Special Teaching Project for Postgraduate Courses
Research Booklets for Design & Fashion Course UniversitĂ La Sapienza Roma
The ‘30
THE NEW
MODERNE DESIGN
The Wall Street Crash in October, 1929 served as the great divide between the 1920s and the 1930s, and between American modernist designs. The '20s were characterized by a blend of exotic materials, angular designs, voluptuous and lavish interiors and the functional geometry of Zigzag Moderne quickly absorbed from such art movements as French Cubism, Dutch de Stijl, Russian Constructivism, Italian Futurism and German Bauhaus. Both strains gave way to the austerity binge of the '30s where sleek ďŹ nishes (chrome), aerodynamic forms, synthetic materials (bakelite) and an infatuation with speed and futuristic elements came to the fore -- the advent of the Machine Aesthetic
THE MACHINE-DRIVEN CULTURE
Coupled with an inux of European avant-garde styles, the machine challenged design and the period was one of experimentation and invention. Electricity powered machines in the home, automobiles changed the shapes of cities and homes, radio redeďŹ ned leisure, and telephones closed the distances between people. The machine was valued for its service. Its aesthetic was promoted by those who saw a beauty in the machine -- a beauty in appearance and function. The machine aesthetic was assumed by all sorts of objects. Shiny metals, molded plastics, and mirrored glass became important decorative devices. The design of cabinets and tea services resembled skyscrapers. Originally housed in enormous wood cabinets, radios and photos apparat became increasingly smaller and packaged in synthetic materials. Functionalism -- the opinion that an object's form and appearance should be determined by its purposes -- was driving American design by the mid-thirties. Modern style was viewed as simple, practical, convenient, and sanitary.
STYLE INTERPRETATION The modern
The Moderne Style used the look of the machine ornamentally. It was decorative design, and its machine aesthetic served to conceal the inner workings of the object while calling attention to itself as machine. In a sense, the Moderne was simply a sort of superficial styling, aesthetically emoting the machine yet not necessarily possessing a functional relationship with the object. In architecture, the Moderne figured most prominently in non-residential buildings, from skyscrapers to movie theaters, advertising “the promise of a machine-made future."As the Depression deepened, fewer and fewer buildings of this style were constructed. The Moderne primarily exhibited itself, then, in consumer products and interiors. Of the few homes built in the Moderne style, the decorative exteriors belied floor plans that remained traditional.
STYLE INTERPRETATION Machine Purity
While Moderne homes were dressed as machines, they hardly fulďŹ lled Le Corbusier's intent that a house be "a machine for living in." Such qualiďŹ cation required a convergence of interior and exterior, function and form. Where the Moderne used the look of the machine ornamentally, the machine purists attacked any sense of decoration that exceeded functionality. Where the Moderne was exuberant, machine purity was austere. In an architectural sense, it espoused a factory aesthetic. Machine purity was a reaction against the ornamentation of previous decades and even the Moderns. Honesty in use and materials was sought. Simplicity and sterility championed the antiseptic white of the hospital and lab. Stucco was an ideal material, as it provided for unbroken, continuous surfaces. Walls were skins, stripped down and allowing for a maximum of interior space. These interior spaces were to be designed individually, matching the needs of the resident, to "provide for the amelioration and development of the functions of living." Rooms were to be determined by function, and the movement between rooms was to "stress the unity and continuity of the whole volume inside a building."Book shelves and living plants were the best decorative devices in the home.
STYLE INTERPRETATION Machine Purity
STYLE INTERPRETATION The Streamlined Modern
Whereas the skyscraper had inspired an angular, setback style that expressed the 1920's unbridled entrepreneurship, it was unsuited to the sober economic mood that followed the Crash in 1929. An authentic new image was needed to unify industry and to propel it out of economic stagnation. The image that answered this need was the streamlined form. Based on sound aerodynamic principles, it came to symbolize industrial progress. The optimum streamline form became that of the teardrop, or parabolic curve, providing an image of uid, energy-efďŹ cient motion The "teardrop," rounded at the front and tapered at the rear, approximates the low resistance forms of Zeppelins, submarines and other streamlined vehicles. Rolling down a cheek, a tear does assume that form; a falling drop does not. The two were confused throughout the l930s.) The result of streamlining was not only the appearance of speed in every kind of item (ironically, often in thoroughly grounded objects, such as homes), but also a diversion from the attention of that item's actual inner workings. Like the Moderne, and opposed to the principles of machine purity, streamlining concealed. When used in houses, it often sought to create a nautical effect, as though the home were an ocean liner replete with pipe railings, white bows, and strip windows.
STYLE INTERPRETATION Biomorphic
The biomorphic aesthetic dislocated the machine from primary image to enabler. Designs became sympathetic to the forms of nature and the human body. If the ovoid was the symbol of streamlining, the ameoba was that of biomorphic design. New machine technologies and materials, such as plastics, paved the way for this new stylistic development. As such, the biomorphism was a machine aesthetic for how it was produced, not necessarily how it appeared. In terms of domestic architecture, the biomorphic label might be tangentially applied to Frank Lloyd Wright, for his arguments for the use of materials in their nearly natural conditions and his insistence on "organic" design. While Lewis Mumford's visual aesthetic was closer to that of the International style, his sympathies for regional ecology and promotion of greenbelt towns also suggested a biomorphic ethic.
SCIENCE FICTION INFLUENCES
The roots of the Streamlined Moderne lie also in an infatuation with science-fiction. Utopian visions were provided by scores of illustrators for magazines, comic books and Hollywood film sets. The serial Buck Rogers began in 1930 and Alex Raymond's Flash Gordon appeared four years later. In H.G. Wells' 1936 film version of Things to Come, montage and photography were combined with state-of-the-art moderne model sets. The futuristic cities painted for Amazing Stories and other "pulps" variously anticipate or reflect the advanced designs of Buckminister Fuller, Walter Darwin Teague and other piorneering designers of the thirties.
GRAPHIC DESIGN
By 1930, Modernism had entered popular culture. With the increasing urbanization of populations, it was beginning to be looked to as the source for ideas to deal with the challenges of the day. Popular culture, which was not derived from high culture but instead from its own realities (particularly mass production) fueled much modernist innovation. Modern ideas in art appeared in commercials and logos, the famous London Underground logo being an early example of the need for clear, easily recognizable and memorable visual symbols. One of the most visible changes of this period is the adoption of objects of modern production into daily life. Electricity, the telephone, the automobile—and the need to work with them, repair them and live with them—created the need for new forms of manners, and social life.
The ‘40
1940’s OVERVIEW “Come back home, my dear…”
At the end of World War II, many Americans began to move out of the cities and into the suburbs. In response to chronic housing shortages, the federal government offered generous home loans to war veterans, and tax benefits for home ownership. Aggressive building of highway systems and the parallel rise in automobile ownership contributed to the development of communities well beyond urban centers. These and other incentives effectively jump-started the modern era of the single-family suburban home and the suburban revolution
1940’s ARCHITECTURE- Built me beautiful! Home and garden magazines such as House Beautiful, Sunset, and House and Garden capitalized on housing trends and provided a blueprint for modern living. Elizabeth Gordon, the powerful and opinionated editor of House Beautiful from 1941 through 1964, urged readers to study the homes seen in her pages for keys to "better living." "Above all," she wrote, "try to visualize the social values that such a house represents." The photographs here show spacious, light-filled rooms, housewives cooking and husbands barbecuing, a car in the garage, a back yard with a lawn – and, in some cases, even a swimming pool. These images demonstrate values such as privacy, efficiency, the embrace of new technologies and materials, an informal style of living, and an easy proximity to the outdoors. The postwar suburban residence was portrayed as a refuge from the cares and stresses of the city. It was to be a self-contained world with all the comforts and amenities one could desire and afford.
‘20s DECO DESIGN DECORATIVE DETAIL
1940’s - The First Postwar House
In 1946, developer Fritz Burns and the architecture firm of Wurdeman & Becket designed and built a single-family residence in Los Angeles called "The First Postwar House." This model home served as an experimental showcase to display all the desirable hallmarks of suburban living. A one–story U-shaped building facing away from the street, the home had large windows and doors of glass that opened onto several outdoor patios. Labor-saving devices such as dishwashers and freezers, electronic gadgets such as intercoms, and stereo and radio equipment were found throughout the house. Ample closet space and hidden storage compensated for the home's lack of a basement or attic.
Sears, Roebuck and Company 2 story house for one thousand & ninety two dollars. From 1908 to 1940 Sears, Roebuck and Company sold ready to build house kits with no sawing or nailing. Everything was bolted together. The "home in a box" as it was called, was delivered to the local train depot. By building your own home, this allowed a home buyer to be able to afford a good quality home.
1940’s - “The Kit Homes”
Architecturally, Cape Cod, Colonial, and Ranch style "kit homes" from manufactures such as Sears, Liberty, Aladdin and Gordon Van Tine saw a jump in popularity, as build-it-yourself homes became a viable and affordable option for middleclass families yearning to leave the cities and the farms in and on which they grew up. Design-wise, Art Deco and Jazz influences were tempered by traditionalism and an emerging taste for modernism.
1940s Architecture - Cape Code House They are simple, affordable, and traditional. Most often they are symmetrical and true to their colonial roots, but after WWII, they were especially apt to be modernized with attached garages, breezeways, and minimized trim. The typical plan comprised living, dining, and kitchen on the main floor with two to three bedrooms and a bath on the second.
‘20s DECO DESIGN DECORATIVE DETAIL
• Finished rooms on the second story • Large dormers to expand living space on the upper story • Chimney placed at one end instead of at the center • Single-paned double-hung or casement windows • Decorative shutters that do not close • Sided in wood, shingles, brick, stone, aluminum, or vinyl • Garage or additional room attached to one side or the rear
1940s Architecture - Colonial House Billed as a Colonial, it's a modern interpretation of a plan that Americans apparently couldn't get enough of. The main floor plan shows little innovation from prewar designs. Upstairs, there are two bedrooms, a sewing room, and master suite. In total, this plan has two bathrooms and a powder room
‘20s DECO DESIGN DECORATIVE DETAIL
• Square, symmetrical shape • Paneled front door at center • Decorative crown over front door • Flattened columns on each side of door • Five windows across front • Paired chimneys • Medium pitched roof • Minimal roof overhang
1940s Architecture - Ranch style House During the dark of the Depression, architect Cliff May combined Arts &
Crafts styling with Frank Lloyd Wright's Prairie architecture to design what later became known as the Ranch style. Early Ranches were quite complex, but by the end of World War II real estate developers seized on the idea to build a flurry of simple, affordable homes that could be quickly constructed in America's rapidly expanding suburbs. • • • • • • •
‘20s DECO DESIGN
• • •
DECORATIVE DETAIL
• •
Single story Low pitched gable roof Deep-set eaves Horizontal, rambling layout: Long, narrow, and low to the ground Rectangular, L-shaped, or Ushaped design Large windows: double-hung, sliding, and picture Sliding glass doors leading out to patio Attached garage Simple floor plans Emphasis on openness (few interior walls) and efficient use of space Built from natural materials: Oak floors, wood or brick exterior Lack decorative detailing, aside from decorative shutters
Innocent
Streamlined
Traditional Hollywood Glamour
Sanitary
Patriotic 1940‘s - Home Sweet Home! -Decors and Items -
Sentimental
The necessary self-deprivation of the 1930s Great Depression years carried on into the self-sacrificing WWII years of the 1940s. This frugal way of life was echoed in American home décor. Furniture styles of the 1940s were modernlooking; boxy, simple and functional. Equally popular was traditional, dark and heavy colonial-style furniture that reminded our country of its roots. This austerity in furniture was offset by cheerful color schemes on walls, floors and fabrics.
1940s - Living Rooms In the 1940s, couches and large chairs were rectangular in shape and typically upholstered in solid shades of dark blue, pastel green, turquoise, harvest yellow or red. Accessory chairs, tables and desks were often colonial-style. Curtains, valances and table covers often had large ruffles and bright floral patterns with white backgrounds. Walls often had multicolored wallpaper, paneling or were painted in solid shades, especially turquoise, pastel green and harvest yellow. Matched sets of pictures, plant holders and ornaments adorned the walls. Home entertainment consisted of radio shows, board games, card games, listening to music and reading. If the family only had one radio, then it was usually in the living room so they could invite friends and neighbors for coffee and dessert while listening to "Amos 'n' Andy," Bing Crosby, "The Green Hornet" or one of the other popular shows of the era. Phonographs played big bands including Glenn Miller and Duke Ellington. Living rooms had a magazine rack to hold the newspaper and magazines, with floor lamps behind the chairs for better light. The 1940s home had blackout curtains during World War II to make cities a more difficult target for a potential enemy.
‘20s DECO DESIGN DECORATIVE DETAIL
1940s - Kitchens White kitchen cabinets and appliances were very popular in the 1940s. Coordinating countertops and walls were often bright red or emerald green. Sinks had steel cabinets under them, coated in white enamel. Floors were made of linoleum in colorful patterns and colors. Modern-looking steel-framed tables had porcelain enamel tops, and the matching steel chairs had vinyl cushions. Curtains and accessories were often gingham checked or had colorful farm animals on them. Stainless steel canister sets and bread boxes, painted or not, adorned countertops. The kitchen had some appliances, but not nearly as many as today. Standard appliances of the era included toasters, mixers, iceboxes or refrigerators, stoves and ovens. Other kitchen items included teakettles, coffee makers, coffee grinders, cookie jars and canisters. Chrome was popular for its beauty and easy of cleaning. A typical kitchen table had metal legs and frame with an enamel top. Most homes did not have air conditioning, so a oor fan to cool the kitchen during the summer months was a common sight. The oor was linseed linoleum.
1940s - Bedrooms Bedroom sets in the 1940s were usually massproduced "Waterfall" sets having Art Deco-inuenced geometric lines and rounded corners or traditional dark, heavy colonial style sets. Ladies' vanity dressing tables with kidney bean shaped tops were popular. Curtains, valances and table covers had large, feminine rufes. Floral wallpaper was the most popular choice for bedroom walls. Popular bedroom colors were pastel pink, white and pastel green. Wall accessories included matching picture sets, wallmounted planters and ornamental plaques. While builders designed bedroom closets as a standard feature in new constraction,in the 1940s, many people lived in older homes. They used a shift robe, which is a piece of furniture with a bar for hanging clothes plus drawers for folded items. It was standard for a large mirror to attach to the bureau. Many women had a hope chest, also called a cedar chest. All furniture was solid wood.
‘20s DECO DESIGN DECORATIVE DETAIL
1940s - Bathrooms -
Bathrooms in the 1940s had streamlined, modern-looking appliances in shades of white, pink, peach, turquoise, or pastel green with coordinating wall and oor tiles in a contrasting shade like dark blue. The sinks did not have cabinets underneath them. Windows were typically covered with vinyl venetian blinds in colors matching the bathroom appliances. Striped or plaid wallpaper in a coordinating color palette to the bathroom appliances and tile was also typically used.
‘20s DECO DESIGN DECORATIVE DETAIL
1940‘s - Technology Inventions
The 1940s saw technological advancement grow by leaps and bounds in response to the challenges of World War II. University, government and private industry scientists worked together to turn ideas into inventions. A huge inux of government money into research and development led to an explosion of technological innovations -- and numerous commercial products.
The Bauhaus
THE BAUHAUS DESIGN
The Bauhaus school of art and architecture in early 20th century Germany was the birthplace of a revolution in modern design. Founder Walter Gropius’ form-follows-function philosophy transformed advertising, typography, architecture, people’s living spaces, and the public’s aesthetic expectations in fundamental ways. The Bauhaus mission — to provide affordable, artistic, utilitarian design for every class of person — was a smashing success. Today, their crisp, geometric style is reflected in successful design everywhere: from billboards to infographics. And it still serves its original purpose: to honor functionality with beauty, to please the eye and capture the mind.
The Bauhaus Design - Key Elements • Bauhaus
design values simplicity of line and shape. Look for straight lines or smooth, gentle curves. There is repetition and multiple layers in the overall design-a row of identical cylinders or two or three corners offset from each other to produce a simple but powerful effect.
•
Bauhaus design celebrated new fabrications that were lighter and less bulky than traditional building materials. Aluminum, steel, plastics, and glass are noticeable in Bauhaus design. Stackable chairs and tables became another recognizable feature of Bauhaus design.
• The
new materials were not just part of the Bauhaus design, often they were the focus of the piece. Simple designs and smooth surfaces of plastics, class, chrome and other metals were intended to highlight the materials themselves.
‘20s DECO DESIGN DECORATIVE DETAIL
The Bauhaus Design - Key Elements • A desired element of Bauhaus design was that the chair
or lamp had to be inexpensive. This was not furniture for the wealthy elite; it was aimed at people who wanted simple, beautiful home furnishings that were also affordable.
• Easy
to clean: the concept of hygienic furnishings was popular during this time, especially in Europe. Furnishings that could be cleaned with a splash of water or a quick dusting were highly valued.
• Form
follows function. Bauhaus designs shared with other contemporary design movements the belief that the function of an item should dictate the form of the piece. Hinges, support mechanisms and functional hardware were highlighted, not hidden, in Bauhaus design.
The Bauhaus - Masters of Persuasive Graphic •There is always a connection between color and shape.
One of the school’s most famous thinkers and artists, Wassily Kandinsky, strove for a universal aesthetic: a visual style that would transcend cultural differences and language barriers. He believed certain shapes and colors complemented each other and communicated a specific idea or emotion to the viewer. For example, he believed yellow and the triangle were natural partners: they strengthen each other’s sharpness. He tested his students on this theory, presenting them with a circle, square, and triangle alongside the colors red, blue, and yellow (blue, a spiritual color, corresponded with the circle while red, an earthbound color, corresponded with the square.)
‘20s DECO DESIGN INTERIOR
The Bauhaus - Masters of Persuasive Graphic •Clean,
Powerful Typography matters. In the world of graphic design, typography is perhaps the Bauhaus’ great legacy. For the Bauhaus, the words were an integral graphic element. They were architectural — like a chair in a room — functioning on their own, as words, and as artistic tools in the space. Bauhaus typographers were pioneers of wrapping text, and of setting words at sharp angles. But again, the meaning of the words always came first, clever design second.
‘20s DECO DESIGN INTERIOR
The Deco
‘20s DECO DESIGN
Art Deco architecture, painting, graphic design and fashion is recognizable because of three main things: distinct geometric shapes, intense, bright colors that stand out, and a decorative look. Art Deco is characterized by a linear, hard edge or angular composition, often with a vertical emphasis, and highlighted with stylized decoration. While being decorative, is very simple, in that it doesn't have any complicated shapes, characterized by clean lines, streamlining, and symmetry. In addition, Art Deco works exhibit abstraction, distortion, and simpliďŹ cation, particularly geometric shapes and highly intense colors.
‘20s DECO DESIGN ARCHITECTURE
Art Deco buildings have a sleek, linear appearance with stylized, often geometric ornamentation. The primary façade of Art Deco buildings often feature a series of set backs that create a stepped outline. Low-relief decorative panels can be found at entrances, around windows, along roof edges or as string courses. Art Deco buildings feature distinctive smooth finish building materials such as stucco, concrete block, glazed brick or mosaic tile.
‘20s DECO DESIGN - DECORATIVE DETAIL
Decorative details can incorporate various artistic or exotic motifs to suit the building’s function or the architect’s whim. Since the Art Deco style was seen as a rejection of historic precedents in its use of new construction technology, it was particularly suitable for the design of the 20th century’s newly emerging building form, the skyscraper.
•Eyebrows:
Cantilevered window shades included in the buildings structure. Eyebrows look like a "Shelf" placed above a window. Eyebrows shade direct sunlight and keep interior cool.
•Ziggurat
or Stepped pediment:profiled like a staircase - Up Down, Up Down. Also known as "ZigZag" or "Lightning Bolt." Ziggurats are seen on the roofline of buildings recreating Egyptian motifs.
‘20s DECO DESIGN DECORATIVE DETAIL
‘20s DECO DESIGN - DECORATIVE DETAIL •Threes:
in Art Deco, everything seems to come in Threes. three windows, three bandings or Three eyebrows, or three steps up. etc. This is probably due to the Egyptian influence of the Pyramids.
•Banding or racing stripes: horizontal banding on the
facades of buildings, which can be incised or applied in decorative materials such as tile. Banding usually comes in groups of "threes". This simplified ornamentation reinforces aerodynamic concepts of Streamline Moderne. A great way to accent the architectural elements of an Art Deco building is to paint the banding in a contrasting color.
•Columns:
many Art Deco buildings feature either whole columns, which stand away from the building or sliced columns attached to the front doorway facade acting as an archway.
‘20s DECO DESIGN - INTERIOR The mood during the early 20th Century was optimistic and hopeful, and it translated seamlessly into the realm of Interior Design.
•Furniture
- strong, streamlined shapes for furniture and in single pieces rather than suites.
•Fabrics
- plain or geometric fabrics and added highlights with cushions also in one solid block of colour.
•Floors - plain polished parquet for floors. Linoleum in abstract designs or black and white chequerboard vinyl tiles are also typical.
•Rugs
- floors are overlaid with a large rug in geometric patterns. These were often handmade by artists such as Duncan Grant (of Bloomsbury Group fame).
•Fireplaces
- fireplaces are rectangular and bold. Surrounds were often tiled in pink, green or beige. They were made of concrete and not many survive today
‘20s DECO DESIGN INTERIOR
‘20s DECO DESIGN - INTERIOR •Cupboards
- cabinets, wardrobes, etc are in pale veneered wood and simple shapes in keeping with the light, airy feel.
•Colour - halls in bold colour schemes such as silver, black, chrome, yellow and red. Creams, greens and beige, or oyster and eau-de-nil in living rooms and bedrooms.
•Design - the stepped profile is the epitome of the art
deco shape, found everywhere from uplighters to picture surrounds. Also look for zigzags, chevrons and lightning bolts.
•Lighting
- lights featuring female figures holding the ball of the lamp are typical and good reproductions abound. Also look for chrome, a brand new material at the time, and glass. Glass would have been etched, sandblasted or enamelled rather than coloure
‘20s DECO DESIGN INTERIOR
‘20s DECO DESIGN MATERIALS
Certain materials pop up again and again in art deco interior design: stainless steel, mirrors, chrome, glass, lacquer, inlaid wood, and even exotic skins like shark and zebra. Expensive materials such as ebony, marble, and rare woods were also often used, making some Art Deco pieces accessible only to the wealthy. Use of theatrical contrasts - highly polished wood and glossy black lacquer mixed with satin and furs.
‘20s DECO DESIGN INFLUENCES
The Art Deco style was influenced by a number of other art movements. Some art movements that had a major influence on Art Deco. •Cubism - the reduction of natural forms to their geometrical equivalents •Expressionism - forms derived from nature ( animals, nudes, sunbursts ) are distorted or exaggerated and colors are intensified for emotive or expressive purposes •Futurism - forms derived chiefly from Cubism were used to represent rapid movements and dynamic motion; showing hostility to traditional forms of expression •Vorticism - using the concept of a vortex
Dior
“The line is served by effects” Christian Dior
Testo Dior’s
Diorama
In a reaction to what he called the 'hideous fashions' that had characterised the war years, Dior chose to take an opposing perspective. He said that 'Hats were far too large,skirts far too short, jackets far too long' and replaced Testo them with the exact opposite. He proposed a feminine image, one contrary to the military look. Novel though it seemed, this merely harked back to the age of the crinoline. The New Look, with its rounded shoulders, wasp waists, generous hips and long, full skirts was only new from a very short view of fashion history.
The “Bar” Suit
The amount of fabric required to create a New Look garment typically 15 metres in a woollen day dress, 25 metres in a short taffeta evening gown - caused outrage, for rationing was still in place.
Woman's suit consisting of a jacket in natural coloured tussore silk, and wool crêpe and taffeta skirt. The jacket is hip length, waisted and tightly fitted to the figure. Fastens with three self-covered buttons at the centre front. There are pockets on the hips. The collar and lapels are tailored. The lining is of cream silk and the hips are padded.
Object: Ensemble Place of origin: Paris, France (made) Date: 1947 (designed)
The skirt is of fine black wool crêpe, fully pleated and mounted on a stiffened taf feta petticoat. The waistband is of quilted silk shaped to throw the waist out from the hips. Fastens at the centre back with hooks and eyes and snap fasteners.
The “would-be” Architect
With his revolutionary New Look, Christian Dior wrote a new chapter in the history of fashion. Furthermore, in order to write it he litteraly constructed it with his own hands: “..with big, nervous blows of the hammer, he gave a Stockman mannequin that was too tought to bear his visionary wardrobe, the forms of the ideal woman for the fashion he was to launch. “ I wanted my dresses to be “constructed”, moulded on the curves of the female body whose contours they would stylise. I accentuaded the waist, the volume of the hips, I emphasised the bust. In order to give my models more hold, I had nearly all the fabrics lined with percale of taffeta, renewing a tradition that had long been abandoned”.
“Green” - En Huit Ligne s/s 1947 ‘20s DECO Details: Day dress DESIGN consisting of a jacket and skirt made from green silk twill foulard
with small white spots. The bodice has a tailored collar with lapels, long batwing sleeves, and tightly fitting at the wrist. It is tightly fitted at the waist and has a centre front fastening of three covered buttons. The skirt is softly gathered at the waistband and is straight cut. 'New Look' length. It is full at the front with two vertical open insets. It has a centre back zip fastening. It has a triangular handkerchief attached at the front and arranged to drape behind.
DECORATIVE DETAIL
The “New Look” - En Huit and Corolle On 12 February 1947 at 10.30 am, the announcer introduced “numéro un, number one”. The first model was worn by MarieThérèse and opened the show during which the astounded audience saw ninety silhouettes file past belonging to two principal lines: En Huit and Corolle.
There was the Passe-Partout suit in navy-blue wool crepe with its crew-neck jacket, pockets on the chest and the tails and pencil skirt that outlined the irreprochable En Huit line. The Corolle afternoon dress in black wool closed with five large buttons on the bust and skirt with aptly-named miraculous pleats. The Jungle sheath dress and its panther motif, the Soirée dress with two layers of superimposed pleats in navyblue taffeta...
“Zig-Zag”
“Envol”
“Cyclone”
“Mulin à Vent”
“Dior & More”
With twenty-eight workrooms by 1954 the Dior empire was flourishing. The future was bright. But every season demanded new designs to surprise his two to three thousand clients and inspire them to renew their Christian Dior wardrobes. Names of lines like Zig-Zag, Envoi (Flight),Cyclone, Moulins a Vent (Windmills) or Ciseaux (Scissors) not only created an image in the public's mind, but also made movement the focus of each collection. Dior's whirlwind pleated dresses gave life and youth to the form, transforming the wearer into a flower. The Z-shape formed by the folds of a gown recalled the flighty strokes of a pencil sketch. The impression of flight with every step came from an unequal distribution of the fullness of the skirt of a dress.
‘Diorama’: The centerpiece of the second collection a/i 1947, had taken 230 hours to complete, 26 metres of fabric and 42 metres of braid.
New Haute Couture
After years of deprivation and misery, the wish to believe in a bright future pushed people to a desire for splendour. Dior sensed this and accentuated it in his second collection. 'Dresses took up fantastic yardages of material, and this time went right down to the ankles ... What did the weight of my sumptuous materials, my heavy velvets andbrocades, matter? When hearts were light, mere fabrics could not weigh the body down. Abundance was still much too much of a novelty for a poverty cult to develop out of inverted snobbism.'
Virtuosy & Business The passion for opulence inherent in the quantity of the materials and in the variety of embroideries and accessories was to be the best way of restoring the tradition of French haute couture. The success of such ideas, and the clever management of the spinoffs they generated, enabled Dior to make luxury a serious business, a rationally organised industry. His direct involvement in the business side of the House of Dior took haute couture out of the undoubtedly brilliant, but limited, domain of a very small elite and offered it to the world, turning haute couture into a financial empire
‘20s DECO DESIGN DECORATIVE DETAIL
Dior’s Look: “From head to foot” Orders began to mount up and, to cope with the demand, two new workrooms were added to the three Dior had started with. The second collection was even more successful than the first. The next step was to expand and take advantage of the Christian Dior name: why not create accessories to his designs, articles like perfume, furs, hats, stockings, gloves, shoes and jewellery? Not even the slightest detail of elegance was to be ignored. Christian Dior's dream was now realised: to dress women 'from head to foot', right down to their underwear
Illustrator Rene Gruau played an important role in interpreting the look and the mood of Dior’s collection. By creating a fantasy world around dress and accessories he added desiderability
‘20s DECO DESIGN DECORATIVE DETAIL
The H-line, created for the 1954 Autumn-Winter collection, essentially lengthened and streamlined the torso to create a half-girl/half-woman effect. The dresses, suits and coats were cut along parallel lines like the letter H. The Flat Look or Haricot Vert (String Bean), as the fashion media dubbed them, seemed to flatten the chest — arousing a great deal of criticism and controversy
The Y-line of the 1955 Autumn-Winter collection was a reaction against long basques and dropped waists. In this collection the two upward strokes of the Y formed a wide, high bustline. The waist was tightly nipped in and placed higher than usual, giving an extra length to the skirt, and therefore also to the legs.
The shape symbolised by the letter A, introduced in the Spring-Summer collection of 1955, was similar in construction to the H-line, but was based on two joining diagonals. The dominant effect was once again a longer torso, while the crossbar of the A, representing the waist, was more mobile.
Moving to Geometry
After the wasp waist and oversized full skirts, Christian Dior realised that women wanted clothes that were in tune with the demands of daily life. He moved away from the New Look and onto collections dominated by geometric lines. In the 1950s the words 'vertical', 'oblique', 'oval' and 'long' came up time and time again, suggesting a stylisation of the female figure. But the culmination of Dior's geometric lines were the H, A and Y designs. The key element in Dior's letter collections was the variation in waistlines.
The LILAC, associated with the popular Panther pattern also called “JUNGLE”, would not have been so important to him without his main inspiration: the elegant and mysterious Mitzah Bricard. She used to wear at her wrist a muslin scarf with Panther prints. Thanks to her the colour lilac and the Panther print will become major elements within Dior’s syntax.
Only the SKY BLUE colour could go well with the pattern of the star. The blue colour represents emptiness and peacefulness. Christian Dior is using a big spectrum of blue in his programs. Before the blue Klein existed already the blue Dior: it is a blue with a touch of violet.
The PINK IS reference colour of Dior’s villa “Les Rhumbs”, the colour of the roughcast coating made of grey and pink gravel. For Christian Dior this is “the colour of joy and feminity”. As for the BLACK colour, Christian Dior asserts he could have written a whole book on it.
The palette of Monsieur Dior - Colours and Codes of recognition -
GREY is neutral and practical. He is using it everywhere in his House located at 30 avenue Montaigne under the advice of his architect friend Victor Grandpierre. The hound’s-tooth will show the contrast between the white and grey.
According to Dior, the colour of WHITE is the most beautiful one for the evening whereas daytime it has to spotless. This colour, symbol of purity, has to be placed like the black colour into the “noncolour” section. The white is associated with the white of his favourite flower, the lily of the valley.
In 1955, Christian Dior presents his first red lipsticks in fashion magazines, a product affordable for all type of women and social class. He launches eight different shades going from bright red to pure orange. He wants to be remembered and give a new nobleness to the make-up products. The red lipstick is also we ll-k now n fo r it s unique scent. Since 1955, its flowery and powdered notes hardly change, this is how he kept his fa i t h f u l c u s t o m e r s who were always looking forward to a new shade. Here is the difference between a simple lipstick and a lipstick made by a perfumer.
The Red Dior
The colour belongs to the patrimony of the brand and it is intrinsic with each haute couture collection. Christian Dior pays homage to the colours in one chapter of each of his collection programs and he is easily recognised thanks to his theatrical, literary and pictorial glimpses and manners: “Titien dark brown”, “Trianon grey”, “Bertin pink”, “Vermeer blue”, “Royal red”. The most magical colour is the red one, “primitive as subtle”and all the shades of the intense red will be found in the rose (as a print or as an accessory) often shown in Dior’s collections. Very soon, this colour marks its territory at the avenue Montaigne and attracts the customers and press attention from every corner. Red becomes the Red Dior.
In 1947, Christian Dior unveiled his 'New Look' and the first Miss Dior bottle, a ringed amphora in transparent glass. With its rounded curves and narrow neck, the silhouette directly references the outline of a figure-of-eight: the shape of the bottle wholly recalls the flower-women of the 'New Look', their pert busts and cinched waists. The flacon evolved in 1949, and while the amphora still boasts feminine curves, its rings have gone and the glass comes in three colors - blue, white and red, like an homage to perfumery's French origins.
"I created a perfume to wrap every woman in glorious femininity, as though each of my dresses was emerging from the bottle, one by one."
In 1950, when the couturier came up with his "Verticale line", he totally redesigned the
fragrance flacon in order to harmonize the straight, architectural lines as closely as possible. "Cut like a tailored suit ", the bottle reappeared with geometric and sober lines, in a form that would remain unaltered. Decorated with a bow-tie, its glass engraved with a houndstooth motif, the bottle distilled some of the house's most recognizable codes, espousing the mood of elegant gorgeousness so associated with Dior fashion
Oh, Miss Dior! - The Iconic Parfume -
"Perfume is the feminine personality's indispensable accessory, it's the finishing touch to a dress. " If he could have, Christian Dior would have created a fragrance for each one of his dresses. For him, a perfume was like a piece of fabric, invisible obviously, but instantly recognizable. A veritable fashion accessory, it complements and completes a look. Miss Dior , his first perfume, his fragrance manifesto, is a clear expression of his desire to synchronize the lines of his couture with the allure of his perfumery.
In
1953, Christian Dior began
to experiment with these rattan motifs. No doubt they reminded him of the geometry in the Prince of Wales check, as he was fond of borrowing men’s fabrics for women’s fashions. So he reinterpreted cannage for the packaging of his perfume, L ’ E a u F r a î c h e , t h u s accentuating the masculine/ fe m i n i n e a s p e c t o f t h i s cologne – a fragrance he wore throughout his life.
In 1995, the piece known ever since as the Lady Dior arrived in boutiques. It was a p r e c i o u s , u l t r a - ch i c a n d ladylike handbag, and Princess Diana adopted it instantly. Was the Princess of Wa l e s t a ke n w i t h i t s proportions, its sturdy handles, the quality of its leathers and its workmanship, its rock’n’Dior charms
In 1997 , architect Peter Marino reproduced it in light stone flooring in the rotunda of the Avenue Montaigne boutique. He repeated the feat on the façade of the Dior building in Ginza, in Tokyo; many other locations followed.
Cannage Chronology
Everything began with weaving. For a haute couture house, what could be more fitting? But this weave is special. In addition to the two warp and weft threads that become the fabric women wear come two more crossed threads on the diagonal to complete the motif. These threads are cane, which is to say strands of rattan. The cannage weave was the literal basis of some of the Second Empire’s finest moments in décor: it was used for chair seats. The story might have stopped there.o turn such a classic furniture motif into a symbol required the hand of Christian Dior.
At the heart of Dior's success was his ability to combine the seemingly inconsistent areas of exclusive design and mass merchandising. Christian Dior's business acumen ensured that his house reaped considerable beneďŹ ts from cooperation with department stores the world over and from his being the ďŹ rst couturier to develop a licensing system. Dior founded a fashion empire on a past that took it s strongest guide-lines from the traditions of French art de vivre, whilst summoning a new era of couture in which underwriting by the mass market ensured the continuation of the unique and expensive handmade designs of the couturier.
Sonia Delaunay
SONIA DELAUNAY AT THE ROOT OF MODERN ART
Sonia Delaunay took an early, perhaps the earliest jump into non-objectivity where color elicited form. Her work serves swift proof of a tenacious intensity with which she threw herself into her art, her life. She lived a philosophy of emotion; delving, gouging, tasting, creating. She erected a scaffolding of new impressions to reach not upward but inward. A new language of feeling corresponding to the Futurist movement in Italy, Constructivist in Russia, Blaue Reiter in Germany. Sonia Delaunay is at the root of modern art.
COLORS APPLIED
Many people have too quickly made a distinction between fine and applied art. The fact that that first baby blanket profoundly influenced Robert Delaunay (after it he began his famous collages) is virtually neglected. She was no theoretician, thus she sought refuge in a more earthy medium. She applied her and her husband’s ideas of the “Simultaneous” and “Pure Painting” to a lamp shade of which she gave the name “Halo Depth;” curtains, “Depth Movement;” cushions, “Sec Movement Colors Depth,” “Astral;” goblets, “Moon Absinthe,” “Water Wine,” “Wine.”
FANTASY & ELEGANCE
As early as 1912, Sonia Delaunay decorated her clothes with geometry and color, freeing herself from flowers and frills. One may even call her the predecessor of art deco. Apollinaire wrote the following about her : ”...wide purple and green sash, and a corsage divided into brightly colored zones, delicate or faded, where there is mixed an old rose, yellow-orange color, Nattier blue, scarlet…appearing on different materials, so that wool cloth, taffeta, tulle, flannelette, watered silk, and peau de sale are juxtaposed…So much variety cannot escape notice. It transforms fantasy into elegance…”
NOTHING OUT OF REACH
That fantastic elegance made its way through World War I to the “Exposition des Art Decoratifs” in Paris, 1925. Sonia Delaunay’s collaboration with Jacques Heim celebrated her world wide. Furs, automobiles, furniture, clothes, bags…nothing was out of her reach. She also did costumes, those for Diaghilev remain among the Ballet Russe’s best. Cleopatra was swathed in circles stemming from the breast, giving costume the illusion of dance, the airy, ethereal step into another dimension. One critic said the dancers “set in motion costumes that already simulated motion…”
INFLUENCES
Raised in St. Petersburg, at 20 years old she found herself in Paris with a group of young Russian girls at the “Academie de la Palette.” Through Uhde (Wilhelm Uhde, the German art critic, dealer and fher first husband ) Delaunay met Picasso, Derain, Pascin, and Braque. She had already been involved herself in what one may call her Fauve period. Although she disliked Matisse ( “too timid” ), she was influenced by his transformation of the banal to the vivified via color. From Gaugin, she took the organization of flat colored surfaces. And from Van Gogh, the intensity of color. Although her paintings from this period are colorful, they are far from being “light.” In fact one can trace the somber quality of pensive, intent studies, through her concept of depth being the inspiration for “pure painting.”
Project and Lecturer “The Italian Tailor Made Gens&Ladies” Domus Accademy in partnership with Lantao Cultural Studies
An Insider Overview “The Heritage”
For us “fathers”, the Made in Italy represents an absolute value which is currently challenged by doubt: are we transmitting to our “children” that national identity heritage which mixes together beauty,culture, quality of life, and increased industry specialisation?Or has taste globalised too? According to a research study carried out on a sample of young Italians, university students and next-to-be professionals, the answer in itself is news: the handing on of cultural heritage is there in the full richness of its authenticity. The Made in Italy is the survival bait for a better Italy, the one to be proud about abroad; a sort of sweet patriotism whose key word is “quality”. In a country seemingly immersed in an endless session of self-consciousness, the values of the Made in Italy are therefore presented as the core identity able to embrace many manifestations of national life, all linked by deep-rooted stylistic consistency. The idea that emerges is not to take advantage of the legacy, a "father's house to appreciate and keep in order", as the good son Telemachus did while waiting for the return of Odysseus . Italy, although part of a socio-global competition, has the possibility of fielding excellence, a creative and operational "mindset", a vision which is everything but utopian, founded on socio-historical cultural activities, such as art in all its forms, crafts, good food, the "nice gesture" in style and sober elegance, and Design and Beauty of a distinguishing mark.
Sviluppo proposta Lezione “ The Italian-Made Man”
General considerations: The contemporary Italian man is likened to a "brand" and is recognized internationally as social, cultural and economic "brand value",with a strong and structured "know how", and an aesthetic and functional “packaging". This "hyper-body" moves "on the “market" with dynamism and acumen: constantly experimenting, through uninhibited illumination, boasting a solid and historical tradition. For this reason, the Italian-Brand Man neither requires nor satisfies the demand in the fashion proposals or in the global generalized attitude. He is not interested in wearing and surrounding himself by brands. Research focuses on uniqueness and unrepeatability: guided by the "tailor-made" concept with accentuated customization of detail. Hence the birth and development of hundreds of micro-artisans and services, hyper specialized and sectorial, with increasing and diversifying proposals which constitute valid answers. From here stems the interest of the big companies to invest in the individual, “custom-made” proposals, multiple choices and possible wishes made true. The peculiar attitude of esthete, philanthropist, snobbish Italian forerunners, identifies the man who lives the "niche" that is an ideal and symbiotic environment, the only one who can preserve and perpetuate the best characters of the species.
A curious forever researcher, a lover of thought-out contrasts, individualistic in absorbing knowledge and in discovering clues useful to his personal growth while being altruistic in showing and divulgating it “blasé”. A “coherent dichotomy”: the more thorough the knowledge of a subject, the more the inclination to take a distance from it and to look for different and unconventional paths.
The lesson wants to sollicitate the participants’ unconscious and provide the tools to compose an extremely personal “cahier” of inspiration, a sort of archive of original visions subject to constant updating and concurrent to one’s own field of interest (personal, professional, or inspirational). With the term “Styling” we mean that process which has the objective of making any object/subject more beautiful. Such a process is structured following multiple variables and depends on just as many contexts in which it is applied- an editorial shooting or photografic video, Brand consulting, Image Consulting, Personal Advisor, Visual Merchandiser-where the common denominator is the research for beauty, of the nice gesture, aesthetic harmony reflected in the presence and in the environment which gains insight on the specific preferences and tastes of who lives there. The lesson’s objective will be to provide the knowledge for the creation of a structured and efficient “self-branding”; each participant will receive personal suggestions on how to achieve an original “know-how”, their own “packaging” and the most apt “visual marketing” to communicate it.
WHEN FOREIGN MENSWEAR editors and retailers come to Milan for the biannual fashion shows, they get a double feature. The main event is on the runways, and the second act is found right on the city's cobblestone streets, where Milanese men put on their own display. Ever since Italians have been zipping home from the office or cafe on their Vespas, visitors have been studying them in an attempt to unravel their secrets.
Tesi
Some Cont
ents
What's behind the Italian man's fearless way with color? Where does he get his uncanny knack for combining pebbled textures with silky trimmings? How does he manage to be so secure in those slimfitting clothes? And how does he put it all together with a refined sense of spezzatura (Italian for "studied nonchalance")? Style "is more important to Italian men than it is to men of other countries," said Saks Fifth Avenue president and chief merchandising officer Ron Frasch. "They're raised from a young age to appreciate quality and design." "Everything fits," said Details magazine fashion director Mattew Marden. "That's the first thing I noticed when I started coming here: the businessman in a suit is a completely different idea than it is in Italy." "It isn't to say the British, French, Americans or Japanese don't have style," he continued. "We've just learned a lot more from the Italian lifestyle. Paris gives us runways but Italy gives us real clothes."
THE BIRTH OF COOL - The Icon Is there something in the acqua that explains this mass display of rakish refinement?
Some Cont
ents
Not exactly. It partly reflects the country's small size relative to its very saturated fashion industry. Imagine if the state of California (which encompasses 156,000 square miles compared with Italy's 116,000) not only boasted an internationally acclaimed men's fashion week (like Milan's) and great tailoring traditions in five major cities (on par with Milan, Rome, Naples, Palermo and Turin), but also high-class clothing stores in nearly every one of its small towns. Much of what we're talking about focuses on heritage. In Italy, [being in fashion] is almost like being in the wine or cheese business. The dexterity of the designs and the quality is so specific to the region, [manufacturers] are convinced that the water, temperature and air is all linked to the end product. Though one could trace the roots of Italy's style to the aesthetically robust Renaissance, the modern Italian taste for individuality crystallized in the '50s and '60s around style giants like former Fiat head Gianni Agnelli, actors Marcello Mastroianni and Gigi Rizzi and the younger Mr. Barbera. Not only were their fashion habits—watches worn over the shirt cuff, suede driving shoes paired with handmade Caraceni flannel suits, slim black suits worn with black sunglasses—replicated at large, but their pleasure in living was the source of much imitation. Without the attitude, after all, the effortlessly fabulous look would have been impossible to pull off. "Americans didn't live the 1950s and '60s like we did," said designer Massimo Piombo, whose obsession with the glamour and elegance of years past inspires his label, MP by Massimo Piombo. "In Italy there was this extreme joie de vivre. It was poetic, extravagant and the extreme beauty and decadence inspired amazing garments."
ITALIAN FOR BEGINNERS: "If it doesn't fit their lifestyle, they don't wear it. That's the definition of Italian style."
Just Some
Tips
The first lesson is to get comfortable with clothes that fit the body well. “It isn't true that a fitted suit will be uncomfortable," said Dario Spadea Pandolfi, menswear buyer for Milanese department store Excelsior. "Especially if it's made by a tailor or by hand." It is time to stop swimming in your suit: Look for a slightly shorter jacket with a trimmer waist, and pants with a tapered, shorter leg—to show off bright socks or a sliver of bare ankle. Next on the shopping list: polished shoes with thick laces, to be worn with jeans or chinos. Church's Shoes, founded in England but now Italian-owned, is one of the most popular brands. Try them with navy Incotex chinos that are tapered down the calf. Lastly, another Italian item that is easy to adopt as summer transitions into fall is the unstructured, lightweight jacket made by Boglioli. It offers Italian ease, comfort and polish in a single piece, and can be worn in varying levels of formality, paired with everything from tapered jeans to tailored trousers. HIGHER LEARNING There is always more to be learned about the art of mixing color, pattern and texture in the components of an ensemble. Try combining different textures in a single tone: a navy Cesare Attolini jacket with dark blue Incotex pants and a deep blue fine-knit polo. The best advice might be to have a look at modern Italian style icons, like Fiat heir and entrepreneur Lapo Elkann, who gives his grandfather Gianni Agnelli's classic suits a madcap spin. There is also Luca Rubinacci, a third-generation-member of the Rubinacci tailoring dynasty and designer of his own line, who pulls off purple corduroys as if they were Gap khakis, and keeps eggyolk yellow and baby-pink jackets in frequent rotation. .
When it comes to dressing up Italian men are the perfect sartorial measuring sticks. They grew up going to tailors so they know their fashion well. They know about fit, cut, fabrication and the subtle way of accessorizing. Women look to Parisiennes for pointers on how to be chic. Us men have the Italians to emulate. So here’s your point-by-point guide to looking like a native of Milan or Naples. Now on to our Italian makeover. Start with the right fit. The Italians pride themselves on wearing clothes that fit their shoulders just so and with dress pants that are sharp. The seams connecting the shoulders and sleeves of a shirt or suit jacket should end where your shoulders and arms are joined. Anything lower than that is ill-fitting. Shirts should be close to the body but not so tight the buttons pop out. Shirts can be easily altered by adding darts on the back. A good way to find out if a shirt fits right is by tucking it in to your pants. If there is a gathering of fabric on the back or if there is excess shirt material hanging loosely off the front, you have to get the next size down. As for pants, nothing is more unsightly than a messy break. Men often make the mistake of wearing pants that are not hemmed properly. Modernist would say that pants should barely touch the top of your shoe or be an inch higher to show your ankle. For a more conservative approach, have your pants hemmed to cover just a little past your ankle. That should make for a clean look. The best thing is to have a tailor custom make shirts, suits and pants for you. It may be costly but it will be worth the investment because you will end up buying less in the long run.
Some Cont
ents
Learn to embrace color. Sure, salmon colored pants or periwinkle sweaters are hard to pull off especially if you don’t have the swagger of a Milanese. But you can inject color to your outfit in small doses. An orange belt with jeans and a white shirt or purple driving loafers with khakis and a navy blazer will instantly elevate your look. But if you’ve got the chutzpah, go ahead and wear those white jeans with a pink blazer. Learn the art of the pocket square. There’s not a lot of wiggle room when it comes to men’s accessories (a watch, wedding band, tie and tie bar, and well-polished shoes), which is why you should make them count. The most basic pocket squares are the white ones with a colored border. It’s okay to match the color of your pocket square with your tie, but since it is such a small piece of fabric you are free to go wild and pick something with a pattern or an exuberant color. Folding a pocket square is a tricky exercise especially if you go for the triangle peaks. The simplest way is to lay out a pocket square flat, pick it from the center and stuff it in your jacket pocket. Pick grown up accessories. Unless you’re going to the gym or ball game, trade in the ball hat for a Panama hat (in the summer) or a fedora or a newsboy cap. You’re a man now. Attempt to do loafers sans socks look especially on casual Fridays or weekends. With tapered pants with a clean break, this would look especially stylish. But if you can’t do without socks, slip on pair that’s in a bright color like red, green or even orange. Banish those slogan t-shirts from your closet. No self-respecting Italian would ever be caught dead wearing a shirt that says “I’m with stupid →”. The Milanese man knows that a plain white or gray tee is one of the most versatile items you could ever own.
Case Studies Italian Know How Fashion&Accessories Etro - ultima sfilata uomo ha coinvolto i suoi sarti pugliesi - approfondire + visita in showroom Kiton - marchio napoletano in forte espansione- visita showroom Massimo Alba - designer ( creative director Massimo Alba e Ballantyne) Camicerie: - dal sarto: Alessandro Siniscalchi, Fabio Inghirami, Camiceria Alessandra, Edda Bettera, Camiceria Barone, Paolo Delle Donne. - dalle grandi Griffe: Armani, Dolce & Gabbana ( hanno inaugurato uno spazio Tailor made nel loro negozio ) Ferragamo, Zegna, Kiton Cappelli Panizza - il più antico cappellificio italiano ( conosco la proprietaria: potrebbe essere interessante la visita alla fabbrica e al museo a Verbania ) http://panizza1879.com/storia/chi-siamo/ Vecchi Mestieri: Bolcas ( azienda antichissima italiana di bastoni da passeggio artistici e argenteria - Conosco il proprietario. Hanno lo showroom e la fabbrica a Milano ) http://www.bolcas.com/chisiamo.htm
Lifestyle/ Leisures/ Crafts: I lavori di ieri fatti con le mani di oggi BullFrog Barber Shop / Gum Saloon /Antica Barbieria Colla / Acqua di Parma- self caring/ beauty/ healthy Motoquartiere Isola : visita ad una bike factory/garage/shop di nuova concezione in cui costumizzano moto d’epoca ( Deus, Officine Marmaids, Pietro Figini di TRP Sartoria Cicli: biciclette da corsa su misura, fatte a mano e personalizzate ( Simone Russo) Fornasari - tailor made cars - totally hand made
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Hospitality ( Hotels & Luxury resorts) : Locanda Solferino, Corso Como Hotel, Bulgari Hotel, Maison Borella, Capri Palace ( Tonino Cacace), Gruppo Starshotels ( Luisa Nocentini ) Live Music/Clubbing: Salumeria della Musica, Blue Note, Le Scimmie, Magnolia, Circolo Arci Bellezza Bistrot/Ristoranti/Food Experience: Eataly - distribuzione alimentari di nicchia, food experience ( visita + cena ) La cena/aperitivo potrebbe svolgersi in uno dei ristoranti di nuova concezione - La Segheria di Carlo Cracco, Daniel di Daniele Canzian, Joia di Pietro Leemann. Gattò, Ratanà di Cesare Battisti, Fonderie Milanesi, Pavè, Fioraio Bianchi.. Oppure in storici ristoranti/bistrot milanesi: La Pesa, Da Giacomo Bistrot, I Valtellina, Bar basso ( aperitivo ), Osteria Arlati, Ex Mauri Trattoria La Scala: una serata ad una prima: per il 31 ottobre alle ore 20.00 è prevista la prima de “Simon Boccanegra” di Verdi Buyer/Trend Watcher/ Shops: Claudio Antonioli, (di Antonioli concept store) Piero Tordini, ( di Marcona3 ) , Vinicio Ravagnini ( di Vinicio Boutique, concept store di lusso di Legnano ) People to meet - ottimi contatti Carla Salicini: Direttore Comunicazione Officine Panerai ( hanno una collaborazione fissa con Dove percui presentano ogni anno per ciascuna city italiana, una Guida di lusso sul Lifestyle Italiano! Giovanni Gastel - fotografo, aristocratico, filantropo e studioso . Nipote di Luchino Visconti Paola Segattini: Personal Assistant di Luca Cordero di Montezemolo, attualmente PA di Dean & Dan Caten ( DSQUARED) . Contatto diretto con il brand e possibilità di cenare presso CERESIO 7 ( roof restaurant stellato )