Tuesday, March 13, 2018

Milano – Palazzo Reale: Italiana: Italy Through the Lens of Fashion, 1971–2001 – Exhibition

Milano Milano – Palazzo Reale
Italiana: Italy Through the Lens of Fashion, 1971–2001

At Palazzo Reale, until May 6, Italiana: Italy through the lens of fashion 1971-2001 is a project in the form of an exhibition and a book published by Marsilio, conceived and curated by Maria Luisa Frisa and Stefano Tonchi. Italiana celebrates the Italian fashion system over the seminal three decades in which it cemented relations and exchanges between the members of a generation of designers, industrialists, artists, architects and intellectuals that defined Italy’s image in the world and put it on the map of international culture.
Gucci – Tom Ford – 1996-1997
pinstripe and red velvet -  his and hers trouser suits
L’Uomo Vogue -  “ Unilook - Lui e Lei alla Stessa Maniera”
photograhs - Oliveiro Toscani – December 1971

“This exhibition recounts the evolution not just of fashion but also of Italian society over the period from 1971 to 2001.”
Domenico Piraina - Director of Palazzo Reale
Curators Stefano Tonchi and Maria Luisa Frisa, Carlo Capasa Domenico Piraina
Photograph by Francesco De Luca – courtesy Karla Otto Milan

Diorama Room
A diorama reconstructs a Wunderkammer, exalting and celebrating the virtuoso and perilous relations between objects of fashion and objects of design. It evokes the eclectic and metaphysical landscapes-often the result of the visionary imagination of Occhiomagico and Studio Alchimia, which inhabited the covers and pages of Domus and Domus Moda, the supplement launched by Alessandro Mendini in 1981 to introduce fashion into the debate over the Italian culture of design.

Cinzia Ruggeri – dress with leds – 1982
Gaetano Pesce – Dalilatre for Cassina
 Ettore Sottsass – Ultrafragola for Poltronova 1970-2018
Krizia – pleated jumpsuit – 1981-1982 
Archizoom Associati – Mies-Poltrona for Poltronova -1970-2018
Pietro Chiesa – Luminator for Fontana Arte


Gianfranco Ferre – Fall/Winter 1988-1989
Bo-Bo Kaminsky (stilisti David Mantej and Evelina Barilli) – Fall/Winter 1984-1985
Gianni Versace – Spring/Summer 1992

Italiana is an adjective, used here as a noun to indicate the complex set of traits, styles and atmospheres that define Italian culture in all its forms and expressions. The subtitle Italy through the Lens of Fashion—which in Italian, L’Italia vista dalla moda (literally “Italy as Seen from Fashion”), evokes “The Earth as Seen from the Moon,” Pier Paolo Pasolini’s episode of the film The Witches (1967) which presents fashion as the point of view privileged by the narration and the asserts and the need to take a new critical approach.

Photograph courtesy Karla Otto Milan

 Pierpaolo Piccioli and Donatella Versace

Gulp – 1978 c. – Walter Albini -1981
Giorgio Armani - Fall/Winter 1991-1992 
Missoni – Fall/Winter 1991- 1992

The year 1971 symbolically marks the break with high fashion and the beginning of the period of Italian ready-to-wear: it was the year in which Walter Albini chose Milan for the first show of the line that bore his name, the so-called “unified collection.” And it was the year in which the women’s liberation movement emerged in Italy. The date 2001 is one of emblematic closure — the following year, after making its debut on financial markets in 1999, the Euro would enter into circulation.

 Photograph courtesy Karla Otto Milan

Oliviero Toscani and Rosita Missoni


Francesco Vezzoli  - Self-Portrait with Vera Lehndorff as Veruschka and Gianpaolo Barbieri – 2001

 Photograph courtesy Karla Otto Milan

Francesco Vezzoli, Miuccia Prada and Stefano Tonchi

Giorgio Armani – Fall/Winter – 1993-1994
Gianni Versace – Spring/Summer - 1982
Giorgio Armani - Fall/Winter – 1986-1987

 Photograph courtesy Karla Otto Milan

“Mine is not a mannish woman. She is simply a woman who has adopted the intelligent and functional formulas of male attire. Not because she wants to look like a man, but because at eight o’clock in the morning, with an hour to get dressed and washed, it’s nice to know that with a jacket, a shirt and a pair of pants the problem is solved.”
Giorgio Armani – 1980

Photograph by Francesco De Luca – courtesy Karla Otto Milan

 Project Room

The surface of the industrial workbench is turned into a showcase to focus attention on fashion as a designed object. The horizontality of the bench is mirrored in the vertical display cabinets on the walls: the more experimental items of knitwear and clothing are laid out flat to emphasize the qualities of their construction and their graphic designs. From the avant-garde experiences of Archizoom Associati's dressing design and the experimental research of Nanni Strada to the decorative tours-de-force of innovative knitwear, represented by examples of excellence like Pour Toi, Missoni, Krizia and Fuzzi. The unprecedented juxtaposition of these items forms a landscape that reveals a still little-known quality of Italian fashion design. 

 Photograph courtesy Karla Otto Milan

Dean Caten, Neil Barrett and Dan Caten

Enrico Coveri – Spring/Summer – 1985
 Alighiero Boetti Tutto – embroidered wall art - 1992-1994

Versace (creative director Donatella Versace)
Fall/Winter 2000-2001
Gucci  (creative director Tom Ford) – Spring/Summer – 1999

Photograph courtesy Karla Otto Milan

Jean Paul Gaultier

Etro – Spring/Summer – 1995
Salvatore Ferragamo - Spring/Summer – 1999
Gianni Versace – Spring/Summer 1993
Pucci – Spring/Summer 1992
Versace (creative director Donatella Versace) – Spring/Summer 2000
Valentino – 1972
Maurizio Cattelan – Il Bel Paese – carpet - 1994

Photograph courtesy Karla Otto Milan

Laudomia Pucci

Fendi – Zucca handbag and suitcases (belonging to Sophia Loren) 1970s
Gianfranco Ferre – Fall/Winter – 1993-1994

Gianfranco Ferre – Fall/Winter – 1992-1993
Krizia - Fall/Winter – 1981-1982

Franco Moschino – 1992
Giulio Paolini – Casa di Lucrezio – sculpture - 1981
Franco Moschino – Spring/Summer 1993

Giovanni Gastel

Giorgio Armani – Fall/Winter 1981-1982
Romeo Gigli – Fall/Winter- 1989-1990

Dolce e Gabbana – Spring/Summer 1992
Gianfranco Ferre – Fall/Winter – 1987-1988

Fiorucci – 1970s




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Tuesday, February 27, 2018

#MFW - Arthur Arbesser - Fall/Winter 2018/2019 Collection – Backstage – Friends

Ex-Casa dell'Opera Nazionale Balilla
Arthur Arbesser - Fall/Winter 2018/2019 – Backstage  - Friends
“Simplicity lies not in omission, but in synthesis”
Koloman Moser
In the dilapidated, stark empty spaces of the Ex-Casa dell’Opera Nazionale Balilla, former social center and theater, built in the 1930s by architect Mario Ceregnini of the Movimento Italiano Architettura Razionale, Arthur Arbesser presented his Fall/Winter 2018/2019 collection.

Arthur Arbesser
For Autumn/Winter 2018/19, Arthur Arbesser revisits his origins in a more mature way, looking in particular at the work of Koloman Moser, painter and designer among the founders of the Viennese Modernism, on it’s 100th anniversary. Clothes become a pretext to emphasize a timeless vision, free from the passing of trends and seasons, and inspired by the philosophy of Moser, with his will to follow and close the circle of everyday life in all its aesthetic aspects. The references are diverse - wooden inlays, blown glass, ceramic vases, carpets or metal stairs: in this way knitwear becomes a rich tapestry, dresses turn into inlaid surfaces and shirts into iridescent pieces of furniture.

Arthur Arbesser - Fall/Winter 2018/2019
Stripes #2

Stripes by now, one of the hallmarks of the brand, are proposed in different variations and techniques.

Arthur Arbesser - Fall/Winter 2018/2019
Stripes #3
The most precious stripes - a pattern designed by Moser in 1902 and retrieved from the archive of the historic Viennese Backhausen fabric mill - is reproduced in a contemporary key through a wool and silk jacquard - developed in shades of tobacco and black, red and gray.

Arthur Arbesser - Fall/Winter 2018/2019
Stripes #4

Mariuccia Casadio

 Elisa Nalin, Margherita Maccapani Missoni and Candela Pelizza

Arthur Arbesser - Fall/Winter 2018/2019
Stripes #4

Andrej and Laura Jelic

Annamaria Sbisa and Stephan Janson

The Make-Up - Francelle Daly
M-A-C Pro Team
Vienna Arts – Architectural  - Pop of Color
Cordula Reyer and Francelle Daly

Make-Up – Earrings

The earrings, made for this collection are designed by Milan based friend and jewelry designer Nathalie Jean in bronze and hand-cut green quartz, which recall geometric patterns and architectural details of the Viennese Modernism.

Nathalie Jean

Arthur Arbesser - Fall/Winter 2018/2019

With this collection Arbesser searches for new ways to read the female frame. Volumes embrace the hips and gently follow the lines of the body, creating new movements. His eye is no longer directed towards young debutants, but is instead looking at women who are conscious of their physicality – who are mature, strong and nonchalant.

Arianna Lupini, Luca Cannonieri and Silvia Negri Firman

Anna Riva

Clara Tosi Pamphili and Alessio de Navasques

 Luca Cipilletti

Hair – Mari Ohashi
Toni and Guy Artistic Team
Structural – Architectural – Elegant – Effortless

Arthur Arbesser - Fall/Winter 2018/2019

Fabrics are re-read in a more conscious way. Cotton is used for dresses and shirts with intricate slits; printed viscose at times clings to the body or instead flows generously around it until it meets with warm Loden or thick waxed nylon; they are all “real” fabrics, which refer to a more grown up and thoughtful dimension.

Lilly Wittgenstein

Marco Sammicheli, Maria Cristina Didero and Flavio Del Monte

Arthur Arbesser - Fall/Winter 2018/2019

In addition to the different types of stripes the collection features a series of original prints: bucolic scenes inhabited by lively animals, monkeys, ostriches and camels are depicted as an abstract bestiary. Flowers no longer appear sweet and romantic, but rather become solid and material, brave and bright, as flashes of color illuminating black and white skies.

 Arthur Arbesser - Fall/Winter 2018/2019

Suzy Menkes

  Chiara Robiony and Victoria Hyde

Gianluca Longo

Arthur Arbesser - Fall/Winter 2018/2019

Arthur Arbesser’s intention is to dialogue with women who are determined, rigorous, cultured and modern. The codes of the brand are reinforced and the aesthetics are reinvigorated with new elements, which create a continuous mix of clean and essential, but also eccentric and sensuous lines.

Arthur Arbesser - Fall/Winter 2018/2019
More stripes #5

Arthur Arbesser - Fall/Winter 2018/2019
The Boots

The shoes and boots are realized thanks to  
Tuscan Manufacturer Fabio Rusconi

Deanna Ferretti and Simmonetta Gianfelici

Marie Magritte

Arthur Arbesser and Crew


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