Vol. 01
refresher on design, food, interior, toys and travelling
Autumn Winter 2016/17 8â‚Ź
Vol. 01 Autumn/ Winter 2016/17
Editorial Hello, I’m the new one Kid’s wear Living is a new baby sister for our kid’s wear Magazine, which
has been presenting a different view of fashion, culture and childhood for more than twenty years. Our new magazine is intended to expand our horizons still further. We shall be reporting on novelties and innovations in the sectors of design, architecture, interiors, toys and travel. We shall be putting out feelers to detect new directions, developments and upcoming trends. And: we shall be visiting families all over the world to see how they live and survive, and to discover what motivates them. A little refresher on childhood today.
Content 1
Editorial TRENDVIEW
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Panoramic_Roof
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YOUNG INTERIOR
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Kartell 12
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FAMILY AFFAIRS
ClaptonLaundry 64 The
ANOTHER ROUTE
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Milan
80 Impressum
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Wor ld
Food
HOW WE LIVE
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Nidi
House Beires
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Toys
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Concept: Ann Eckers www.kidwil.com Photo: Christian Stoll 04
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B ea u L ov
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K H E RO M A S
TE PL A
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Backpack by MOLO
Bedding FO RIVOR
PL AT E
OEUF
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Mouth shaped pillow
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PP A s ose h C Bobo
ed dB u o Cl
L AG O
Shelves COSE DA BOCIA
D r ea m Ca r
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i cb y
HUZ I
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CRAZY BIRDS BY MARNI Owl Pillow by SOFT GALLERY
R toddler bed
RAFA-KIDS
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ne rp l a te a n d d r i n k
li d DE
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N L E T T ER S
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Bedlinen AJ VINTAGE ABC DESIGN LETTERS
Cybex MARCEL WANDERS “PARENTS COLLECTION”
VII b
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Be d
y UU
No technology: we’re Kartell No lead, no socket, no on-off switch, even less so integrated circuits or touch screen displays, there’s one thing that Kartell believes in and that’s play. Play and that’s that. Not even a single electrical component in what is the most imaginative, poetic, artistic and surreal kids’ collection ever made by a design company. Because it’s just that, an original collection. Few pieces, that at first sight don’t seem to have much in common, are the heart and soul of their creators, part of their memory, as well as their essence. Objects for what they are recognised. Objects that have aroused emotions in them and that in turn have generated passions that have called for research, commitment and dedication and led in the end to the genial intuition that marks the work of every designer. Making the world a little more beautiful, a little simpler, a little more functional and perhaps in the words of one of the greatest, Achille Castiglioni, “create even a small interaction with the unknown figure that will use the object designed by us”. If this is true, and I believe it is so, then Piero Lissoni, Ferruccio Laviani, Philippe Starck and Nendo, who have created the Kartell Kids collection, are almost privileged designers. Not only will their message reach minds that are still free and uncontaminated but as we see from their words below, to do so they have returned to that child who fell in love with a toy and made something wonderful out of his life. Well done to them and well done to Kartell who are always looking to be playful, even in adulthood. 10
CLIP CLAP by Ferruccio Laviani
H-HORSE by Nendo
Who knows if this shared “fun” will not give rise to new generations of designers who can save the world from the oppression of technology! Ferruccio Laviani, Piero Lissoni and the marketing director of Kartell answered our questions. We asked the same questions of Lissoni and Laviani as we wanted to know where the idea came from, what activated the child’s world inside them. Talking to Lorenza Luti, however, we were interested to discover the Kartell “journey” through this new corporate reality (with a little trip down memory lane). Here’s what we discovered.
Ferruccio Laviani has designed a small Clip Clap table and stool for Kartell Kids, made of many transparent coloured pieces of plastic so that the child can not only play at building, but set the height and then use it for writing. Was there a toy, or an object in general, that has stayed in your thoughts and that inspired this collection? When I was little I was fascinated by two things: trains and cable cars, and so I tried to reproduce them in every object available until I was given my first (of a long series) of Lego blocks. I still remember that the first was a windmill kit. From then on any idea I had was built “brick by brick”.
The connection between this and the Clip Clap project is quite clear, even if almost unconscious. I can say, however, that apart from the fun part, the construction toy also has an educational aim that allows the object to grow with the child so that the table/toy turns into a first writing desk. How do you think children’s tastes have changed as well as children in general from when you were little? Technology has spared no one and so the child’s world has changed from a three-dimensional one to a digital/virtual representation. You cannot deny the evolution of our habitat and consequently everything of which it is made up
(including the digital aspect). I must say, however, that I’m always a little shocked to see children, sometimes still in the cradle, armed with tablets and smartphones. I just hope that they’re really having fun! What would you enjoy doing if you were a child today? What would your living space look like? I was very lucky to grow up in the country surrounded by barns, fields, animals, country lanes, woods, odours and tumbledown houses, where we could invent a new game every minute. If I were a child, I’d love to have all this again. At one time toy cars and tractors were pedal-powered, not electric as they now are, and Kartell have taken up that concept with the Discovolante car and the Testacalda tractor by Piero Lissoni, made from methacrylate with a metallic frame. Was there a toy, or an object in general, that has stayed in your thoughts and that inspired this collection? A beautiful yellow bulldozer, all metal, with tracks. There was also a great Spitfire aeroplane, made from wood by my father, with bent plywood. I remember how light the design was, but in reality, it was as heavy as an anvil and couldn’t fly. In any case I was the engine and did the flying. They were two different worlds, two memories that have stayed with me for my entire life.
How do you think children’s tastes have changed as well as children in general from when you were little? Things change every season: the game, be it real or electronic doesn’t change in terms of its essence, but only in terms of the tools used. What would you enjoy doing if you were a child today? What would your living space look like? I’d enjoy everything, taking the computer to pieces, building toys and playing ball with friends until we were exhausted! Lorenza Luti, Kartell Marketing Director More than 50 years have passed from the release of the 4999 child’s seat, that Marco Zanuso and Richard Sapper designed in 1964. In the meantime we have had reinterpretations of certain iconic pieces for children but Kartell Kids has only just come into being. Is this the start of something completely new, or the continuation of brilliant thinking that is part of the history of your company? Ours is a brand that is continually evolving and being enriched with new products that embrace the whole lifestyle sector. In the case of Kids, we recognised a need in the market and choose to fill it with the creation of a specific children’s range. The objects in this collection join many others that are centred on the playful and emotional sphere that has always been a part of the Kartell world.
AIRWAY by Philippe Starck
Entirely Kartell materials and colours for the Kids range, but how is it different from the adult range? With respect to objects designed for the very young, the most playful, recreational and creative component is of primary importance and has to go hand in hand with functionality. This is the idea behind the “mood kids” series and adaptations to Kartell classics that use new colours and tones to highlight the most imaginative and creative component of each piece. Apart from the style, what makes you different from competitive companies? We designed the Kartell Kids range with the same spirit with which we explore every single Kartell product, keeping in mind our productive identity but adapting it to a child’s world. In this instance, we have kept the transparency and the colours that have always been characteristic of Kartell, that have been further adapted to children’s tastes in these products.
DISCOVOLANTE & TESTACALDA by Piero Lissoni
What are the most representative pieces, and those that are most loved by your young users in your collection? Each of the pieces in the collection brings with it a touch of the creativity of the designer who developed it: each is a fundamental part of the Kids project and each expresses the brand values in a different manner. These premises were the guidelines and source of inspiration for this collection as well. If you could go back to being a child, which pieces in the new collection would you like to have, and why? All little girls dream of being little princesses. We tried to make this dream come true through the option of customising the Lou Lou Ghost chair, transforming the chair from a toy to a fairytale throne and then climbing into the saddle of a magical transparent rocking horse. Then off at full gallop to explore the world. www.kartell.com Text by Patrizia Mezzanzanica 11
Food
Nidi
Nidi: Off to your room! Once upon a time, a naughty child was made spend the afternoon in his or her room, alone and without anything to play with. Times have changed. Not only because that type of punishment is a distant memory but because children’s rooms have changed and have become welcoming, fun and creative, designed and made with their well-being in mind. Places in which learning is stimulated, creativity is encouraged and it’s even fun to study. The intuition of skilled entrepreneurs and qualified trade experts has meant that the room where a child sleeps, wakes, plays, studies, reads, draws or passes time with friends every day has become a colourful, practical world, where everything is close at hand and can be transformed with a simple 14
touch. Nidi is one of the companies that has most strongly believed in this change and is committed to meeting the needs of those who often don’t have a say but understand what design’s all about. Charles Eames claimed that “recognising the need is the primary condition for design” and this has led the Battistella Group, with its Nidi collection, to emerge as a market leader. For them, children are the focus of everything. Without doubt, for them it’s no problem to send them to their room. If anything, it’s more difficult to get them out. We asked Michele Rosolen, Marketing Director of the Battistella Group, how the project started and evolved. Living in one of your bedrooms is every child’s dream. Do you remember what yours was like? I shared a room with my brother who is two years younger. Two upholstered beds that were our haven. A chest that held our fantasy world and an enormous writing desk where we spent days drawing.
Not a Nidi bedroom but still a private and welcoming space. Was there something missing? Or something you had that your friends didn’t? I always lived in an apartment and I sometimes felt restricted by not having a garden. I made up for this, however, on Saturday and Sunday by visiting my grandparents in the countryside. How has the taste of children changed compared to when you were young? Thirty years ago, a child’s world was simpler and well organised by his or her mother. There were a lot less alternatives to consider and there was no option of dwelling on all the phases with the concern and worries that we have today. As many experts point out, perhaps childhood is now given too much space in our thinking. A child is really considered a being who should not be without anything. If you were a child today, what model would you choose?
Without doubt, I’d choose the Woody collection that embodies the union of Italian design and that of the Nordic countries that is increasingly part of our homes. Are there differences between bedrooms designed for the Italian market and for abroad? Or more generally do you think that children’s tastes are the same or differ from country to country? The differences are in effect notable but mostly at a planning level. The foreign market is unlikely to use connected structures such as bridges, galleries and walk-in spaces. It is mostly interested in non-connected products that are fast to install such as single beds, smaller sized wardrobes and work stations. How and why did the idea of the Nidi collection come into being? Nidi – Design Space for Children came into being in 2013 based on the experience of a group of young architects that married the heritage of the Battistella company to highly innovative and practical design content: planning a space where infants and then older children could live and grow just as if they were inside a nest (Italian: nido).
in the planning stage (great variety of colours, materials, modules and fabrics), up to a product such as the graphic panel (door + writing tablet) where the child can write and draw, expressing all his imagination and using it like a “game”. Your communication method is unorthodox, non-conventional, it leads you through territory that is still unexplored by companies working in the sector. How did your strategy come into being and who develops the guidelines? Nidi was a challenge from the outset for our company. A challenge in terms of taste, that is very different from that of all other producers and our competitors’ collections. A communication challenge based around a catalogue photographed in different locations that represent a dream for the children living there. A child’s world can’t and shouldn’t be one of perfection but rather one of infinite and daily stimulations encouraging them to grow with creativity and fantasy. This is why our company has always sought out alternative communication methods, such as ongoing partnerships with creative labs and developmental activities, where the child is the focus of our attention.
What makes your production different from others? Battistella is a long-established company known for its processing of 100% recycled materials that are suitable (no formaldehyde, use of ecological panels) and strong enough to be used in children’s rooms. We do not use solvent-based paints and Nidi applies its enormous production capacity to respond to the many customisation requests for furnishing components. Colour is another distinctive element of our production: we have a wide colour palette (20 colours in crossing modality) and a vast selection of fabrics that are personalised in a unique and original manner. In your experience who makes the decision about bedroom furnishing? The children or their parents? Our research suggests that it is the mothers and grandmothers. They are the ones who most often choose and make decisions all the way up to purchase. Having said this, in recent years we have seen greater involvement by the child in terms of the selection of colours, details and accessories in general, such as our stickers, rugs and pouffes. www.nidi.it
Is the choice of materials and colours determined by practical, ethical or solely stylistic factors? Nidi stands out for its skilful use of materials, such as wood, handpainted ceramics and natural fabrics, pastel-inspired colours and a design approach that encompasses the more traditional solutions to compositions that can transform and adapt to the needs of the youngest during their growth: the single elements that make up the bedroom are used in complete freedom. All these factors confer a highly innovative character compared to products already on the market.
Text by Patrizia Mezzanzanica
Are special technical expedients used because of their manual nature? Or creativity? Or something else? The Nidi project is open to considerable creative experimentation
Nidi 15
Sabri na R yn as Wor ld
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The township of Gugulethu is situated 20 minutes outside the centre of Cape Town in South Africa. Last year, shortly before Christmas I visited the area with a black South African production assistant to help him with a social project. He has converted a small hut there into a kitchen and, whenever he manages to raise some money, he cooks for the neighbourhood children. Many of these children have lost their parents and have little to eat. As I was driving through the streets, I saw a child playing with an inflated condom – instead of a balloon. I couldn’t get this image out of my head and began to think about what children actually play with. I recalled my own childhood, when I was perfectly happy to play with a cardboard box, using it to create a little world of my own. Nevertheless, I was always jealous of my friends with their Barbie convertibles. For more than half a year, I have been visiting the children in these townships again and again; I played with them and photographed them while they played. Similarly, back in Germany, I photographed German children to show how differently children from other cultures behave when at play. The wonderful thing is that, despite all the differences, children play the same games wherever they are.
Models JANINA, MAX and MIK
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Pants Shirt SCOTCH SCOTCH & SODA SHRUNK
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Pullover BOBO CHOSES
Cat bag KARL LAGERFELD FOR KIDS
Pants BOBO CHOSES
Vest and wrap skirt SCOTCH & SODA
Backpack BILLY BANDIT Pullover KARL LAGERFELD FOR KIDS Jacket SCOTCH & SODA
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Blanket SOFT GALLERY Pants SCOTCH & SODA
Left: Pants BOBO CHOSES Hooded jumper BILLY BANDIT
Right: Backpack BOBO CHOSES Sweatpants HUGO BOSS Hooded jumper DKNY
Right: Sweatpants Blanket KIDSCASE Left: Sweatpants and shirt SCOTCH & SODA Shirt BILLY BANDIT TIMBERLAND
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Hairband
SOFT GALLERY
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How we live
FAMILY AFFAIRS For generations, the Calisti family has been involved in the restoration of historical buildings in Pavia, Italy. Roberto and Mariangela, architect and gallery owner/interior designer, have made art their life’s passion, transmitting it to their children Ginevra and Gian Maria with the same intensity and same authenticity with which they have lived. In the Palazzo Bottigella Gandini, that still conserves intact the frescoed four-sided portico from the 15th century, Mariangela and Ginevra, an interior design graduate, have recently founded the Supernova Gallery. This is a cultural association that promotes contemporary art events outside of conventional circuits and exhibitions such as Rooms, Inside Out and Indigestum, supporting young up and coming talent. See Saw is only the latest in a series that has hosted the natural size work of the artist Carlo Pasini, formerly assistant to Aldo Mondino. His animals have literally taken possession of the spaces imparting a surreal atmosphere suspended between baroque and fable, light and dark, decadence and modernity. The work of Mariangela and Ginevra has not gone unobserved and the event has achieved the hoped-for acclaim. However, neither of the two plans to rest on their laurels. It is now time for new projects, and the next goal is the Todo Es Nada exhibition, to be held in May 2017. This time the protagonist will be the work of the Austrian artist, Paul Renner, who will transform the building into an enormous cabinet of wonder recreating the Amber Room, through his creations and work. The opening will be attended by international guests and as traditional for the artist who is now working on the creation of an art bar in New York with Hermann Nitsch, everyone will join in an enormous banquet. An unusual idea that immediately won over the 26-year-old Ginevra, with a future yet to be conquered and emotions waiting to be discovered. kid’s wear Living: Living with art is not something that everyone experiences. You were raised amidst exhibitions, artists and markets and you’ve lived in houses straight out of magazines where art and design were commonplace furnishings. Do you have any particular memories of yourself as a child connected with this special experience? 36
Ginevra: Actually, I have only recently come to be aware of this; my parents always conveyed strong values to my brother and myself, without exception, if you care about something that immediately takes on a value, whatever it may be. I obviously knew that we had pieces of art with a “different” value in the home and that it was “special” compared to others but I always saw it as my nest, nothing more. Even when people came to photograph our homes I always saw it as a fun game. I think that mum and dad were very clever in directing us without destroying the innocence seen through a child’s eyes, trying to make every moment, that may be boring for a child, a chance to learn something new and discovering a fun side. When they took me to the art fairs they’d explain what we were looking for and it would be like a treasure hunt, they’d send me out in charge of searching for one piece or another and made me feel part of it all. In some sense, I felt that my presence was important in helping them. I also remember when mum took part in the Biennale in Paris that I’d keep her company for a few hours, then go home and draw. The house belonged to a tenor, a bit crumbling but fascinating with a huge brocade sofa. By the end of the Biennale, I had literally covered the walls of the room, like I’d created my own stand. Shame that my parents had to pay for the damage caused by the sticky tape I’d used. The paint also came off the walls when we removed the pictures to take them home. kid’s wear Living: Following in the footsteps of your mother (or father) is always a difficult choice because it means comparing yourself to a model that you are close to emotionally as well as professionally. Achieving success means surpassing this model, not in the sense of being better but in terms of finding your own way, your own style, your own means of expression. What do you have in common with your mother, her style and character, and what, on the other hand, is down to your own individuality? Ginevra: It would be pointless to deny that a lot of what I am today comes from my parents and the environment I grew up in. I don’t deny the great admiration that I have for my family but this has never been a problem in terms of my professional relationship with them. Yes, I’m an architect
palazzobottigellagandini@supernovagallery.com
like my father, and yes, most likely I will one day take over his studio with my brother, who in turn is studying architecture in Venice. Yes, I work with my mother in organising exhibitions in the building and so I fall into that group of children following in their parents’ footsteps. However, I also work in an architectural studio in Milan and am a design tutor for students at the Politecnico di Milano. I am trying to engage in different experiences compared to those I’ve had in my family, to really challenge myself, against different people with different tastes, because I believe that this will bring added and particularly personal value to my work
with my parents or my professional training. On the other hand, the continuous stimulation fascinates me. The bookworm aspect, if you allow me the phrase, has always appealed to me. I believe that curiosity and the need to dig deep into things, not just floating on the surface, in search of inspiration, ideas and ways of thinking make the difference, particularly in a job such as ours based on continuous research.
Text by Patrizia Mezzanzanica Photos by Alessandra Ianniello 37
plants: OLIVE LOVES ALFIE planter: BROSTE COPENHAGEN tee: CAMDEN ET MARK plates: RICE
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The
Laundry n o t p a l C Achim LIPPOTH
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plants: FIE OLIVE LOVES AL
Ashlyn Gibson
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drapers cabinet: E BEN SOUTHGAT tee: H&M
Our home is a shelter, a party place, a studio, a skate park, a rehearsal space. It hides in the East London backlands. An industrial reclaimed space where the windows look skyward. And the clouds look inwards – our landscape changes every day. In the heart of our space stands a timber cabin. An urban retreat where we have all our own space. She has her universe and I have mine. Hide-aways. Ours is a place to grow, to nourish, to nurture and to be Secret places. Spaces to play or just to be. yourself. But my favourite time is when our worlds collide.
tee: CAMDEN MARKET vintage globes: EBAY
skateboard: SLAM CITY SKATES
paintings:
IMER GARDINER
SOPHIE HERXHE and JEREMY
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tee: CAMDEN MARKET pants: LITTLE ELEVEN PARIS
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pants:
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LITTLE ELEVEN PARIS cushions: OLIVE LOVES ALFIE
jeans: H&M tee: H&M shoes: VANS
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vintage shirt: ROKIT jeans: H&M tee: H&M
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light: TOM DIXON
shirt: H&M MEN jeans: H&M shoes: VANS
jeans: H&M shoes: TOP SHOP VANS tee: shoes: NIKE jeans: TOP SHOP Fender gu ita VINTAGE G r: UITAR BOUTIQUE
shirt: H&M MEN
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styling:
ASHLYN GIBSON location: THE CLAPTON LAUNDRY
models: ACE aka OLIVE and LOU
Olive cushion: OLIVE LOVES ALFIE Fender guitar: VINTAGE GUITAR BOUTIQUE
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cushions: OLIVES LOVES ALFIE pants: LITTLE ELEVEN PARIS
Afonso Overall BOBO CHOSES Sara Coat BOBO CHOSES Bonnet and socks WOLF & RITA
Carlos LOBO
The House Beires was commissioned
by Major Carlos Machado de Beires
and designed by the architect Álvaro Siza Vieira.
Its construction was completed in 1976 in Povoa de Varzim,
three years after the beginning of its conception.
“When I undertook the project I said to myself: another horrible ground!”1 — Álvaro Siza Vieira
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On his first field visit Siza Vieira felt disillusioned with the place as it was presented to him. It was nothing more than a rectangle of 17 × 30 metres, which did not look very promising for the creation of any minimally interesting project. The surrounding area, which was developed in lots similar in the basic shape of a parallelepiped, was also little appealing. Siza Vieira experienced both a dissatisfaction with the intervention area but also with the family’s expectations for the
project. However, after visiting the place, Siza Vieira made a spontaneous drawing, free, without any belief that this project would go forward. Strangely, this first esquisse satisfied the family and the project became a reality, contrary to Siza’s expectations. The project responds to a peculiar design that became known as “house bomb”: it is a cube in which one of the edges gives the feeling of being in ruins, as if a chunk of it had exploded. The “explosion” gives rise to
a courtyard garden around which the house is constructed. This garden is located in front, facing the public street, and it is characterised by being a space of transition and indoor-outdoor joint private-public. The windows facing north, where the sun comes from the side on the afternoon, establish the harmony that Siza was looking for. 1 “Quando me encarregaram do projecto disse para mim mesmo: outro terreno horrível!” Interview with Álvaro Siza Viera in Bauwelt (1990), 29/30.
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Sara Overall and sweater BOBO CHOSES Shoes STYLIST’S OWN
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Sara Overall and sweater BOBO CHOSES Afonso Beanie, scarf and sweater BOBO CHOSES
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HOUSE BEIRES
HOUSE BEIRES
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Sara Blouse and jacket WOLF & RITA Afonso Beanie BOBO CHOSES Shirt WOLF & RITA
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Sara Blouse WOLF & RITA Jacket BOBO CHOSES Afonso Sweater BOBO CHOSES
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Styling: CLÁUDIA ROCHA Models: AFONSO and SARA Thanks to WOLF & RITA, BOBO CHOSES, VEJA, PEDRO, JORGE and THE BEIRES FAMILY.
Sara Cardigan, top, bloomers and socks WOLF & RITA Shoes STYLIST’S OWN
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Another Route Milan
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Silvia Volpi Do you remember what your children’s room looked like? It looked like a giant strawberry like in a surreal Roald Dahl nightmare … glossy red everywhere. My mom’s mushy obsession. Between you and me: were you the kind of guy who kept the room clean and tidy? Or weren’t you? Meticulously, the first. From your point of view: what exactly makes a good children’s room? An empty floor to roll over and handcrafted flying mobiles, Calderstyle sculptures gently hanged to the ceiling.
What do you think: are there genuine trends in design and interior in 2016/17? And if so, what are they? Hopefully there will be some: less goods, more projects. Is there something unmissable to see in Milan? The Biblioteca Nazionale Braidense, a place of culture and prestige. A hotel you would book in Milan for your friends? It might be better to choose some cozy Airbnb in a quiet but central district. A restaurant you like? La Latteria, Via San Marco 24.
Salone del Mobile 2016 – what was the most interesting thing you have seen? A few gems, as for instance Arita’s porcelains. Silvia Volpi
Between you and me: were you the kind of guy who kept the room clean and tidy? Or weren’t you? Absolutely not, I needed to fill each little empty space of my room with objects, almost compulsive. When I used to go for a trip my goal was to collect the maximum numbers of souvenirs (crossing the border to kitsch) for filling the empty parts on the walls of my bedroom.
Andrea Marcante
Adelaide Testa
Andrea Marcante and Adelaide Testa UdA Architects, Turin 78
Do you remember what your children’s room looked like? My room was really a mess. We were three brothers compressed in one room … imagine three boys inside a small bedroom … quite an explosion.
From your point of view: what exactly makes a good children’s room? The needs of the new modern-day family is now quite accustomed to inhabiting spaces fluidly, with no separation between the space for adults and children’s space. Last year we (Adelaide Testa and I) designed Cose da Bocia, a kids collection of furniture. The idea is proposing furniture that gradually
Carolina Castiglioni Director of Special Projects at Marni Do you remember what your children’s room looked like? It was a little cosy room, the walls were covered by wallpaper, my bed was made of wood and I had a stereo that I used as a night table, which has the shape of Coca-Cola can. Of course it was full of games and books. There was also a balcony with plants from which I could see the roofs of the houses nearby. Between you and me: were you the kind of guy who kept the room clean and tidy? Or weren’t you?
adapts to different needs and places, capable of entertaining children while at the same time bringing out the most ironic side of adults. Salone del Mobile 2016 – what was the most interesting thing you have seen? Soft Home at Palazzo Bovara. It was a kind of contemporary home, soft in its technology aspects, but also cosy. What do you think: have there been genuine trends in design and interior in 2016/17? I’m not so sure that trends are so genuine. Is there something unmissable to see in Milan? Again Soft Home at Palazzo Bovara, a space of 700 sqm, designed by ourselves for Elle Decor. The location is really
I did not keep my room perfect. I was more interested in keeping my collection of soaps and rubbers tidy. From your point of view: what exactly makes a good children’s room? The most important aspect is the playful side. A child’s bedroom has to be full of colours and funny objects. I think that they must feel comfortable in their room, and not being afraid of breaking or ruining something. Salone del Mobile 2016 – what was the most interesting thing you have seen? I tried to attend as many presentations as I could. In particular, I like discovering new projects and designers together with some good friends, with whom I usually move throughout the city with a motor scooter. Unfortunately, I did not have so much time during this year’s Design Week because we have always been busy with our projects. We have presented the Marni Ballhaus, a ballroom to discover and learn the movements of the Colombian couple dance of Cumbia and backdrop to the
presentation of our limited edition of design items: chairs, chaise longues, rocking chairs, small tables, lamps and vases made of metal, wood and hand-woven PVC cord in brilliant colour combinations. We proposed different moments of dance lessons accompanied by live music performances. For example, one Friday we had dance and percussion workshops for children; it was very funny and involving. We have customized with Marni archive prints the traditional full circular skirts worn by Cumbia dancers, so our guests wore the skirts, which we have designed also for little girls, and joined the lessons of professional dancers. What do you think: are there genuine trends in design and interior in 2016/17? I think that the most interesting trend in interior design for 2016/17 is bringing the outdoor inside the house: materials and fabrics, which are typically thought for outdoor design, are often used indoors, at the same time people pay more
and more attention to domestic gardening; the most scenographic examples of this trend are vertical gardens. Is there something unmissable to see in Milan? What I love about Milan is that it is a kind of city that you have to discover little by little, its most beautiful places are often hidden to a superficial eye. I think about its inner courtyards and gardens. Personally I would not miss the exhibitions at PAC and Fondazione Arnaldo Pomodoro. A hotel you would book in Milan for your friends? I would recommend Hotel Magna Pars Suites. A restaurant you like? Trattoria Arlati, where you can taste the classical dishes of the Milanese tradition in a timeless atmosphere.
www.marni.com
suggestive, as is our set-up of course. A hotel you would book in Milan for your friends? There is a new place close to Piazza Duomo that really looks familiar and funny, the Room Mate Giulia. While you are comfortably sitting on the couch you are surrounded by some artworks of Milan-based artist Patricia Urquiola on the wall. A restaurant you like? Here in Milan, 28 Posti. It’s a little contemporary bistro, in the middle of Via Corsico. The food is good, fresh and tasty, as are the great drinks. www.uda.it www.cosedabocia.com Carolina Castiglioni 79
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