RRD WORLD - Issue #3

A B C D E F G H I J K L M N O P Q R S T U W V X Y Z

Aqua

Balance

Carbon

Design

Evolution

Freedom

Geometry

Holistic

Ideas

Nature

Joy

Kite

Ocean

Roberto

Sail

Wind

Vision

Lycra

Passion

Texture

X-over

ISSUE #3 - 2023 robertoriccidesigns.com

Maui

Quality

Underwater

Year

Zuid Afrika

EDITORIAL

IN THE WAKE OF POSEIDON #4

T xt By : Rob er t o Ricci

~Eng

~Ita

On a recent Sunday, during a visit to Rome with my daughter Nora, we dedicated our

In una domenica recente, durante una visita a Roma con mia figlia Nora, ci siamo

time to exploring the city’s most iconic monuments. In front of the majestic Trevi

dedicati all’esplorazione dei monumenti più iconici della città. Davanti alla maesto-

Fountain, Nora, with her curiosity, took me by surprise by asking: “Dad, what does this

sa Fontana di Trevi, Nora, con la sua curiosità, mi ha colto di sorpresa chiedendomi:

fountain represent? It seems to me that the statue in the center is Poseidon”. Initially,

“Babbo, cosa rappresenta questa fontana? Mi sembra che la statua al centro sia

I responded by denying it, telling her that Poseidon always comes portrayed with the

Poseidone”. Ho risposto inizialmente negando, dicendole che Poseidone viene sem-

trident in his hand, and that I didn’t see it here... but her question triggered a sur-

pre ritratto con il tridente in mano, e che qui non lo vedevo... ma la sua domanda ha

prising discovery. Curious, I searched online for “theme and symbolism of the Trevi

scatenato una scoperta sorprendente.

Fountain in Rome” and the truth struck me. Immediately my ignorance caused a little

Curiosi, ho cercato online “tema e simbologia della Fontana di Trevi a Roma” e la ve-

embarrassment within myself, however, with amazement I then shared the revelation

rità mi ha colpito. Subito la mia ignoranza mi ha un pò imbarazzato, poi con stupore

with Nora: “You guessed it right, Nora. That is the representation of Oceanus (the Ti-

ho condiviso con Nora la rivelazione: “Avevi intuito bene, Nora. Quella è la rappresen-

tan who generates all the waters in the world), and the fountain symbolizes the Sea.”

tazione di Oceano (Titano che genera tutte le acque del mondo), e la fontana simbo-

This discovery, at a mature age, evoked an emotionally visceral response in my heart.

leggia il Mare.” Questa scoperta, in età matura, è stata un’emozionante immersione

The fountain, a few kilometers from my hometown, has for centuries embodied the

nel cuore. La fontana, a pochi chilometri dalla mia città natale, ha per secoli incar-

fundamental values of the ecosystem that has always fascinated my soul.

nato i valori fondamentali dell’ecosistema che ha sempre affascinato la mia anima.

And this fountain is perhaps one of the best known monuments in the world!

Ed è la fontana e forse uno dei monumenti più conosciuti al mondo!

•2•

EDITORIALE

41°54’03.15”N 12°28’59.4”E

ROME - ITALY

1732-1762

The Trevi Fountain:

La Fontana di Trevi:

The theme of the entire masterpiece is the sea. It is inserted in a large rectangular

Il tema dell’intera composizione è il mare. È inserita in un’ampia piscina rettangolare

swimming pool with rounded corners, surrounded by a walkway that runs from one

dagli angoli arrotondati, circondata da un camminamento che la percorre da un lato

side to the other, which is enclosed within a short staircase just below the street level

all’altro, racchiuso a sua volta entro una breve scalinata poco al di sotto del livello

of the square.

stradale della piazza.

The scenography is dominated by a rocky cliff that occupies the entire lower part of

La scenografia è dominata da una scogliera rocciosa che occupa tutta la parte infe-

the palace, in the center of which we find a large niche delimited by columns which

riore del palazzo, al cui centro troviamo una grande nicchia delimitata da colonne

makes it stand out as if it were under a triumphal arch. Here stands a large statue of

che la fa risaltare come fosse sotto un arco di trionfo. Qui si erge una grande statua di

Oceanus by Pietro Bracci (1759-1762, based on a project initiated by Giovanni Batti-

Oceano di Pietro Bracci (1759-1762, su progetto iniziato da Giovanni Battista Maini),

sta Maini), with muscular and opulent shapes and a proud and haughty gaze: the titan,

dalle forme muscolose e opulente e dallo sguardo fiero e altezzoso: il titano, amman-

cloaked in a cloth that barely covers his pelvis and the pubis, is captured while he is

tato in un drappo che gli copre appena il bacino e il pube, è colto mentre incede su un

riding on a shell-shaped chariot pulled by two winged horses, nicknamed respectively

cocchio a forma di conchiglia trainato da due cavalli alati, soprannominati rispetti-

«agitated horse» (on the left) and «placid horse» (on the right), in reference to the

vamente «cavallo agitato» (a sinistra) e «cavallo placido» (a destra), in riferimento agli

similar characteristics of the sea, which is sometimes calm and sometimes stormy.

analoghi momenti del mare a volte calmo e a volte burrascoso. Ai lati della grande

On the sides of the large central niche we find two other smaller niches occupied by

nicchia centrale troviamo altre due nicchie, più piccole, occupate dalle statue della

the statues of Healthiness (to the left of Oceanus) and Abundance (to the right of Oce-

Salubrità (alla sinistra di Oceano) e dell’Abbondanza (alla destra di Oceano), quest’ulti-

anus), the latter depicted holding the symbolic horn full of fruits and coins.

ma raffigurata mentre regge il simbolico corno colmo di frutti e monete.

•3•

MAC P R O D U CT D E TA I L S

T xt By : Rob er t o Ricci

The detail in a design object, pu Il dettaglio nell’oggetto di Desig

~Eng

In

~Ita

the vast panorama of design, detail emerges as the common thread between the ordinary and the

Nel

vasto panorama del design, il dettaglio emerge come il filo conduttore tra l’ordinario e l’ec-

exceptional. It is through the meticulous care of every ele-

cezionale. È attraverso la cura meticolosa di ogni elemento,

ment, large or small, that a design object is transformed into

grande o piccolo, che un oggetto di design si trasforma in

a functional work of art. Detail, often overlooked in the obses-

un’opera d’arte funzionale. Il dettaglio, spesso trascurato

sion with bold shapes and lines, is the beating heart of mea-

nell’ossessione per le forme e le linee audaci, è il cuore pul-

ningful design.

sante di un design significativo.

A well-conceived detail is not simply an embellishment, but

Un dettaglio ben concepito non è semplicemente un orna-

a statement of commitment to perfection. It is the sum of

mento, ma una dichiarazione di impegno verso la perfezione.

thoughtful decisions and attention to detail that gives life to a

È la somma di decisioni ponderate e attenzione ai particolari

work of design. Through detail, an object becomes an intricate

che dà vita a un’opera di design. Attraverso il dettaglio, un og-

tale of passion and dedication, revealing the soul of those who

getto diventa un racconto intricato di passione e dedizione,

shaped it.

rivelando l’anima di chi l’ha plasmato.

The details aren’t just visible; they are tangible, sensory expe-

I dettagli non sono solo visibili; sono tangibili, esperienze sen-

riences that enrich the connection between the object and

soriali che arricchiscono la connessione tra l’oggetto e l’os-

the observer. A smooth edge, a flawless finish or a harmo-

servatore. Un bordo levigato, una finitura impeccabile o un

nious pairing of materials are the elements that invite touch

accoppiamento armonioso di materiali sono gli elementi che

and interaction. It is through these details that the design

invitano al tocco e all’interazione. È attraverso questi dettagli

object transcends its function, becoming a source of daily

che l’oggetto di design transcende la sua funzione, diventan-

inspiration.

do una fonte di ispirazione quotidiana.

The value of detail also lies in its ability to communicate pro-

Il valore del dettaglio risiede anche nella sua capacità di co-

found design thinking. Every choice, every meticulous addi-

municare un pensiero progettuale profondo. Ogni scelta, ogni

tion, is a language that speaks of intentions and visions. In

minuziosa aggiunta è un linguaggio che parla di intenti e vi-

the attention to detail the essence of a designer emerges his

sioni. Nella cura dei dettagli emerge l’essenza di un designer,

invisible signature imprinted on every surface. This approach

la sua firma invisibile impressa su ogni superficie. Questo ap-

goes beyond aesthetics; it is an affirmation of professionali-

proccio va oltre l’estetica; è un’affermazione di professionali-

sm and respect for the profession.

tà e rispetto per il mestiere.

•4•

CRO D E T TA G L I P R O D OT TO

rsuit of excellence. n, ricerca dell’eccellenza.

Superball duck zip wom soft Jkt •5•

P R O D U CT D E TA I L S

A carefully studied detail also helps to improve the functionality of a design object. From a heat taping of a hem that increases the internal cleanliness and durability of a jacket to a clever arrangement of a reinforcement on a sail that increases its rigidity and harmonizes with its graphics, every detail has a reason to exist. This attention to functionality, often underestimated, is what makes a design object not only beautiful but also practical.

In an era dominated by mass production, detail becomes a guiding light to distinguish the ordinary from the extra-ordinary. It’s a reminder of the craftsmanship, precision and time it takes to create something truly meaningful. A design object enriched with well-considered details becomes a testimony to the patience and dedication invested in its creative process.

In conclusion, the value of detail in the design object is intrinsic and transformative. Through attention to detail, a designer can elevate his work from a simple creation to a masterpiece that inspires and endures over time. The detail is not just an aesthetic component; it is the key that unlocks the emotional and functional potential of each design, transforming it into a unique and unforgettable experience.

A carefully studied detail also helps to improve the functionality of a design object. From a heat taping of a hem that increases the internal cleanliness and durability of a jacket to a clever arrangement of a reinforcement on a sail that increases its rigidity and harmonizes with its graphics, every detail has a reason to exist. This attention to functionality, often underestimated, is what makes a design object not only beautiful but also practical.

In an era dominated by mass production, detail becomes a guiding light to distinguish the ordinary from the extra-ordinary. It’s a reminder of the craftsmanship, precision and time it takes to create something truly meaningful. A design object enriched with well-considered details becomes a testimony to the patience and dedication invested in its creative process.

In conclusion, the value of detail in the design object is intrinsic and transformative. Through attention to detail, a designer can elevate his work from a simple creation to a masterpiece that inspires and endures over time. The detail is not just an aesthetic component; it is the key that unlocks the emotional and functional potential of each design, transforming it into a unique and unforgettable experience.

A

carefully studied detail also helps to improve the functionality of a design object. From a heat taping of a hem that increases the internal cleanliness and durability of a jacket to a clever arrangement of a

reinforcement on a sail that increases its rigidity and harmonizes with its graphics, every detail has a reason to exist. This attention to functionality, often underestimated, is what makes a design object not only beautiful but also practical.

In an era dominated by mass production, detail becomes a guiding light to distinguish the ordinary from the extra-ordinary. It’s a reminder of the craftsmanship, precision and time it takes to create something truly meaningful. A design object enriched with well-considered details becomes a testimony to the patience and dedication invested in its creative process.

The value of detail in the design object is intrinsic and transformative. Through attention to detail, a designer can elevate his work from a simple creation to a masterpiece that inspires and endures over time. The detail is not just an aesthetic component; it is the key that unlocks the emotional and functional potential of each design, transforming it into a unique and unforgettable experience.

•6•

D E T TA G L I P R O D OT TO

Un dettaglio accuratamente studiato contribuisce inoltre a migliorare la funzionalità di un oggetto di design.

Da una nastratura a caldo di un orlo che aumenta la pulizia interna e la durata di una giacca ad un’intelligente disposizione di un rinforzo su una vela che ne aumenta la rigidità e si armonizza alla sua grafica, ogni dettaglio ha una ragione d’essere.

Questa attenzione alla funzionalità, spesso sottovalutata, è ciò che fa sì che un oggetto di design sia non solo bello ma anche pratico.

In un’epoca dominata dalla produzione di massa, il dettaglio diventa un faro guida per distinguere l’ordinario dall’extra-ordinario. È un richiamo all’artigianato, alla precisione e al tempo necessario per creare qualcosa di veramente significativo.

Un oggetto di design arricchito da dettagli ben ponderati diventa un testimone della pazienza e della dedizione investite nel suo processo creativo.

In conclusione, il valore del dettaglio nell’oggetto di design è intrinseco e trasformativo.

Attraverso l’attenzione ai particolari, un designer può elevare il suo lavoro da semplice creazione a un capolavoro che ispira e perdura nel tempo.

Il dettaglio non è solo una componente estetica; è la chiave che sblocca il potenziale emozionale e funzionale di ogni design, trasformandolo in un’esperienza unica e indimentic

Un dettaglio accuratamente studiato contribuisce inoltre a migliorare la funzionalità di un oggetto di design.

Da una nastratura a caldo di un orlo che aumenta la pulizia interna e la durata di una giacca ad un’intelligente disposizione di un rinforzo su una vela che ne aumenta la rigidità e si armonizza alla sua grafica, ogni dettaglio ha una ragione d’essere.

Questa attenzione alla funzionalità, spesso sottovalutata, è ciò che fa sì che un oggetto di design sia non solo bello ma anche pratico.

In un’epoca dominata dalla produzione di massa, il dettaglio diventa un faro guida per distinguere l’ordinario dall’extra-ordinario. È un richiamo all’artigianato, alla precisione e al tempo necessario per creare qualcosa di veramente significativo.

Un oggetto di design arricchito da dettagli ben ponderati diventa un testimone della pazienza e della dedizione investite nel suo processo creativo.

In conclusione, il valore del dettaglio nell’oggetto di design è intrinseco e trasformativo.

Attraverso l’attenzione ai particolari, un designer può elevare il suo lavoro da semplice creazione a un capolavoro che ispira e perdura nel tempo.

Il dettaglio non è solo una componente estetica; è la chiave che sblocca il potenziale emozionale e funzionale di ogni design, trasformandolo in un’esperienza unica e indimenticabile.

Un

dettaglio accuratamente studiato contribuisce inoltre a migliorare la funzionalità di un oggetto di design. Da una nastratura a caldo di un orlo che aumenta la pulizia interna e la durata di una

giacca ad un’intelligente disposizione di un rinforzo su una vela che ne aumenta la rigidità e si armonizza alla sua grafica, ogni dettaglio ha una ragione d’essere. Questa attenzione alla funzionalità, spesso sottovalutata, è ciò che fa sì che un oggetto di design sia non solo bello ma anche pratico.

In un’epoca dominata dalla produzione di massa, il dettaglio diventa un faro guida per distinguere l’ordinario dall’extra-ordinario. È un richiamo all’artigianato, alla precisione e al tempo necessario per creare qualcosa di veramente significativo. Un oggetto di design arricchito da dettagli ben ponderati diventa un testimone della pazienza e della dedizione investite nel suo processo creativo.

Il valore del dettaglio nell’oggetto di design è intrinseco e trasformativo. Attraverso l’attenzione ai particolari, un designer può elevare il suo lavoro da semplice creazione a un capolavoro che ispira e perdura nel tempo. Il dettaglio non è solo una componente estetica; è la chiave che sblocca il potenziale emozionale e funzionale di ogni design, trasformandolo in un’esperienza unica e indimenticabile.

•7•

PAT T E R N

From the Catwalk to the Ocean Dalla Passerella all’ Oceano ~Eng In the increasingly digital world we live in, innovation continues to push towards new, often surprising and unexpected horizons. Our Razzle Dazzle “Monogram” is a computer-designed graphic/pattern that has had an extraordinary journey: from the digital palette, through a fabric for our fashion dept., back to where the initial idea started, riding waves with our boards.

Initially designed in the graphic studio of the Watersports dept, it was then taken up and finalized in the clothing department. We wanted to create a pattern that was recognizable and that above all would be “ours”, not a classic design to be purchased on stock from the web. Something that represented us and was recognizable at first sight. We took inspiration from the optical paintings of the 70s/80s and from our Razzle Dazzle boards so as to have well-defined starting points; we have thus created a multifunctional model that adapts perfectly to various surfaces and various fabrics.

After the launch of the first FW ‘23 collection with the monogram pattern, it was decided to also propose it on some boards of the Watersports Y29 collection, to create visual continuity on both product categories.

Txt By : Fa br izio Luc a P hot o By : Fa br izio Luc a

•8•

PAT T E R N

Longboard Nasone RD Monogram 9’3”

+

•9•

R a z z le D a z z le Wo o l Co at Wom J k t

PAT T E R N

S S 20 2 4 Adv C ampa i g n

~Ita Nel mondo sempre più digitale in cui viviamo, l’innovazione continua a spingersi verso nuovi orizzonti, spesso sorprendenti e inaspettati. Il nostro Razzle Dazzle “Monogram” è una grafica/pattern progettata al computer che ha fatto un viaggio straordinario : dalla tavolozza digitale, attraverso un tessuto per la nostra collezioneritornando poi indietro da dove era partita l’idea iniziale , surfando sulle onde con le nostre tavole.

Progettata inizialmente nello studio grafico del settore Watersports è stata poi ripresa e finalizzata in quello del reparto Clothing. Volevamo creare un pattern che fosse riconoscibile e sopratutto “nostro”, non un classico disegno da acquistare in stock su internet. Qualcosa che ci rappresentasse e che fosse riconoscibile a prima vista.

Abbiamo preso ispirazione dai quadri Optical degli anni ‘70/’80 e dalle nostre tavole Razzle Dazzle così da avere dei punti di partenza ben delineati; abbiamo così creato un pattern multifunzionale che si adatta perfettamente su varie superfici e vari tessuti. Dopo il lancio della prima collezione FW 23 con il pattern monogram si è deciso di riproporlo anche su alcune tavole della collezione Watersports Y29, per creare cosi una continuità visiva su ambedue le categorie di prodotti.

•10•

PAT T E R N

R azzle Dazzle Easy B a g

Razzle Dazzle Max i H o o d Zip Fle e c e

Longboard Nasone RD Monogram 9’3”

R az z le D a z z le S t raight Wom Pant

•11•

INSIDE

DRIFT WOOD An interview with the author / Intervista all’autore Carlo Bonazza.

An int er v iew by R o berto Ric ci P hot o B /n By : Ca rlo B onazza

Carlo Bonazza, the author of “DRIFTWOOD” which we are publishing with RRD books, is

Carlo Bonazza, l’autore del libro “DRIFTWOOD” che pubblichiamo con RRD books, è

a photographer, publisher, photography teacher and has been working in Grosseto

fotografo, editore e docente di fotografia; lavora dal 1979 a Grosseto e utilizza la

since 1979 and uses photography as a tool for observing contemporaneity.

fotografia come strumento di osservazione sulla contemporaneità.

Always interested in the relationship with space and its symbols, he has worked

Da sempre interessato al rapporto con lo spazio e i suoi simboli, ha lavorato a pro-

on photographic investigation projects and published image books on places, the

getti di indagine fotografica e pubblicato libri di immagini sui luoghi, il paesaggio

landscape and its transformations. He catalogues, studies and restores historical

e le sue trasformazioni. Cataloga, studia e restaura fondi fotografici storici riguar-

photographic funds relating to the Tuscan Maremma and edits a series of mono-

danti la Maremma Toscana e cura una collana di monografie al riguardo. Ha svolto

graphs on the subject. He has carried out an intense teaching activity on photo-

un’intensa attività didattica sulla fotografia: dalla scuola media inferiore al Polo

graphy: from middle school to the University Centre, from the laboratory in prison,

Universitario, dal laboratorio in carcere, al corso per immigrati richiedenti asilo.

to courses for immigrants seeking asylum. He has collaborated for a long time with

Ha collaborato a lungo con l’Archivio delle Tradizioni Popolari della Maremma ed è

the Archive of Popular Traditions of Maremma and is a founding member of the

socio fondatore dell’Associazione Fotografia e Territorio.

Photography and Territory Association.

~Eng

~Ita

How did the idea of creating the “Driftwood” photography book come about and what was your main inspiration?

Come è nata l’idea di realizzare il libro fotografico “Legni di deriva” e quale è stata la tua ispirazione principale?

I live in Maremma and have been photographing the places and landscape of this re-

Vivo in Maremma e fotografo da tanti anni i luoghi e il paesaggio di questa terra. Ho

gion for many years. I travelled a lot when I was young, but for a long time I have been

viaggiato molto da giovane, ma da tempo sono interessato a ciò che appare esotico

interested in what appears exotic and distant but is actually all around us, close

e lontano ma in realtà si trova intorno a noi, vicino, basta saperlo vedere.

enough to be able to see it. Once, I was assembling an exhibition on the fishing village

Una volta stavo montando una mostra sul villaggio di pescatori di Marina di Grosseto

of Marina di Grosseto and among the passers-by I heard someone say to his friend:

e fra i passanti sentii uno che diceva all’amico:

You see? Must be Cuba!

Vedi? deve essere Cuba!

And the other: No, I think it’s Turkey!

E l’altro: no, mi sa che è Turchia!

For me it was a great satisfaction to think that it was the beach 10 km away from us.

Per me era una grande soddisfazione pensare che era la spiaggia a 10 km da noi.

What symbolic meaning do you attribute to the primitive huts built with wood on the beach of Principina a Mare?

Qual è il significato simbolico che attribuisci alle capanne rudimentali costruite con i legni sulla spiaggia di Principina a Mare?

It is a beach game that grows, carries on and becomes a serious thing. Building a shelter, an accommodation, marking the territory, leaving a trace of oneself: ancient desires that remain, which, despite the changes of modernity, are not completely forgotten.

Un gioco da spiaggia che cresce, continua e diventa una cosa seria. Costruire un riparo, un alloggio, marcare il territorio, lasciare una traccia di sé: desideri antichi che permangono, che nonostante i cambiamenti della modernità non si dimenticano del tutto.

•12•

D

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LIBRI

•13•

BOOKS

In the introductory text there is talk of a “prehistoric village” that transforms the landscape.

How does this photographic project reflect the transformations of the territory and society?

Nel testo introduttivo si parla di un “preistorico villaggio” che trasforma il paesaggio. In che modo questo progetto fotografico riflette le trasformazioni del territorio e della società?

That is obviously a fantasy of mine, born while I was wandering around the beach,

Quella è ovviamente è una fantasia mia, nata mentre girovagavo in quella spiaggia,

so different from the furnished beaches and tourist facilities which are also a short

così diversa dalle spiagge attrezzate e dalle strutture turistiche che pure sono a poca

distance away. I recently bought a book because I was fascinated by the title: The land-

distanza. Ho da poco comprato un libro perché affascinato dal titolo: Il paesaggio in-

scape invented by photography. This gives me the impression that the best thing for a

ventato dalla fotografia. Ecco mi pare il massimo per un fotografo, inventare un pa-

photographer is to invent a landscape. Not just documenting, revealing, and remem-

esaggio. Non solo documentare, raccontare, ricordare pezzi di realtà o di paesaggio,

bering pieces of reality or landscape, but inventing it, creating it solely with one’s

ma addirittura inventarlo, crearlo solo con lo sguardo. Anche se esiste solo lì, nelle

gaze. Even if it only exists there, in the photographs.

fotografie.

Can you tell us about a particular experience or encounter while photographically documenting this project that left a lasting impression on you?

Puoi raccontarci una particolare esperienza o incontro durante la documentazione fotografica di questo progetto che abbia lasciato un’impressione duratura in te?

I started this work in 1998 to participate in a competition held by an important Ger-

Ho iniziato questo lavoro nel 1998 per partecipare a un concorso bandito da una im-

man architecture magazine whose theme was Architecture of the new millennium. Not

portante rivista di architettura tedesca che aveva per tema L’architettura del nuovo

finding any buildings or architectural projects nearby that inspired me on the topic, I

millennio. Non trovando nei dintorni edifici o progetti architettonici che mi stimolas-

somewhat provocatively participated in the competition with black and white photo-

sero sul tema, un pò provocatoriamente partecipai con le fotografie in bianconero di

graphs of these huts, which were few at the time but had already formed a small col-

queste capanne, che allora erano poche ma già formavano una tipologia definita e una

lection of defined iconography. The photographs were appropriately rejected from the

piccola moltitudine. Le fotografie furono adeguatamente respinte dal concorso, ma l’i-

competition, but the idea of considering these very simple constructions had grown

dea di considerare queste semplicissime costruzioni mi era cresciuta in testa e ho

in my mind and I continued to cultivate it. I have returned to that beach many other

continuato a coltivarla. Sono tornato molte altre volte su quella spiaggia, in diverse

times, in different light conditions and times of day, even years later, and recently for

condizioni di luce e momenti della giornata, anche a distanza di anni, e ultimamente

this book: Driftwood. In 25 years the photographic technique I used has also changed

per questo libro: Driftwood. In 25 anni è molto cambiata anche la tecnica fotografica

a lot, going from the medium format film developed and printed by hand until the early

che ho usato, passando dalla pellicola medio formato sviluppata e stampata a mano

2000s, to the digital technique used by everyone now, but the fundamentals have re-

fino ai primi anni 2000, alla tecnica digitale usata da tutti adesso, ma i fondamentali

mained the same: black and white, diffused light, no effect, waiting and silence.

sono rimasti gli stessi: bianco e nero, luce diffusa, nessun effetto, attesa e silenzio.

The improvised inhabitants of these wooden shelters tried to make their space recognizable and personal. How did you try to capture this sense of belonging in your shots?

Gli abitanti improvvisati di questi rifugi di legno hanno cercato di rendere riconoscibile e personale il proprio spazio. Come hai cercato di catturare questo senso di appartenenza nei suoi scatti?

I have always chosen moments when the beach was deserted, possibly with veiled sun and light or no wind. My favorite season was spring, when the huts were uninhabited and the beach bore the marks of winter storms. In that suspended time without human presence, the imagination could run wild, dreaming of exotic beaches, distant seas, saving landings and promised lands.

Ho sempre scelto momenti in cui la spiaggia era deserta, possibilmente con sole velato e vento leggero o assente. La stagione preferita è stata la primavera, quando le capanne erano disabitate e la spiaggia portava i segni delle mareggiate invernali. In quel tempo sospeso e senza presenza umana la fantasia poteva scatenarsi a sognare

D W

spiagge esotiche, mari lontani, approdi salvifici e terre promesse.

•14•

LIBRI

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The description refers to the skin of the wood worn by time and the twisted shapes of the wood which take on fantastic aspects. How did you select the elements to photograph to best convey this unintentional yet powerful aesthetic?

Nella descrizione si fa riferimento alla pelle del legno consumata dal tempo e alle forme contorte dei legni che assumono aspetti fantastici. Come hai selezionato gli elementi da fotografare per trasmettere al meglio questa estetica involontaria ma potente?

Ultimately, it’s always the same children’s game: looking for faces, animals, dragons

In fondo è sempre lo stesso gioco da bambini: cercare volti, animali, draghi nelle

in the clouds, symbols in the coffee you just drank, small village witchcraft, desires

nuvole, simboli nel caffè appena bevuto nelle piccole stregonerie di paese, i desideri

that take shape. I didn’t select elements and subjects for the photographs, I simply

che prendono forma. Non selezionavo elementi e soggetti per le fotografie, sempli-

found them, I stumbled upon them. The only forethought was to wait and look at the

cemente li trovavo, ci inciampavo. L’unico accorgimento era quello aspettare e di

eye level of a child, then to bend down and get closer to things as if to touch them, so

guardare ad altezza dello sguardo di un bambino, di abbassarmi quindi, avvicinarmi

they became big and I was small. I could enter the belly of the whale.

alle cose come per toccarle. Così diventavano grandi e io piccolo, potevo entrare nel

Your long experience in the field of photography and your teaching activity lead you to be involved in multiple projects. What is the importance of photography as a tool for observing contemporaneity, especially in relation to places and landscape?

I like photographing minor places, the suburbs, the involuntary and unforeseen outcomes of projects and policies. The writings and drawings on the walls, the abandoned mines, the abandoned things: the traces of the passage of men on the earth.

ventre della balena.

La tua lunga esperienza nel campo della fotografia e la tua attività didattica ti portano a essere coinvolto in molteplici progetti. Qual è l’importanza della fotografia come strumento di osservazione sulla contemporaneità, specialmente in relazione ai luoghi e al paesaggio?

Mi piace fotografare i luoghi minori, le periferie, gli esiti involontari e non previsti dei progetti e delle politiche. Le scritte e i disegni sui muri, le miniere dismesse, le cose abbandonate: le tracce del passaggio degli uomini sulla terra.

•15•

F RTAEGCRHA N C E

From DRIFTWOOD to our fragrances:

Dal legno di deriva alle fragranze DRIFTWOOD:

Driftwoods, shaped by the perpetual embrace of the waves and smoothed by the

I legni di deriva, plasmati dall’incessante abbraccio delle onde e levigati dal corso

inexorable course of time, have taken on a role of primary importance for us, tran-

inesorabile del tempo, hanno assunto per noi un ruolo di primaria importanza, tra-

sforming themselves into an extraordinary source of inspiration for the creation of

sformandosi in una straordinaria fonte di ispirazione per la creazione delle nostre

our distinctive fragrances: welcome to the world of Driftwood.

fragranze distintive: benvenuti nel mondo di Driftwood.

In this olfactory symphony, we wanted to capture not only the pristine essence of

In questa sinfonia olfattiva, desideravamo catturare non solo l’essenza incontami-

the ocean, but also give our creations a solemn and mysterious aura. Incense, with

nata del mare, ma anche conferire alle nostre creazioni un’aura solenne e misterio-

its enveloping note, becomes the common thread of this unique sensorial experience,

sa. L’incenso, con la sua nota avvolgente, diventa il filo conduttore di questa esperien-

giving the fragrances a touch of depth which translates into a sensation of spiritual

za sensoriale unica, conferendo alle fragranze un tocco di profondità che si traduce

elevation.

in una sensazione di elevazione spirituale.

Every drop of Driftwood hides the secrets and poetry of the woods that, like ancient sailors, sailed the oceans. These fragrances are not just perfumes, but sensory journeys that evoke the freedom of vast horizons and the serenity of remote beaches.

Ogni goccia di Driftwood nasconde i segreti e la poesia dei legni che, come antichi marinai, hanno solcato gli oceani. Queste fragranze non sono solo profumi, ma viaggi sensoriali che evocano la libertà dei vasti orizzonti e la serenità delle spiagge remote.

•16•

TFERCANGORLAONGZI A E

The Driftwood project, anchored to the call of the sea, evolves into elating olfactory

Il progetto Driftwood, ancorato al richiamo del mare, si evolve in esperienze olfat-

experiences. Personal perfumes intertwined with the nostalgia of the ocean and the

tive inebrianti. Profumi personali intrecciati con la nostalgia del mare e la libertà

freedom of wind, transport the wearer on a journey through memories and emotions.

dei venti, trasportano chi li indossa in un viaggio attraverso i ricordi e le emozioni.

Incense, a constant presence in every formulation, characterizes both personal fra-

L’incenso, presenza costante in ogni formulazione, caratterizza sia le fragranze per-

grances and those intended for home use. But our commitment doesn’t stop here. In

sonali che quelle destinate agli ambienti. Ma il nostro impegno non si ferma qui. Oltre

addition to perfumes, we have created a complete range of body care products, from

ai profumi, abbiamo creato una gamma completa di prodotti per la cura del corpo,

velvety cream to solid soap, up to room candles, offering a complete and enveloping

dalla crema vellutata al sapone solido, fino alle candele per gli ambienti, offrendo un

wellness ritual.

rituale di benessere completo ed avvolgente.

Attention to detail is our hallmark, reflected not only in the products but also in the packaging. The matte black of the packaging, contrasted by the orange accents, creates a harmonious fusion between mystery and vitality. This combination of colors not only suggests the high quality of our products but adds a distinctive touch linked to craftsmanship, transforming the daily act of personal care into an experience of luxury and refinement.

La cura nei dettagli è il nostro marchio distintivo, riflessa non solo nei prodotti ma anche nel packaging. Il nero opaco delle confezioni, contrastato dagli accenti arancioni, crea un’armoniosa fusione tra il mistero e la vitalità.

Questo connubio di colori non solo suggerisce l’alta qualità dei nostri prodotti ma aggiunge un tocco distintivo legato all’artigianalità, trasformando l’atto quotidiano della cura personale in un’esperienza di lusso e raffinatezza.

•17•

P R OSDPUACCTE SD E T A I L S

SHOW ROOM PROJECT

SHOW ROOM PROJECT SHOW ROOM PROJECT PROGETTO SHOW ROOM

OPIFICIO VIA TORTONA 31

MILAN - ITALY

The new showroom at the Opificio via Tortona 31 in Milan represents a funda-

Il nuovo showroom presso l’Opificio di via Tortona 31 a Milano rappresenta un

mental step forward for our brand. Located in the heart of the renowned fashion

fondamentale passo avanti per il nostro brand. Situato nel cuore del rinomato di-

and design district in Europe, this 750 square meter space will be added to the

stretto della moda e del design in Europa, questo spazio di 750 metri quadrati, si

adjacent and current 500 square meter showroom, exhibiting itself as a strate-

aggiungerà in adiacenza alla showroom attuale di 500 metri quadrati, si propone

gic hub to connect with Italian and international buyers.

come un hub strategico per connettersi con i buyers italiani e internazionali.

With the addition of this new space, we will offer our customers the opportunity to

Con l’aggiunta di questo nuovo spazio, offriremo ai nostri clienti la possibilità di

experience our collections first-hand and be the first to discover the latest RRD

toccare con mano le nostre collezioni e di essere i primi a scoprire le ultime novi-

news. The showroom will become a point of reference for those who wish to im-

tà. Lo showroom diventerà un punto di riferimento per coloro che desiderano im-

merse themselves in the RRD universe, allowing them to participate in a unique

mergersi nell’universo di RRD, consentendo loro di vivere un’esperienza sensoriale

sensorial experience.

unica.

What makes the new showroom even more momentous is its scheduled opening

Ciò che rende il nuovo showroom ancora più cruciale è la sua apertura program-

in June 2024, coinciding with the presentation of the SS24 collection. This event

mata a Giugno 2024, in concomitanza con la presentazione della collezione SS24.

marks the beginning of the celebration of our 30 years as a successful brand. To

Questo evento segna l’inizio della celebrazione dei nostri 30 anni come brand di

commemorate this milestone, we have planned a series of events called “Year 30”.

successo. Per commemorare questo traguardo, abbiamo pianificato una serie di eventi denominati “Year 30”.

•18•

D E T T A G L I SPPRAOZ DI O T T O

Throughout the year, the showroom will be the stage for exclusive events, with

Durante tutto l’anno, lo showroom sarà il palcoscenico di eventi esclusivi, con

particular attention to the period linked to the Salone del Mobile and the Fuori

particolare attenzione al periodo legato al Salone del Mobile e al Fuori Salone.

Salone. These events will not only provide buyers with a unique opportunity to

Questi eventi non solo forniranno ai buyers un’opportunità unica di esplorare le

explore our creations, but also to participate in special initiatives that will enrich

nostre creazioni, ma anche di partecipare a iniziative speciali che arricchiranno

their experience.

la loro esperienza.

The privileged location of the showroom, in the heart of Milan, allows easy acces-

L’ubicazione privilegiata dello showroom, nel cuore di Milano, consente una facile

sibility for participants in the main events in the fashion and design sector. This

accessibilità per i partecipanti ai principali eventi del settore della moda e del

positions us strategically to capture the attention of an international audience

design. Questo ci posiziona in modo strategico per catturare l’attenzione di un

and consolidate our presence in the sector.

pubblico internazionale e consolidare la nostra presenza nel settore.

The new showroom at the Opificio in via Tortona 31 is a key investment for the fu-

Il nuovo showroom presso l’Opificio di via Tortona 31 è un investimento chiave

ture of RRD. Not only will it strengthen the bond with our existing customers, but

per il futuro di RRD. Non solo rafforzerà il legame con i nostri clienti esistenti, ma

it will offer us the opportunity to attract new buyers and consolidate our status

ci offrirà l’opportunità di attrarre nuovi acquirenti e consolidare il nostro status

as a reference brand in the fashion and design landscape. We are thrilled to open

di brand di riferimento nel panorama della moda e del design. Siamo entusiasti

the doors to this extraordinary space and share with the world the creations and

di aprire le porte di questo spazio straordinario e di condividere con il mondo le

celebrations that will characterize our 30th anniversary year.

creazioni e le celebrazioni che caratterizzeranno l’anno dei nostri 30 anni.

Credits: ML Architettura e Milano Space Makers - The new additional 750 sqmt space in Milan

Il nuovo spazio aggiuntivo di 750 mq che verrà adibito a showroom insieme a quello attuale

•19•

INTERVIEW

M Y G O OD F R I E N D M I C K E Y:

THE ESKIMO LEGEND P ix b y: Pe t er Au g u s t in

An i n t erv i e w b y R o b ert o R i cci

OOK

L DON’T

!

HERE

Per leggere l’intervista in italiano scansiona qui!

1)

Can you share your experiences of being a windsurfer in the 80s? How has the sport evolved since then?

So, in the eighties, my girlfriend wasn’t even born in the eighties.

We were pioneering the sport, which was amazing because you were you were creating things. You were with something new and fresh. And it’s like having a new relationship, a new girlfriend. You were just we were so into it. We were living the creation of the sport. It was very exciting, you know, and there were new things to do and nothing else mattered, you know, if there was any kind of movement in the tree, it was on. And I couldn’t think about anything else besides windsurfing. I was there when it went from the big board to the short board. It was like the windsurfing short board revolution and that totally the changed the sport. And you are part of a sport in a much different way than it is now.

Um, I was watching the last Aloha classic ’23 a little bit and I didn’t see anything I haven’t seen before. And I mean in freestyle windsurfing, it’s amazing what they do now, but it just, even that is repetitive and yeah, I would say you could see big changes in the eighties and nineties and now it’s kind of, you know, how many double forwards and one handed goyters can you see? And yes, everything got more polished and everything but I think just because of the limitations of what you actually can do on the water, it’s pretty much, uh, I mean it’d be always fun to windsurf and stuff and the actually doing of it is still amazing. But in terms of evolution, I haven’t seen a good off the lip like Dave Daly used to do (straight up and more), I mean Browzinho ,Kai,Antoine( Martin ),Camille, Bernd are all amazing, but like there were certain things like when Mark Angulo did his clew first goiters, you just can’t do better you know, mark Angulo did his clew first goiters, you just can’t do better you know. Robby Seeger will always be the windsurfing Godfather of Peahi ( JAWS ) as there is particularly one wave he rode in the 90’s (with a pair of swim fins attached to his Harness, in case he needed “help”) that would be hard to topple by any standards in size ( from Nazarè to Mavericks ). No Jet Skis no inflatable wetsuits, just his boat anchored in the channel & a pair of swim fins & Jaws almost closing out. Not another soul around / that’s the f’ing 80’s & 90’s that i definitely would call the “good old days”.

•20•

I N T E R V I S TA

TWO) What were some of the challenges you faced as a professional windsurfer and artist in the 80s?

Did you contribute to the design or development of windsurfing equipment during that time?

Well, you know a lot about that. There were many contributions. But let’s start with the

Anybody still alive who was around Andy, back than is super famous..... without Andy

first part of the question. What did I face as a professional windsurfer?

Warhol I’d be nowhere & I did affect you (RRD) as well, so, you see how magic this all

Well, first, I wanted to be a professional, and for that I was pretty much... because of

is!!! Ronnie was having painting with different brands on it, but also comic stuff, Wo-

me probably it was coined the phrase “fucking euro”. Like people that were not even

ody Woodpecker and Felix the Cat. And so that really influenced me.

from Hawaii were hating the Euros because they came over. They usually were a little

And I put that on my shorts and in my sail and those shorts caught the eye of the hot-

bit sponsored because the sport of windsurfing would be nowhere without Europe.

test brand in Switzerland in sportswear at the time, which was Jet Set.And so, the guy,

And it really blossomed in Europe, where all of a sudden… the thing about windsurfing

the owner of Jet Set, Kurt Ulmer bought my first designs that I painted on fabric, and

was true windsurfing, you could embrace this Surfer lifestyle, like having a cool bo-

the Woody Woodpecker sail of course it was on the covers of many magazines because

ard, being in the elements and having a good suntan and and pulling off cool moves

it was just like: “yeah, rock’n roll, fun, happy!”

and impressing the girls, you know? And so that was windsurfing, rooted in Europe and of course, the people here (Maui), the Californians or whatever, it was never the

And so that is a little bit of the background to that. And once I saw that was working

locals that gave me any hard time. It was the wannabe locals. You know, the “euros”

for me, that approach, I did many, um, you know, board graphics and designs on the

where the “fucking euros”.

sail that would really work with my canvas, which was the ocean and the sky.

And that’s how I saw windsurfing. For me, I was doing performance art without

But also it was kind of, you know, I always wanted to stand out. So I did have that

knowing it, you know, to me it mattered to hold the position in a jump as long as I

being part of me. And I showed that in my way of dressing and my equipment was

could so the photographer would get the best shot. You know, the landings were not so

flashy because I like to design something that stood out in the water. And that’s just

important, even though when I won the indoor in Barcelona in the nineties, where I

part of how I influenced the equipment. And it was, you know, like the most famous

landed everything and I beat everybody. So, i was always fighting that notion, well not

one would be the Woody Woodpecker sail because that rooted in me being on the invo-

fighting maybe, but the negativity & ignorance i felt did sting sometimes.

luntary stopover in New York, where I stumbled across… well, I met Keith Haring, and I

I mean, you know, everybody said, oh, he doesn’t land anything,

was introduced to the Toni Shafrazi Gallery where I met a guy called Ronnie Cutrone.

but I just had a whole different approach that people wouldn’t understand if they are

Ronnie was Andy Warhol’s assistant / right hand printer who did neon comic cha-

not the art world. And luckily windsurfing made maybe the artist I am today...

racters . Ronnie died in 2013.

The show I saw was in the Toni Shafrazi Gallery in 1982 and Toni showed Ronnie &

Without windsurfing, I wouldn’t do what I’m doing today and I owe so much to wind-

Kenny Scharf. Kenny is a blue chip artist now.

surfing, you know. So much.

P ix b y : Foster

P ix b y: C a z en ave

•21•

P ix b y : C a zen av e

Photo by: Jonathan Weston - picture of the year in Sports Illustrated

P ix by: P eter Augus tin

INTERVIEW

3)

​Are there particular windsurfing spots from the 80s that hold a special place in your heart? Why?

​Well, again, like I was in Portugal,

And yeah, you know lots of wild memories on those spots. And that’s the eighties.

I think it I was in the second group that ever windsurfed there which was Guincho

Lake Garda would be the spot that really have a special place in my heart because

was discovered for windsurfing in the eighties, and so I always love Portugal I think I

that in 1982 my life changed. I just dropped by to take my friend Poopsie windsur-

was the first to windsurf in Ericeira.

fing and I had brought a shortboard to Europe from Hawaii and you know, Lake

Um I, well, there were many first because I would just, I always like to always use the

Garda was the place to go and there was wind on the, you know, at the Hotel Pier.

backgrounds in my performance art. So, whether it was the Taj Mahal or 15 elephants

And we parked our car in the cliffs and hiked down and I was doing my jibes and

lined up in the Andaman Islands or the Mohai, the statues in the Easter Island, I kind

the onehanded jibes and duck jibes around my friend Poopsie.

of like to make the cultural connection and paint that picture, you know, like you’re

He drifted into the Hotel Pier and people were screaming and I thought it was be-

doing an action sport in the water in front of an incredible backdrop. And so, Portugal

cause they didn’t want us to park there, they were mad that we were coming in the-

would be one of them of course. Hookipa was my office, you know, for so many years.

re, but on the contrary, the whole crowd at the Pier was screaming for me and chee-

And that started in the eighties and doing a coast run down to Kanaha where my wife

ring me on. My life changed on that day because the word was out that Robby Naish

or girlfriend would windsurf. I came across this bay that had like palm trees really

was at the Pier, but it was Mickey introducing the Duck jibe with the short board

closed from the water.

to pretty much landlock Europe. And so, Lake Garda, of course, as a magical place

And I saw if I jumped there, it almost would look like I am flying between the coconut

in my heart, and Italy in general because it could do duck jibe and have the best

trees. So that was little bay and, you know, a little bay. And the locals called it Eskimos.

cappuccino and fragole con panna and all the good stuff.

It’s also something I never got the credit for, really, in the end, you know, and, uh, you

I came to HAWAII in the winter of ‘79/‘80 from Vienna with about 100$ to pursue

know, like it was called secret, it was called Little Bay, but nobody called it Eskimos

my dreams. Got “ HANAI’ed ( hawaiian term of getting adopted/ “taken in” by Tom

except the old timers that knew it, you know, and the fresh crowds from the nineties

Stone ( famous north shore Pipeline Surfer, & @ the time Kailua Lifeguard, member

and 2000, they didn’t know. So anyway, it seems to be my life’s story that it’s really

of the infamous HUI / BLACK SHORTS & now one of the biggest Hawaiian cultural

hard to get credit for what I did when they did it and stuff. So yeah, that I came across

ambassadors, who’s hand shaped wooden old style (ALAIA’s KIKO’O’s etc) Surfboards

that. That is a special place in the north shore of Maui. Well, I windsurfed Ha’apiti in

that are exhibited @ the SMITHONIAN! He talked me HOW 2 READ the WATER.

Moorea, which was special, and then Taapuna, you know, there was another place

After my “discovery” on Lake Garda in 1982, i came back to the islands as a spon-

that’s really special to me in Tahiti main island.

sored athlete earning about 15 to 20k per month....yeah, Bitches....LOL

•22•

P ix b y : E ric Ae d er

P ix b y: Eric Ae der

I N T E R V I S TA

How have you seen the windsurfing community evolve over the years, especially considering the technology and cultural changes?

Um, I don’t know, because to me, of course, in freestyle lots have happened.

I mean, in windsurfing I would say it’s just because he has such a hold on the cros-

It’s unbelievable when you watch that stuff.

sover of all the sports, watersports he really gives a lot of…

It’s great to have him for windsurfing and he also gives back to windsurfing becau-

I always think it’s mind blowing when people get towed behind the boat without wind,

se that’s his roots ultimately, you know. So yeah, Kai and Browzinho are amazing.

with a windsurf gear in their hands and they do jump over a chop and do some in-

And then of course, there’s a lot of young kids actually, there’s not a lot of young

credible move, without wind, basically with non-existing wind, it’s like it’s like, you

kids, not as many as you would like, of course, because windsurfing has declined

know, like it’s a bit strange. I mean, it’s just humans do all kinds of incredible stuff.

in so many ways. It’s still an amazingly great sport, but yeah, it’s you just need a

I mean, you could have somebody on their board and carrying a refrigerator on their

lot of things to line up for windsurfing. But yeah, I would say, I don’t know. It’s just

back, doing a flip. You know, it’s just that one thing that’s it’s still amazing, that in

speaking from Hookipa, but that’s the place I see it. But It’s very limiting now.

order to have to show the sport of windsurfing without wind in incredible situations, got created by human spirit.

Other than this, I think there is definitely a Browzinho that is a standout at Jaws because what he does on big waves like hitting the lip at Jaws it’s kind of… people have done it before but not successfully and not consistently like he has done.

And I mean, the guys he’s not only an incredible windsurfer, he is also a beautiful human being that I really enjoy being friends with.

So, he would be one that really did stuff.

Then you’ve got Balz Muller (Radiculo), like the crossover thing between the foiling and windsurfing and the connection that’s epic to watch, you know, and, and then you got Kai Lenny, who puts a lot of things together and it’s, I mean, you know, when Kay does something he has like 100,000 views, you know, if anybody else does the same thing….

•23•

P ix b y: Ma rco Mo o - co l l a g eWo rk

SIX)

5) Can you talk about the artistic inspirations that fuelled your creativity? How did your artwork reflect the spirit of the times?

​​ Balancing a career in both sports and art can be demanding. How did you manage to strike a balance between your two passions?

You know, to me, of course, I wanted to be a good windsurfer and do the moves becau-

Oh, how did I do everything?

se they felt good, you know, as I always liked to be on the forefront of what I was doing.

Um…so, just imagine the work I did for you (RRD).

Kind of when there was something, I wanted to have a better interpretation and more

The work I did for Chiemsee, the work I did for Jet Set, the work I did for BIC, the work

cool one, If you want to say that… the more current one that just connected the dots

I did for a few other people that I worked for in terms of print design, fabric design,

with the now. And so, I did that to my graphic designs combining them with, you know,

the whole marketing side of things, organizing all the trips, organizing the equipment

like if I was the…, I was always painting a picture. It’s like when you do, I guess perfor-

for the trips, the special sails or the board graphics I did, whether it was on my own

mance art, I had my canvas, the ocean and the sky. And I painted myself in different

Hi-tech (HT) boards or BIC , there was a lot going on.

positions and I used different canvases, cool backdrops, and you know, I did Insta-

Then you add the 25 years of me restoring Haiku Mill, which is the other project, huge

gram before Instagram. I mean, I worked on visuals.

design undertaking on the architectural basis and getting all the ingredients for that

You know, for me, the picture had to be amazing, you know, no matter how I would

and bringing all the stuff back from Europe and like putting together Pipe Masters for

get there, whether it was slam dunking a basketball during a forward loop and ima-

Chiemsee, getting Jerry Lopez sponsored, rekindling his career, the first to sponsor a

ginary slam dunk, you know, trying to get, you know, sponsored by Nike and or, you

big wave surfer like Darrick Doerner doing that solely for his big wave surfing abili-

know, like lining up 12 elephants in the Andaman Islands on the beach because I saw

ties. Like, I was a visionary in everything I did. And so hard to talk about it.

that there were elephants swimming on the National Geographic Channel and said,

I don’t know where I how I did everything. You know, like you have the 140 covers of

well, that would be cool. So, I had a lot of those where I knew, wow, this would be a

magazines. You have I mean, tons of design work, lots of art work.

great image to connect to sport I loved, the sport I lived for with being artistic, which

The mill, the pictures. I did a lot. I would say the balance between the two created itself

was always the difference between me and all the rest of the windsurfers. And that’s

effortlessly and naturally, and it was just in the way, I bounced from art to sport, from

why I was successful, you know. And the cool thing, the process of creating prints for

sport to art. And it was just I think it was totally natural.

my shorts and for t - shirts, it kind of made you look what was out there and who you

I mean, that’s the way I rolled and I still roll.

were competing initially against, who you wanted to, this guy was doing this cool, then well, okay, I’m going to do it that way where I see this being cool.

So, I became like a shark going around, always checking and collecting information in terms of books and magazines and reference designs, which got me ultimately from, I would say fabric design and print design and graphics into fine art where I P ix by: G iann i S quit ier i @ And a ma n Is l a nd s

was, which showed later on in my collages.

But it all came from the analog way. You know, I liked scissors, I like ripping papers.

And then I’m a proportionist is I always tried to, you know, like rearrange things.

I’m like a deejay, like a deejay with graphic elements and then, you know, it just went from photocopies to any kind of printed material, from any kind of from like the 1400s to current, you know, I mixed it all, and my inspirations were anybody that influenced the art world, you know, from anything from cave paintings to Warhol to Basquiat to Schnabel to well, anybody who in their art, you know, I always zoomed in on the parts that I wanted to see and use them for my work and recreated and mixed and you know, yeah, just deejaying different periods, time periods, elements and yeah, and I still do that today.

•24•

7)

8)

I N T E R V I S TA

I​n what ways do you believe your contributions, both as a windsurfer and artist, have impacted the wider watersports culture?

Through my art and visionary abilities.

Well, I mean like I mentioned before, sponsoring Darrick Doerner because I thought, wow, big wave surfing is just so sexy and so daring. And those guys are the heroes.

So, Darrick did the stunts in Point Break for Patrick Swayze.

What advice would you give to aspiring windsurfers, especially those who are passionate about combining sports and art?

Oh man.

So, that was like, wow, you know, that neede… I felt it needed recognition and big wave

Just look at windsurfing now. And I look at the water and I look at the move and I look

riding needed recognition. So Windsurfing Chiemsee at that time where windsurfing

at everything. And like I said before, it’s like things are more polished now.

was dwindling in its appealingness to the world, that kind of.., you know, it’s like that

Uh, you know, there is some really good riding and... but it’s, I don’t know, like, I’ve seen

you know, it’s just other sports came up and windsurfing was just kind of not..,

people rip hard for the last 30 years, I would say, and I’ve seen great moments and

it needed… windsurfing needed the surfing image. And there were two ways to give it

there are still some great moments, but they don’t...they are not so different from when

to them through the actual surfing. It was clear to me.

Mark Angulo did his clew first goiters and mean it’s like when you see something for

And so, I got Jerry Lopez sponsored by Chiemsee, which turned into the Jerry Lopez

the first time it blows your mind, you know. And so of course now because of Insta-

Chiemsee Pipe Masters, which is my brainchild and it was my way to try and get the,

gram and everything, we see so much crazy stuff. I mean, you look at what motorcycle

you know, get that surfing image to Chiemsee in a way that was different and giving,

guys do, you know, It’s like it takes… unless somebody dies now it’s not extreme, you

you know, in Europe, we pay even, you know, we pay respect to the elders in the way

know. And because of the sail and everything, windsurfing takes a bigger canvas to

more, you know, I feel. And so that was the natural thing for, you know, I felt I saw that

look good so that’s why Browzinho in Jaws is different, you know... and I think the

that was a good way to just be any way that would be Pono. Right. And so I started that

equipment side, I mean… nobody is really doing what I did, you know.. it’s just like

and then Oxbow jumped on it and all of a sudden there was all, you know, they flew

there is stuff that you could do and I am actually trying... there are a few things that

in the legend to Biarritz for the Biarritz Surf festival and started to pay homage to

I wanna do in windsurfing before I can’t hold the boom anymore, but it’s just like…

surfers that were old. But they had done something for the sport.

people are not thinking outside the box.

It’s still the equipment. I mean, it’s like your stuff is... I would say RRD has the nicest….

So I think I influence that definitely. And then there was, of course, the you know, like I

you know, you always have to do stuff that you can sell in windsurfing.

think I really brought culture into sportswear and I brought big artists work into the

And that was the problem. I mean, it was “Naishing” and “Starboarding” and it was

sportwear, you know, it wasn’t done before. You know, I recycled a lot of very famous

just I would say bad design dominated the windsurfing production equipment, you

artists. You wouldn’t know it, but it was there, you know, windsurfers might not neces-

know, and it was also that the sponsors weren’t very attractive. You didn’t have Car-

sarily know anything about Basquiat or Warhol or Joseph Beuys or whoever I recycled

tier or Vuitton on a sail, you know, you just had, you know, some Nesquik or Blaupun-

in my work, you know, without anybody noticing because there would be, you know,

kt or, you know, you didn’t see the trendy, cool hip brands on windsurfing equipment,

you had to do it in the right way. But people felt the design, felt the art and felt the vibe,

you know... And sometimes you gotta make that happen. So, what I would want is,

you know, and I was creating new vibes and I was creating new ways and my stuff

young windsurfers, just look what the coolest brand is out there and slap it on your

was fresh and it always had the flavor.

fucking sail in the really attractive fresh way. Create the pictures, create the images and propose, just do something, you know, like a toy. There’s nothing there, you know, and there could be so much more there because the sail is big. It’s a canvas, you know, a board is a canvas. It seems like everybody is sleeping in windsurfing. I mean, Kai has his traditional Red Bull. I mean, that works for Kai, you know, and it works for him visually and financially, but it also limits, you know, because you can’t you can’t go off in a creative way when you are branded by a certain vibe, you know.

Anyway, that’s what I would tell people.

Just start thinking and make something beautiful and different.

P ix by: Nom i B au mg a rt l

P ix by: Jo ao Bu dd h a B a rb o sa

- The old Haiku mill before and after

•25•

Our corporate identity is anchored to four distinctive colors that not only reflect our passion for watersports, but also define the essence of our mission and vision. Each shade represents a key element of our origins, combining passion, innovation and a deep connection with crafts and the elements. With our corporate colors, we are committed to offering the user a unique experience that reflects the beauty and emotion of the world of watersports, from windsurfing to foiling.

La nostra identità aziendale è ancorata a quattro colori distintivi che non solo riflettono la nostra passione per gli sport d’acqua, ma definiscono anche l’essenza della nostra missione e visione. Ogni tonalità rappresenta un elemento chiave della nostra provenienza, unendo passioni, innovazione ed un profondo legame con i mestieri e gli elementi. Con i nostri colori aziendali, ci impegniamo ad offrire all’utente un’esperienza unica che rispecchia la bellezza e l’emozione del mondo degli sport d’acqua, dal windsurf al foil.

•26•

INSIDE

Pantone®

Pantone®

BLACK c

COOL GRAY 07 c

DEEP BLACK, akin to carbon, repre-

POWDER GREY, reminiscent of the

sents the development of high-per-

fine dust created in the raw material

formance products that are excep-

processing of our products, signifies

tionally lightweight yet incredibly

our unwavering commitment to the

strong.

finest craftsmanship.

NERO INTENSO, simile al carbonio,

GRIGIO POLVERE, che ricorda la pol-

rappresenta lo sviluppo di prodotti

vere sottile creata durante la lavora-

ad alte prestazioni che sono eccezio-

zione delle materie prime dei nostri

nalmente leggeri ma incredibilmen-

prodotti, indica il nostro costante

te resistenti.

impegno per la migliore lavorazione

Ink colors and formulas for packaging, print and graphics

Ink colors and formulas for packaging, print and graphics

artigianale.

Pantone®

Pantone®

021 c

WHITE c

Ink colors and formulas for packaging, print and graphics

Ink colors and formulas for packaging, print and graphics

BLAZING ORANGE serves as our unmistakable identifier, a vibrant flash

FOAM WHITE, mirroring the sea’s

in the sea that sets us apart from the

frothy waves, encapsulates the very

competition.

spirit of the ocean.

ARANCIO SFOLGORANTE è il nostro

BIANCO SCHIUMA, rapprensenta le

inconfondibile identificatore, un vi-

onde che si infrangono, racchiude lo

brante lampo nel mare che ci distin-

spirito stesso dell’oceano.

gue dalla concorrenza.

SHOP IN SHOP

La Winter Color Mdm Jkt è una giacca outerwear versatile con design nitido e materiali tecnici, offrendo impermeabilità e comfort. Con imbottitura staccabile, cappuccio avvolgente e dettagli di stile come il logo nero, è ideale per uno stile distintivo in diverse stagioni.

Winter Color Mdm Jkt

Razzle Dazzle Thermo Coat Wom Jkt

The Winter Color Mdm Jkt is a versatile outerwear jacket with a sharp design and technical materials, providing waterproofing and comfort. With detachable insulation, a wrap-around hood, and stylish details like the black logo, it’s perfect for a distinctive style in various seasons.

The classic coat with an essential masculine shape and medium length is reinterpreted in its design and print in a très chic key. The garment features the soft touch and high comfort of breathable SURFLEX® fabric. The look of this creation, proposed in beige and blue colour options, is embellished with the iconic Razzle Dazzle all over print, the button-down collar and the toggle at the wrists enhanced by horn buttons. The “made with love, designed Tuscany” inner heart tag, and orange taped zipper pocket, tell of our passion for design and obsession for details, even where they can’t be spotted. For an edgy outfit, it can be teamed with a monogram-printed crew neck and chino pants.

Il classico soprabito dall’essenziale taglio maschile e dalla lunghezza media è riletto nel design e nella stampa in chiave très chic. Il capo presenta il touch morbido e il grande comfort del tessuto SURFLEX® traspirante. Il look della creazione, proposta nelle varianti beige e blu, è impreziosito dall’iconica stampa all over Razzle Dazzle, dal colletto button-down e dall’alamaro al polso valorizzato da bottoni in corno. L‘etichetta interna “made with love, designed in Tuscany” e il taschino con doppio filetto arancione raccontano la nostra passione per il design e l’amore per i dettagli anche dove non si vedono. Per un outfit grintoso, può essere abbinato a un girocollo con stampa mono-

Go ld Wing B o om

Cul t LT D

gram e un pantalone chino.

Unleash the power with the Gold Wing Boom! Its unique speed potential guarantees impressive

Discover the CULT Y29 windsurf board, featuring the exclusive Inne-gra Carbon EXPANDED Biaxial

performances, ideal for flatwater riding, racing, and freestyle. The 100% carbon boom offers easy

150 grms construction for lightness and durability. Innovative waveboard design, sizes from 68Lts

control, facilitating transitions and providing hand placement options. Experience extra rigidity

to 94Lts, and a compact, Mono-Tri-V bottom shape offer unmatched performance. Pro riders love it;

with ALUULA®, ensuring impressive stiffness for faster speeds and higher jumps. The advanced 45°

try it for unprecedented fun and maneuverability!

diamond GRID canopy fabric ensures durability and profile stability over time. Get ready for unparalleled wing performance!

Scatena la potenza della Gold Wing Boom! Il suo potenziale è unico in termini di velocità, garanten-

Il CULT Y29, costruita interamente con Innegra Carbon EXPANDED Biaxial da 150 grammi per garan-

do prestazioni impressionanti. È una vela ideale in flat-water e in freestyle. Il boma totalmente in

tire leggerezza e durata. Si tratta di una tavola da WAVE dal design innovativo , disponibile nei litrag-

carbonio , offre un controllo unico che facilita le transizioni e offre infinite possibilità di posiziona-

gi da 68 litri a 94 litri, dotata di una forma compatta e una carena caratterizzata da un pronuiciato

mento delle mani in andatura. Grazie al tecnologico materiale ALUULA®, la vela è super stabile, reat-

Tri - concavo che offre prestazioni ineguagliabili. I windsurfisti professionisti la amano.

tiva e potente, soprattutto ad alte velocità e in condizioni di vento rafficato. Il tessuto del canopy a 45° garantisce durabilità e stabilità del profilo. Preparati a prestazioni senza precedenti!

•28•

SHOP IN SHOP

La field jacket ispirata al design militare si distingue per la sua essenziale semplicità senza tempo.

Presenta una costruzione in Stratofabric #3 con membrana impermeabile e antivento, e il tessuto SURFLEX® opaco. L’innovativa tecnologia stitchless avvolge l’imbottitura in piuma d’anatra 90/10 con canali tubici, senza cuciture, garantendo protezione dalle intemperie con un design puro.

Winter Field Jkt

Down Under Parka Wom Jkt

The military-inspired field jacket stands out for its timeless and essential simplicity. It features a construction in Stratofabric #3 with a waterproof and windproof membrane, along with matte SURFLEX® fabric. The innovative stitchless technology envelops the 90/10 duck feather padding in tubular channels, providing weather protection with a clean design.

The classic parka takes on a minimalist and contemporary dimension in this model. Crafted with the waterproof Stratofabric #3 membrane in exclusive SURFLEX®, it features a super matte exterior with elastic and a particularly smooth touch. The 90/10 duck feather padding is made with the Floating Shield system in tubular channels, completely free of internal and external stitches, providing superior thermal insulation and an ideal fit for the Down Under Parka Wom Jkt. The stitchless construction and invisible front zip closure, concealed by the flap that rises to secure the padded wrap-around hood, enhance the sharp and clean design. The back vent adds freedom of movement.

Il parka classico assume una forma minimalista e contemporanea in questo modello. Realizzato con il tessuto impermeabile Stratofabric #3 in SURFLEX®, offre un look opaco con un tocco liscio ed elastico. L’imbottitura in piuma d’anatra 90/10, con il sistema Floating Shield a canali tubici e costruzione stitchless, assicura isolamento termico e vestibilità ottimali. La chiusura frontale a

B o oster

Qu icklo ck ca rb on m as t

zip invisibile, il cappuccio avvolgente e lo spacco posteriore aggiungono dettagli puliti e funzionali.

Let your passion for kiting run wild with the twin tip big air board, a lightweight feel perfect for the

Enhance water efficiency with the Quicklock Universal Carbon Mast. Streamlining hydrofoil attach-

most radical aerial maneuvers. Thanks to the carbon construction, and a bottom marked by a tri-

ment with a single screw, this innovative system ensures a stable ride, consistent foil placement,

ple concave, the boards heart is Paulownia wood, which offers explosive pop and top performance.

and rapid interchange for multiple boards. Patented, it sets a new standard for water sports conve-

Built for the future of big air!

nience, optimizing your time on the water.

Lasciate che la vostra passione per il kite si scateni con la tavola twin tip big air, una sensazione

Un sistema semplice e rapido che ti permette di andare in acqua in un batter d’occhio, potrai ag-

di leggerezza perfetta per le manovre aeree più radicali. Il core della tavola è il legno di Paulownia,

ganciare il tuo foil tramite l’utilizzo di una sola vite, potrai installare il tuo foil rapidamente su

grazie alla costruzione in carbonio e alla carena caratterizzata da un triplo concavo, garantisce un

più tavole, il sistema è brevettato e rivoluziona lo standard di praticità per praticare i watersports,

pop esplosivo. La tavola è stata costruita per il futuro del big air!

ottimizza il tuo tempo prova il quicklock carbon mast!

•29•

SHOP IN SHOP

The boyfriend blazer made for her is the versatile and timeless refinement for the summer season wardrobe. This homage to classic menswear features a soft silhouette that ensures a comfortable and elegant fit, with its double-button closure and traditional lapels. The tech linen exterior ensures freshness and breathability. Whether for a special occasion or a more relaxed look, this blazer proves an ideal choice for a wide range of outfits.

Questo modello monopetto dalle sobrie tonalità scure garantisce un’eleganza impeccabile anche nelle giornate più calde. L’estrema leggerezza dell’esclusivo tessuto stretch SURFLEX®, antipiega ed easy care, rende la Extralight Blazer una compagna ideale di lavoro e di viaggio. Il suo aspetto super matte tipico del fresco lana si esalta nell’occasione formale, in abbinamento a un pantalone chino coordinato.

Extralight Blazer

Terzilino Boyfriend Wom Blazer

This single-breasted model in understated dark tones delivers impeccable elegance even on the hottest days. The extreme lightness of the exclusive, wrinkle-free and easy-care SURFLEX® stretch fabric turns the Extralight Blazer into an ideal work and travel mate. Its super matte look typical of cool wool is best enhanced on formal occasions, paired with a coordinated chino pant.

Il blazer boyfriend realizzato per lei è il perfezionamento versatile e senza tempo per il guardaroba della bella stagione. Questo omaggio al classico abbigliamento maschile è caratterizzato da una silhouette morbida, che assicura una vestibilità comoda ed elegante, con la sua chiusura a due bottoni e i tradizionali revers. Il lino tecnico garantisce freschezza e traspirabilità. Che si tratti di un’occasione speciale o un look più rilassato, questo blazer si rivela la scelta ideale per un’ampia

Crayfi sh

X-F ire LTD

gamma di look.

The Crayfish, a compressed longboard, delivers enjoyable rides in normal conditions. Its wider build

Crafted with a groundbreaking 100 grms/sqmt Biaxial super light carbon fiber layup, our racing

provides ample speed and versatility as a single or thruster. Renowned for easy paddling, this board

machine boasts the lightest yet reliable construction. Redesigned shapes enhance control, pro-

effortlessly turns and glides, making it a popular choice for surf enthusiasts seeking versatile and

mote earlier planing, smoother gliding, and rapid acceleration after jibes. The refined slalom sco-

fun sessions.

op-rocker line ensures streamlined handling, bursting acceleration, and top speeds.

Il Crayfish, un longboard compatto, offre surfate piacevoli in condizioni medie. Il suo shape gene-

Costruita con un innovativo layup di fibra di carbonio biassiale superleggero da 100 gr/mq, la no-

roso offre una grande velocità e versatilità sia in assetto single fin che thruster. Apprezzata per la

stra tavola da regata vanta la costruzione più leggera e affidabile in commercio. Le linee riproget-

facilità di remata, questa tavola gira e scivola senza sforzo, rendendola una scelta diffusa per gli

tate migliorano il controllo, favorendo una planata anticipata, una scorrevolezza più fluida e una

appassionati di surf che cercano sessioni piacevoli e divertenti.

rapida ripartenza dopo le strambate. Lo scoop e il rocker studiati appositamente per lo slalom assicurano manovrabilità, accelerazione e velocità estreme.

•30•

SHOP IN SHOP

Una giacca impeccabile in ogni situazione, grazie al fit asciutto, al design monopetto minimalista e all’estrema cura della confezione nell’esclusivo tessuto stretch SURFLEX®.

Le sue qualità antipiega ed easy care si aggiungono all’elegante aspetto opaco. Il suo stile rilassato e sobrio è un perfetto punto d’incontro tra casual e formale

Revo Blazer

Techno Color Coat Wom Jkt

A jacket that is flawless in any situation, thanks to its slim fit, minimalist single-breasted design and extreme care in the exclusive SURFLEX® stretch fabric tailoring.

Its wrinkle-free and easy-care properties add to the elegant matte appearance. Its relaxed, understated style is a perfect blend of casual and formal.

A coat with clean, essential lines, resulting in a modern square-cut design. Large black soft touch buttons provide the coat with an exclusive and distinctive style. Innovative construction in Stratofabric#3 technology makes it lightweight and breathable. The exclusive SURFLEX®, with its super matte look, adds a soft, pleasing touch. Available in multiple stylish and versatile colors, this outerwear enriches and complements your daily wardrobe for cooler, more unpredictable weather.

Un cappotto dalle linee pulite ed essenziali, che danno vita a un design moderno dal taglio squadrato. I grandi bottoni neri soft touch garantiscono al capospalla uno stile esclusivo e distintivo.

La costruzione innovativa con tecnologia Stratofabric#3 lo rende leggero e traspirante. L’esclusivo tessuto SURFLEX®, dal look super matte, aggiunge un touch morbido e gradevole. Disponibile in più colori eleganti e versatili, il capospalla arricchisce e completa il guardaroba quotidiano per le gior-

Narwhal

Style Pro B l kR bn

nate più fresche e imprevedibili.

The Style Pro Black Ribbon sail, born from RRD WS team collaboration, is tailored for freestyle wind-

A new downwinder hybrid shape that opens up the world of foiling in open waters or flying with the

surfing. Utilizing BLKRBN technology with Technora yarns and ultra-thin film, it’s exceptionally li-

lightest breeze on your wing. Full custom made boards made in Italy in our custom factory. CAD

ghtweight yet robust. The result: an ultimate freestyle windsurfing experience, blending power, pop,

designed and CNC shaped with a sandwich /PVC standing area, a full PVC deck to bottom strin-gers

and superb handling in a lighter and more agile frame. Execute any freestyle maneuver with ease.

technology on the foil boxes /tracks and a choice of Full Carbon layup or hybrid Glass/carbon layup depending on your weight/strength ratio you prefer.

La vela Style Pro Black Ribbon, nata dalla collaborazione con il nostro windsurfing team, è progetta-

Un nuovo shape ibrido per il downwind, che spalanca le porte al mondo del foil in mare aperto o al

ta ad hoc per la pratica del windsurf freestyle. La tecnologia BLKRBN, con filati Technora e pellicole

volo con la wing in condizioni di vento leggerissimo.

ultrasottili, la rende eccezionalmente leggera ma robusta. Il risultato: un’esperienza di windsurf

Tavole completamente personalizzate, realizzate in Italia nel nostro laboratorio. Progettate con il

freestyle di altissimo livello, che unisce potenza, pop e maneggevolezza eccellente a una struttura

CAD e sagomate con la macchina a controllo numerico, costruite e rinforzate in PVC, una tecnolo-

più leggera e agile. Ogni manovra di freestyle sarà possibile con questa vela!

gia ultra resistente soprattutto nella parte inferiore all’altezza delle scasse dove viene installato il foil; la tavola è disponibile in due tecnologie: fibra di vetro e fibra di carbonio, in base al peso e alle caratteristiche del rider.

•31•

Elevate, Synergize, Excel.

#rrd #rrdwatersports