Mug #22 by mugmagazine mug

Year 12 issue #22 – JULY 2012 A YEARLY MAGAZINE Spedizione in A.P. – 70% – DCI – TV registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

Free – Year 12 n°22

BACK IN THE DAYS MASSIMO OSTI THE THIRTIES

Mug Magazine issue 22, year XII

EDITORIAL — 社説

Cover: Koenji, Tokyo

Mug Magazine racconta la storia della moda, l'evoluzione, la realtà artigianale e manifatturiera da cui nasce. È una vetrina che propone la tradizione e il nuovo, la sperimentazione e il consolidato, frutto della ricerca di quel particolare manufatto di tendenze che anticipa i tempi e che assume maggior valore. Nonostante tale analisi avvenga in una realtà geograficamente distante dal centro della moda italiana, essa assume un valore aggiunto in quanto non subisce l'influenza della massa e riesce ad indagare piccoli e grandi progetti in modo equo secondo la loro importanza storica e la loro capacità di portare novità. In questa continua

e costante documentazione, fatta di viaggi e scoperte, è nato l'amore per la terra del Giappone, la sua civiltà e la sua lingua. L'ammirazione tra il paese del Sol Levante e l'Italia è reciproca e affonda le sue radici nella storia e nel comune spirito di innovazione. Seppur l'italiano e il giapponese siano idiomi distanti nella grafica e nella forma, a partire da questa pubblicazione, Mug presenterà un bilinguismo narrativo tra la lingua nipponica e l'inglese esprimendosi in modo ancor più internazionale a costo di un impegno maggiore, scegliendo due lingue cosmopolite e di grande fascino che magari in un futuro non troppo prossimo potranno affiancarsi

Mug Magazine issue 22, year XII

nella geografia mondiale specialmente per quanto riguarda il settore della moda e del design. La scelta di redigere Mug Magazine in questa forma è anche dettata da una sentita vicinanza con il Giappone per via del dramma che ha vissuto a Fukushima. Con solidarietà e cordoglio Mug Magazine propone una sua personale riflessione in merito interrogando l'arte contemporanea nipponica e analizzando come quest’ultima si è espressa per reagire alla catastrofe. In sostanza Mug si presenta in questo numero con delle novità sempre con una maggior voglia di comunicare la sua dinamicità a chi lo legge e con la volontà

di essere moderno e futuribile, proprio come le tendenze. Mug Magazine deals with the history of fashion, focusing on the evolution of the craft and industry from which it stems. It is a showcase that proposes traditional and up-and-coming items, experimental and well-established articles, trends that look to the future and enhance the value of fashion. Although Mug’s activity is often focussed on realities outside the domain of Italian fashion, it is all the more valuable since it isn’t influenced by mass culture and can equitably investigate simple and complex projects according to their historical importance and originality potential. The Magazine’s endless

travels, discoveries and documentation has led to its love for Japan, its language and culture, as Italy and Japan’s mutual admiration are rooted in their history and spirit of innovation. Starting from this issue, Mug’s articles will appear in English and Japanese, two fascinating cosmopolitan languages which will no doubt become in the future the languages of fashion and design. Our choice was also due to our heartfelt sympathy for Japan after the tragic events of Fukushima; our solidarity and sorrow prompted Mug’s reflection and enquiry on contemporary Japanese art and its reactions to the catastrophe. The novelties in the present issue of Mug are the token of a modernity and dynamism that

look to the future while trying to improve its communicative potential for readers to enjoy.

Mug Magazine issue 22, year XII

EVERGREEN

— Spotlight Colophon Smelling Reading

8 18 16 140

MUG MAGAZINE 21 — Back in the days Casamania Diesel Kid store HTC OpificioJM Junya Watanabe + Duvetica Puma Black Label Parajumpers Isetan Dual-Ism Dover Street Market Tokyo My Bike @ Merci Stone Island Massimo Osti The Salina Archive

— ART

19 19 68 71 74 90 95 98 100 105 108 110 120 124 126 129

The effect and the concept of art Art @ Lazzari

77 134

The Thirties The Protagonists Back to the Thirties

114 116 118

— SHOWCASE —

— BACK IN THE DAYS

126

— MASSIMO OSTI

Ten years after Mug was first issued, before we resume our work, we would like to take a backward glance at the most significant events in our activity: the international stores we visited ( mostly on the occasion of their inaugural opening), the up-and-coming or successful designers we told our readers about, the items and accessories we examined when presenting the firms that made them renowned.

His renowned, innovative items can be considered the basic structural elements of many collections of our days, proposed by styles that range from high street fashion to high fashion. According to Ashley Heath, the editor of Arena Homme+ and The Face, Massimo Osti has been an allpervading influence on men’s fashion since the Nineties.

114

— THE THIRTIES

NEWS —

Mug Magazine issue 22, year XII

D&A MAN

SPOTLIGHT

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DESIGNERS & AGENTS are at their debut in the menswear market. From 22 to 24 July the inaugural event will take place in New York during the men’s fashion week when forty select brands will display their items. The choice to expand in the world of men’s fashion is D & A’s answer to the best buyers of menswear who feel the need of something new in the field. D & A’s founders, Kramer and Mandelbaum, will avail themselves of the experience of Merwin Andrade, D&A’s new Men’s Development Consultant, a veteran with an international curriculum, whose special gift consists in discovering new talents. Furthermore, D&A Man has created ‘The Board’: a group of leaders from the world of menswear and the media will offer their feedback and input on up-and-coming designers and trends.

— LN–CC

set designer Gary Card, and was recently nominated as one of the Design Museum’s prestigious ‘Designs of the Year 2012.’ More of an installation piece than a traditional shop fit, it sets us apart from any other retailer in the world. Housed within its walls are three distinct rooms of clothing, as well as a library, a record store and a club space for private events. Each area has its own moods and themes that as a whole embody the essence of LN-CC, linked by an indoor forest and futuristic, skeletal tunnel.

IL BISONTE OSAKA

Jacques by Marcel Wanders and Globe, FPM-FABBRICAPELLETTERIE MILANO announce their future collaboration with Marc Sadler, a French designer profoundly linked to the world of technology.

fabbricapelletteriemilano.com

— A SOPHISTICATED STYLE ilbisonte.com

Completely uncompromising in its approach, LN-CC is an ever-evolving platform of clothing, music and books housed in both a physical and digital environment. The 5,000 sq ft store space in East London takes the tangible roots of traditional retail and combines them with a progressive online outlet in the form of LN-CC.com. The London-based store space was designed by renowned artist and

ln-cc.com

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The inside back cover of this issue shows Wanny De Filippo, the founder of the brand Il Bisonte, in Samurai attire to celebrate the opening of his fourth Osaka single brand store, which increases to a total of 24 the number of shops of the Florence-based Firm in Japan. For the autumn-winter season 2012-13, Il Bisonte presents a collection of small and medium size bags, big elaborate shoppers and small leather goods. The collection focuses on originally processed leather: washed nabuk in the smoke-grey and tobacco versions, lobster pink and slate shiny cowhide, marbled canvas in colours ranging from colonial, to hemp, jeans and anthracite. The collection is further enhanced by its rich details like the zippers, handles and handmade seams.

— FPM-FABBRICAPELLETTERIEMILANO. FPM have launched their third line Globe, the result of their collaboration with a French designer of international renown, Jean Marie Massaud. Globe is the outcome of long research both on materials and their performances, to guarantee the product’s shock-resistance, stability, practicality and handiness. Conceived for elegant and sophisticated buyers, Globe is the right item for the demanding traveller of today who prefers quality to transience in fashion. Pleased with the successful collaboration with the world of design, after Mouse by Stefano Giovannoni, Saint

Ballantyne’s new 2012 AutumnWinter collection draws inspiration from the late XIX century English explorations and merges simplicity and refinement with its patterns of coloured lines and diamonds on neutral, lead grey or camel backgrounds. The items proposed are characterised by bold fabric cuts and sophisticated

tribal patterns; for 2012 the sober, autumnal colours are sometimes military; the cashmere, tweed and velvet fabrics are reminiscent of the brand’s Scottish tradition perfectly rendered by the image of a lady who enjoys the warmth and comfort of wool and fur details but can express a strong personality and dignity. The items that stand out in this collection are geometrical cloaks and polo necks on masculine style trousers and knee length skirts. A gallery of unique items outstanding for their versatility and style refinement, whose classic diamond pattern is the unmistakable mark of a tradition that renews itself in time by looking at a precious future.

ballantyne.it

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Mug Magazine issue 22, year XII

JEWELS – PREMIUM LAUNCHES NEW JEWELLERY HALL Hall 2, which formerly housed PREMIUM’s restaurant, will be debuted as a new exhibition space. The hall, which is accessible from the neighbouring Hall 1, Hall 3, and Hall 7, will showcase jewellery, watches, handbags, belts, scarves and sunglasses. The new hall focuses both on established brands, with names like Sabrina Dehoff, Bjørg, David Aubrey, Louise Kragh, Lua Accessories, Marjana von Berlepsch, Philippe Audibert, Alex Monroe, to name just a few, and many promising young designers like Vanessa Baroni, the Austrian accessory designers Andy Wolf, Art Point, Hartmann Nordenholz, Ina Kent, Katharina Schmid, Lila Pix, Meshit, Mija T. Rosa, Sonja Bischur and Superated who are making their showcase debut at PREMIUM as part of the “Austrian Fashion Showcase”. Former dedictaed to all kinds of accessories, hall 4 now focuses mainly on shoes, but also on bags and scarves –to go wild and mild with! Don't miss to check out the new jewel of PREMIUM International Fashion Trade Show

POST-ITABLE

Endehor, Z&Doeun and Mezis as well as the Korean labels Resurrection and Gene Par Yukio Mishiba. Known as "Dutch Touch", a group of Dutch designers are also showing their latest collections. Amazed by People of the Labyrinths, Marcha Hüskes, Ralph Vaessen, Ready to Fish, Avelon, Sis by Spijkersenspijkers, Treasures and Youasme are presenting alongside established Dutch brands.

premiumexhibitions.com

— WATCH OUT: YOUNG TALENTS & NEWCOMERS AT PREMIUM

galliera.paris.fr

Joining them will be the winners of the "PREMIUM YOUNG DESIGNERS AWARD" from the last winter season, including Blame, Lamperia, and Rita in Palma, as well as PREMIUM veterans like Karlotta Wilde, Marc Stone, and Vonschwanenflügelpupke. This season’s winners will be officially announced and awarded on the day before PREMIUM, on July 3rd, 2012, at F95 The Fashion Store.

Paper. Pen. Ideas. Many ideas. A system able to receve them all, in continuation. The simplicity and the instint of the project will make an immediate support for thoughts that pass in the head of a designer. Once finished sheets, simply replace with a new block to get a new table. Milan-based design firm SoupStudio created an ideal workstation for designers that always give you access to reminders and free doodling space. Prizes: 2nd Honorable Mention – 2008, Designer's Workstation International contest promoted by The Design Institution. Sizes: 100x70x75h cm Materials: MDF wood white varnished + paper sketch book.

Young designers from every corner of the world descend on Berlin to show off their collections at PREMIUM, amongst them the U.K.’s Breaks, Italy’s Ylati, the French label Mii Collection, Germany’s Liv Bergen as well as Alexandra Kiesel, winner of the 2011 Designer for Tomorrow Award, Romania’s up-and-coming fashion talents as well as the young accessories designers of the “Austrian Fashion Showcase”. Making their debut among the newcomers, PREMIUM also looks forward to welcoming the Turkish young designers Burce Bekrek, Günseli Turkay and Zeynep Erdogan as part of the "Istanbul Next" program, designers from the Korean fashion hub of Daegu - Choiboko, Designed by Jeawoo, Kaboun, Suuwu,

premiumexhibitions.com

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— COLLECTOR OF FASHIONS

soupstudiodesign.com

— WHITE DRAMA

Always one to shun convention, Rei Kawakubo has metamorphosed the classic fashion show and rewritten the codes of high fashion. In White Drama with its quasi-monochrome models, she dramatizes life’s big events: birth, marriage, death and transcendence. White Drama in whiteness – pure, ceremonial white of every hue. White Drama is indeed a feat; it is masterful fashion architecture from which there emanates an intangible almost spiritual dimension to transport you to the unique world of Rei Kawakubo. Les Docks – Cité de la Mode et du Design 13 April – 7 October 2012. Curator : Olivier Saillard Scenography : Rei Kawakubo

As a tribute to the master of fashion (1895-1972) and to mark the fortieth

anniversary of his death, Galliera, with the support of the Maison Balenciaga, unveils a fashion collection assembled with passion by the couturier and generously donated to the museum by his family. More than seventy costumes and items of clothing are displayed alongside some forty haute couture coats and dresses designed by Balenciaga from 1937 to 1968. Accessories, photographs and sketches as well as book on art and costumes complete this exhibit which testifies in equal measure to the designer’s passion for history and his consummate skill at a trade first learnt at his mother’s knee. Les Docks – Cité de la Mode et du Design 13 April – 7 October 2012. Curator : Olivier Saillard

Mug Magazine issue 22, year XII

AB A BRAND APART

galliera.paris.fr

— GASPER

Trivets are just like ghosts. You never know where they are! The design challenge for Gasper is to remove the storage of trivets. Keep trivets on the table as a decoration and decrease occupied place on the table. It stands as a ghost on the table when it is not used. When the hot pot puts on Gasper, it will stretch down and outward to a flat pad. For the appearance, it is simple, using the image of Gasper/ghost to become a product language to present the flexible form and increase interests of this product. Material: High quality Silicone, heat-resistant(40~230 °C), high ductile, high density, easy washed, non-toxic, recyclable.

chihching.com

‘AB A Brand Apart’ focuses on the search for balance between the Italian tradition of handcrafted leather goods and the current demands of neoromantic travellers. Besides its great care for details, the philosophy of AB A Brand Apart highlights the great importance of simplicity, elegance and the choice of fine materials. The men’s and women’s FW 201213 collection, characterized by a distinguished and timeless taste, presents unique pieces that surpass alltrends with its sophisticated styles. The leading item of the season Omnia Sphera, portrayed in the picture, is the soul of the collection and represents the philosophy of the brand ‘Omnia Mea Mecum Porto’: All that’s myself I carry with me’. Elegant bags for everyday use.

— AMPLIFIEAR Nonlinear studio's Amplifiear is a clever clip-on device designed to enhance your iPad's sound. Stunning in its simple design and basic, low-tech construction (no batteries or wires, nor electric currents of any kind required) the Amplifiear magnifies volume by reflecting and redirecting sound forward from the iPad's back speaker. Nonlinear's head designer Evan Clabots conceived the lightweight, recyclable ABS plastic ear to correct what many might see as a design flaw in Apple's tablet: a back-facing speaker, which offers lessthan-optimal sound without the reliance on other stereo devices. The intelligible Amplifiear comes outfitted with a tension clip for fitting both the newest iPad model and the iPad2, and slips into the tablet's top corner.

nonlinearstudio.com

— ASTER URBAN LOUNGER Spending time outdoors now turns a lot more interesting with Emo Design’s latest, the Aster urban outdoor lounger. This Lounger is made from concrete and is the perfect place to settle outdoors with a book or for some rest. Sporting integrated WiFi connectivity that makes it a great place to work and play, the Aster

Mug Magazine issue 22, year XII

would be a great addition to any home, even if it’s just one of these great photographs of them. The stories these masks can tell are endless, and they continue to grow by the numbers.

of military uniforms. Colors disappear and give way to a game of light and darkness that recalls the concept of taoist duality and interdependency.

wemo-design.it

— BERTJAN POT’S ROPE MASKS also sports speakers, enabling users to play music. Cleverly designed, this outdoor lounger can be broken into pieces that make up for two benches and a table. With a built-in lighting system that makes it usable during the night time too, the Aster is shaped and designed following minimalist principals and is a perfect addition to the backyard of a urban home.

decosterconcept.com

— LEICA M9-P EDITION HERMES bertjanpot.nl

— DECOSTER CONCEPT

Bertjan Pot is a Dutch interior designer graduated from the Design Academy Eindhoven in 1998, he creates products whose functions straddle the line between industrial design and fashion. Bertjan Pot’s masks are the results of a failed experiment to create a carpet using a rope stitched together with textile fibers. With careful hand stitching and intricate line detail, masks

Decoster Concept is a new design project created by Ziggy Chen, a wellknown fashion designer from Shanghai and founder of Decoster. Decoster Concept is a high level, conceptual label launched in the second half of 2011. The creative research behind the project, the attentive selection of fabrics and the limited number of pieces for each garment make Decoster Concept one of the most exclusive brands in China. In a new, dark, warehouse-like space in Beijing's North Village, contemporary minimalism is mixed with different sources of inspiration: InnerMongolia's desolate, windy grasslands and sartorial culture meet the austerity

camera bag. The limited editions will cost $25,000 and $50,000 respectively.

Leica has combined with luxury fashion house Hermès to create the M9-P Edition Hermès. The camera is coated in ocre-colored calfskin leather and features a matching shoulder strap. The camera also features a redesigned, smoother top-plate and control points, designed by the automotive designer, Walter De Silva, previously responsible for the M9 Titanium. Only 300 of the cameras will be made. A yet more exclusive series of 100 'Edition Hermès – Série Limitée Jean-Louis Dumas' kits will also be sold, in honor of the former president of Hermès. These kits will include a 28mm f/2, 50mm f/0.95 and 90mm f/2 lens, and a exclusive Hermès leica.com

— NIKE FUELBAND The NikeFuelBand is a device designed to make self-tracking even more simple and engaging. The ergonomic Nike+ FuelBand captures and displays four

different metrics: time, calories, steps and NikeFuel, a new metric that will be the ultimate measure of your athletic activity. NikeFuel is a proprietary technology that measures your activity through the movement of your wrist. It motivates athletes to do more with a NikeFuel score that makes movement fun, meaningful and comparable, letting you compete with athletes of all levels in most activities. Unlike calorie counts, which vary based on someone’s gender and body type, NikeFuel is a normalized score that awards all participants equal scoring for the same activity regardless of their physical makeup. The more you move, the more NikeFuel you earn.

the anarchist Provo movement from Amsterdam which was active in the 1970s, although its legacy is no less topical today. Within the series presenting the Great Figures of Czech Graphic Design visitors will be introduced to the work of Květa Pacovská and they will see plentiful examples of Czech music posters.

nike.com

— YURULIKU BAG Yuruliku is a design studio, by designers Koushi Ikegami and Kinue Oneda. Yuruliku was named by combining the words "yururi", which means "relaxing", with "yukkuri", which means "slowly", in Japanese. They cherish the importance to express “ enjoyment” “simplicity” and “ fresh discovery” in their works. One of their most famous products is the Desk- Top Bag, based on the concept of carrying around everything on your desk. Or better yet, your desk becoming your bag. There are designated pockets for a book, pens and cellphone; except they are on the outside of the bag, exposed, just like a desk. Instead, the Note Bag is made by felt and it is inspired by a traditional college notebook used in Japan.

yuruliku.com

— THE 25TH INTERNATIONAL BIENNIAL OF GRAPHIC DESIGN The 25th International Biennial of Graphic Design Brno 2012 will invite visitors to the Moravian Gallery in Brno to an enticing excursion into the world of graphic design — all of the exhibition spaces of the Moravian Gallery in the centre of Brno (Museum of Applied Arts, Pražák Palace, Governor’s Palace) will be showing the latest works by graphic artists from more than twenty countries around the globe. An exhibition by the guest curators from the Experimental Jetset studio will throw some light on the work of

moravska-galerie.cz

NEWS —

SMELLING — Lena Brombacher

olfactorialist.com

Mug Magazine issue 22, year XII

À REBOURS FRIENDLY FUR À Rebours (Against the Grain) was inspired by the famous same-named novel by Joris-Karl Huysmans. The perfume is completely different. No wonder, the perfumer who created À Rebours is noone else than Mark Buxton. The creative duo has conceived a scent that is clean and dirty at the same time. The green tangerine that appears as one of the first impressions accompanied by bergarmot, is sourly fresh and blends with cardamom and rose. Freesia reveals a floral peak. In the heart the scent becomes rougher with seductive jasmin, leather and animalistic notes that appear softly, but are coated by the green tangerine. It’s not their time yet. This is saved for later, when oriental notes lay down on the forest floor. The perfume

is distinctive, but never dominant. You can wear it day and night. It is very difficult to create a perfume that is something special, À Rebours is special. Notes: bergamot, freesia, galbanum, violet, orange blossom, green tangerine, cardamom, black rose, magnolia, jasmin, cumin, leather, osmanthus, carnation, civet, castoreum, oakmoss, patchouli, musk, cistus, Chinese cedar, ambergris.

ROSE & TUBEROSE FRAZER PARFUM

perfumes this one stays close to the skin and develops slowly. It is neither too sweet nor too heavy, tuberose and rose are perfectly in balance. If tuberose is very intense you get this spicy impression of tea, have you ever noticed this effect? I don’t know how to describe it otherwise. It smells like tea that is not brewed but just lying in its box. And only in the opening. Afterwards it settles down to a more flowery, innocent scent you will wear for yourself. A wonderful spring messenger!

L’EAU FROIDE SERGE LUTENS

Notes: Rose centifolia, Rose Damascena, tuberose, honey, peony, tea.

friendlyfur.de

The small perfume house Frazer Parfum is based in Cape Town, South Africa. Tammy Frazer, granddaughter of che- mist and creator Graham Wulff, the inventor of the famous Oil of Olay beauty fluid, founded Frazer Parfum in 2008. She makes all perfumes by hand. The tuberose we find here is green and fresh, the rose on the other side ho- neyed and warm. Like other natural

frazerparfum.com

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like poison and I love life.“ How many times did I dab a little bit of De Pro- fundis on the back of my hand to ret- ry the fragrance. Deep under the surface I smell warm skin, but the chord of funeral flowers is too heavy and smells quite synthetic. De Profundis is sweet but too sharp at the same time. The musky base isn’t bad but too clean for being seductive. Overall very artificial, too much aldehydes, very artsyfartsy. After one hour De Profundis remains very close to the skin, later on it fades out quietly. The passing bell.

TZORA ANAT FRITZ

Notes: chrysanthemum, dahlia, violet, green and woody notes

Chrysanthemum flower calling. I don’t refrain the Baudelaire and Oscar Wilde inspiration, much has been written before. This strange flower sits on a musky base like an accusation. It seems as if it is telling me “Why don’t you love me?“ – “I don’t know, because you look

sergelutens.com

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you have an amazing view over the landscape. Tzo- ra smells like a shirt worn by a man, that a woman takes in the evening to sleep. It’s a mixture of masculine and feminine notes, a marriage of both genders. For a splitsecond you get a spritz of cassis in the opening followed by delica- te blossoms with sweet pepper aro- mas and woody, earthy notes like veti- ver, patchouli and moss. In a way ethe- real, but also grounding. Tzora is feminine, but straightforward, self-confident, dynamic, fresh and clear. A great statement for a strong woman. Notes: cassis, clary, bergamot, Peruvian pepper, magnolia, osmanthus, jasmine, cedarwood, veti- ver, patchouly, musk, moss

Tzora is the second perfume by Anat Fritz, I’ve already reviewed the Anat Fritz Classical. Tzora was inspired by the Israeli kibbutz of the same name. Anat told me that Tzora is situated where the biblical home of Samson and De- lila used to be. Anat loves to spend her summers at this kibbutz, which is situated between pomegranate, lemon and olive trees and where

anatfritz.com

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Mug Magazine issue 22, year XII

Lazzari sas Via Paris Bordone, 14/16 31100 Treviso – Italy Tel.: +39 0422 598733 Fax: +39 0422 545456 lazzariweb.it Visit our new On-line Shop at: lazzariweb.it/shop

Mug Magazine issue 22, year XII

BACK IN THE DAYS —

MUG MAGAZINE ANNO 3 NUMBER 5 —

There are no adjectives to describe Rei Kawakubo and Comme des Garçons, the maison she established in 1973. CDG items are created and evolve from an idea which is complete in itself and gives the creations a faultless precision. An apparently neutral space in the very heart of Milan, Biffi is actually contrived to display its items in all their clarity, in the best of lights. Handcrafted men’s footwear, cult items rooted in appealing traditions, whose valuable materials and processing unmistakably mean comfort, luxury and fashion.

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 5 — DESIGNER —

REI KAWAKUBO: COMME DES PENSÉES —

Mug Magazine issue 22, year XII

To think that a degree in philosophy is believed to give people no future!

Rei Kawakubo ha studiato filosofia all’università di Keio, a Tokyo, dove è nata. Dopo la laurea comincia a lavorare in un’industria tessile, e lavora come freelance stylist nel 1967. Nel 1969 si mette in proprio, e nel 1973 fonda Comme des Garçons, presentando la sua prima collezione donna – la prima collezione uomo si aggiunge nel 1978. Nel 1981 Comme des Garçons presenta le sue collezioni a Parigi. Il resto è storia della moda di cui tutti godono. Per Rei Kawakubo ogni aggettivo è squalificativo. È qualcosa che tutti le riconoscono, anche chi non ama il suo lavoro. Mi riferisco al fatto che usare aggettivi per definire le sue creazioni è un mezzo non richiesto, non contemplato, inadatto perché i suoi capi nascono, si evolvono e si realizzano secondo un’idea compiuta in sè che accetta contributi solo se può essere se stessa – e null’altro – con più forza. Amo pensare che Rei Kawakubo non usi aggettivi quando trasmette le sue idee ai suoi collaboratori – non ha una formazione da fashion designer. Ciò determina con forza lo stile Comme des Garçons: se devi affidare la tua idea a terzi perché la sviluppino, e vuoi vederla realizzata come la senti/vedi dentro, non vai per tentativi. Sei preciso. Indichi. Ordini. E questa nettezza si riflette nella creazione, che vede la luce senza filtri, pronta a comunicare senza

distorsioni. Il segno lasciato nel fashion da Rei Kawakubo è indelebile: la sua prima presentazione a Parigi, nel 1981, è nella storia mentre nel presente (e nel futuro) le influenze del suo approccio fuori dal “bel vestire” ma così intimamente dentro l’animo umano è patrimonio dei fashion designer più attenti allo sviluppo del loro lavoro. Rei continua a lasciare il segno, da allora, anche in settori diversi come la progettazione di interni (vedi le linee gentili ma rigorose dei suoi negozi a Parigi e a New York o la sua linea di mobili, prodotta in Italia). Nel mondo Comme des Garçons il pensiero prende forma secondo associazioni e giochi che sembrano venire ora dall’inconscio, ora da ciò che è noto: le linee dell’abito e quelle del corpo si incontrano tra cuore e materia, dove nascono le sensazioni che determinano il nostro essere la tale persona, nel tale posto, in un preciso momento. Appendici, rovesciamenti, tagli che sembrano fatti con l’aria compressa invece che con le forbici, pieghe che contengono cavità e viceversa, colori che vengono, ma anche colori che vanno. Rei Kawakubo gioca con il pensiero, anzi, realizza giochi di forme del pensiero, colpendo e prendendo rischi, influenzando il costume, per impatto visivo e culturale, come riuscì solo a Coco Chanel.

been a customary presence on Paris’ catwalks. Rei Kawakubo’s later fashion achievements are what all of us have been enjoying so far. Adjectives are useless stuff when it comes to Rei Kawakubo’s works. In fact her creations are conceived and tailored following precise ideas open only to such contributions as enable them to be but more strongly themselves. Since she was not educated to be a fashion designer, I do not think Rei Kavakubo uses adjectives when she passes her ideas on to her staff. If you want your assistants to realize an idea of yours just as you see and feel it in your mind, you don’t proceed by trial and error; you have to be precise, to suggest, to order. You can’t accept filters that may distort your idea, and your precision will be reflected in your creation; that’s why Comme des Garçons’ style is so special. The mark that Rei Kawakubo has left in fashion is indelible, not only for such epochmaking events as the 1981 Paris presentation, but also for her unconventional, deeply human approach to dressmaking and has become a landmark for modern fashion

designers. No less significant is the mark that Rei has been leaving on interior design, with the gentle but rigorous lines of her Paris and New York stores, or the line of furniture made in Italy. In the world of Comme des Garçons ideas take on their shape following associations and patterns that come either from the unconscious or from experience; the lines of Rei Kawakubo’s clothes and of our body have a meeting point half way between our heart and matter, when wearing them makes us feel we are a certain person, at a certain place and moment. Additions, inversions, cuts that seem to be made with an air compressor rather than with a pair of scissors, pleats that contain cavities and viceversa, with a choice of fashionable colours. Rei Kawakubo plays with thought, indeed she creates a play of shocking thought patterns which involve assuming risks; she has such a visual and cultural impact on people’s habits as only Coco Chanel was able to make. To think that a degree in philosophy is believed to give people no future!

E poi dicono che con una laurea in filosofia non si va da nessuna parte. Rei Kawakubo was born in Tokyo where she studied philosophy at Keio University. After graduating she started working for a textile industry, and, in 1967, as a freelance stylist. In 1969 she set up on her own; in 1973 she established Comme des Garçons and presented her first women’s collection, followed in 1978 by her first men’s collection. Since 1981 Comme des Garçons has

Articles and images from the issue #5 of Mug Magazine – July 2003 / 文章とイメージは、2003年７月発行のMug Magazine ５号に掲載されたものです。

Photo © Jean Françoìs Jose

Mug Magazine issue 22, year XII

Adjectives are useless stuff when it comes to Rei Kawakubo’s works. In fact her creations are conceived and tailored following precise ideas open only to such contributions as enable them to be but more strongly themselves.

Photo © Jean Françoìs Jose

Articles and images from the issue #5 of Mug Magazine – July 2003 / 文章とイメージは、2003年７月発行のMug Magazine ５号に掲載されたものです。

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 5 — STORE —

BIFFI: 2+2=4 —

Photo © Andrea Pancino

Articles and images from the issue #5 of Mug Magazine – July 2003 / 文章とイメージは、2003年７月発行のMug Magazine ５号に掲載されたものです。

Uno statement, quello dell’addizione nel titolo, che nella sua algida logica esprime tutta la passione, la competenza e l’atmosfera che troviamo da Biffi, a Milano. “E’ così che i milanesi veri ragionano, anche nel campo dell’abbigliamento” ci spiega Rosy Biffi, titolare dell’attività con la sorella Adele – attività che coinvolge l’intera famiglia e cinquanta dipendenti. Il negozio che abbiamo visitato è a Porta Genova, zona pulsante, vera, di Milano, fuori dal cosiddetto quadrilatero della moda. E’ attivo dal 1962, e l’allestimento attuale, dell’ampiezza di circa 500 mq, è stato curato da Gae Aulenti. Luminoso e in apparenza neutro, è in realtà calibrato per dare il massimo valore ai capi esposti, perché il credo di Biffi è quello della chiarezza: mostrare il capo nella miglior luce, renderlo subito chiaro, farlo scegliere – difficile, se

non impossibile, trovare da Biffi gossip e chiacchiericci sul mondo della moda: due più due deve sempre fare quattro, con sicurezza, velocità. Sarà forse per questo che le vetrine Biffi sono così curate da essere un riferimento a livello internazionale, e che il negozio è stato visitato con curiosità perfino da Rei Kawakubo, la mente di Comme Des Garçons. Le proposte di Biffi, più che anticipare le tendenze, vedono nitidamente nel futuro, e basta un giro in negozio per rendersi conto di come, insieme a gusto ed esperienza, anche l’abilità imprenditoriale conti molto per fare proposte uniche nel vero senso della parola: ci riferiamo a quel misto di capacità, umiltà e rispetto per il proprio lavoro e la clientela che forse è più facile trovare nelle aziende di abbigliamento di stabile successo che nei negozi dello stesso settore. Biffi dimostra come il negozio multimarca che cerca di offrire il massimo alla sua clientela abbia molte più carte da giocare rispetto alle boutique monomarca. La “riscossa” nei confronti di queste ultime non è certo una novità, ma sapere che Biffi prosegue con successo lungo questa strada da oltre trent’anni mette le cose in una prospettiva forse più corretta, e non solo a livello storico (anche se poi, la storia, la scrive chi rimane).

With its cold logic, the addition in the title expresses the passion, competence and atmosphere we find at Biffi’s fashion store, Milan. “This is the way true-born Milanese people’s minds work, also in the field of clothing”, explains Rosy Biffi who runs the store with her sister Adele, assisted by the whole family and a staff of fifty people. The shop we visited is at Porta Genova, a vibrant part of Milan outside the city’s fashion area. Established in 1962 the 500 square-metre space was fitted by Gae Aulenti; luminous and seemingly neutral, the store is so devised as to enhance the items on display, for Biffi believe in clarity: a garment has got to be exhibited in the best of light for clients to understand and choose it. No gossip or chats about the world of fashion at Biffi’s, as two and two has got to make four. The special care that Biffi devote to window- dressing has gained the store international renown, so much so that it stirs the curiosity of fashion designers who often pop in for a visit. Looking around the shop you immediately realise that Biffi’s unique proposals are the combined result of their taste, experience, entrepreneurial ability and clear insight into the future. Competence, humility and respect for their work as well as for their clientele no doubt account for the maison’s success over the years. Biffi proves that a multilabel store has a lot to offer its clients, maybe much more than other kinds of shops. No matter how successful the latter may have been, the fact that Biffi have been thriving for over forty years enables us to put the matter into perspective.

Mug Magazine issue 22, year XII

Censo, classe, potere: le calzature rappresentano tutto ciò al primo istante fin dagli inizi della storia umana. La moda è venuta sempre prima della praticità, se si parla di piedi: la calzatura ha un grande potere simbolico. In effetti, prima dei tempi moderni l’unica calzatura pensata per un uso “tecnico” specifico è stato il calzare dei legionari romani. Non parliamo poi di cose che oggi diamo per scontate, che hanno avuto alti e bassi nei secoli seguendo logiche che oggi molti critici chiamerebbero “il degenerare consumista della moda e del costume”: la differenza tra scarpa destra e sinistra era d’uso tra i Romani per poi perdersi nel Medioevo fino all’Ottocento e quindi ritornare, mentre il tacco come oggi lo conosciamo si sviluppa con fatica a partire dal Cinquecento – ovviamente non teniamo nel computo i trampoli da 60 cm che si usavano a Venezia nel tredicesimo secolo e che gravi danni fecero, tanto da far varare leggi apposite per limitare almeno le decorazioni d’oro e di preziosi che appesantivano pericolosamente le già letali strutture lignee... La calzatura che oggi conosciamo e amiamo non deroga dalla regola: è figlia dunque più dei suoi tempi che di una evoluzione secolare, essendo forse come mai prima ficcata profondamente nel gusto e nella girandola simbolica dell’animo umano. Artigianalità, lavorazioni particolari, materiali sofisticati e pregiati oggi lavorano insieme per un risultato che tende a non escludere nulla tra comodità, lusso e moda, e la singolarizzazione delle tendenze porta a diversità preziose quanto certe differenze di dettaglio riservate ai cultori del genere. Le calzature da uomo, in particolare,

sono oggetti di culto con radici e tradizioni affascinanti: per capirle bene, però, sarà meglio aver chiaro che cotante radici affondano in luoghi che non sono fatti di secoli o di storia a perdita di memoria, ma nell’animo atavico dell’Instant Fashion che ti fa sentire il mondo... ai tuoi piedi. Wealth, social status, power: that’s what footwear has always stood for in human history,and due to its symbolic virtue, fashion has always come before convenience. In ancient times the only items of footwear conceived for specific technical use were those for Roman legionaries. Things that we take for granted today have had ups and downs over the centuries: the difference between right and left shoe was known in Roman times, but was lost throughout the Middle Ages and was revived only in the XIX century; high heels as we know them today were introduced in the XVI century, whereas the 60-centimetre-high stilts that the Venetians used in the XIII century were later limited in weight by laws meant to curb damage to wearers by reducing gold and precious stone decorations. The footwear we know and like today is deeply rooted in our taste and symbolic projections and is the outcome of the times rather than the product of century-old evolution. High quality, special craftwork as well as valuable, sophisticated materials combine to give footwear comfort, luxury and trendiness. If fashion products are made more personal it is because precious differences and details are what enthusiasts appreciate. Men’s shoes, in particular, are cult items whose charm is not rooted in history but in the atavic soul of Instant Fashion that makes you feel the world …..at your feet.

BACK IN THE DAYS — MUG MAGAZINE NUMBER 5 — SHOWCASE —

INSTANT FASHION —

Photo © Andrea Pancino

Articles and images from the issue #5 of Mug Magazine – July 2003 / 文章とイメージは、2003年７月発行のMug Magazine ５号に掲載されたものです。

Mug Magazine issue 22, year XII

ALLEN EDMONDS — Fra i più prestigiosi marchi statunitensi, è figlio di una saga familia-

BERLUTI — Calzature realizzate in Francia dall'ultima erede, Olga, di una fa-

re degna di uno sceneggiato tv di qualità. La scelta dei materiali (Elbert Allen girava il mondo alla ricerca dei pellami migliori) è stata fondamentale fin dagli inizi, intorno al 1920, così come la ricerca sulla morfologia e le dinamiche di movimento del piede - tanto da fare per lungo tempo Allen Edmonds fornitore delle forze armate USA oltre che riferimento per il comfort più lussuoso.

miglia italiana. Sono scarpe di culto assoluto a livello mondiale per qualità e soluzioni particolari - una per tutte, la scoperta che la luce della luna tinge di chiaro determinati pellami. Il modello nella foto, è lo storico escarpin à lacet, ideato nel 1895 e tutt'ora realizzato con un solo pezzo di pelle, senza nessuna cucitura. Tra la clientela Berluti i Kennedy, Onassis, Hirohito, Roman Polanski, Andy Warhol, che ne comprava paia vecchie di vent'anni...

Among the most prestigious USA brands, Allen Edmonds evokes a family saga that would make a quality TV soap. The selection of materials has been decisive eversince the firm was established in 1920 (Elbert Allen used to travel around the world for the best leather). No less important was his research on foot morphology and dynamics, to the extent that Allen Edmonds has long supplied the US Army and been associated with luxury and comfort.

Made in France by Olga, the last scion of an Italian family, Berluti is top cult footwear the world over for its quality and innovative solutions, like the discovery that certain types of leather take on a clear colouring in moonshine. The model in the picture is epoch-making ‘escarpin à lacet’, designed in 1895 and to this date made out of a single seamless piece of leather. Among Berluti’s clients are: the Kennedys, Onassis, Hirohito, Roman Polansky, Andy Warhol who used to buy 20-year-old pairs…

CHURCH'S — Fra le molte aziende calzaturiere inglesi che affondano le loro ra-

GRENSON — Grenson è considerata l'azienda capostipite dei calzaturieri ingle-

dici a Northampton, vicino Londra (zona nota per le sue concerie da tempo immemore), Church's può vantare tradizioni familiari attive nel settore risalenti addirittura al 1675. Come la conosciamo ora, comunque, fu fondata nel 1873, e all'inizio del '900 già raggiungeva raffinati intenditori in tutto il mondo.

si (fu uno dei primi marchi legalmente registrati a Londra, nel 1913). Anche qui il fondatore, William Green, si trovò a respirare tannino e pellami fin da piccino. A 31 anni decise di mettersi in proprio curando ogni aspetto dell'azienda, senza quindi trascurare l'aspetto commerciale: agli inizi del '900 il 50% della produzione era destinato all'esportazione in tutto il Commonwealth. Good job, Mr Green.

Among countless English footwear industries rooted in Northampton, not far from London, an area that tanneries have made famous from time immemorial, Church’s can pride themselves on a family tradition dating from 1675. As we know it today the firm dates from 1873, and early in the 20th century its footwear was already cherished by refined conoisseurs from all over the world.

Articles and images from the issue #5 of Mug Magazine – July 2003 / 文章とイメージは、2003年７月発行のMug Magazine ５号に掲載されたものです。

Grenson is considered the father of English footwear makers and one of the first labels registered in London in 1913. Its founder, William Green, chanced to breath the atmosphere of tanneries since he was a boy. At 31 he decided to set up on his own and to run the firm himself. Early in the 20th century 50% of the firm’s output was sold in the Commomwealth. Good job, Mr Green!

Censo, classe, potere: le calzature rappresentano tutto ciò al primo istante fin dagli inizi della storia umana. Wealth, social status, power: that’s what footwear has always stood for in human history, and due to its symbolic virtue, fashion has always come before convenience.

Mug Magazine issue 22, year XII

JOHN LOBB — La prima boutique John Lobb fu aperta a Londra, Regent St., nel 1866,

PARABOOT — Le origini di Paraboot vanno ricercate nei primissimi anni del '900,

se questo vi dice qualcosa. John Lobb cominciò facendo scarpe per minatori in Australia, e una volta emigrato in Inghilterra mandò un paio di stivali da cavallerizzo al principe di Galles chiedendo (e ottenendo) di diventare suo fornitore. Pur offrendo una vasta gamma di modelli su misura e non, alla John Lobb si utilizzano ancora macchine tradizionali: dalle loro linee di produzione sono bandite quelle automatizzate.

quando Rémy Richard produceva le sue prime scarpe in un villaggio francese ai piedi delle Alpi. Durante la prima guerra mondiale Richard riparò le scarpe a migliaia di soldati: imparò bene come e dove una scarpa deve essere robusta. Nel dopoguerra, appassionato dal suo lavoro e dalla filosofia insita nel camminare, cercò materiali e idee che gli permettessero di creare scarpe di robustezza leggendaria e di spiccata personalità. Oggi Paraboot è un marchio di culto per chi usa piedi, testa e cuore insieme per dare sempre il meglio di sè.

The first John Lobb boutique was established in Regent Street, London, in 1866, if that means anything to you. At the very start John Lobb made miners’ boots in Australia, and , once he moved to England, he sent a pair of riding boots to the Prince of Wales asking and obtaining to become his supplier. The shop offers a wide range of standard and custom-made models, made with traditional machines at John Lobb’s workshop from which computerised ones are banned.

Paraboot’s origins are to be traced as far back as the early 20th century, when Rémy Richard made his first shoes in a French village at the foot of the Alps. During World War I Richard mended the boots of thousands of soldiers and learnt how and where footwear has to be robust. An enthusiast of shoemaking, interested in the problems involved in walking,after the war he looked for such materials and ideas as could enable him to make strong quality shoes. Today Paraboot is a cult brand for people who love to wear this label to feel at their best at all times.

PREMIATA — Premiata è un'azienda italiana il cui stile unisce quello dell'eleganza clas-

TRICKER'S — Fra i marchi storici della zona di Northampton, Tricker's è forse quel-

sica con lo spirito del rock anni '70 e '80, e vede la scarpa come complemento allo stile personale di un uomo sicuro di sè. Le sue collezioni non sono mai a tema, o "di moda", sono invece idee declinati in pelle secondo uno stile che fa riferimento solo a se stesso. Premiata è fra le pochissime aziende top italiane a produrre le sue calzature completamente in Italia: lo standard qualitativo ricercato, va da sè, è quindi elevatissimo.

lo che cerca di unire maggiormente la tradizione calzaturiera inglese alle possibilità dei processi industriali di oggi - ferma restando una qualità di assoluto rilievo. Molti modelli vedono infatti le classiche linee uk molto ammorbidite per dar vita a scarpe attuali ma dal profilo classico. Nonostante questa proiezione verso il futuro, la sede produttiva e commerciale di Tricker's non si è spostata di un pollice da Northampton, dove tutto cominciò nel 1829.

Premiata is an Italian firm whose style combines classical elegance with the spirit of rock of the ‘70s and ‘80s and considers footwear as a complement of a self-confident man’s personal style. Their collections are never fashionable or thematic, but are ideas in leather with a unique style. Premiata is one of the very few Italian firms that makes its footwear in Italy achieving a very high, sophisticated quality standard.

Articles and images from the issue #5 of Mug Magazine – July 2003 / 文章とイメージは、2003年７月発行のMug Magazine ５号に掲載されたものです。

Among the historical brands of the Northampton area, Tricker’s is maybe the one that most tries to couple English footwear tradition and the potential of today’s industrial techniques; the result is footwear of outstanding quality. In many models UK lines are somewhat softened to make classical footwear for today. Despite their modernity Tricker’s have chosen to keep their headquarters at Northampton where they began in 1829.

BACK IN THE DAYS —

MUG MAGAZINE ANNO 3 NUMBER 6 —

AF Vandevorst items merge deconstructionism and warmth. They are perceived by the most authentic and unconventional aspect of our sensibility and draw on ever new stimuli. Never has the soul of fashion been lighter and more deeply heartfelt. Jana in Turin: a personality made up of small details, whose black and white contain all colours. A space without stereotypes that stands for extremely personal clothing. The limited edition T-shirt: a profound expression of the self rather than a simple item, a symbol, a medal, a prize, a uniform, a design page that has a lot to say to the happy few that find it meaningful.

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 6 — DESIGNER —

A.F. VANDEVORST: MUTANT FASHION —

Mug Magazine issue 22, year XII

An Vandevorst e Filip Arickx sono tra i fashion designer che si fanno carico con orgoglio dell’eredità degli “Antwerp 6”, che hanno portato la cittadina belga di Anversa ad essere uno dei più interessanti e vivaci centri del fashion mondiale. Il tocco A.F. Vandevorst spiazza, e non delude chi apprezza il decostruzionismo che viene da quei luoghi, ma ha un calore, una brillantezza, un’abilità particolari nell’importare temi comuni e ampliarli senza mai un’oncia di banalità. Pensiamo alla collezione A.F. Vandevorst che prende spunto dagli insetti, ad esempio, dove temi grafici e carapaci mutuati da quel mondo si fondono in modo sorprendente a comodità e dolcezza nel diventare subito un capo di chi lo sceglie, senza dover troppo ragionare su “cosa il designer vuole dire – cosa io esprimo attraverso ciò che il designer ha pensato”.

Paltrow has enthusiastically accepted An and Filip’s ideas and research proves that their consciously cosy style can be further stimulated by people’s approval. Their sensibility fits an age in which doubt is the essence of a complete person and to have or to be is no longer a matter of choice. Maybe An and Filip’s items are a concrete answer to contemporary attraction to ‘mutants’, as their recent feathers, plumes and paper coats seem to ironically confirm. That is why we like them; just because they help us change starting from the most genuine, curious, unconventional side of our personality, in a game that consists in finding the x-Man or x-Woman within ourselves.

Personaggi come Gwyneth Paltrow hanno adottato con entusiasmo le idee e la ricerca rigorosa di An e Filip, a riprova di come il loro stile sia intimo ma consapevole, attento, al passo con una “cosiness” che nelle menti e nei cuori sa rinnovarsi e trovare sempre nuovi stimoli.

che è giocoforza la più curiosa, quella che manda a quel paese le convenzioni in mondo del tutto naturale. Per An e Filip, insomma, il grande gioco è trovare l’X-Man (e l’X-Woman, ovviamente) dentro di noi. E il fashion con un’anima non è mai stato più leggero e intenso.

E’ una sensibilità che sa affrontare tempi dove avere o essere non è più una scelta da fare, ma un dubbio sempre più somigliante alla completezza di una persona. Forse i capi A.F. Vandevorst sono una risposta concreta alla voglia di “mutante” che ci pare di cogliere in giro (le loro ultime penne, piume e cappotti di carta ce lo confermano con ironia notevole). E ci piacciono per questo, perché se ci aiutano a mutare lo fanno partendo dalla parte più vera di noi,

Dietro il marchio AF Vandevorst ci sono Filip Arikcx e An Vandevorst, giovani marito e moglie incontratisi per la prima volta aall’Accademia Reale di Belle Arti di Anversa nel 1987. Prima di fare ditta insieme, circa dieci anni dopo, An ha lavorato come prima assistente di Dries Van Noten, mentre Filip ha lavorato a lungo come designer freelance avendo comunque una lunga collaborazione con Dirk Bikkembergs. La loro prima collezione donna è quella per l’Autunno/Inverno’98-’99.

Articles and images from the issue #6 of Mug Magazine – December 2003 / 文章とイメージは、2003年12月発行のMug Magazine 6号に掲載されたものです。

Nell’ottobre del ‘98 vincono il prestigioso premio parigino “Venus de la mode” come “futur grand créateur”. Nel 2000 disegnano la Ruffo Research Collection. Oggi le collezioni A.F. Vandevorst includono, oltre all’abbigliamento, scarpe, accessori e una linea di lingerie.

Photo © Etienne Tordoir

An Vandervorst and Filip Arickx are among such fashion designers as pride themselves on the inheritance from ‘Antwerp 6’ who turned the Belgian city into one of the most interesting and lively world fashion centres. The A.F. Vandevorst touch appears puzzling yet not disappointing to those who appreciate Belgian decontructionism, as its warmth and brilliancy are marks of the designers’ ability to import and develop common themes without ever being trivial. In Af Vandervorst’s insect-inspired collection, for example, graphic themes and shells borrowed from that world are surprisingly coupled with comfort and cosiness in items that you feel your own, without having to ponder on ‘what the designer means’-‘what do I express by wearing the item the stylist has designed’. The fact that an actress like Gwyneth

The AF Vandervorst label is the outcome of Filip Arickx and An Vandervorst’s activity, a young couple who first met at The Royal Academy of Fine Arts, Antwerp in 1987. Before they set up a firm of their own ten years later, An worked as Dries Van Noten’s assistant, whereas Filip was a freelance designer and collaborated with Dirk Bikkembergs. In Oct. 1998, when they presented their first A/W collection, they were awarded the ‘Venus de la Mode’ prize as ‘futur grands créateurs’, then in 2000 they designed the Ruffo Research Collection. Besides clothing AF Vandervorst collections today include footwear, accessories and an underwear line.

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 6 — STORE —

JANA: TUTTI I COLORI DEL BIANCO E NERO —

Photo © Andrea Pancino

Articles and images from the issue #6 of Mug Magazine – December 2003 / 文章とイメージは、2003年12月発行のMug Magazine 6号に掲載されたものです。

Mug Magazine issue 22, year XII

Jana nasce a Torino negli anni '60, in periferia, dopo che Alda Farinella (tutt'ora la titolare, affiancata da due dipendenti e dal cane Brillo) ha ereditato la camiceria dei genitori. "Vendevo supermoda, cose di cui oggi mi vergogno!" ci dice. Dopo un po' comincia a cambiare sede (sempre più in centro), scelta di capi e clientela: le scelte si fanno via via più rigorose. Varie sono le sedi fino ad arrivare all'attuale, molto tranquilla, in via Maria Vittoria. Qui Alda accoglie la clientela "affezionatissima: lavoro con e per loro" in locali molto luminosi, spartani e che... a loro modo selezionano chi entra: dentro o fuori. I capi in vendita, scelti rigorosamente da Alda, sono infatti solo bianchi e neri: "se a volte c'è una macchiolina di colore le clienti mi chiedono se è successo qualcosa...". Le semplici staffe cui sono appesi i capi sono disposte in modo da dar valore ad ogni pezzo in modo pressoché invisibile ma efficace. I locali, dal canto loro, non hanno visto stravolgimenti dall'impostazione originale: la personalità è data da piccoli tocchi dati volta per volta, anche se su tutto troneggia un divano nero anni '70 al quale ogni tanto viene data una mano di vernice (al momento è nero). Una stanza più piccola è dedicata a Martin Margiela, lo stilista preferito: qui la semplicità dell'allestimento si sposa perfettamente con l'inimitabile tocco del maestro belga e con la passione di chi lo conosce bene e sa come farlo apprezzare agli altri. Torino è una città dove non bisogna farsi troppo notare. Alda ci confida che non vede molti dei suoi capi in giro, ma che non vede neanche quelli delle griffe industriali che vanno per la maggiore . Per questo il negozio Jana, così rigoroso e apertamente "schierato" per un vestire che sia personale fino in fondo, può sembrare in contrasto con la città ma in

Mug Magazine issue 22, year XII

fondo non lo è, perché Jana è un luogo dove gli stereotipi proprio non abitano. E' un luogo da visitare se il bianco e il nero, nel vostro cuore, sono i colori che contengono tutti gli altri. Jana was established in the outskirts of Turin in the ‘60s after Alda Farinella (who still owns and runs it with the help of two assistants and her dog Brillo) inherited her parents’ shirt workshop. ‘I used to sell top fashion items, which makes me blush today’, she says. Alda later moved her store to more central city areas again and again, and as her clientèle changed she became more rigorous in selecting her items. Jana Store is now in Via Maria Vittoria where Alda Farinella welcomes her faithful clients – with whom and for whom she works - in Spartan, light flooded premises which, in a sense, select those who walk in. The items that she accurately chooses are only black and white. ‘When my clients see a tiny colour spot they are greatly surprised…’ The premises still bear their original features and their personal quality is achieved by just few but ever new touches: A black sofa dating from the ‘70s stands out in the middle and is repainted every so often. The simple, hardly visible hangers beautifully display and enhance each item. A smaller room is devoted to Martin Margiela, Alda's favourite stylist; the simple fitting is a perfect match for the Belgian stylist's touch and helps clients appreciate him. Turin is a city where you mustn't get yourselves noticed. Alda told us she doesn't see many of her items aroud, but that she doesn't see industrially made popular ones either. Although Jana Store, so openly in favour of very personal clothing, may seem in sharp contrast with the city, yet it isn’t after all, for Jana is far from stereotyped. A place to visit if black and white are to your mind the colours that contain all the others.

Articles and images from the issue #6 of Mug Magazine – December 2003 / 文章とイメージは、2003年12月発行のMug Magazine 6号に掲載されたものです。

Mug Magazine issue 22, year XII

5T5DSL — T Shirt in edizioni superlimitate (100 pezzi per soggetto) per la serie curata da Andrea Rosso e affidata all’estro di artisti ogni volta diversi. Al momento è nei (pochi e selezionati) negozi la serie dedicata al mondo dell’atletica degli anni ‘80, disegnata da Anton Lopez, da Daniel Piwowarczyk e da Anthony Yankovic: colori, tecnicità e simboli di un passato vicinissimo e lontano insieme.

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 6 — SHOWCASE —

DA SYMBOL —

Andrea Rosso has edited the series of Tshirts in superlimited editions (100 pieces per item) designed by different skilled artists. The series devoted to athletics in the ‘80s is now available in few selected stores. Designed by Anton Lopez, Daniel Piwowarczyk and Anthony Yankovic the series conjures up a recent yet far-off past in the colours, technique and symbols it displays.

Articles and images from the issue #6 of Mug Magazine – December 2003 / 文章とイメージは、2003年12月発行のMug Magazine 6号に掲載されたものです。

La T shirt: capo intimo invisibile per molti anni e poi capo talmente intimo (ma svelato) fino a diventare pagina politica personale e profonda espressione del sè fino al limite dell’inconsapevole, anche nelle sue espressioni più banali. La T Shirt: capo che per significati e significanti sempre più complessi e intrecciati alle diverse culture e occasioni modalità d’uso è paragonabile solo al jeans. La T Shirt: simbolo, medaglia, premio, divisa, pagina di design, antiraffreddore efficace. Proponiamo una scelta di T Shirt limited edition, magliette che parlano a pochi ma dicono molto, e lo fanno qui anche per le magliette che dicono poco ma parlano a molti (un Simbolo con la S maiuscola non guarda a certe piccole cose). The T-shirt, an invisible item of underwear for many years, has later become visible, indeed an extreme often unconscious way of expressing one’s self. The ever more complex significations and signifiers involved point to different cultures, occasions and uses just as it happens with jeans. A T-shirt can be a symbol, a badge, a prize, a uniform, a design illustration, a good anti- cold remedy. The choice of limited edition T-shirts we propose are meaningful to few but say a lot, and on this occasion they stand for such t-shirts as say little but are meaningful to many.

UNDER COVER — Dalla label del giovane stilista giapponese Jun Takahashi arrivano delle T Shirt studiate per accentuare, e non solo concettualmente, il particolare concetto di “stretch” che l’uso, l’abuso e i continui lavaggi portano alle lunghezze e alla vestibilità di maniche e collo di una maglietta. Dopo decenni di concentrazione su cosa una T Shirt dice “fuori”, ecco uno sguardo su come si vive una T Shirt da “dentro”. Young Japanese stylist Jun Takahashi’s label has produced T-shirts that emphasize the stretch that use and repeated washing cause in T-shirts’ length as well in sleeve and neck wearability. A new way of considering how a T-shirt feels inside after people have for years concentrated on how it looks outside.

MARTIN MARGIELA — In serie limitata, Martin Margiela spiega su questa T shirt che è necessario più impegno per combattere l’AIDS che per indossare questa maglietta ma comunque è un buon inizio. Il rigore concettuale del grande belga mostra una delle sue facce più vere (questa serie è prodotta dal 1992), alla faccia di chi si ostina a non capire la sua raffinata concretezza. On this limited-edition T-shirt Martin Margiela explains that it takes more effort to fight against Aids than to wear the T-shirt. A good start, no doubt, and one aspect of the Belgian stylist’s commitment. So much for those who keep slighting his refined concreteness.

Mug Magazine issue 22, year XII

WATANABE — Della ricercata sintesi senza tempo che

A. GOLDSCHMIED — Le T Shirt “Products in Action” di Adria-

è propria della ricerca di Junya Watanabe abbiamo ampiamente parlato nel numero 4 di Mug: con le T-Shirt Pink il tema della guerra entra a far parte dell’universo di Watanabe, dove colori stranianti e mood basic rendono ancora più evidente il mix spazio-temporale necessario per esprimere un sentire con un capo d’abbigliamento - difficile per molti, ma non per questo grande stilista giapponese.

no Goldschmied ci ricordano le magliette che vediamo nei reportage di strada: hanno quell’immediatezza che un contesto fermato da una foto regala, ma senza il contesto: da sole... Mica poco, ma è semplicemente quello che ci deve dare chi è oggi indicato come il Padrino del Denim, con tutto ciò che ne consegue in “street credibility”!

We have already dealt with the sophisticated, timeless achievement of Junya Watanabe’s research in MUG’s 4th issue: With Pink T-shirts the theme of war breaks into the Japanese stylist’s universe with estranging, mood-basic colours that provide such time-space hints as are necessary to express emotion through an item of clothing. An impossible achievement for many, but not for this great Japanese stylist.

Articles and images from the issue #6 of Mug Magazine – December 2003 / 文章とイメージは、2003年12月発行のMug Magazine 6号に掲載されたものです。

‘Products in Action’ T-shirts by Adriano Goldschmied remind us of those we see in street reports, as they have an immediacy of their own that only a snapshot can render. Not little, is it? Just what we expect of the man who is called the ‘Godfather of Denim’.

Mug Magazine issue 22, year XII

BACK IN THE DAYS —

PEGGY MOFFITT/ COMME DES GARÇONS — Il genio di un grande pioniere del fashion

THE DESIGNER REPUBLIC — Provocazione nel contesto di un vasto

NATIONAL GEOGRAPHIC — National Geographic è esplorazione, stu-

design come Rudi Gemreich (inventò fra l’altro l’unisex e il topless, per i distratti) ha riunito in quella che sarà una serie di collezioni di celebrazione personaggi del calibro di Peggy Moffit, sua amica e collaboratrice di lunga data, William Claxton, Carla Sozzani and Rei Kawakubo. Nell’operazione non potevano mancare le T Shirt, e Mug non ve la fa certo perdere.

progetto per fare del design un bene comune: ecco cosa c’è dietro una T shirt della Designer Republic, gruppo di creativi con base a Sheffield. Sul retro di questa che vedete c’è scritto: “This machine is emptied daily”, ovvero: “questa macchina è svuotata giornalmente”.

dio, ricerca e impresa estrema, e ha creato una linea di abbigliamento outdoor le cui T shirt sono in un cotone naturale dalla mano soffice e dalla vestibilità ottima. Il risultato è una tecnicità che va davvero a braccetto con lo spirito d’avventura e il buon design.

Provocation in the context of a wide project to make design a shared resource: that is what lies behind the T-shirt of Designer Republic, a Sheffield-based team of fashion creators. On the back of this T-shirt there’s the caption:’This machine is emptied daily’.

National Geographic means exploration, study, research and extreme enterprise, and has created a line of outdoor clothing that includes soft, highly wearable, natural cotton T-shirts in which technical skill goes hand in hand with good design and a spirit of adventure.

The genius of a great fashion design pioneer like Rudi Gemreich (let me remind you that he invented the topless and unisex) has gathered in a series of celebrative collections such protagonists as Peggy Moffit (his friend and former partner), William Claxton, Carlo Sozzani and Rei Kawakubo. Mug will see to it that you don’t miss the T-shirts in the collections.

Articles and images from the issue #6 of Mug Magazine – December 2003 / 文章とイメージは、2003年12月発行のMug Magazine 6号に掲載されたものです。

MUG MAGAZINE ANNO 4 NUMBER 7 —

An innovator and inventor, Yohji Yamamoto has revolutionised the entire world of fashion by reversing the item-wearer relationship and by radically renewing his conception of clothing which considers the body as a simple structure bound to serve the soul. Is the handbag an accessory made to project or contain? Among the various combinations, we focus on models that offer the correct balance of form and function. Chingireya, Kyoto is a store dealing in antique fabrics specially loved by collectors, a shop where e ancient fabrics are chosen not to make clothes but to display them and enjoy their sight over the years.

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 7 — STORE —

BIFFI BERGAMO: MODA A 36O° —

Articles and images from the issue #7 of Mug Magazine – June 2004 / 文章とイメージは、2004年6月発行のMug Magazine 7号に掲載されたものです。

Mug Magazine issue 22, year XII

Ha appena riaperto a Bergamo il “nuovo” negozio Biffi, una vera e propria vetrina sulla moda e sulle nuove tendenze, un vero e proprio must per chi cerca lo stile di alto livello ed è sempre attento a tutte le novità provenienti dai giovani stilisti e dagli artisti emergenti, che trovano in questa splendida cornice uno spazio molto raffinato e rinomato. Uno stile caratterizzato da una pulizia rigorosa, che disegna un ambiente solare impreziosito da sapienti tocchi di colore, volti a donare al negozio un tono fresco ed attuale, giovane e frizzante. Questa la perfetta creazione del noto architetto Valdini che magistralmente ha saputo riflettere le esigenze e le finalità della signora Rosy Biffi, titolare di questo e di altri tre stores a Milano, che voleva creare uno spazio nuovo a misura d’uomo, lontano dallo stile, che definisce, “anonimo” dei grandi magazzini, ed al tempo stesso dall’arroganza di molti altri negozi: “sono sempre dei contenitori e non devono essere lussuosissimi”, anche se è difficile a volte coniugare stile e semplicità. Così, su di un pavimento in resina con fiori, dei cubotti in stile Mondrian esaltano l’esposizione degli accessori, soprattutto quelli di ricerca molto amati dalla titolare, ed una scala in plexiglass dalle mille nuances di colori dona leggerezza e luminosità. Un ambiente armonioso ed equilibrato che rappresenta lo sfondo ideale per le tre vele in vetrina che, permettendo giochi di ombre e di profondità, sono il vero e proprio fulcro di questo spazio espositivo. “Bisogna vivere la vetrina giornalmente”, perché rappresenta la vera e propria anima del negozio stesso, come ama ricordarci la proprietaria; “viene fotografata a tutte le ore” e deve contenere tutti gli elementi distintivi che ne caratterizzino a prima vista la filosofia stessa. Oggi “la clientela vuole dei prodotti nuovi, diversi ma mai esagerati” e per questo

più del solo marchio: “il logo funziona se funziona l’oggetto” e l’oggetto stesso deve sempre essere versatile e dare la possibilità di essere reinventato, per essere “sempre diverso nel proprio aspetto”. Proprio per questo all’interno dello spazio Biffi si può trovare una collezione vastissima, pronta a soddisfare le esigenze più disparate, ed esaltata da un ambiente che punta a collocate il prodotto al centro dell’attenzione e ad impreziosirne le qualità salienti. Un ambiente fortemente pensato e voluto per creare un “modo diverso di proporre la moda” e coinvolgere la vista a 360 gradi.

è estremamente importante “mischiare gli stili”, proporre una moda eterogenea, attingendo da vari stilisti “la voglia di accettare e ricercare la novità”. “La gente non vuole più una moda troppo complicata, e ne preferisce piuttosto una completa, che nasce dal sapiente accostamento di capi di stilisti diversi, anche se poi alcuni sono già completi da soli”. “Per il momento funziona tutto quello che è quotidiano, comodo e divertente…anche semplicemente dei jeans, dei pantaloni colorati”, per creare un’eleganza disinvolta e leggera: una naturalezza sapientemente controllata. Ma soprattutto “si ha bisogno di prodotii validi: validi per gusto, qualità e prezzo” perché oggi il pubblico è diventato maggiormente selettivo e non si accontenta

New Biffi store has just reopened in Bergamo, a refined window for fashion and trends and a must for those who want top level style and are sensitive to new proposals from emergent designers and artists. The vigorously essential style of this space is enriched by touches of colour that add to the shop’s look, at once young and fresh, lively and topical. The space was designed by architect Valdini who interpreted Mrs Rosy Biffi’s requirements and aims. The owner of other three stores in Milan, Mrs Biffi wanted to create a new store on a human scale, different to the ‘anonymous’ style of department stores, and to the arrogance of certain others: “they are containers that mustn’t be too luxurious”, although it is sometimes hard to combine style and simplicity. On a flowery resin floor big Mondrianstyle cubes display accessories, in particular the research ones that the owner is partial to; a plexiglas staircase in countless colour shades creates lightness and brightness effects. A harmonious, well-balanced space, the ideal background for the three sails in the window suggesting depth and projecting varying shadows, the real focus of the space. ‘We must take care of the window daily, because it represents the true soul of the store’, Mrs Biffi reminds us; ‘ it is photographed at all times of the day, and it must contain all of the elements that can convey its philosophy at a glance’. Today ‘our clients want new, different products that avoid excess’, that is why it is important ‘to mix styles, to propose varied fashion products, drawing on various stylists to develop a propensity to accept and seek out new items’. ‘People no longer want too complicated fashion, they prefer a complete style, the outcome of skilful matching of items by different stylists, some of which are already complete in themselves’. What is actually working at the moment is all that is simple, comfortable and

Photo © Christian Piccolo

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 7 — DESIGNER —

enjoyable.. even only jeans or coloured trousers, for a light and easy-to-wear elegance and a skilfully controlled self-assurance. Above all ‘what we need are valid products: for their taste, quality and price; because today clients have become more selective and are no longer content with the brand:’the logo works if the item works’, and the item must always be versatile and give buyers the possibility to re-invent it, to have a different look at all times. That is why a very wide collection for the most varied requirements is available at Biffi Space where fashion items and their features are the focus of attention. A space that has been designed to create a ‘different way of proposing fashion products’, and a total involvement of our sight.

Articles and images from the issue #7 of Mug Magazine – June 2004 / 文章とイメージは、2004年6月発行のMug Magazine 7号に掲載されたものです。

YOHJI YAMAMOTO: COME IL SUONO DI UNA MANO SOLA —

Mug Magazine issue 22, year XII

LA DIMENSIONE DI YOHJI YAMAMOTO — Yohji Yamamoto, nel mondo della moda,

YOHJI YAMAMOTO’S DIMENSION — In the world of fashion Yohji Yamamoto is

è fra i pochissimi che mette d'accordo veramente tutti: è facile sentire il suo lavoro vicino a quell'innovazione che non prescinde mai dall'Invenzione, a quello spirito che sa andare anche oltre la Creatività. Cercare di capire l'essenza di Yamamoto è come cercare di capire qual è il suono della mano sola ricercato da un noto indovinello zen, un enigma insolubile razionalmente che spiega come la mano stessa sia il suono, in quanto esiste prima di quest'ultimo e ci sarà anche dopo, oltre che durante. Yohji Yamamoto è un apripista del pensiero senza pari, e non si cura granché dei percorsi commerciali per sviluppare quello che vede molto, molto prima degli altri. I suoi tempi di "incubazione", diciamo così, a volte sono lunghi, e possono essere inizialmente oscuri anche per chi lo conosce bene. Nelle sue creazioni, Yamamoto rivoluziona il rapporto tra capo e persona, rendendo incorporeo il corpo di quest'ultima. L'uomo e la donna diventano una semplice struttura al servizio del loro animo più profondo: la loro specificità di esseri umani, il loro stile di vita, più che i loro corpi, vengono proiettati sull'abito. Le geometrie, i tagli delle linee di vestibilità per i quali Yamamoto è famoso sarebbero puro esercizio accademico, se dietro non ci fosse questa intenzione/invenzione continua a farne creature altre.

one of the very few stylists who really meets with everybody’s approval; in his works innovation never lacks invention and their spirit surpasses even creativity. Trying to understand Yamamoto’s essence is like trying to understand what the sound of a single hand is in a well-known Zen riddle, an insoluble enigma which implies that the hand itself is the sound in that it pre-exists the latter and will outlive it. Yohji Yamamoto is unparallelled as a precursor of thinking in fashion and does not bother about commercial issues to develop what he can see much earlier than others. What Yamamoto achieves in his creations is a revolution in the relationship between clothing and the person by making the body of the latter immaterial. Man and woman become a simple structure serving their deeper soul; it is their peculiar humanity, their lifestyle rather than their body which are projected on clothing. The geometries, cuts and wearability of the lines for which Yamamoto is famous would be mere academic exercise if they lacked the author’s endless intention-invention aiming at making them ever different creations.

Articles and images from the issue #7 of Mug Magazine – June 2004 / 文章とイメージは、2004年6月発行のMug Magazine 7号に掲載されたものです。

Mug Magazine issue 22, year XII

Quella dello stilista giapponese è una dimensione a tutto tondo, non una interpretazione del reale o una semplice de/ ricostruzione degli elementi per dare di questi nuove letture. Pensate al suo utilizzo del nero, alle sue sovrapposizioni di strati e raddoppi di capi, alla ripresa di altri contesti (vedi i giubbotti da motociclista dell'ultima collezione presentata) nella loro interezza, non tanto per fare una citazione o una provocazione. Anche certi particolari minimi (ci hanno colpito certe losanghe in un cardigan, che sembravano messe lì sottovoce) al tatto come alla vista sembrano punti di passaggio verso una dimensione altra, ma una volta indossati sono la dimensione stessa. "I'm a cutter, not a couturier", ha detto una volta Yamamoto, e questa frase è forse il modo più semplice per definire il suo modo di trattare tessuti e forme acuto, vivo, ricco d'ironia.

Un tagliatore, sì, ma nel modo in cui uno scrittore vuole essere diretto e non lasciare dubbi: pochissimi aggettivi, vocaboli scelti con cura estrema. Yohji Yamamoto ci mostra in modo chiaro che la creatività è una: basta essere in grado di sentire il suono di una mano sola e meravigliarsene ogni volta, sempre. Yohji Yamamoto, grande esperto di arti marziali e noto per non parlare quasi mai, nasce a Tokyo nel 1943. Nonostante le ristrettezze e le difficoltà del dopoguerra, riesce a frequentare con profitto l'Università di Keio e il prestigioso Bunka College. Nel 1972 presenta la sua prima collezione a Tokyo, ma ben presto inizierà a girare il mondo, ritenendo limitato e limitante l'ambiente giapponese. La prima collezione presentata a Parigi, nel 1981, passa alla storia: il mondo del fashion design non sarà più lo stesso di prima. Oggi Yohji Yamamoto produce le collezioni Yohji Yamamoto, Y's, Y's for men, Yohji Yamamoto + Noir, ed è partner di Adidas nella linea Y-3, una serie di collezioni sportswear che sta rivoluzionando il settore sotto l'aspetto creativo e commerciale.

Photo © Monica Feudi

Articles and images from the issue #7 of Mug Magazine – June 2004 / 文章とイメージは、2004年6月発行のMug Magazine 7号に掲載されたものです。

The Japanese stylist’s is an all- round dimension, not an interpretation of reality or a simple de/reconstruction of its components to work out new interpretations. Think of his use of black, of overlapping layers and doublings of items, his complete borrowings from other contexts (for example the rider jackets in his latest collection) which are not simply provocative quotations. Even trivial details (we were struck by the lozenges nonchalantly decorating a cardigan) feel and look like the turning points to another dimension, yet once you have them on they are that dimension. “I’m a cutter, not a couturier”, Yamamoto once said, and this sentence of his is possibly the simplest key to a definition of his approach to work, of his lively and acutely ironic way of handling forms and fabrics. Yamamoto’s art of cutting can perhaps be likened to a writer’s directness in style: very few adjectives, carefully selected words. Yohji Yamamoto clearly shows us that creativity means to be able to perceive the one-hand sound and to be touched by its wonder. Yohji Yamamoto, who hardly ever speaks and is an expert in martial arts, was born in Tokyo in 1943. Despite post-war hardships he managed to successfully attend Keio University and prestigious Bunka College. After presenting his first 1972 Tokyo collection he started to go around the world to shun the limitations of the Japanese milieu. His first 1981 Paris collection was epoch-making and revolutionised the world of fashion design. Today Yohji Yamamoto is the author of Yohji Yamamoto Collections, Y’s, Y’s for men, Yohji Yamamoto + Noir, and is the partner of Adidas for Line Y-3, a range of sportswear collections which are bringing about radical changes both in trade and creativity.

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 7 — SHOWCASE —

ĽAPPARIRE CHE CONTIENE ĽESSERE: SHOPPING BAG

Mug Magazine issue 22, year XII

LA BORSA È UN ACCESSORIO CHE PROIETTA O CHE CONTIENE? — Forma e funzione, nella storia della bor-

THE BAG: AN ACCESSORY WHICH CONTAINS OR EXPRESSES YOUR WORLD? — Although it may seem that in the history of

sa, si sono spesso accapigliate, in apparenza In realtà, i ruoli sono sempre stati chiari: se una borsa serve a contenere qualcosa è di un tipo, se serve a mostrare qualcosa è di un altro. Se restringiamo il campo alle borse femminili, la distinzione dei ruoli è sicuramente più chiara, ma non per questo banale, anzi: la borsa è uno degli accessori più rivelatori del carattere, in certi casi anche dell’umore. Dilatabili e accoglienti, firmate e di lusso, pratiche ma vezzose: le combinazioni sono infinite. Qui presentiamo una selezione di borse utili al non passare inosservate, ma che offrono anche utilità e pregio tali da essere apprezzate ben oltre la semplice esibizione (in altre parole: proiettano voi e contengono il vostro mondo, magari con il ti vedo-non ti vedo della borsa Angelo Vintage qui a lato).

bags form and function have often been contrasting elements, in point of fact their roles have always been clear because they are either for containing or for showing something. As far as ladies’ bags are concerned the distinction of roles is no doubt a clearer although not a trivial one. Indeed a bag is one of the accessories that most reveals the character or even the mood of its possessor. Bags can be expandable and snug, designer or luxury ones, practical and graceful, in countless combinations. The following selection will not let you pass unnoticed, but are for using, not simply for exhibiting. In other words they are projections of yourself and contain your world, as is the case with Angelo Vintage bag in the picture beside.

Articles and images from the issue #7 of Mug Magazine – June 2004 / 文章とイメージは、2004年6月発行のMug Magazine 7号に掲載されたものです。

HENRY CUIR — Dettagli in vetro e grande praticità per questa borsa prodotta da Henry Beguelin per il brand artigianale Henry Cuir. L’aspetto quasi sbarazzino, da “bellezza in bicicletta”, non mette in secondo piano il grande impegno di design e di lavorazione: ogni prodotto Henry Cuir ha dietro di sè i modi antichi della lavorazione del cuoio (si utilizza ancora il filo cerato per cucire i modelli) e una scelta dei pellami accuratissima. Glass details and great practicality characterize this bag made by Henry Beguelin for Henry Cuir artisanal brand. This pertlooking item is the outcome of original design and accurate manufacture. Henry Cuir items still combine ancient leather processing methods (models are still sewn with waxed thread) and the accurate choice of materials.

Mug Magazine issue 22, year XII

MALIPARMI — Una borsa che segue esigenze ed umo-

LOORICA — In ambienti dove far coincidere l’appari-

IL BISONTE — La fantasia e l’abilità artigiana di Wanny

ri, questa di Malìparmi. Le sue dimensioni, il suo calore, i divertenti dischetti di feltro la rendono adattabile a circostanze diverse e infatti, con la facilità di un semplice cambio di manici l’accessorio si trasforma: di giorno comoda borsa sportiva, di sera borsetta preziosa. Un’eleganza lineare ma vissuta, semplice e ricercata insieme per chi è sempre in contatto con se stessa.

re con l’essere e una forma naturale di comunicazione, una borsa portadocumenti come questa sicuramente esprime molto. Pelle al 100%, design ultrapiatto (non è mica esclusiva di certi orologi) di uno dei più prestigiosi e giovani produttori parigini, solidità garantita, notevole impressione assicurata. Ovviamente, solo per occasioni dove il lavoro è così creativo da essere portato agevolmente tutto in testa.

di Filippo, titolare dal 1970 del marchio Il Bisonte, attingono senza fine alla grande tradizione della lavorazione della pelle di vacchetta a concia vegetale – materiale che sa mantenere il passo con i materiali sintetici più innovativi per duttilità e pregio. Questo modello ne è una chiara dimostrazione: la pratica, capace borsa con i manici diventa, con poche pieghe, una borsetta che attira ogni sguardo.

A briefcase like this can express a lot in places where to make your look coincide with what you are is a natural form of communication. This 100% leather, extra-flat item by one of the youngest and best-renowned Parisian producers guarantees robustness and effectiveness. Obviously for occasions when your job is a matter of brainwork rather than of carrying papers around.

The owner of ‘Il Bisonte’ since 1970, Wanny Di Filippo is a producer whose imagination and craft keep drawing on the great tradition of vegetable-tanned,natural leather, a material which can stand comparison with the most innovative synthetic fabrics for its versatility and quality, as this model clearly shows. The practical and capacious bag with handles becomes, with just few folds, a captivating handbag.

Maliparmi bag can suit your requirements and moods. Its size, warmth and the delightful felt discs make it fit for different occasions; in fact, by simply substituting its handle the accessory changes: an easy, sporty bag by day, and a precious handbag by night. Simple but sophisticated elegance at once natural and refined for self-caring ladies.

Articles and images from the issue #7 of Mug Magazine – June 2004 / 文章とイメージは、2004年6月発行のMug Magazine 7号に掲載されたものです。

Mug Magazine issue 22, year XII

FRANK DANIEL — Il mix di materiali, la vivacità e l’indub-

MUNOZ VRANDECIC — Modello mutante, questo dell’iberi-

CHROME HEARTS — Eleganza in bianco e nero che suggerisce

bia praticità rendono questa borsa di FrankDaniel degna di nota. Il cotone indistruttibile, i rinforzi in pelle e i dettagli in plastica ricercati e tutt’altro che banali ne fanno un accessorio allegro ma distintivo: le occasioni di utilizzo e “sfoggio” per una vita dinamica e che sa cogliere il meglio dall’ambiente urbano come da quello en plein air sono pressoché infinite.

co Muñoz Vrandecic: non starebbe male sotto braccio a una delle affascinati membri degli X-Men di fumettistica memoria. La mano vi scorre sopra e manda al cervello molti punti interrogativi: pelle? cuoio? polimeri avveniristici? Il design, poi, è pratico ma “veste” chi porta la borsa come se quest’ultima si esibisse a mo’ di pettorale sportivo, senza disturbare o cambiare le linee del corpo. Un must per chi ama anche i dettagli che entrano “al vivo” nella pelle.

le trasgressioni del rock e i colori nascosti nei cuori della rock and ride generation: Chrome Hearts unisce in questo modello il rigore della pelle più candida a dettagli della sua gioielleria, pluripremiata ed esposta con alcuni esemplari anche al MoMA di New York City. È proprio l’anima gotica di questa città che Chrome Hearts rappresenta, con un fascino dai tratti crepuscolari ma insieme pieni di vita.

The mix of materials, liveliness and practicality makes this bag by Frank Daniel noteworthy. The indestructible cotton, leather stiffeners and sophisticated, significant plastic details make it a bright accessory of great distinction. The occasions to use and show off this item both in urban and open air dynamic situations are virtually infinite.

Articles and images from the issue #7 of Mug Magazine – June 2004 / 文章とイメージは、2004年6月発行のMug Magazine 7号に掲載されたものです。

A mutant model by Hispanic Munoz Vrandecic which would look smart under the arm of some charming girl in X-Men strips. As you smooth it with your hand you ask yourself: leather? skin? futuristic polymers? An easy design which suits the carrier as if it were a sort of sporty breast ornament leaving the body silhouette unaltered.

Elegance in black and white suggesting the transgressiveness and colours in the hearts of the rock-and-ride generation: Chrome Hearts combines in this model the simplicity of pure white skin with details of its prize-winning jewellery, a few specimens of which are on display at New York City MoMA. What Chrome Hearts represents is the gothic soul of this city, with its shadowy but lively appeal.

Mug Magazine issue 22, year XII

YOHJI YAMAMOTO — Questa borsa, secondo lo stile Yamamoto, sembra quasi sovraporre più borse nello stesso spazio. La cinghia e i molti dettagli in pelle richiamano lusso ed esclusività, la robustezza e la grande praticità una borsa da viaggio indistruttubile. Tolta la cinghia, però, è una borsa chic... Al solito, Yohji Yamamoto sorprende per la sua capacità di portarci nella sua realtà completamente reinventata in un presente solo nostro. This bag, in the typical style of Yohji Yamamoto, looks as if more bags were made to overlap in the same item. The strap and many other leather details recall the luxury of an exclusive article whose strength and practicality make you think of an indestructible travel bag. And yet, remove the strap and you’ll have a chic handbag… As usual Yohji Yamamoto surprises us with his ability to project us into the reality he reinvents for our present.

BACK IN THE DAYS —

MUG MAGAZINE ANNO 4 NUMBER 8 —

Articles and images from the issue #7 of Mug Magazine – June 2004 / 文章とイメージは、2004年6月発行のMug Magazine 7号に掲載されたものです。

LABEL UNDER CONSTRUCTION_ SBAIZ LIGNANO_ MELTIN'POT_ ALAIN MIKLI_ EYEWARE_ KONSTANTIN GRCIC_ COSTI*BONAVENTURA*GRIPARI*RICHERT_ COLETTEmeetsCOMMEdesGARCONS_ FLaSHBaCK:THE FACE_

Anno 4 numero 8 - Dicembre 2004 /semestrale/ Spedizione in A.P. - 70% - DCI - TV -Registrazione del Tribunale di Treviso n. 1141 del 26/09/2001

anno 4 NO 8

Label under construction is a project that disregards the usual fashion circuit and interprets knitwear as artefacts through experiment and the search for new items for wear. Sbaiz at Lignano: ‘a lab for ideas and thoughts’, the perfect merging of a boutique and a gallery. In a minimal environment made of wide spaces, lights and shadows, sophisticated materials, fashion becomes a powerful medium for communication. Eye-glasses: from an instrument to answer a need to an innovative accessory, the expression of the public’s he artfelt passion, an accessory that involves the cinema, fashion, art and design.

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 8 — SHOWCASE —

EYEWEAR —

Mug Magazine issue 22, year XII

La mascherina usata dagli esquimesi dotata di una fessura orizzontale, lungo tutta la linea visiva, piatta e di corno, legno ed osso, legata intorno al capo o più semplicemnete una mano sulla fronte a riparare lo sguardo dalla luminosità del sole: ecco i primi “modelli” di occhiali da sole! Nel Trecento gli occhiali a snodo (per la mano) mutano per l’avvento delle prime soluzioni “ad arco”: gli occhiali per il naso, oggetti da indossare. Diventano per gli occhi con l’apposizione dell’astina, in forma “tempiale”, sino ad arrivare al 1700 che vedono le astine appoggiare alle orecchie. Gli occhiali da ostentare, strumenti di seduzione, esibiti a teatro o lungo le passeggiate al parco. Alla fine dell’800 nel catalogo Harrod’s Store vi si trovano i primi modelli da protezione per il lavoro o per guidare la bicicletta. L’occhiale si avvicina alle masse! Nuove le tipologie, i materiali e le forme: protegge nei laboratori di chimica e fisica, “offende” nell’accezione militare dei sistemi di puntamento o “difende” nella versione individuale delle maschere a gas. Gli ambienti estremi dell’escursionismo, delle esplorazioni e delle spedizioni come le esigenze di mobilità individuale date dalle biciclette, motociclette ed automobili ampliano gli orizzonti dello sviluppo ottico. Con il Novecento l’occhiale abbraccia il cinema, la moda, l’arte sino al multiforme mondo del disegno industriale: gli occhiali come strumento di innovazione. Come espressione di una passione! The mask used by the Eskimo with an horizontal opening, along the whole visual line, flat and made of horn, wood and

bone, tied around the head or more easily a hand on the forehead to protect the eyes from the luminosity of the sun: these are the first models of sunglasses!

ALAIN MIKLI — È nel curiosare per scoprire, nell’os-

essere visto, di dialogare con gli sguardi che si incrociano, rivelando il lato nascosto della propria personalità”: caleidoscopi di moderne Eidos.

In the fourtheenth century the glasses with the articulation (for the hand) change for the arrival of the first solutions “with arch”: the glasses for the nose, objects to wear. They become for the eyes with the adding of an arm, in the “temple” form, to arrive in the 1700 where the arms rest on the ears. The glasses to display, tools for seduction, shown off in the theatre or in the walks arount the park. At the end of the nineteenth century we can find the first models for protection at work or to ride the bycicle in the catalogue of the Harrod’s Store. The glasses are closer to the masses! New the typologies, the materials and the shapes: they protect in the chemical and physical laboratories, “offend” in the military acceptation of the pointing systems or they “defend” in the individual version of the gas mask. The extreme environments of hiking, explorations and expeditions as needs of individual mobility given by bicycles, motorcycles and cars open the horizons of the optic development. With the twentieth century glasses embrace cinema, fashion, art to the various world of the industrial design: the glasses as instruments for innovation.

servare per capire, che il modo “nuovo di far vedere” di Alain Mikli prende forma. Una passione che ha permesso al designer armeno di elevare il concetto di occhiale ad “abito per vestire lo sguardo”, per svelare, esaltare e non più nascondere quello che da molti è considerato un difetto. Accessorio di bellezza che diviene strumento di fascino e glamour, che nasce in funzione del viso e codifica la filosofia di una griffe che da 25 anni aiuta a “vedere” oltre. Proprio grazie a questa sua indole di ricercatore di perfezione, artistica e concettuale, Mikli riesce ad affinare la materia, plasmando l’acetato; a modellare la forma dandole luce, per cogliere nuove “espressioni” sui volti di chi indossa e valorizza le sue creazioni di design. Visioni che prendono forma attraverso scavature e sagomature dei frontali, attenti giochi di limature, di accurate lucidature, ancor oggi realizzate nei buratti con cubetti di pino profumato; “Andremo poi a meniscare l’occhiale”, fase essenziale che decreta il successo di queste montature, “cioè a dargli quella curvatura che esalta lo sguardo”. Questi i passaggi che costituiscono, giorno dopo giorno, una tradizione frutto di studio, artigianalità e tecnologia; una passione fatta di personalità, individualità e determinazione, simbolizzata dal Rosso, quel colore che nello stile del creativo rappresenta un linguaggio, un’icona ed un vero e proprio modus vivendi, il Rosso “Mikli”. Sensibilità che conferiscono a queste creazioni l’atemporalità di un’Idea, di chi condivide il piacere di “vedere ed

Alain Mikli’s new approach to seeing involves browsing to discover or watching to understand. The Armenian designer’s commitment has enabled him to turn the simple idea of eyeglasses into an item to dress your glance, to unveil and enhance, not to hide what is by many considered as a defect. A beauty accessory turned into a charming element of glamour; specially created for the face, it embodies the philosophy of a griffe that for 25 years has helped to see ‘farther’. With his search for conceptual and artistic perfection, Mikli manages to refine matter by moulding acetate, to shape form by enriching it with light, to spot new ‘expressions’ on the faces of those who wear and enhance his design creations. Visions that take shape through the carving and modelling of front pieces, the careful interplay of filing and polishing which the action of aromatic pine wood cubes realises in sieves. The next decisive, successful step consists in giving the frames its glance-enhancing, curved outline; stages that have day after day led to a tradition based on research, technology and craftsmanship. In the designer’s style the combined urge of personality, individuality and resolution is symbolised by RED, which is a language, an icon and a lifestyle itself, ‘Mikli’ red. The designer’s sensitivity gives his creations the timelessness of an idea, as they mean for many the ‘pleasure to see and to be seen, to communicate by exchanging glances and by revealing the hidden side of their personality’: kaleidoscopes of modern Eidos.

As expression of a passion!

Articles and images from the issue #8 of Mug Magazine – December 2004 / 文章とイメージは、2004年12月発行のMug Magazine 8号に掲載されたものです。

SILHOUETTE: OCEAN BLUE 2OO5 —

L’azienda austriaca fondata da Arnold e Annelise Schmeid nel 1964, ha percorso questi 40 anni di storia esprimendosi sempre ad alto livello qualitativo, rappresentando un riferimento per chi intende l’occhiale non solo come strumento funzionale alla correzione dei difetti ottici, ma anche

e soprattutto come parte integrante dell’immagine di una persona. Ancora una volta si distingue per la ricercatezza formale e le soluzioni tecniche adottate: qui presentiamo un esemplare della nuova collezione SPX Modern Art costruito con montatura a cerchio pieno, realizzata in SPX e titanio β rich, che consente confort e leggerezza inaspettati. Le astine, in titanio, sono direttamente inserite nella montatura senza nessun tipo di cerniera. Le nuances risultano dalla sovrapposizione di 3 diversi strati di colore, e una sottile linea a contrasto che corre lungo i bordi della montatura e sui lati delle astine in titanio. The Austrian Company established in 1964 by Arnold and Annelise Schmied has always produced top quality items and is a benchmark for those who consider eyeglasses not only as an instrument to correct sight imperfections, but as a basic component of a person’s look. The Company is once again outstanding for the new SPX Modern Art collection which combines formal elegance and innovative technical solutions. The model in the picture is from the new collection: its full rimmed frame realised in SPX and B-rich titanium affords unexpected comfort and lightness. The titanium side-pieces are directly connected to the frame without any end pieces. Nuances are obtained through three successive layers of colour and through a contrast line along the frame margins and the titanium side-pieces.

— VIU-IN: FORTE PERSONALITÀ —

ricercata volontà a distinguersi: costruire un’immagine forte come forte è la personalità di chi li indossa.

La giovane azienda emiliana è una delle house brand che coniugano con criterio ricerca formale ad attente soluzioni tecnico-realizzative. Un binomio che esprime una forte personalità espressiva, che si legge si dalla scelta dei colori dell’acetato contraddistinto dalle sfumature che solo un aerografo riesce a raggiungere. Tecnica, design, ricerca e personalità qui rappresentati con due tipi di prodotti: — Il modello Mike, dalle forme geometriche e spigolose, costruito ricercando nel percorso di taglio della cellulosa la giusta linea che esalta le stratificazioni materiche, proposte in bianco e nero; — Gli esemplari della linea “Optiwork” contraddistinti dalla presenza del tessuto “annegato” nell’acetato della montatura: si va dal pizzo ai colori forti sino alle stampe ed ai disegni concentrici. Una sorta di personalizzazione di ogni pezzo a fronte di una

The recently established, Emilia-based company wisely blends formal research with careful technical and processing solutions, a combination that leads to a high capacity for expression, especially through the colours of acetate which takes on shades that only an air brush can achieve. Technique, design, research and personality are here illustrated by two items: — Model Mike, characterised by geometric, sharp lines, is made by carefully studying the cutting line of cellulose so as to emphasise layers of matter, here proposed in black and white. — Line "Optiwork" models are characterised by the presence of acetate-soaked fabric in the frame, ranging from lace to bright colours, prints and concentric designs. Each item is somehow personalised to bring about a touch of distinction: an effective image for the strong personality of those who wear the glasses.

— COSTUME NATIONAL: TRIBAL ARMY — Dall’Ufficio Stile Marcolin la nuova pro-

posta per Costume National Eyewear. Trattasi di un occhiale studiato nel dettaglio formale sino a rivisitare il “segno” di

A very fine piece of design indeed!

un’icona dell’occhialeria da sole. I laterali bombati e levigati con aste tulip shape dal segno presente, sono lavorati a smalto per un effetto porcellana. Il doppio ponte centrale rimanda agli esemplari militari modello Full Metal Jacket. Ci ha incuriosito l’avvolgenza delle forme che compongono questo modello CN50S: ben equilibrate a donare tridimensionalità all’intero prezzo. Indubbiamente ben disegnati! A new design proposal by Marcolin for Costume National Eyewear, sunglasses whose formal details give the item the features of an icon. Their curved and smooth side lenses, supplied with finely outlined, tulip-shaped side-pieces, achieve porcelain overtones through enamel-like processing. Their central double bridge recalls the military models in Full Metal Jacket, yet what attracted us is the wrap-around features of model CN50S, harmonious forms that give the item a three-dimensional look. A very fine piece of design indeed!

— IC! BERLIN: AN UNCONVENTIONAL CONCEPTION

Mug Magazine issue 22, year XII

OF A CONVENTIONAL OBJECT! —

Sicuramente la collezione di occhiali che maggiormente ci ha coinvolti in redazione: i primi ad essere scelti e su cui mai abbiamo dubitato esclusione. Un vero e proprio progetto discosto dai toni della banalità e del dejavù per esprimere attraverso pochi segni un sapere tecnico non comune. Il disegno deriva dalla fotoincisione della lastra piana d’acciaio armonico (dotato di memoria) che costruisce l’intera struttura (donando leggerezza quasi impalpabile), i terminali sono in silicone anallergico. La cerniera tra aste e frontale è il particolare che maggiormente attira l’attenzione: costruita dal efficace incastro delle parti, disegnato in maniera tale da consentire il distacco delle astine con un semplice ma deciso movimento. Ce ne siamo innamorati: sin dal packaging…

When we saw the packaging…it was love at first sight!

Mug Magazine issue 22, year XII

The collection of models by the German maison, established in 1997,that we found really intriguing and chose at a glance! Far from insignificant, their design expresses a very high technical competence through essential lines obtained by photo-engraving a 0.5 mm, flat, memory-endowed harmonic steel plate; the overall structure is very light (between 11 and 28 grams, depending on the model) and its end pieces are in anergic silicone. A noteworthy detail is the joint without screws of the front and side pieces, which can easily be detached by gently pulling them apart. Lenses can likewise be easily changed.

dall’intera proposta per la semplicità delle linee e per il rigore compositivo. Un’occhiale dall’aria austera lontano dalla stravanza che il nome induce: Piraty, distante dalle forme fiabesche che contraddistinguono l’intera collezione Harry Lary’s. Nella sua semplicità spicca il piccolo “accento” a lato delle lenti, in posizione non simmetrica, a sevidenziare un frontale a lenti rettangolari, addolcite dalla curvatura del ponte. La montatura è in acciaio galvanizzato e terminali in acetato. Among the great number of items that the French maison produces we have chosen a model that surpasses all others for its simple outline and rigorous design. Piraty is an austere-looking model far removed both from the eccentricity that the name evokes and from the fable-like forms that characterise Harry Lary’s collection. On the side of both lenses a small simple accent is asymmetrically silhouetted to emphasise the front piece, with rectangular lenses softened by the curving bridge. The frame is in electroplated steel with acetate end pieces.

— HARRY LARY'S: PICCOLI ACCENTI QUOTIDIANI — — EXALT CYCLE: All’interno della vasta produzione della casa francese, abbiamo scelto di preFRAMES AND sentare un modello capace di staccarsi GLAMOUR — I modelli di occhiale targati Exalt-Cycle

escono dall’ufficio stile di VidiVici, azienda italiana nata nel 1997. I modelli selezionati Kaka e Pinha Colada, ci piacciono per la raggiuntà distinguibilità estetica a fronte di una riconoscibilità formale che possiamo chiamare stile. Nel mod. Pinha Colada l’essenzialità del segno, costruito attorno alla lente avvolgente, che diviene struttura a cui agganciare le aste, descrive

side lenses to protect the eyes even in blinding sunlight. The refined materials create a High Tech language which expresses their originality.

— PARASITE MOI: OLTRE I CONFINI UOMO MACCHINA — House brand francese, si compone di un un’eleganza che indaga forme nuove mai scontate. Il mod. Kaka si presenta con un segno avvolgente, non eccessivo, impreziosito dai laterali a proteggere l’occhio anche in situazioni di abbaglio estremo. I materiali ricercati sottolineano un linguaggio High Tech che la forma esprime con originalità. Sunglasses labelled Exalt-Cycle are designed by VidiVici, an Italian Company established in 1997. Select models Kaka and Pinha Colada are particularly beautiful and aroused our interest due to their high aesthetic qualities as well as to a style that makes them formally outstanding. In model Pinha Colada, the essential outline of the curved lenses coincides with the structure to which the ear-pieces are hinged and brings about an elegant new form. Model Kaka has a balanced wraparound outline enriched with

Articles and images from the issue #8 of Mug Magazine – December 2004 / 文章とイメージは、2004年12月発行のMug Magazine 8号に掲載されたものです。

team di giovani provenienti da diversi settori creativi, riuniti attorno alla figura del creative designer Hugo Martin. I modelli presentati esprimono esattamente il concetto che sta alla base di tutte le creazioni Parasite-moi:”i confini tra uomo e macchina sono scomparsi, gli oggetti vivono di vita propria”. L’obiettivo finale è la perfetta simbiosi tra occhiale e persona:

l’occhiale come espressione della nostra identità. Le doppie aste laterali abbracciano la testa ancorandosi nella zona temporale (sopra e sotto la tempia) insistendo proprio nell’area indolore ai lati della faccia: questo particolare disegno unito ad una selezione dei materiali attenta e ricercata consente un occhiale “non indossato con fatica”, che si adegua alla specifica morfologia di chi li indossa. This French brand consists of a team of young designers with different creative backgrounds who work under the guidance of creative designer Hugo Martin. The models on show convey the precise idea underlying the whole of Parasite-moi’s creations:’the boundaries between man and the machine have vanished, objects have a life of their own’. The double sidepieces embrace the head and cling above or below the temples, just to the area that doesn’t ache, on both sides of the face. The design and a careful selection of materials (titanium, harmonic steel, anergic plastics) lead to comfortable glasses that fit the physical features of those who wear them. Glasses with the power of redesigning the face by reinterpreting its traits. Glasses whose aesthetic qualities are much more meaningful than any trend.

ispirazione arcaica e visionaria science fiction, nato dalla mano del designer austriaco Sigmar Bergauer. Ogni modello Beryll viene editato solamente in 1500 copie, a sottolineare la volontà a costruire un prodotto unico, espressione di “quell’essere differenti” dalla massa, che contraddistingue la produzione della casa austriaca fin dalla sua nascita nel 1998. Le montatute sono in acciaio chirurgico nickel-free sottoposto a succesivo processo galvanico, oppure in acetato (“High Grade plastic that derives from the cotton-production”) impreziosito dalla presenza della scritta hand-made ad evidenziare la limited edition di ogni modello.

Beryll is a compound word from ‘beryl’, a mineral used in the Middle Ages to correct sight imperfections, and ‘brille’, the German for sunglasses. A creation by Austrian designer Sigmar Bergauer, Beryll blends arcaic inspiration with visionary science fiction. All of Beryll models are edited in only 1,500 copies, outstanding items meant for an élite according to the policy that the Austrian maison has adopted since it was established in 1998. The frames come either in nickel-free electroplated surgical steel, or in acetate and are enriched with the caption ‘hand-made’ to emphasise that each model is in limited edition.

— ROMEO GIGLI: CLASSE, MISURA, IDENTITÀ

— BERYLL: DESIGN IN LIMITED EDITION — Beryll nasce dalla commistio-

— Uscito dall’ufficio stile Allison, il mo-

ne tra la parola Berillo (minerale già usato nel medioevo per correggere difetti visivi) e Brille (idioma tedesco usato per occhiali). Oggi il design Beryll è una sintesi di

dello RG 61702, tra i tanti tra cui scegliere, su cui abbiamo voluto incentrare la nostra attenzione ci è piaciuto per la linea avvolgente che dona volume al viso e per le nuances che della

Il modello di occhiale Roberto Cavalli che abbiamo scelto, uscito dall’Ufficio Stile Marcolin, bene rappresenta questo corto circuito metaprogettuale: aggiungere laddove ci si esprime togliendo. L’occhiale risulta carico di segni e simboli, come nell’iconografia dello stili-

montatura fanno un tutt’uno con e lenti. E’ un esemplare capace di trasmettere con immediatezza estro compositivo e sapere tecnico/artigianale: dalle nuances alle linee rigorose che le interpretano. Formalmente caratterizzato dalla pronunciata bombatura del frontale ha nei laterali un segno forte, ben calibrato a evidenziare un’asta che perde il diminutivo per esprimersi con forza e decisione. Created by Allison design studio, model RGGI702 attracted our attention due to its wrap-around outline that enhances the volume of the face and to the nuances that enrich the frame and the lenses. A model that expresses talented design and technical skill affecting both its colour overtones and the rigorous lines that interpret them. Formally characterised by a markedly curved front piece, the strong but balanced line of the side-pieces conveys a sense of strength and firmness.

— ROBERTO CAVALLI: LESS IS MORE? — Scavare, eliminare, togliere per poi aggiungere, osare, trasgredire, eccedere.

sta fiorentino, ma a noi continua a piacere proprio per quel vuoto, quel disegno della montatura nei laterali evidenziato dal serpente circolare. Less is more? To carve, eliminate, remove, then add, dare, exceed, transgress. The model by Roberto Cavalli we have chosen to illustrate is designed by Marcolin and expresses a project contradiction: to add where expressiveness is achieved by removing! The sunglasses are rich in signs and symbols which are typical of the Florentine artist’s production. What we really like is the hollow created by a ring-like snake in the sidepieces. Is less more?

Mug Magazine issue 22, year XII

BACK IN THE DAYS — MUG MAGAZINE NUMBER 8 — STORE —

Sbaiz Spazio Moda rappresenta la perfetta fusione tra boutique e galleria, tra moda ed arte: tra tendenza e concetto. 700 mq. di esposizione a Lignano Sabbiadoro, su due livelli, 16 vetrine in cui si alternano le grandi firme del panorama internazionale della moda, accanto alle nuove proposte dei migliori stilisti emergenti, ed al piano superiore un’importante galleria che ospita prestigiose mostre di arte contemporanea.

Il luogo esatto dove sperimentare e comprendere al meglio l’evoluzione di un modo nuovo di vivere, e di capire i tempi, i luoghi e le culture, utilizzando come prima chiave interpretativa la moda: moda come atteggiamento, come comportamento, moderna chiave di lettura di tendenze e way of life. Uno spazio dove la moda trova completamento, espressione “naturale”, e dove mezzo di comunicazione con cui veicolare conoscenze, saperi ed emozioni: dal food al cinema, dalla musica all’arte fino a creare un vero e proprio lifestyle. “Sogniamo emozioni per presentare emozioni” è l’input che si percepisce vedendo questo spazio, in costante aggiornamento grazie al continuo lavoro dei quattro fratelli che con la loro forte passione, competenza, creatività e spirito manageriale, permettono al cliente di trovare l’oggetto più “cool”. L’obiettivo è di “trasferire alle persone la medesima emozione che si prova ogniqualvolta si scoprono delle nuove collezioni”; oggi questo spazio moda è diventato un vero e proprio punto di riferimento per un vasto pubblico internazionale, che ricerca innovazioni e qualità, oltre che per i nuovi designer che trovano in esso un perfetto partner. Lontano dalla consueta “visione” del mondo, basata su di un ottica globale che tende a trascurare le nuove espressioni della creatività, Sbaiz Spazio Moda rappresenta, grazie alla molteplicità della sua proposta, “un laboratorio di idee e pensieri”, un nuovo modo di “vedere” oltre la semplice vetrina.

Con l’aiuto di uno degli architetti più affermati del momento, Claudio Nardi, Sbaiz ha ridisegnato la propria immagine improntandola su di un concetto minimalista fatto di grandi spazi, luci ed ombre, materiali ricercati e preziosa naturalità.

SBAIZ: ARTE IN VETRINA —

Sbaiz Fashion Space is the perfect combination of a boutique and an art gallery, of art and fashion half way between concept and trend. A 700-square-metre display at Lignano Sabbiadoro with sixteen windows showing the great labels of the international fashion scene and the best emergent stylists’ new proposals. Furthermore, an important gallery holds prestigious exhibitions of contemporary art on the upper floor.

Articles and images from the issue #8 of Mug Magazine – December 2004 / 文章とイメージは、2004年12月発行のMug Magazine 8号に掲載されたものです。

Mug Magazine issue 22, year XII

fashion scene and the best emergent stylists’ new proposals. Furthermore, an important gallery holds prestigious exhibitions of contemporary art on the upper floor. Helped by the creativity and technical skill of renowned architect Claudio Nardi, Sbaiz has redesigned its image according to a minimalist approach envisaging vast spaces, light and shadow effects, sophisticated materials and precious natural elements. The very place where to understand at best and experiment on the evolution of a new way of living, to fully grasp the spirit of times, places and cultures through fashion meant as an attitude and behaviour leading to a reading of trends. A space where fashion can find its natural expression and accomplishment, a means to convey know-how, learning and emotions: from food to the cinema, from music to art and the creation of a new lifestyle. ‘We dream about emotions to offer emotions’ is the message we get on seeing this space constantly updated by the endless work of four brothers who, with their passion, competence, creativity and managerial spirit enable clients to discover the coolest items. Their objective is ‘to hand over to people the same emotion we feel anytime we discover new collections’. Today the fashion space has become a real benchmark for a vast international public striving for innovation and quality and a perfect partner for emergent designers. Far from sharing the widespread worldview that neglects new expressions of creativity for the sake of global economy, thanks to its many-sided proposals, Sbaiz Fashion Space is ‘a workshop of ideas and projects’, a new way of seeing beyond a simple window.

Articles and images from the issue #8 of Mug Magazine – December 2004 / 文章とイメージは、2004年12月発行のMug Magazine 8号に掲載されたものです。

PREMIUM Order Duesseldorf

PREMIUM Order Munich

JULY 28 – 31, 2012

AUGUST 11–14, 2012

Hammer Hallen

Zenith Area

Hammer Strasse 27 —— 40219 Duesseldorf www.premiumexhibitions.com

Lilienthalallee 29 —— 80939 Munich www.premiumexhibitions.com

Mug Magazine issue 22, year XII

CASAMANIA – FURNITURE AND INNOVATION. — casamania.it

Mug Magazine issue 22, year XII

Casamania was born in 1984 when the well-established firm Frezza (of the Doimo Group) decided to bring up to date their approach to the design and production of home and office furniture. The Firm’s project focuses on their never ending search for new solutions, forms, materials and production techniques in the manufacture of innovative recognisable items. Created by renowned international designers and young talents in the field, Casamania products have caught on over the years and have become a benchmark both for pundits and the general public. The style, philosophy and consistency of Casamania products have earned the Firm countless awards, and their futuristic open-minded attitude has enabled them to start prestigious collaborations with the world of art. In fact, from 2007 to 2010 Casamania was the official sponsor of Venice Biennial Art Exhibition, an event that emphasised the closeness of two worlds that research on and investigate the future and the world of our actions and feelings. Casamania’s dynamism has led to the inclusion of some products in a few of the most renowned permanent collections of Design and Contemporary Art, like the Milan Triennial and Paris Centre Pompidou. While some products emphasise the richness of emotions and can indeed catch and revive avant-garde ideas and concepts, other Casamania items of furniture are outstanding for the lightness and absolute flexibility of their structure, like the free-standing bookcase “Weave” that Chicako Ibaraki created early in 2012 in embossed varnished metal, a graphic play

that consists of precise lines and empty spaces to be filled like a three-dimensional painting by Mondrian. Tig welded in the joints, the whole structure is assembled and brushed by hand besides being completely coated by liquid-looking varnish that enhances its neat, uniform look. Available in three colours, white, black or cinnamon, it is 85 or 160 cm high and has a square base of 38 cm. If in certain items functionality is the relevant element, an answer to man’s creativity and demands, in others the search for meaning and value is more marked, as is the case with the chair “RememberMe” by the German designer Tobias Juretzek. This object, created in 2011 by pressing used jeans and T-shirts previously soaked in a special resin, evokes the themes of recycling and sustainability. The reuse of a warm and highly emotional material like denim gives a special touch to the project, not for its simple functional design but because it is in step with

today’s eco-friendly sensibility. The product is aimed at giving the project a wider scope and a highly personal quality, to trigger thees possessor’s recollections and inmost sensations. Last but not least, the decorative leaf “Maria”, designed by Luca Nichetto, is among the most typical Casamania products. The object stimulates the imagination of those who like to merge design and nature and want to play with spaces and light. The leaf, realised in fret-worked polypropylene, can fit in with the different interiors where it is used thanks to the special lightness it derives from Venetian crochet work. Furthermore, the leaf can on request be realised in polypropylene enriched with thermo-sensitive pigments, which, as the temperature changes, enable the object to take on different colours, an extremely vivid and incredible effect. The simple object may seem merely decorative, but it actually lends itself to infinite possible functions to create snugs, adorn walls, enhance light effects in an endless interplay of inspiring ideas involving design, interiors and nature.

Mug Magazine issue 22, year XII

DIESEL KID THE FUTURE BELONGS TO THE LITTLE ONES —

diesel.com Diesel look ahead and pin their hopes on children by establishing in Treviso their biggest Diesel Kid store. Born in 1984 with the name of Dieselito and renamed Diesel Kid in 1999, the line was originally devoted to the children of the Firm’s founder, Renzo Rosso, who wanted to create special, high quality clothing for his little ones. In the span of fifteen years the line has become an autonomous business unit with over seventy employees and offices in fifteen European, Japanese and American locations. The first world license with the brand John Galliano Kids was signed in 2008, and in 2011 Diesel Kid became Brave Kid, a multi-brand firm ready to face new challenges and targets. The collections designed for little children convey a feeling of global coolness expressed in exclusive communicative codes. The production has gained international renown, to the extent that besides the corners in some of the most important Diesel Stores world wide, Diesel Kid currently has single brand stores in six countries (20 stores in Italy, 2 in Japan – Tokyo and Yokohama, one in New York, Dubai, Marseilles and Barcelona). Furthermore Diesel Kid can be found

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in 2000 more stores all over the world and in some of the most important global Department Stores, like Harrods, Selfridges, Bloomingdales, Saks Fifth Avenue and Galeries Lafayette. In 2001, the first single brand store devoted to children was opened in Treviso, followed by Diesel Kid almost ten years later. In collaboration with their historic partner Italo Lazzari, they are about to face a new challenge and totally renew the store. 220 square metres to display collections with over 600 items and 120 shoe models each season, that cover the whole universe of children’s clothing, from infants (3-36 months) to junior (4-16 years). Besides Diesel Kid the store will display also John Galliano Kids collections. The store’s aesthetics and the style of the items proposed are addressed to dynamic, brave little boys who are daring enough to explore the world, and to little girls who like to give a rockchic touch to their sweet feminine look. A store where the blue jeans becomes the leading protagonist together with items in bright colours that combine appealing prints and comfort. The collections satisfy the need for movement of children and reinforce the identity of a brand that wants them to be lively and ‘brave’, in the Diesel style.

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HTC “E PLURIBUS UNUM” — htclosangeles.com

Hollywood Trading Company was established in Los Angeles in the 1990’s and proposes leather accessories that take inspiration from American vintage. The maniacal search for unique, rare pieces of HTC founder, Zip Stevenson, soon made the brand a benchmark for enthusiasts all over the world. The love and knowledge of manufacturing are expressed at best by the experience of Andrea Brà, the ideal partner to expand HTC outside the USA. HTC design is focused on care for details and ever new interpretations of past techniques. Made in USA and Made in Italy are blended together in a superb expression of craftsmanship. Each accessory is in fact maniacally handmade by reinterpreting old items and the use of original machines from the old days, hence the concept of “Reinventing Vintage”. In the FW 2012-2013 collection details are the key to reach the most excellent quality, developed and illustrated trough three leading themes, each with a precise identity of its own. E Pluribus Unum: borrowed from the history, this motto, title of the collection and its source of inspiration,

was adopted by the USA Congress in 1782 and symbolized the union of the first 13 colonies in a single entity and expressed their hope for renewal. The collection takes inspiration from the uniforms of the soldiers who fought to bring unification and is tuned into the current trends: a neat military look with the unmistakable HTC touch. A British inspired approach and a sartorial cut are the main elements of the theme Brit A Little Bit, created for those who prefer an updated cosmopolitan look. The classic 10,000 studs are the clearest example. The collection includes a section devoted to HTC Americaninspired ‘masterpieces’ called Classic Biker: taking inspiration from collectors’ vintage research, each accessory and its studs are the result of a meticulous choice of colours and finishing touches. HTC is available worldwide in the most prestigious boutiques.

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LE BOOK presents

CONNECTIONS TOUR 2012

ART —

THE EXCLUSIVE CUSTOM-MADE TRADESHOW FOR THE CREATIVE COMMUNITY

THE EFFECT AND THE CONCEPT OF ART

NEW YORK // WEDNESDAY 6 TH & THURSDAY 7 TH JUNE PARIS // FALL 2012 CONNECTIONS is LE BOOK live. The place to find talent for all your campaigns, editorials and other visual productions

By invitation only | rsvp www.lebook.com/connections to confirm your attendance

—

LE BOOK The reference for fashion, photography, image-making and production 5 international collectors’ print editions per year NEW YORK, PARIS, LONDON, BERLIN and LOS ANGELES Stay tuned... new website with editorials, advertising campaigns and portfolios. The very best of the creative industry, all in one place

A scrutiny of the works of art made in 2011 leads to the conclusion that their proposals are often based on two mainlines. The first mainline is their effect. Most works were aimed at surprising, charming or even shocking the public by emphasising the form they used to convey their message through, a with the result that the latter became clearer, more essential, effective and understandable. The question to pose, then, is how the works’ effect helped to make their message more easily understandable, and what formal expressions were invented to enable a work to communicate with its public.

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ART —

THE TERRIFYING EFFECT CATTELAN’S CORPSES —

Maurizio Cattelan has always searched for effects in art. If he uses silicone or human hair, or hangs children or strikes the Pope with a meteor it is because he wants to impress and amaze. He wants to shock, to inspire fear and strain because he believes that anxiety is the right state of mind to understand the meaning of his creations. Through a shocking visual and formal expression the artist wants to convey the dramatic tonality of his reflections on death, but also on the abuse of power, the fear to fail, the uncertainty and alienation that characterise contemporary man. The theme of death has often been dealt with in the works of the Paduaborn artist, to the extent that he used it as the basic element of his anthological

exhibition entitled “Maurizio Cattelan: All”, held at the Solomon R. Guggenheim Museum, New York. Cattelan and the editors, Nancy Spector and Katherine Brison have fixed a number of works to a metal grid hanging from the ceiling. No wonder visitors felt scared and sinisterly surprised at seeing the hanged works. Cattelan displayed his lifeless and motionless works of art as if they were the victims of a summary execution, to let the pubic know that it was his last exhibition, the end of his career, the death of the artist Maurizio Cattelan.

79 Maurizio Cattelan: All Solomon R. Guggenheim Museum, New York

ART —

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THE CHARMING EFFECT. THE SIMPLICITY OF “THE ARTIST”. —

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Art can also create a charming effect, as is the case with The Artist, a film directed by Michel Hazanavicius, which won over and fascinated thousands of spectators all over the world. It is a silent film, whose power is due to the ability of its actors, Jean Dujardin and Bérénice Bejo and to music, and carries spectators into a faroff, early XX century world that existed before the great evils of our century. The film is charming because it carries viewers far from the present day world and contemporary cinema with its special effects, sound tracks and scenes that make it big, to recover the beauty and aesthetic values of such great cinema fathers as Murnau, Ford, Chaplin, Lang. Hazanavicius pays homage to them, and this attitude brings about the film’s charming effect. The French director wants to narrate a playful sort of cinema, to experiment and amaze, a cinema conceived to amuse and to tell a pure light story. A distant but fascinating age.

ART —

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THE SURPRISING EFFECT. ANOTHER VISION. —

Mug Magazine issue 22, year XII

Unlike Cattelan, James Turrell charms the viewer by surprising him. The American artist is a master in the use of light as an artistic medium and enables viewers to discover a new reality. In 2011 he displayed two of his works in as many exhibitions centred on light. In fact, Venice LIV International Art Exhibition was focussed on this physical element interpreted not only as an artistic medium, but also as the artist’s illumination when he has an ingenious idea. The work on display at the Exhibition consists of two distinct yet communicating spaces, flooded by a changing coloured light which darkens instead of brightening their architecture and creates a uniform surface that dissolves in a wall of colour. Viewers, therefore, are puzzled and bewildered due to the lack of architectural reference points, but are at the same time surprised at the way light blurs their sense perceptions. It is Turrell’s invitation to reflect on the true concept of light, the revelation of an unprecedented new vision which goes beyond common sense perception. Based on the same assumption, the work Stuck Red and Stuck Blue is on show at the anthologic exhibition Phenomenal, California Light, Space and Surface, organised by San Diego Museum of Contemporary Art. In this case two cavities in a wall project a red light and a blue one. Viewers do not understand what the two lights generate; what they can perceive is a moving glare which fades or comes up depending on how they move their eyes. The American artist challenges what is really present, to enable viewers to touch light, and feel surprised because they can touch what is untouchable by definition.

Also the shots by Yasuyoshi Chiba and Koichiro Tezuka are fascinating, upsetting and disturbing in that they break a balance. As a matter of fact, the Tohuko earthquake and the tsunami which on March 11 2011 destroyed most of north-western Japan deeply upset the whole country. The shots of the two artists, who won the 2011 World Press Photo for the section Current Events Protagonists, in the Spot News section propose a view of Japan completely different from the traditional one of an ordered, poised country. The protagonists of their shots are heaps of rubble, devastation, wrecks, destruction, the dismay and loneliness of men. Viewers feel disturbed and anxious and their feelings are magnified in Tezuka’s shots. By framing things from above he manages to catch the very moment when nature’s strength and violence take over all that man has built: houses, streets, bridges, architectural works, leaving behind nothing but chaos and annihilation. What the two artists portray is a country that nature brought to its knees and yet still nurses some hope. Chiba portrays a woman who picks her daughter’s diploma out of a heap of rubble, and in another photo a man and a woman are writing on a wall: ‘Ganbaro!’, that is ‘Pluck up courage!’. After all Art asserts that it is possible to hope and make a new start.

ART —

THE DISTURBING EFFECT. JAPANESE HOPES. —

ph. © Mainichi Shimbun

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ART —

ART IN JAPAN FOR THE REVIVAL —

teleco-soup(2011) motif © Tabaimo / Courtesy of Gallery Koyanagi

On March 11, 2011, an earthquake and the tsunami that followed destroyed the areas of Sendai and Tohuko in north western Japan, and badly damaged the cooling system of Fukushima Daiichi nuclear plant. As a result, explosions occurred in some of the reactors leading to meltdown and a leak of radioactivity. The catastrophic accident induced Japan to carry out a profound analysis of its causes and decide what steps were to be taken to bring about the country’s recovery. Art proved to be the best visual and conceptual means to make the elements of analysis noticeable. The 2011 World Press Photo showed that photography was the most effective artistic medium to document the earthquake’s effects. Chiba’s and Tezuka’s prize-winning shots come side by side with Toshiyuki Tsunenari’s photo of a hopeless woman in tears amongst the ruins of Natori. The portrayal of tragic events was followed by a reflection on their causes. “Myth of Tomorrow” is a huge wallpainting by Taro Okamoto, of the Chim Pom group, realised at Shibuya station. Like a Guernica of today, the painting represents the devastation of a nuclear explosion and shows a burning man and an all-destroying atomic mushroom. The work was meant to be a warning, and was strategically hung on a station wall so that countless people could see it and be reminded of the terrible consequences brought about by nuclear power in Japan. Yet, the cause of the disaster cannot be traced only to nuclear power. “Teleco-soup”, a work by Tabaimo on show in the Japanese section of the LIV Venice International Art Exhibition of 2011, also investigates the evils of Japanese society. The artist covered

teleco-soup(2011) © Tabaimo / Courtesy of Gallery Koyanagi photo: Ufer! Art Documentary

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the walls of the stand with pictures of poor quality everyday life in Japanese cities and filled the central space with water. The images are reflected in the water and, through an opening in the ceiling, are made to freely float around the world, to imply that the evils of Japanese society can also be found in other countries all over the world. Although what is usually reflected by water is the sky, in this case the image is reversed, as the pun in the title implies. “Tereko” in Japanese means that things are taking the wrong direction, that they are upside down. How can a different new world be made? What can the starting point be? A Japanese film tried to answer these questions. Presented at Venice LXVI Film Exhibition, Himizu, a film directed by Sion Sono, explains that love can be a new starting point. When the story opens, the protagonists, a girl and a boy, come into conflict with each other because they are discouraged by the devastation and let down by a society which can offer them but an uncertain future and endless tragedies. Their inner drama is later solved through self analysis, when they understand that through mutual help and support they can achieve togetherness and establish a new world, closer to their needs. That’s how they succeed in renewing their hope of a new start. Also Shinya Tsukamoto Kotoko’s latest feature film, the winner in the section ‘Orizzonte’ of the 2011 Venice Film Exhibition, believes in man and woman as the basic elements for a new start, in this case mother and son, a powerful symbol of birth and life, although the mother is doubtful about man’s reliability after Fukushima

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Himizu (2011) - Directed by Shion Sono

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nuclear catastrophe. The only thing that can brighten her sombre thoughts is singing, a natural element that belongs to tradition and leads to a rediscovery of the Japanese peopleâ&#x20AC;&#x2122;s past and to a new future. In conclusion, the analysis that Japanese artists carried out through their works reaffirmed the everlasting function of art: to help and support man.

Kotoko (2011) - Directed by Shinya Tsukamoto

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SHOPS —

Opificio is a free space, a place that proposes the most typical, carefully made handcrafted products. The label “ThingMakers” perfectly defines a store that offers clothing, accessories and food, besides a restaurant and a lounge bar where art and music events are held. The Concept Store looks out on St Mark’s square in Prato city centre and is the outcome of the actor John Malkovic’s love for Italy, her flavours, culture and lifestyle of world-wide renown. A bent for beautiful and good tasting things can be perceived in the architecture and interior design of the space, as well as in the men’s and women’s clothing, the fashion accessories but also in the gourmet products and pastry delicacies. The store’s offer includes forty select brands with niche products that far from suffering from taste globalisation express quality, care and passion like in the old days. With its books, furniture, accessories and magazines Opificio is perceived by visitors as a house with a distinctive lifestyle, a spirit that enables the store to turn almost overnight into a place for social life and conversation, ready to welcome guests at aperitif time or to an art exhibition, a music soirée or dinner focussed on local flavours. Variety and genuineness are the basic features of this Tuscan shop willing to let the world know the best high quality products made in Italy that attract gourmets and beauty lovers from everywhere.

OPIFICIO MADE WITH CARE — opificiojm.it

Opificio - Prato

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Opificio - Milan

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Opificio - Paris

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PRODUCT —

JUNYA WATANABE + DUVETICA —

duvetica.it

Giampiero Vagliano and Stefano Rovoletto were Moncler’s president and brand manager from 1995 to 2000, and in the span of few years managed to bring the brand’s positioning and image back to the forefront. Five years after leaving the brand’s guidance the two managers decided to start a new adventure by establishing the brand Duvetica: ‘Duvet’ (the French for down) and ‘Etica’ (for ethics), its two basic values. In few years’ time the Veneto-based firm has become one of the leading brands in the Japanese market for the production of duvet jackets with over 1,200 stores, a growth that has been equalled by Duvetica’s success in the European and international market. In little more than a year Duvetica has managed to propose four single brand items thanks to the opening of the

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Milan-based store at the end of 2011 designed by the architect Tadao Ando. Last Autumn-Winter season Junya Watanabe chose Duvetica for his season collaboration of the collection Junya Watanabe COMME des GARĂ&#x2021;ONS MAN. Duvetica contributed its skills to the making of the models and production under the artistic guidance of the Japanese designer who was entrusted with the choice of the fabrics. The extremely lightened goose down micro lining was used to make a number of symbolic items that explicitly draw on the oriental influences that characterise the spirit of the brand. Two jackets and a hooded sleeveless vest come in four colours (sand, army green, black and night blue). Applied in matching colours, the pockets are the distinguishing detail of the capsule collection with their metal zipper and buttoned flaps. Three items that are in perfect harmony with the inspiration of the whole Junya Watanabe Man 2012 Spring-Summer collection, entirely focused on the utility wear of the Anglo-American country world. The above models are available at Commes des GarĂ§ons-Junya Watanabe Man stores for the 2012 Spring-Summer season.

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PUMA BLACK LABEL AI12 — puma.com

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A range of styles that merge past, present and future starting from the medieval mood of Alexander McQueen all the way to the spatial inspiration of Hussein Chalayan. Hussein Chalayan, Puma’s creative director, shows his futuristic vision in a mix of winter classics. Men’s and women’s Allvar Mid sneakers draw on the deconstructed look of spacemen’s footwear and are proposed in an urban version through the choice of primary matter colours reminiscent of the earth. The jackets, like the Space Performance Jacket, are created on the model of NASA ones in technical waterproof breathable fabrics, with heat sealed seams and ‘laser cut’ details to move in an urban environment under any weather condition. Also WN Space Crash Windbreaker, Puma’s classic women’s windproof vest, is given a spatial reinterpretation, enhanced by original multicoloured printed patterns. Accessories mix futuristic materials and processing without neglecting practicality, like the multifunction pochette bag UM Palm, used both as a document and an I-pad holder. The sombre medieval atmospheres, the burnished metals of suits of armour and the fabrics of banners and tapestries are the source of inspiration for the

colours and materials of the Puma sneakers line by Alexander McQueen. A daring, revolutionary collection represented at best by the model Joust: sneakers which are as wraparound as a suit of armour thanks to the stitching that supports the heel and the patella fastening on the ankle. The model comes in three versions: in pony skin with leather insertions and matching colours, polished silver leather and black nappa leather. Joustesse Mid is the version created for women. It draws inspiration from the model Joust, but is more feminine and made precious by insertions in pony skin on the front and by the rabbit fur applied to the ankle.

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PARAJUMPERS MEETS HEIDELBERG PROJECT — parajumpers.it

Detroit is a tough, demanding, hard working city that leaves little room for feelings, chilled by the very low temperatures. In this algid atmosphere, however, there is a heart that throbs more than others with warmth, creativity, ingeniousness and love for his own country, the heart of Tyree Guyton. He witnessed the golden days of Detroit, the days of the Motown and the economic boom brought about by such motor industries as Ford, Chrysler, Dodge. After the fifties, though, the increase in unemployment and crime led to the city’s degradation and Guyton decided to give life to Heidelberg Project in Heidelberg Street to foster the district’s new birth through art. Guyton, like Tim Burke, Lisa, Kate, Mike and many others, recovers the ruins of old buildings, disused objects, thrash in general, cars’ parts, iron and wood bits to create works of art which he displays in the street, as if in a huge museum in the open air. Guyton created the ideal context for Parajumpers. Located at Segusino (Treviso), the Italian firm chose this

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creative place to enhance its unique, complete jackets. Created to be functional, practical and wraparound, the items are realised in strong nylon fabric with a removable padded lining, a fur-rimmed hood and a collar that can be closed with a hook. Warm and comfortable, the jackets are provided with several pockets in the front part, and are the ideal garment to carry objects and utensils for one’s works of art. What Parajumpers and HP’s artists have in common is their mission. Guyton, in fact, wishes to give a future to the people involved in the project by using art. Taking its cue from the motto of 210 Rescue Squadron men, tough, brave Alaskans committed to save other people’s lives, Parajumpers says “May other people live!”, and, as far as HP is concerned, may they live and create freely.

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SHOPS —

ISETAN KIMONO STORE TO FASHION MUSEUM —

isetan.co.jp In November 1886 a kimono store was opened at Kanda, Tokyo. It was Iseya Tanji Kimoro store. With a 12-footwide frontage, the store started its activity with only two employees. Who would have ever foreseen at the time that this tiny kimono store would later become the world renowned fashion store known as Isetan? The ever growing activity of Isetan is due to the far-sighted philosophy of one of its founders, Mr Tanji Kosuge. As fashion was changing from the traditional kimono-based style to the western modern style, Isetan Department Store opened at Shinjiuku, Tokyo, in September 1933. For nearly 80 years the store has been an important benchmark in the Japanese fashion scene. Away from train stations and from Nihonbashi and Ginza, the centre of Tokyo in those days, the store’s location was anything but strategic. However, Isetan got round the problem by constantly proposing ever new systems and items. In 1960 they began

www.shoto.it

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to introduce overseas fashion, and in 1968 they opened the first store in Asia specialised in men’s fashion. In 1994, when Isetan were the very image of fashion and at the peak of their popularity, they announced a new company ideology. The company slogan was “Everyday is new. Isetan for fashion”, and “Fashion is a crystallisation of art and science. Especially colours and sizes”. Here ‘art’ stands for individual taste, and ‘science’ is meant as an instrument to logically explain art to other people. Once customers are led to share ‘art’ and ‘science’, the inevitable result is their total satisfaction, a theory that has worked not only for sales staff but also for the selection of items. In the same year the company’s new philosophy led to the creation of a new free space called “Kaiho-ku” in the heart of the store’s ground floor, aimed at introducing designers’ new collections every season, an initiative that has proved shocking for the fashion scene. In 1996 the “Re-Style” corner was started to meet the demands of the women’s fashion market, and coincided with a major renewal of the ladies’ floor. Furthermore, Isetan are planning a new renewal starting from June 2012, and at the grand opening in spring 2013 the store will also be the world’s best Fashion Museum. Isetan’s aim is to be the world’s finest fashion store, the target of their incessant activity. Perhaps they are bound to stay at the top for ever.

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DUAL-ISM PROJECT — dual-ism.com

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Something new is born of the union of two different things. Descente, world leader in ski technical clothing, and Yono, a Japanese designer whose credo is ‘primal futurism’, have created ‘Dual-ism Project’. Descente’s philosophy is based on the merging of technology and design in innovative, extra light products. Dual-ism Project consists of two lines of jackets labelled Descente and Yono by Descente, focused on the theme “Urban Mobility”. The employment of kevlar fabrics, highdensity waterproof cotton, ‘Mizusawa Down’ Descente’s registered brand, the use of removable linings enables wearers to have three garments in one and attests their sophisticated technology and the top quality of Japanese materials. These ergonomic models can be used in any weather. What they have in common is the theme of the traveller who lives in the city but can set out on a journey at any moment with the item he is wearing. The line Descente consists of more technical-looking items of clothing in two or three-layer synthetic materials whose performances are the same if not superior to ski clothing and are waterproof, breathable, light and thermal. Yono by Descente, instead, employs only natural materials, wool and cotton; the line’s strong point consists in the merging of trendy elements with the best techniques and sport-related performances. The items are suitable both for urban and outdoor use. Their aim is to dress men in any situation. In fact Dual-ism Project’s mission is well expressed by the formula “From Street to Extreme”, which involves the creation of clothing that can be

worn in any context and last in time, the merging of the ordinary and the extreme, the extra-ordinary, through the power of the sportswear style. Since it was founded in 1935, Descente has searched for comfort, durability and functionality in creations whose innovative forms and structures can meet the demands of sportive people. Yono, instead, has always carried out research on innovative materials, has merged the textile production of Japanese masters with fabrics realised with special dyeing techniques and created a design concept that gives its beautiful, practical garments a precise identity. Dual-ism Project stems from the connection of sportswear manufacture with avant-garde design, two complementary elements that have in common the outdoor style.

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SHOPS —

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1st floor

3rd floor

2nd floor

4th floor

DOVER STREET MARKET TOKYO — doverstreetmarket.com

Façade

Since Dover Street Market Ginza was inaugurated there has been a little bit of London in Tokyo, the first result of the project aimed at giving international renown to the homonymous department store in the City established by Rei Kawakubo in 2004. This six-storey 1,300-square-metre space is an important step towards a redefinition of the shopping experience in the Japanese capital starting from the choice of its location: DSM Ginza lies in the western wing of Ginza Komatsu, the historic department store established in 1946, today transformed into an avant-garde space. Its philosophy coincides with the idea of ‘beautiful chaos’ already experimented in London: no separation between luxury and street-wear brands, between men’s and women’s fashion, a mixture of special collections by great designers and up-andcoming brands interspersed with art and design installations, with the resulting abolition of the distinction between gallery and shop. The outcome is a department store that has abolished conventionality and perfectly mirrors the soul of its creator. Particularly interesting is the area devoted to Louis Vuitton, and, among

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others, to Lanvin, Azzedine Alaia, Celine, Salvatore Ferragamo besides the whole range of Comme des Garçons lines. Rei Kawakubo offered a rich display of Japanese brands to promote her country’s designers and give the DSM concept the Ginza style. Specially noteworthy are the installations created by the Canadian studio Patkau Architects and by Michael Howells, a former collaborator of Comme des Garçons, and the sculptures by the Kyoto artist Kohei Nawa, the only Japanese interior designer involved by Rei Kawakubo, whose task was to lessen the impact of the flights of steps at the centre of each floor. Nawa performed his task brilliantly with White Pulse, the main feature of DSM Ginza, with its thin white shafts soaring high like arrows, an impulse of energy that flows on high from below, floor after floor.

5th floor

6th floor

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SHOWCASE —

THE THIRTIES. —

“A world was ending and a new one was about to be born. I was there, I was offered an opportunity and I seized it. I was born with the new century, and it asked me to design its clothing. What was required was simplicity, comfort, neatness: I offered the age all of this unbeknown to it. True success can be fatal”. Cocò Chanel. The Thirties were characterised by four events which enlivened the society and fashion of the age: the rise of the United States as a new great world power, the political renewal of postwar Europe, the great Depression and the ever growing active public role of women in society. If in the Twenties the pretentious dreamlike clothing of the Belle Epoque was a way for people to celebrate their surviving World War I, in the Thirties a more austere and practical style caught on in fashion due to the new active lifestyle after the Great Depression of 1929. The decade opened with the financial collapse of the Stock Market, a punishment for men’s arrogant search for wealth, and was characterised by the enhanced social status of women who had gained in strength and

independence by substituting men in industries during World War I. The fact that Men were now defeated and seen in their true perspective, that women’s role and importance were becoming more relevant thanks to the American myth of freedom and pragmatism led to a profound evolution in society, brought about innovations in the American way of life and clothing with items that were to become true classics of modernity over the years. Clothing mirrors the spirit of the age, and the Thirties were a complex decade of transition, an epoch in between two World Wars. The precious, glittering fabrics of the Belle Epoque were replaced by more soberly coloured ones, the shining insertions and sophisticated details gave way to a new idea of practicality, the wardrobe focussed on sculpture clothing was now renewed with interchangeable items that gave the human silhouette a new freedom.

Images: "fashionable clothing from the sears catalogs" A Schiffer Book for Collectors schifferbooks.com

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SHOWCASE —

THE PROTAGONISTS.

The protagonist of those years was Cocò Chanel, a self-made woman who struggled for freedom and independence. She was a sort of Cinderella who managed to make the taste of high society – to which she did not belong – accept her own revolutionary ideas. The modern woman that Chanel embodied was practical, thin, enterprising and anything but submissive: her ideal clients were unconventional young women like Jordan Baker, the golf professional player in The Great Gatsby by F. Scott Fitzgerald. A secondary character in the novel that portrays the Roaring Twenties, in the span of a few years this kind of woman would become a benchmark in the Thirties: an individualist, autonomous and intelligent woman who did not depend on men but used

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them nonchalantly. Chanel was the fashion designer who interpreted the spirit of this woman starting from her earliest fortunate sports collections. No longer an object, woman was now the protagonist of her own life, like Wallis Simpson, a middle class American divorcée who gained a first-rate position in society by seducing the Duke of Windsor, a man who would for her renounce the throne of Britain in 1936. Disillusioned, decadent men whose confidence history and events had undermined, made room for this kind of women; men who renounced their duties for the sake of peace, and refused comparison with their outstanding fathers. Along with the sober, middle-class professional men of the new society, these men looked with admiration at the initiatives of women like Chanel who relied only on their

qualities for success. Cocò embodied and dressed these women through an item which was at once simple and functional: the suit, either in the jacketskirt or the trouser suit version made of the same fabric, or the jacket and dress, all of them corresponding to a men’s suit. Born as an informal item for daily wear, the suit immediately gained success both for the freedom of movement it gave and the simple care it required - unlike any classic dress - to the extent that it became a benchmark in modern fashion.

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SHOWCASE —

BACK TO THE THIRTIES. —

The spirit of that age seems to be back today, eighty years later, after delusive wealth and material happiness have disintegrated. With the disappearance of great men of power and the collapse of world finance, people feel the need for a new matter-of-fact attitude and new types of practical determined women are becoming prominent. Fashion recreates a wardrobe of classic items that answer today’s demands, with outfits that are no longer meant to be stunning but are simply for wear. The power suit is supplanted by essential, sober, rigorous items that convey a feeling of confidence and stability. Among these the suit, whether in the suit and jacket version or in separates, an item for universal use ready to merge with the rest of the wardrobe. Tailored with soft fabrics and in colours taken from the natural and urban landscape, the suit is the feminine expression of poise and restraint, the emblem of an age striving for balance and reconstruction.

ph. Mario Sorrenti

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SHOPS —

a useful, flexible means of transport for many others, capable of renewing itself to meet ever changing demands. A means of transport for ourselves but also to carry all that is important for our life thanks to accessories that enable us to adjust it to our lifestyle and the various situations in which we use our bike. My Bike, not only the title of an exhibition but a life philosophy. The bike made to suit our needs at best, a life companion, an extension of our self.

MY BIKE @ MERCI PARIS — merci-merci.com

The bicycle has become essential for city life a little everywhere: from Copenhagen to Amsterdam and Tokyo where the search for a better life quality has led to the birth of the Slow Bike movement; or from San Francisco to New York, with their intrepid cycling errand boys that inspired street-wear fashion and fixed gear bike models, exported also in Europe. From London, where the bicycle, a private means of transport, has supplanted the overcrowded latecoming carriages of public transport, to Paris where Velib’s success has revived the pleasure of cycling around. The bicycle is by now not only a means of transport but a lifestyle, a rich field of research for the best international designers thanks to countless personalised solutions and the choice of accessories. Focussing on the bicycle as a powerful expressive medium and a multifunctional object, always aware of evolutions in lifestyles, Merci Paris have gathered the very best in the history of bicycle design for the exhibition ‘My Bike –transportation dans la ville’. The models on display and related installations illustrate various aspects of the bicycle; a hobby for many, it is

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BELONGING TO THE CLUB — stoneisland.com

“Our clients belong to a sort of club, when they meet in the street they recognise one another”. Carlo Rivetti.

On the occasion of Pitti Immagine Uomo n. 82 held in the premises of Stazione Leopolda, Stone Island celebrated its thirtieth anniversary in collaboration with Pitti Discovery Foundation. Concluded on July 1st, the exhibition was inaugurated on June 19th and illustrated the themes of excellence of Carlo Rivetti’s brand from its very start to our days. Devised by Simon Foxton and Nick Griffiths, the exhibition layout was developed around the brand’s three iconic items and illustrated past, present and future. The picture volume “ Stone Island ‘982‘012” was presented to the public during the inaugural ceremony to illustrate the brand’s first thirty years, characterised by textile research and innovation. The aim of Sportswear Company’s President and Ceo, Rivetti, was not only to celebrate Stone Island’s thirtieth anniversary, but also to address the Firm’s clientele with his customary language and consistency. Rather than a chronological sequel of collections, the exhibition was a review of the technological treatments and experiments on fabrics that led the brand to success. Like all people from Biella, Rivetti grew up among textiles, but the Stone Island adventure started thanks to the creative genius and the unconventional frame of mind of Massimo Osti. Osti created Stone Island first collection by using a special fabric treated with resin, Tela Stella, used for truck tarpaulins: seven jackets in six different two-colour models. The great innovative potential of the project led to immediate success, and a year later Carlo Rivetti decided to personally take part in the project.

Unlike other brands, Stone Island managed from the very start to address its clientele with a suitable language. Those were the days of the “paninari”, when the first generation of consumers really interested in fashion and products was born. Season after season consumers could get a product made in Italy thanks to state-of-the-art textile technology. The firm was established at Ravarino, a few kilometres from Maranello, and like Ferrari, started to export products whose excellence was matchless. Over the years the Firm has developed a strong, consistent identity perfectly mirrored in the Stone Island brand boldly displayed on the unmistakable badge. Like the members of a club, Carlo Rivetti says, Stone’s clients have the same feeling of belonging and when they meet they recognise one another. The feeling has never died down, indeed it has strengthened, unlike what has happened to other firms’ products. To wear Stone Island items means to be part of a community, so large that it has recently totalled over 100,000 followers in Facebook. Yet Stone Island has not faced the challenge to conquer their clients and renew them in time only through innovation; indeed, clients have become aware of the quality of Stone Island items, have recognised their value and decided to hold to them.

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IDEAS FROM MASSIMO OSTI

— ideasfrom.massimoosti.com ISBN: 8862082355

“Ideas from Massimo Osti” is a 412-page monograph published by Damiani, the outcome of four years’ work to celebrate one of the most famous protagonists of Italian fashion, the father of Sportswear and such brands as Stone Island, C. P. Company and Left Hand. His renowned, innovative items can be considered the basic structural elements of many collections of our days, proposed by styles that range from high street fashion to high fashion. According to Ashley Heath, the editor of Arena Homme+ and The Face, Massimo Osti has been an all-pervading influence on men’s fashion since the Nineties. We are indebted to the Bolognaborn designer, active from the Seventies to the first decade of the third Millennium, for the invention of the garment dyeing technique, of rubberised satin and countless fabrics still in use after thirty years. Massimo Osti collected something like 35,000 pieces during his career, and 5,000 of them are still preserved in his archive. The monograph contains 175 items and 200 accessories specially rephotographed for the book, besides the stylist’s annotations, dyeing trials, fabric samples and unpublished interviews. The contributions included

range from those of his collaborators, Carlo Grazia (his right hand man) and Adriano Caccia of ITS Artea (his main partner in the development of new fabric treatments) to those of fashion designers like Paul Harvey (Stone Island 1995-2005), Sir Paul Smith, Paolo Zegna, François Girbaud and Moreno Ferrari (C.P. Company 1995-2000). Not only does “Ideas from Massimo Osti” widely and clearly illustrate the stylist and his textile inventions, it also emphasises the unquestionable capacity of this Italian pioneer to influence generations of designers with his visionary power.

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PEOPLE â&#x20AC;&#x201D;

THE SALINA ARCHIVE TOPICALITY OF THE PAST. â&#x20AC;&#x201D;

Antique instruments, rare books, showcases, precious volumes and period photos are the objects treasured in the textile archive that Umberto Salina has created at Castellanza, Varese, the passionate work of a lifetime. Over two hundred books and four hundred thousand fabric samples mostly from France, Russia, Great Britain and Italy, volumes which contain printed and decorated fabrics as well as shirt fabrics from 1896 to

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the 1970’s. The space where these volumes are stored is a neat, white, circular work of architecture, a neutral background against which books and other precious objects become unique works that stimulate our imagination as we consult and admire them. The fabrics, with their patterns, colours and texture are like windows that look out on history and kindle the imagination of those who can observe and patiently wait to be captured by inspiration, to relive ancient truths. In Umberto Salina’s words: ”Far from being only beautiful things to watch, fabrics have always had the special power to stimulate our sense perceptions in many ways. This archive of textures, patterns and colours documents the days when time went slowly by, and everything was handcrafted, designed by hand with vegetable dyes. Archives have a value only when, far from being simply displayed, they are actually used. I still feel excited when I look at fabrics that document somehow their historical background and tell you how difficult it was to realise something beautiful. I come from a small village where every family had a loom of their own, and people made a living by weaving and printing. I had to do with late 19th century fabrics and I was fascinated by the art they involved, and, thinking of the people who had realised them with those days’ technical means, I was stunned at their intellectual and manual skills. This is the reason why I started to collect samples and buy books and fabric samples at Parisian auctions, or take over historic firms’ archives. I did it out of passion, although I could later turn this passion of mine into a work instrument when I opened a textile advice office. My collection of

European fabrics is today an endless source of inspiration to recreate updated patterns and colours”. In a fast-evolving age like ours, endlessly searching to enhance an item with an added value, we move on a thin dividing line between technological research and emotions. To create and rediscover patterns, colours and matches is a hidden activity in the field of fashion, yet it is a basic one since today’s buyers are motivated by emotion rather than by reasoning. Certain ancient decorations are so complex and fascinating that one wonders what sense it makes to reproduce such complexity, a sort of patience exercise that people are no longer willing to do today. “ With the advent of textile CAD and the evolution of software, the art of textile decoration entered the domain of mass production; what could in the past be done by few talented artists who stuck to precise weaving and printing rules to achieve aesthetic results is today the outcome of a practical process. The evolution of weaving techniques and the advent of digital print have led to the reproduction of fabrics that were once made on the handloom and printed by hand.” Weavers’ and decorators’ artistic skills of a hundred years ago will never be equalled; those were the days when an unquestionable truth was passed down: “ a fabric is not only the result of crossing threads, but of crossing thoughts and emotions. Besides powerfully triggering recollections and being used to manufacture clothing, these small fabric squares are means to convey different concepts, feelings and ideas which are romantic at times, but can

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be political or social, élite or caste emblems, different world views that change from country to country and from age to age. “ Today a fabric is expected to give the convenience and comfort required by the environment and working conditions. Period fabrics are like chapters of history, from the late XIX century to the advent of the Free Style, Futurism, the after war period, the Sixties and Seventies. Different conceptions that coexist and integrate with one another. In modernity, drawing on the past.” People say that collecting beautiful objects is the mark of hedonistic egoism, yet to transform a collection into an archive means to put it at the disposal of those who can use it properly, to enable other people to relive emotions, by giving new life to the past and beauty to the future.

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ART —

From September 29 to November 30, 2011 Lazzari Space displayed the works by the photographer Francesca Della Toffola and the glass sculptor Angelo Zennaro in the exhibition The Body of Transparency, edited by Romano Abate and Francesco Stefanini. Although their art fields are different, the two artists were matched in the same exhibition because both of them work on transparency. In fact, through transparency they work on the concept of time evolution which leads to a vision beyond the subject, of a point beyond the surface. Through glass and photography the two artists try to give a body to fluidity, to the very instant of becoming. Zennaro observes the changes that glass undergoes, sees it altering its look up to the moment when it cools down, the moment when colour strongly pervades its transparency. In the joint frames assembled in the yard of Lazzari Space transparency and vibrating colour coexist like two everlasting artistic signs that offer two similar yet different visions. The photographs of Treviso-born Francesca Della Toffola, instead, on display in the inner gallery of the Space propose the becoming of time interrupted by the Blackline, the unexposed portion of film that separates two shots. Francesca matches two instants to the same subject, often her self-portrayed body, leaving viewers the task of understanding how the story evolves. She stimulates visitors’ imagination and narrative power to make them figure how a story may further unfold.

THE BODY OF TRANSPARENCY — Francesca Della Toffola Angelo Zennaro

Francesca Della Toffola

Angelo Zennaro

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ART —

Adone Brugnerotto and Alessandro Cadamuro are two profoundly different artists whose backgrounds are so dissimilar that they can be proposed in the same exhibition. That’s what the two managers of Lazzari Space Romano Abate and Francesco Stefanini may have thought while coupling them in the exhibition Rust and Glass held from December 22, 2011 to February 29, 2012. Adone is a painter whereas Alessandro creates glass sculptures. The former makes two-dimensional pictures in which the screws, cylinders, bolts and electric wires cease to exist to flatten out and regenerate as rust within the place-picture. Alessandro also creates places out of glass. He handles, destroys and shapes with strength this material so as to make it become a place, a magic box, a three-dimensional container where to lodge something. At times they are letters, or sounds, at other times they are objects without a true practical function simply aimed at being visually provocative and at stimulating viewers’ imagination. Although the two artists are different both in terms of contents and materials, they undoubtedly share an urge for absolute artistic research.

RUST AND GLASS — Adone Brugnerotto

Alessandro Cadamuro

Adone Brugnerotto

ph. Rudy Barborini

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Alessandro Cadamuro

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THE FORMS OF SILENCE — Giuseppe Nicoletti Nane Zavagno

Mug Magazine issue 22, year XII

The exhibition The Forms of Silence held at Lazzari Space from March 22 to May 31 2012 is managers Stefanini and Abate’s homage to non-figurative art, to the forms of silence that only art can express. This is the reason why they invited two artists whose peculiarity is motionless artistic expression: Giuseppe Nicoletti and Nane Zavagno. Nicoletti’s field of action is painting. In his brightly coloured pictures he represents motionless, apparently lifeless geometrical forms. Thanks to the blue background against which the paintings are set, however, they seem to take on the liveliness of landscape forms, an effect obtained also through the chiaroscuro technique and through nature-like colour details. Zavagno creates his sculptures in the same way, without using colours. He creates spaces, non-figurative primary polyhedrons born from the need of studying forms through various materials. He does not add, indeed he removes and reduces matter and makes its aesthetic impact lighter to create silent compositions for the yard of Lazzari Space.

Giuseppe Nicoletti

Nane Zavagno

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NEWS —

READING

Mug Magazine issue 22, year XII

CYCLE CHIC Mikael Colville-Andersen Thames & Hudson (2012)

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and decided to create a blog to collect images and photos. Started five years ago, it was the first cycling fashion blog, entitled “Copenhagen Cycle Chic”. The initiative set the example for many other people who opened the same blog all over the world with photos of their fellow citizens riding a bicycle. Cycle Chic, in fact, has also an on line edition for the inhabitants of Sao Paulo, Mexico City, Tokyo, Vancouver, New York and many more. A recently issued paper volume collected all the blog photos taken all over the world by fans of this environment-friendly means of transport.

thamesandhudson.com The volume contains something like a hundred photos of people who generally get around by bicycle. It was Mikael Colville-Andersen from Copenhagen who first had the idea of going around the city to portray bike riders

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DETAILS

DESIGNING DESIGN

Piero Turk Blurb (2012)

THE METAMORPHOSIS OF EXPERIENCE

Kenya Hara Lars Müller Publishers (2007)

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HAPTI C

and industrial landscapes. Turk’s book is aimed at further inspiring the design of this timeless item of clothing.

Piero Turk is a jeans designer and an amateur photographer. Throughout his career he has created and studied denim in depth in all its textile varieties. He decided to publish a 78-page book entitled “Details” in which he presents pictures of stylistic and structural details, accessories and the original cuts of the jeans he has crea ted coupling the photos with images of cities, industrial labs, natural

Kenya Hara is a well-known Japanese designer who has been working in this capacity and as a communication consultant with Muji since 2001, a firm that became famous for planning the opening and closing ceremony of the 1998 Winter Olympic Games at Nagano, Japan. In the recently published third edition of his Designing Design, Hara proposes several works focused on the concept of void, and shows that this trait can be a structural element in design, a homage to the philosophical and visual tradition of his country.

pieroturk.org

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Augustin Fernandez 5 Continents (2012)

The Metamorphosis of Experience is the first book that reproduces all the works by the most important Cuban artist now on display in museums and private collections located in Europe, the USA and South America. Leafing through the pages of this important illustrated book we can revisit the forms in uncertain balance, the nuances, the surreal matching of elements that characterises the artist’s paintings. We can recapture the great battles between man and the machine, between an aseptic urban milieu and the domain of the imagination where what is organic becomes inorganic. This unique, complete book helps us retrace the great Cuban painter’s artistic experience.

S E N S E WA R E

fivecontinentseditions.com

— lars-mueller-publishers.com

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Photo: Omer Messinger

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