するという機能を兼ね備えているという事である。この方法により、建築はより明確でフレキシブルになり、支えるという役割がより理解 出来るようになるのである。マイクロアーキテクチャーのソリューションに進化した調度品は小型化し、その機能は集約され、構造的な機能は統合される。よ って、統合するという事は、建築的インテリアデザインのアイデアが集中する基本的概念の一つであると言える。異なる機能の相互作用のおかげで、ハイブ リッドで生き生きとして賢く、それでいて芸術的で刺激的な解決方法が、絡み合い生み出されるのである。いったん部屋にセットされれば、それらのオブジェ は自分たちのスペースで個々の要求に応じて更にフレキシブルに機能的に働き、それによって新たな相互作用を見つけ出す事を可能にしてくれるのである。 家の標準構造は変化を遂げ、プランナーやデザイナー、そして建築家がスペースを1㎡単位で検証し、縦方向にも横方向にも機能性が考えられた空間とな り、まるでラボのように生まれ変わるのである。

Mug Magazine issue 25, year XV

123

ART —

It is a staircase that links two floors of a private home, and creates at the same time a space for work and a storage unit. The modular elements of the cube and parallelepiped are shaped according to the weight supported and the space created. Furthermore, verticality makes the form linear and sets the objects stored in the initial modules as if they were suspended in the air. The image of the staircase, which seems almost to have an energy and a life of its own, enables viewers to find out ever new personal ways of using it.

この階段は、個人の住居の2フロアを繋ぐ だけでなく、同時に作業スペースの場にも なり収納ユニットでもある。立方体や直方 体のモジュラーエレメントの組み立て方を サポートする重量に合わせて変え、作業と 収納のスペースを創り出す。また、縦方向に 直線的なフォームを描き、最初のユニットに 設置された物体があたかも空中に浮いて いるかのように見えるのである。まるで、 自ら呼吸をしエネルギーを保有しているか のように見える階段は、見る人が自分だけ の自分なりの使用方法を発見するのを可能 にしてくれる。

OBJET ÉLEVÉ, A DESIGN BY MIEKE MEIJER AND ROY LETTERLÉ OF STUDIO MIEKE MEIJER —

124

ART —

Mug Magazine issue 25, year XV

OBJECT A, E & O, A DESIGN BY SONG SEUNG-YONG —

The forms of these chairs are aimed at creating an interaction between people and objects. The design has a simple aim and comes in three versions: Object A: chair surmounted by a few shelves.

Object E: rocking chair used as a clothes-horse.

Object O: chair with arm-rests surmounted by a huge paper lampshade.

The three chairs show that different functions can be combined in a single object in a light, lively way. The cocoon formed by the closed O chair expresses an enjoyable touch of privacy suggested by its round shape. Object E solves the problem of clothes thrown across chairs, whereas Object A suggests verticality and enables the compact, closed form of the chair to be perceived in a new way. これらの椅子の形は、人とオブジェの間に 相互作用を生み出す事を目的としている。 デザインには、それぞれシンプルな目的が あり、3 種類のバージョンが用意されている。 オブジェA：上部にいくつかの棚を取り付 けた椅子。 オブジェE：物干しとしても使えるロッキン グチェア。 オブジェO：巨大なペーパーランプシェード が 椅子の上部を覆ったアームレスト付きの 椅子。 これらは、異なる機能を一つのオブジェで 解決できる事を、単純で軽快な方法で表し ている。Oの椅子を覆ったコクーンは、その 球状の中でささやかなプライバシーを味わ う楽しさを表現している。オブジェEは椅子 の上に脱ぎ捨てられ溜まっていく衣服の問 題を解決し、オブジェAは椅子の垂直方向 を活かしたコンパクト化を提案している。 結果、椅子の限定された形にも新しい方法 がある事を気付かせてくれる。

Mug Magazine issue 25, year XV

125

ART —

The fittings occupy the flat space but can be moved against the walls so as to free the architectural structure and obtain a display area. This is the assumption of the designer Rodney Eggleston of March Studio for Aesop’s Paris-based flagship store. The Australian designer has made up the shop floor, walls, and ceiling, besides the counter and the shelves, with 3500 woodblocks made in Melbourne and sent over to Paris. The only material chosen by Eggleston because it was in tune with the City’s atmosphere makes the room obtained in space more harmonious, flexible and functionally furnished in compliance with its aim.

什器がフラットスペースを占有してしまうも のの、壁に向かっての稼働が可能であるた め、ディスプレイに必要なフリースペースも 確保できる。ここは、マーチスタジオのデザ イナー、ロドニー・エグルストンが請け負っ た Aesop のパリ旗艦店である。オーストラ リア出身の彼は、製造先のメルボルンから パリへ 送った 3500枚の木材を使用して、 ショップの床、壁、天井、その他カウンター や棚を制作した。パリという街の雰囲気に ぴったりだったという理由でエグルストンに より選ばれた唯一の素材は、ショップ 内の スペースにさらなる調和をもたらし、ショッ プの目的に見事に合致した什器として生ま れ変わり、フレキシブルで機能的に備え付 けられたのである。

AESOP SAINT-HONORÉ, A DESIGN BY MARCH STUDIO, PARIS —

126

Mug Magazine issue 25, year XV

ART —

GARY’S APARTMENT, A DESIGN BY GARY CHANG (EDGE DESIGN INSTITUTE, HONG KONG) —

Four metres by eight, the place is Gary’s own private apartment which he himself designed to include all the essential domestic activities within a compact space to inhabit.

Along the perimeter of the apartment various functions are grouped in layers and are made available or unavailable as required. The space available is therefore perfectly suitable for the user’s requirements, and the concepts of space and time take on features that change in compliance with people’s needs.

4m x 8m。ここはゲイリーが自分のため にデザインしたコンパクトな居住空間の 中に生活に必要な全ての機能や生活用品 を詰め込んだ、プライベ ートのアパート である。 部屋の境界に沿って様々な機能 がグルー プ化されレイヤーになっており、必要に 応じて出し入れされ、使用する事が出来 る。このスペースは、従って、ユーザーの 要求に完璧に適合しており、空間と時間 の概念は人々のニ ーズによって変換でき るという特徴を持っているのである。

Mug Magazine issue 25, year XV

For this project the designer could avail herself of a narrow space with only two side windows. The design also had to keep an eye on creativity in that the place was to host a marketing agency.Karla Menten rejected a vertical division of space and exploited its flat surface instead. The floor was raised to table height and the writing desks were inserted in the resulting space below floor level. In this way the designer created a work room for eight people as well as the space for cabinets, server room, and meeting room, obtained by curving glass walls.

The use of white brought about greater overall luminosity and an illusory atmosphere of roominess.

このプロジェクトで、デザイナーは二つの サイドウインドーがあるだけの狭いスペー スを上手く利用する事に成功した。対象と なる場所がマーケティング代理店である事 から、デザインには高い創造力が求められ ていた。カーラ・メンテンは、狭い空間を 縦割りに利用する代わりに平らな面を最大 限に活用し、その期待に応えたのである。 床をテーブルの高さまで上昇させ、ライティ ングデスクは床より低いレベ ルに出来た 空間に収められた。この手法により、8名収 容のオフィスのみならず、湾曲したガラスの 壁を利用して、キャビネット、サーバールー ム、会議室のスペースまで創り出した。 そして、全体に白を使用した事で、スペー スの端から端までが発光体のような役割を 果たし、非現実的な不思議な雰囲気を持っ た、実際のサイズより広々と感じるスペース となったのである。

127

ART —

DIAMEDIA MINDS OFFICE, A DESIGN BY KARLA MENTEN ARCHITECTURE, HASSELT

—

128

Mug Magazine issue 25, year XV

ART —

THE SIMPLE, HARDLY PERCEPTIBLE LIGHTNESS OF MATERIALS: THE ESSENCE OF JAPANESE DESIGN —

Japanese design has an immediately identifiable feature of its own, which is neither a particular form nor the material used, but an attitude towards craftsmanship, artistic production and life in general. It is reminiscent of a concept of harmony and peace, based more on the interplay of voids and solids, on irregularities and asymmetries, on perfection in the transformation of matter than on the project of a single designer. Japanese design, therefore, can be identified for its extreme simplicity, as a void that absorbs and gathers different images exactly as a container. It is the context within which objects, fittings, clothing and design products are found that communicates sensations and states of mind to viewers. Within this simplicity everyone can imagine and reflect any kind of emotion. Function, material and form take on a rational perspective, a seemingly lifeless formal rigor which is in reality rich in subjective meanings.

In point of fact, this particular approach and concept in Japanese design varies in essence according to the materials more frequently used such as wood, metal, paper and fibers. ジャパニーズデザインは、ひと目でそれと分かる特徴を持っているが、それは特定の形をしているからでも、また特有の素材を使用しているからでもな く、職人技術の高さや芸術性、 そして日々の生活へ向き合う姿勢からによるものである。それは、空と有の相互作用、不揃いと非対称、一人のデザイ ナーのプロジェクトよりも物質の変形の中に宿る完璧さに基づいた調和と平和の概念を彷彿とさせる。ジャパニーズデザインは、ゆえに、器のように 異なったイメージを吸収して集めた空虚のような究極のシンプルさで特定出来るのである。それは、オブジェ、家具、衣類、デザインプロダクトの中に も息づいているが、感覚的に、 そして見る側の心の持ちようによって様々に解釈され、心へと伝わるのである。シンプルであるがゆえに、誰もがあらゆる 感情を想像し思い起こすのである。機能、素材、形が持つ合理的観点、一見生命を感じさせないように見える厳格さの中には、実は見る側が主人公と なる豊富な主観的意義が存在しているのである。 例を挙げれば、ジャパニーズデザインにおけるこの特殊なアプローチと概念は、木材、金属、紙、繊維などの代表的な素材に応じて本質的に変化す るのである。

Mug Magazine issue 25, year XV

Japanese civilization is based on the lightness and transience of wood through which the planning power of objects and architectural spaces, the meaning of history and of daily life can be understood.

The vulnerability of wood has characterized the endless process of construction, deconstruction and change of Japan. Even in the most technologically sophisticated design products persists the soul of craftwork linked to this material, through which products achieve hardness, color shades, grained and gnarled effects.

Nendo’s Cord Chair is a light chair with a seemingly weak structure due to its 15 mm legs obtained through a metal core coated with maple wood carved by hand. Fukasawa’s armchair Hiroshima is likewise characterized by a simple form in tune with its clear smoothed wood.

In the design for his Kai table Naoki Hirakoso seems to protect and revive Japanese artisanal production.

Realized detail by detail by expert craftsmen and joiners, the item consists in a compact smooth cube that can disclose compartments and secret sliding drawers.

日本の文明社会は、オブジェや建築空間の 計画能力や、歴史と日常生活の意味を理解 することから考えると、木材の軽さともろさ とが土台となっていると言える。 木材の脆弱性は、建設と解体の終わりの ない繰り返しのプロセスや日本の変遷を特 徴づけている。優れた技術で洗練された デザインの製品にあっても、木材の硬度、 色の濃淡、木目、木の節やねじれの風合 いといった味わいにこだわり、それを貫い て製品を仕上げた職人の魂を感じるので ある。 nendoのコードチェアは、直径 15 ㎜という 繊細な脚の印象から、一見華奢な構造の ように見える軽量の椅子だが、実際の椅子 の脚は職人の手で削られたカエデ材に、メ タルコアがコーティングされている。深澤の デザインしたアームチェア‘HIROSHIMA’ は、同様にすっきりとした印象で、非常に 滑らかな木材と調和したシンプルな形が特 徴的である。 平社直樹によるテーブル‘KAI’ のデザイン には、熟練工が手掛ける日本製品の保護 と復活の意図があるように思われる。細部 から細部に至るまで、それが熟練した職人 と指物師による仕事であると気付かされ、 幾つものコンパートメントや秘密の引き出 しが隠されている製品は、コンパクトで滑ら かな立方体で構成されている。

129

ART —

WOOD

—

130

ART —

METAL —

Mug Magazine issue 25, year XV

The importance given by a tea master to utensils for the tea ceremony is the same that a samurai gives to military equipment, and so the water boiler can be compared to a samurai’s katana. Today this is one of the most widespread iron objects. Together with the traditional production and its choice of a heavy material endlessly marked and shaped by fire and time to acquire its typical color, a more modern production has been developed thanks to designers who experiment on new, thinner, smoother forms and use such materials as plastic suitable for the furnishing of today’s more minimal western-style homes. In such contexts metal is used for its strength and pliability, to create light, soft, tubular structures. A few examples are the chair Family by Junya Ishigami, or Nendo’s armchairs Sekitei and Melt. In all of these supple-looking chairs solids and voids are created through broken and circular geometrical lines.

茶人から教わる茶道具の重要性は、一人の 侍が刀に命を捧げるのと同じである。ゆえに、 釜と侍の刀をも比較することが出来るのかも しれない。釜は鉄瓶として、今や最も普及し ている鉄製器具の一 つである。伝統的な創 作とそれに使われてきた重みある素材との組 み合わせは、絶える事なく評価され、特有の 色合いを得るために火と時間をかけて形作 られる。デザイナーは、新しく、より薄く、そし てよりスムーズな形へと実験を重ね、プラス チックのような現代のミニマルな洋風の住ま いでの設備に合った素材を使い、よりモダン な製品を開発してきたのである。そのような 環境下で、金属は強度と柔軟性という持ち前 の性格から、軽くて柔らかい管状構造を実 現するために使われている。石上純也のデザ インによる椅子‘ Family Chair’ や、nendo のアームチェア‘Sekitei’ 、 ‘ Melt’は、その 例である。これら全てのしなやかに見える椅 子の実と空の部分は、不完全で円形の幾何 学的ラインから創り出されている。

Mug Magazine issue 25, year XV

The production of certain china objects is today on the decline, although china is still a protagonist in Japan’s daily life.

Thanks to its simplicity, sobriety and elegance, this material has been reinterpreted and newly adapted to an ever changing lifestyle. The soya sauce-boat, a symbol of Japanese cooking, perfectly exemplifies such change. In the ‘50s Sori Yanagi and Masahiro Mori represented at best the shift from artisanal to industrial production and turned form into essence.

ある種の陶磁器の生産は減少傾向にあるに せよ、陶磁器は今もなお、日本の日常生活に おいては主役である。そのシンプルさ、実直 さ、優雅さゆえに陶磁器は再解釈を重ね、 変化し続けるライフスタイルに、その都度適 応して来たのである。和食の調理に欠かせな い醤油差しは、そういった変化の完璧な具体 例である。1950 年代に柳宗理と森正洋は、 陶磁器を職人による生産から工業生産品へ とシフトさせ見事に成功させた。そして、それ まで常識となっていたやり方を根本的に変え たのである。

131

ART —

CHINAWARE

—

132

ART —

PAPER —

Mug Magazine issue 25, year XV

Japanese paper is stiff, compact and has an opaque transparency. It is used to make sliding doors, folding screens and fans, objects that create a hierarchy of human and architectural spaces. Japanese design avails itself of the versatile potential of paper for experiments, some of which are focused on sustainability and recyclability like the creations of Shigeru Ban, who uses small diameter recycled cardboard tubes to make items of furniture or lighting devices. Isamu Noguchi has since the ‘50s created over one hundred models of handmade Akari lamps in gesso paper with a bamboo structure and an iron stand.

Japanese design has recently used paper by enhancing its structure and modular nature with the creation of smart functional objects like Ryuji Nakamura’s Hechima armchair in vulcanized paper fibre. Tokujin Yoshioka has created the Honey Pop armchair by gluing 120 layers of glassine paper.

和紙は、丈夫で緻密な上にまろやかな光の 透過性を持っている。障子、屏風 、扇子や オブジェなど、人と建築空間の階層を形成 するものの創作に使われており、ジャパニー ズデザインの現場では、様々な分野におい て和紙の多才な潜在能力が試され活用され ている。例として、和紙のサステナビリティや リサイクル性に着目した坂茂は、リサイクル の段ボールで作られた細い紙管で家具や照 明器具を創作した。1950 年代より、イサム・ ノグチは加工した和紙に竹ひごと鉄製のス タンドを用いた、100を超える型の手製ラン プ‘AKARI ’ を製作した。 ここ最近、ジャパニーズデザインには、元来 の構造とモジュールの特性を強化した紙を 使った賢く機能的なオブジェの創作が見受け られる。例えば、パ ルカナイズドファイバー で創られた中村竜治作のアームチェア‘ヘチ マ’ や、吉岡徳仁デザインの接着された120 層のグラシン紙を用いて創作されたアーム チェア‘ Honey Pop’などがそれである。

Mug Magazine issue 25, year XV

Also in the field of textiles the key idea is innovation in tradition. This is the orientation of research by present-day Japanese fashion designers who have focused on the use of broken lines and experimental materials. Such stylists have chosen to deconstruct, muddle up, untangle, and turn the body into a mere support for garments, and to play on the contrast between stiffness and volumes. Rei Kawakubo has designed a jacket with two simple felt bands, a garment that becomes a soft poncho-kimono when worn.

With the line 132 5 ISSEY MIYAKE of 2010 Issey Miyake experimented on the development and tridimensional creation of items of clothing and accessories starting from two-dimensional geometrical forms and availing himself of polyester and recycled materials.

By playing on forms Reiko Sudo obtains pleats that are reminiscent of origami, fabrics that contain stainless steel and light feathers, or Japanese paper circular designs stuck on velvet with synthetic glue.

繊維分野において要となるアイデアも、やは り伝統の中における革新である。これは不完 全なラインと斬新な素材の使用に着目してき た、現代の日本人ファッションデザイナーに よる研究の方向性である。彼らは敢えて、脱 構築、混乱、自由を選択し、人体を単なる衣 服をサポートするだけの物に変え、かたさと ボリュームのコントラストを巧みに利用する。 川久保玲は、着用するとソフトな着物ポン チョになる2 つのシンプルなフエルト製バン ド付きのジャケットをデザインした。 また、2010 年に発表の132 5 ISSEY MIYAKEラインで、三宅一生はポリエステ ルとリサイクル 素材を利用して、平面の幾何 学的な形から服やアクセサリーといったアイ テムの開発と3D 創作を試みた。 一方で、須藤玲子は形を巧みに操りながら、 ステンレス鋼や軽量の羽毛を含む生地、も しくは円形にデザインされた和紙を合成糊で ベ ルベットに張りつけた素材を用い、折り紙 を連想させるプリーツの創作に成功した。

133

ART —

FIBRES

—

134

Mug Magazine issue 25, year XV

ART —

LE PIEGHE DELLA MATERIA —

Carmine Calvanese’s works are festive, joyful and rich in colour. They draw on present-day post modern cultural sensibility, between pop and trash art, a world that draws inspiration from nature represented through deformed, fantastic images.

Lanaro’s sculptures are bound to last in time; strong and essential, his indestructible forms resemble architectural structures reminiscent of essential geometrical origami cut out from thin sheets of paper.

The difference between the two worlds is only apparent. カルミネ・カルヴァネーゼの作品は、陽気で 歓喜に溢れ色彩が鮮やかである。それらは 現代ポストモダンカルチャー的な感性、ポッ プアートとトラッシュアートの狭間、デフォル メされた幻想的イメージを通して自然から引 き出されたインスピレーションの世界を表現 している。 ラナーロの彫刻は、時代と共に存続していく に違いない。その強健で基本的な不滅の形 は、薄い紙から切り抜いた幾何学的な折り紙 を思わせる建築物の構造に相似している。 両者の世界間の違いは、実は外見上のもの だけである。

Mug Magazine issue 25, year XV

135

136

Mug Magazine issue 25, year XV

ART —

ORIGINI —

Brunivo Buttarelli’s works are the outcome of his endless, assiduous and consistent research. Free from digressions or plays, the sculptures he makes never show the addition of artificial colours to the rusty, time-erased natural colours of his brutal materials. The artist shuns frills, decorations and embellishments in works that are strong and essential. ブルニーヴォ・ブッタレッリの作品は、彼の終 わりのない綿密で首尾一貫した研究の結晶 である。主題からの逸脱や遊びのない彼の 彫刻作品は、錆び付いた部分や時の流れの 中で風化して自然に色褪せた素材に、人工 的な色が加えられる事はない。作品への虚飾 や装飾品、粉飾は好まず、それら全てを避け ることで、作品の中の強さと本質が表現され ているのである。

Mug Magazine issue 25, year XV

137

138

ART —

Mug Magazine issue 25, year XV

SORGENTE ARCOBALENO —

Just because Pino Pin and Hartwig Thaler are so different, it seemed interesting to us to show their works in the same exhibition. In fact, in their own peculiar way both artists develop their tales through images in works which are full of figurative and abstract references and illustrate aspects of the environment in which they live and work combined with social issues.

For his installations Pino Pin uses materials such as steel, acetate, plastic, cardboard, sand, mirrors, wood, resins and pigments.

The artist does not aim to create a recognizable style and likes to define himself a conceptual artist.

Hartwig Thaler’s versatile, multifaceted visual culture is mainly rooted in his knowledge of the art of northern countries. His works range from painting to sculpture, from design to graphics, and their special value lies in the cultural and geographical background in which they are rooted. ピーノ・ピンとハートゥイグ・ターラーという 正反対の二人。この二人の作品を一堂に会 することとなったのは、却ってそれが興味深 く思われたからである。ところが実際は、両 アーティストとも独特の方法で、具象性と抽 象性の引用に溢れた作品や社会問題と結び ついた彼らの生活や労働環境の側面を描い た作品のイメージを通して、それぞれの世界 を創作していたのである。 ピーノ・ピンは、インスタレーションに、鉄、 アセテート、プラスチック、ボール紙、砂、 鏡、木材、樹脂、顔料といった素材を使用す る。当アーティストは、人に理解されるスタイ ルの創作を狙っているわけではなく、自身を コンセプチュアル・アーティストと定義するこ とを好んでいる。 ハートゥイグ・ターラーが持つ多才で多方面 にわたるビジュアルカルチャーは、主に北の 国々の芸術に関する知識が根っ子となってい る。彼の作品の範囲は、絵画から彫刻まで、 またデザインからグラフィックまでと幅広く、 その特別な価値は、それらが根付いた文化 的、地理的背景に隠れているのである。

Mug Magazine issue 25, year XV

139

140

Mug Magazine issue 25, year XV

ART —

HEAVY METAL —

Solid metal in weaving forms, placed in contrast with the medieval stones of the Lazzari Cultural Association headquarters courtyard. This is Heavy Metal, the exhibition of Marco Novello's works, realized in collaboration with Vertigo Lab. The sculptor turned his experience as art director of the exclusive interior design brand Scalascultura into art, introducing the theme of the staircase (“scala” in Italian) either as a symbol of unstable equilibrium and as a metaphor of self elevation. ラザリー文化協会本部の中庭の中世の石と 対照的に配置された波打った形のずっしり としたメタル。これがヴェルティーゴ・ラボ の協賛により実現した、彫刻家マルコ・ノ ヴェッロの展覧会‘ This is Heavy Metal ’ である。 当彫刻家は、高級インテリアブランド、 Scalasculturaで培ったアートディレクター としての経験をアートへと変身させた。不安 定な平衡状態のシンボルとして、また自己 研鑽のメタファーとして、階段（イタリア語 で“scala”）がテーマの作品を紹介した。

Mug Magazine issue 25, year XV

141

Anne rIS A IFM P

anuel Emm GENEVE D A E H VA GENE

Sarah BErlIN D EsMO

Zoe orENcE l FIT f

GE Liisa EA COLLE N s CHEL Ts loNdo OF Ar

ruSS rE B ine Delph LA CAMB V A ENs

#wearepremierevision 15-17 sept. 2015 premierevision.com

ElS

© Aurore Valade / Picturetank

r Xavie COLLEGE pArIs T PArIS OF Ar

"INSPIRATION DRIVES US. CREATION IS OUR PASSION. TOMORROW BELONGS TO US."

photo: alessandromoggi.com

FIRENZE ROMA PARIS NEW YORK BEVERLY HILLS TOKYO HONG KONG TAIPEI SEOUL SYDNEY ILBISONTE.COM

mug magazine – year 15 issue #25

BACK IN THE DAYS FAD THREE PRESENT AND FUTURE

Year 15 issue #25 – JULY 2015 A YEARLY MAGAZINE Spedizione in A.P. – 70% – DCI – TV registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

Free – Year 15 #25