Anonymous beautiful faces from around the world with amazing style. Their fashion flair is undeniable. It reminds you how strongly we are inspired by them in the world of fashion.
The styles or the looks that we admire on Paris, London, NY or Milan catwalks simply interpret the fashion flair coming from these different parts of the world.
As the expression goes “The devil is in the detail ” and here the details are paramount: tattoos, patterns, paisley, ornaments, beads, feathers, shells, batik, sheepskin lining, silks, painted faces, layered fabric, mix and match, florals, stripes – the list is endless.
Elio Fiorucci, designer and retailer, 1935-2015
A star has faded. Fusing the transgressive style of Swinging London with his own take on Pop Art, Elio Fiorucci created a global clothing empire. He was inspired by street fashion, art, food, design.
He opened his first store in 1967 in Milan at the centre of the city’s San Babila district.
Wes Anderson, famed director known for his whimsical filmmaking, was commissioned to design an Italian cafe and the result is the most Wes Anderson-y looking spot ever. It’s called Bar Luce and part of the Fondazione Prada complex. source : airows
One of the many themes of the Milano Expo is Energy for Creativity. Architects and designers have been asked to create temporary installations to offer their subjective interpretations of the theme Energy for Life. The Event for 2015 of Interni becomes a place of experimentation for the prototyping of installations on different scales re-presenting their design message on an urban scale for the international audience of Expo 2015. This will be an encounter and exchange with disciplinary synergies to nourish minds and creativity.
PHILIPPE STARK’s contribution is the TOG SODA – the drink is made entirely from organic ingredients. An infusion of dried hibiscus flowers provides a sharp core flavour, while juices of pomegranate and cranberry offer a refreshing twang. A pinch of stevia, the natural sweetener, is sprinkled in for good measure. The resulting concoction, served up in TOG-labelled glasses, proved immensely popular among fairgoers.
The space, designed by Milanese studio Dordoni Architetti, under the guidance by Luca Zaniboni, is flooded with natural light entering the space from the side and from above. The clever choice of dark grey walls and concrete floors creates a dramatic effect – the apartment interior has an almost gallery-like quality, with Pecoraro’s extraordinary collection of furniture and art by contemporary artists and masters of design taking centre stage. Furniture by Jean Prouvé, Charles & Ray Eames, Franco Albini and Giò Ponti, mix with ceramics by Fornasetti and other lesser known artists and makers. source : yellow trace via decordemon
After dedicating A Magazine N°12 to his dear friend Anna Piaggi and her love of illustration, the British milliner Stephen Jones has extended his tribute, curating the touching exhibition “Hat-ology: Anna Piaggi and her hats”, currently on show at the Palazzo Morando in the centre of Milan. Incorporating a reconstruction of Piaggi’s writing desk (replete with Olivetti typewriter) the intimate showcase is soundtracked by its clacking keys, in a slightly ominous yet supremely romantic ode to her dedication as a writer. source : AMagazine Curated by Stephen Jones @sjmillinery On show until Novembre 30 at Palazzo Morando Via Sant Andrea 6, Milan
Michelin-starred chef Carlo Cracco and art director Tanja Solci have joined forces to create Carlo e Camilla in Segheria, the latest addition to Milan’s fertile restaurant scene, housed in a defunct sawmill acquired by Solci’s grandparents in the 1930s. The soaring structure’s brick and raw cement bones give the space a pared back, industrial look – a foil for the otherwise super-polished dining experience. Designed by Solci, the interior features two long cross-configuration tables that seat 65 in a communal arrangement, plus antique chandeliers, Richard Ginori tableware and Cappellini chairs (including Jasper Morrison’s ‘Tate Colour’ and AG Fronzoni’s ‘Fronzoni 1964’). Pieces by Ron Arad and Ross Lovegrove – part of Solci’s personal collection – animate the indoor space as well as the garden. The food is top tier, but wrung of the pretension that swirls around Cracco’s other Milanese establishment. Here, the mood is cool, and there is just as much reason to come for an excellent aperetif or dopocena as there is for the delicious dinners.
Loft A is located in a typical banister house in the centre of Milan. It joins three different units (two small flats, one on the ground floor, one on the first floor, linked by a long passageway to a wide art gallery).
The ’peacock’ chair designed by canadian firm uufie is constructed from a single sheet of acrylic composite material.
The seating unit is available in three versions, a limited edition in large and smaller sizes, in both color and white. uufie is presenting the variations of ‘peacock’ at design miami/ as part of galleria rossana orlandi collection, and is also currently on exhibit at spazio rossana orlandi, milan.
SINCE TRANSFORMING an abandoned Milan factory into her eponymous Spazio Rossana Orlandi showroom and gallery (rossanaorlandi.com) in 2002, Ms. Orlandi has become a tastemaker and a champion of contemporary design, selling everything from no-nonsense aluminum cupboards to whimsical chicken-wire giraffe sculptures. The scion of textile industrialists, Ms. Orlandi, 68, started out as a fashion designer herself before turning her attention to promoting innovative product and interior design. A fixture during the annual Salone del Mobile design week in Milan.
For the Milan stage of the project Techno Casa, at Marsèlleria, Riccardo Benassi has created a site-specific environmental installation whose throbbing core is a cycle of ten films (video-essays) called “Attachments” (lasting 3 hours, overall). The film’s sound⎯a spine rather than a soundtrack⎯fills the void left by the visual and spatial interventions created ad hoc, thus fostering an emotional relationship with the hosting architecture. The entire project is the artist’s reflection on how the use of new technologies⎯smartphones in particular⎯completely alter our relationship with everydayness, and it can be seen like a sort of attempt to define the practical possibilities for a “neo neo realism” that must come to terms with a total redefining⎯under the influence of Internet⎯of the very notion of reality itself.
In following this idea, the architecture (which always plays a fundamental role in the work of Benassi) seems transformed into a system of presentation and display, thinned out to the two-dimensional reality of a TV screen. Thus the interventions conceived for the spaces at Marsèlleria⎯visual, objectual, spatial, and sonorous⎯may be seen as a method of reactivating the architecture itself. The films⎯lasting about 15 minutes each⎯are called “Attachments” because they all stem from the introductory video, Techno Casa an introduction to, https://vimeo.com/65541365.
Each Attachment of Techno Casa is a black and white film shot with a smartphone upon which a “news television” red band hosts a story, questioned at times by some surprising color animations in animation graphics and 3D.
The first five Attachments were produced by Xing for the second edition of Live Arts Week (Bologna, April 16 – 21, 2013) and presented at MAMbo – Museo d’Arte Moderna in Bologna http://www.liveartsweek.it/eng/riccardo-benassi.
The remaining five Attachments were produced by the Gallerie d’Arte Moderna e Contemporanea of Ferrara for Art Fall 13 (October 4 – 6, 2013, Videoteca Vigor del Comune di Ferrara), curated by Maria Luisa Pacelli http://artemoderna.comune.fe.it/1906/techno-casa.
Thus Filipa Ramos describes Riccardo Benassi’s work: “Riccardo Benassi has a dangerous mind. The encounter with his lucid eyes and endless flux of thoughts, transmitted through his projects and works, offers the risk of forever conditioning our form of seeing and relating to the world around us. A philosopher of the present, he helps the world by revealing mystic truths (to stay with Bruce Nauman), which appear as clear as water once he enounced them and shared them with the others. Benassi’s works are the result of an articulated assemblage of images, sounds, colors, texts, design objects, and diverse materials, which are put together to generate large-scale installations, videos, performances, artist’s books, and sculptural elements in which the visual part is one of the many elements that compose the final result. This combination of material and immaterial substances places him in the threshold between a spatial practitioner, a researcher, a theoretician, and an experimental musician. Frequently collaborating with others, Benassi is one of the most interesting agitators of the European underground experimental music scene, and since 2004 he is, together with musician Valerio Tricoli, the creator and promoter of the project Phonorama, a collaborative live electronics project. In 2006 he founded, together with Claudio Rocchetti, the audio-visual duo OLYVETTY.”