Nuances

dress JIL SANDER, shoes NODALETO

top & skirt JIL SANDER

top & skirt AERON

dress REBECCA VALLANCE, shoes NODALETO

(left) top & skirt JIL SANDER, boots BALENCIAGA  (right) blouse FILIPPA K

(left) top & skirt AERON  (right) dress stylist’s own, boots SAINT LAURENT


Photographer: Nina Raasch (@ninaraasch) ninaraasch.com

Stylist: Saskia Jung (@saskiajung_) saskiajung.com

HMUA: Ana Buvinic (@ana.buvinicanabuvinic.com

Model: Adau (@adaugarangbior)


La Donna

crochet top CUOREMIODV6, skirt vintage DOLCE & GABBANA, gloves vintage YOHJI YAMAMOTO

body & balaclava AGUA, skirt & tights stylist’s archive, boots vintage EMANUEL UNGARO

(right) long sleeve t-shirt RICK OWENS, accessories stylist’s own

(right) tank top CUOREMIODV6, boxer, socks & sandals stylist’s archive

(left) dress AGUA, bodysuit stylist’s archive, sandals FORBITCHES

(left) dress AGUA, sandals stylist’s archive


Photography: Irene Villarroya (@villarroyairene)

Creative & Art Direction: Noemi Tombeur (@latombs)

Styling: Lorenzo Bondani (@lll012793)

Casting: Teresa Salvatrice Martelli (@teresasalvatrice)

Models: Andriana (@andriana_lunik), Francesca (@fran1_7cesca), Marwa (@justsaymarwa)


Marcin

shirt BOTTEGA VENETA

jumper JW ANDERSON, underwear DOLCE & GABBANA, necklace CASABLANCA

shorts DSQUARED2, belt GOLDEN GOOSE

belt SAINT LAURENT, socks JACQUEMUS, boots MARSÈLL

shorts HALFBOY, socks JACQUEMUS

vest WALES BONNER

vest WALES BONNER, jacket BALENCIAGA, jeans MM6 MAISON MARGIELA, scarf KENZO, ring BOTTEGA VENETA, belt GUCCI

hat NICK FOUQUET, jewelry BLUMARINE, jewelry FORTE FORTE, socks JACQUEMUS, boots MARSÈLL

body JACQUEMUS

socks JACQUEMUS, boots CHLOÉ

jumper DSQUARED2, jeans BOTTEGA VENETA, underwear DOLCE & GABBANA, boots VTMNTS

pendant JW ANDERSON

mask 44 LABEL GROUP

top & shirt DSQUARED2, belt GOLEDEN GOOSE

cigarette case VETEMENTS

tank top DSQUARED2, jewelry VERSACE

necklace MAISON MARGIELA, jewelry VERSACE

necklace BALENCIAGA


Photography & Art Direction: Greg Mikrut (@gregmikrut)

Videography & Fashion: Serafin Zieliński (@serafinzielinski)

Model: Marcin Smorawiński (@smorekx) @Rebel Models (@rebel_models)

Special thanks to Krystyna Dobrzańska & VITKAC


Gilded Glow


Photographer: Freddy Persson (@studiofreddypersson)

Casting Director: Louis Labrosse (@lovis.lab)

Make-up Artist: Eloïse Bourges (@eloisebourges_) using Violette

Model: Chuol Tut (@chuol_kong)


Ca'del Bosco Sculpture Award

Ca'del Bosco Sculpture Award

The FInest Combination Between Art and Wine

Located between the southern end of Lago d’Iseo and Brescia, Franciacorta is a hilly region famous for its eponymous sparkling wine. The high-quality sparkling wine shares the same production method as champaign, and has a very strict regulations on the definition of this world class sparking wine.

 

Born in the Franciacorta region, Ca’del Bosco is one of the most recognizable wineries producing Franciacorta sparkling wine. Listening to the reality and complexity of Nature, Ca’del Bosco believes in the protection of organic viticulture and invests in innovation, research and technology, integrating their knowledge in wine production with the potential of the earth. Their products include the finest Franciacorta sparkling wine, white wine and red wine. The pursuit of quality is in Ca’del Bosco’s identity, and the enhancement of art and culture is their belief.

Sharing a similar pursue of preserving the excellence, Ca’del Bosco teamed up with Venetian Heritage — international non-profit organization that safeguards and preserves the legacy the Republic of Venice’s artistic beauties — for the organization of the first edition of “Ca’del Bosco Sculpture Award”. It’s the first competition in Italy reserved for large outdoor sculptures made by artists under 40 years old. With the motto of “Restoring the past, building the future”, Ca’del Bosco wished to strengthen the bond that exists between the art and the company’s philosophy, and to sponsor infinite capability and imagination of the new artistic generation.

 

The competition is divided into several stages: between 21 May 2023 and 15 June 2023, the competition jury will select the artist to be invited to the competition; in May 2024 (estimated), the first three classified will be awarded; and finally in October 2024 (estimated), the winning work will be inaugurated. The winning works will be placed in the Art and Wine Gallery in Ca’del Bosco’s vineyards in Erbusco, and will become the property of Ca’ del Bosco.

 

In celebration of the opening and the introduction of the competition, Ca’del Bosco and Venetian Heritage invited a parterre of selected guests to Venice for a series of events full of art and culture. The guests indulged themselves in an anthem concert performed by a catholic choir inside the Basilica di San Marco. Thanks to the fund that Venetian Heritage raised, the historic monument Ambone dell’Epistola of the Basilica di San Marco was newly restored. The celebration ensued with a convivial dinner hosting under the moonlight of Venice, in the city’s first official casino Antico Ridotto della Serenissima. Ca’del Bosco unveiled the Sculpture Award in this gorgeously ornate banquet room, toasting for their achievements in art and culture with the finest wine.


Text: Yves Tsou


Terraforma 2023 - Recreating an Organic Music Society

Terraforma Festival is back to Villa Arconati, the beautiful and majestic mansion located on the outskirts of Milan, for its eighth edition! Held from the 9 to 11 June, 2023, the famous international music festival is dedicated to artistic experimentation and environmental sustainability. This year, Terraforma will be focusing on incubating its community by lowering its capacity and elaborating on the non-club music portion of the program. Suitably, this year’s edition is inspired by Organic Music Society, placing the spotlight on the legendary Don and Moki Cherry whose visionary and collaborative experiments in the art of living were able to reimagine utopia.

 

To visualize the idea, Terraforma collaborates with Salottobuono, reinterpreting the Dome that Swedish designer Bengt Carling has created for Don and Moki Cherry’s “Utopias & Visions” exhibition back in 1971. Curious about the story behind this project, CAP 74024 shared a lovely conversation on this unique architectural project with the founder of Salottobuono, Matteo Ghidoni.

Inside Bucky Dome 2012 © Salottobuono

Perhaps you’d like to start by telling us a little bit about the project?

Yes, of course. It’s a very special project in the sense that it’s quite different from our usual procedure. In fact, it’s based on a project that was already completed in the 70s by the Swedish designer Bengt Carling that he created for the Don and Moki Cherry’s ‘Utopias & Visions’ exhibition at Moderna Museet, Stockholm in 1971. The idea I proposed to Terraforma is a sort of archaeological investigation of that project, which was documented but not entirely. I tried to reconstruct the project by carefully emphasizing all the measures and elements. Then I added a few new little elements myself in order to make a new version while being slightly different from the original one. This project is a Dome, a geodesic Dome. It’s based on a very precise geometry construction derived from an icosahedron volume.

 

What are the new elements that you are adding to the project?

The new elements are basically linked to the way this Dome touches the ground. Instead of having a platform, we attached the main structure – which is made of wood and few nodes – with a concrete bollard called “Panettone”. It’s a typical Milanese design which are commonly used in the streets to limit the traffic. Since the original project was built indoors, the outdoor reconstruction we are doing now is additionally subjected to the wind, the sun and other external factors. These “Panettone” really help on the fixture of the cupola. By doing so, the Dome slightly touches the ground, and makes the cupola looks like it is floating elegantly in the air. Also, since the original project was done in Sweden in the 70s, we have to fix some elements to make the structure fit to the regulations and rules we have in Italy nowadays.

The geodesic dome for Terraforma will be as the home its exhibitions, lectures and workshops, what did you considered when you were designing the Dome?

We considered mainly the size of it, because it has to accommodate quite a lot of people. Another thing we considered is the possibility to hang artworks and other service structure. We have to consider that in June, the weather will be quite warm. Hence, the Dome will be a place providing shade and a cooler environment for the festivalgoers. For this reason, the air circulation is essential. In fact, with the way the Dome hovers over the ground, the air can circulate freely and create a refreshing atmosphere inside the Dome. We want to make it a landmark of the festival.

 

So how big is the Dome?

The Dome is 12 meters in diameter with a height of 6 meters. According to the fire safety regulations, it can accommodate up to 70 to 80 people.

 

Could you tell us how does the collaboration began between Salottobuono and Terraforma? And whose idea was it to reinterpret the dome?

It was actually Terraforma’s idea to rebuild the Dome. I proposed them to work with the students of Domus Academy in Milan at the preliminary stage of the project. We organized a short-term workshop where the students and Salottobuono had a chance to study and research little bit on the original project and came up with some ideas. Then we developed the project in our studio together with the original designer of the Dome – Bengt Carling.

 

How does it feel like to work with students in Domus Academy? Did they offer some useful input for the project?

Yes! Being a very short workshop, we worked intensively on several topics connected to Terraforma Festival, and one of them being the reinterpretation of the Dome. We managed to do the preliminary studies by collecting data and try to gain as much information as possible. It was not an easy task since the project was done in the 80s, and as the project developed, we found out that it became very technical; and the vision of design and elements were not possible to be addressed during the workshop. So, after the first phase brainstorming with the students, I worked with my studio on the development of the structure together with the original designer of the Dome – Bengt Carling.

Artwork in Bucky Dome 2012 © Salottobuono

Dome 1971 © Salottobuono

That’s a fantastic experience to work with Bengt Carling! How was it to work with the original designer together on the reinterpretation of the project?

It was fun! He’s really an energetic and funny guy. I think he’s 80 now. We had a good conversation and exchanged ideas. He then started to send off all the materials about the original project that are essential to the development of the project. Step by step, we collected them and put them into practice. I feel like he was trying to put himself into a condition of experimentation at that time. By reconstruction this Dome, we also feel like going through this experimental process. Thankfully, we were equipped with all the knowledge he generously shared with us.

 

Don and Moki Cherry had a vision back in the 70s when they organized the Organic Music Society. How did you translate this kind of feeling and energy that they wanted to represent in the recreation of their architectural project?

Well, this project is made of two parts: architecture and the music festival. I am controlling the architectural part. From my side, what I can do in order to generate this kind of energy is to make a structure that is as collective as possible that can be shared by many people and provide them with pleasurable environment. Then there is the another of the project, which involves music, art installation and the crowd. The chemistry between these two parts is the key to make everything work.

Have you ever envisioned how the festival goers will receive to and interact with the architectural structure?

Once the architectural project is complete, we kind of lose control of it. But since I will participate in the festival, I am eager to see what’s going to happen inside the Dome. I believe it all depends on the crowd and on how vibe they will vibe with it.

 

Where will the Dome be after the festival?

Well, the Dome is a temporary structure, but I think the intention of the organizers is to keep the structure and to rebuild it for the next edition of the Terraforma Festival. Since it will be taken down at the end of the festival, it is very important for us to design the structure to be easily assembled and dismantled. The thin wooden beams and fabric covers are also easy to store and do not take up too much spaces. We also provide them with an instruction manual to rebuild it easily, quickly and feasible for everyone. Since I received help and information from the designer of the original project, I would like to pass our knowledge and result down to the future festival organizers. Together, we keep legacy of Don and Moki Cherry, and the beautiful spirit of the Organic Music Society.

Bucky Dome 2012 © Salottobuono


Interview by Yves Tsou


The Silk Road Paris - Connecting Fashion Between the East and the West

The Silk Road Paris

Connecting Fashion Between the East and the West

The Silk Road Paris (hereinafter referred to as TSR Paris) is the first online marketplace in Europe dedicated to highlight South Asian and sustainable fashion designer. It was founded by two native Indians, Yamini and Soumil, who live and work in Paris. They gathered 5 brands (Bhavya Ramesh, Bodice, Jatin Malik, Kissa-goi, Papa Don’t Preach) from India on the platform, using their experience and knowledge in the European fashion industry to help them establishing a business in Europe. Today, CAP 74024 has the chance to speak to them on their journey to the creation of the platform, their perspective on sustainability and ethical design, as well as their ambition on bridging the Eastern fashion to the Western market.

 

So, what are the ideas behind the foundation of TSR Paris? Why do you guys want to integrate the resources and make this platform exclusive for the Southern Asian designers?

 

Soumil: Well, we started the plan around a year ago, we wanted to bring all the South Asian designers to mainland Europe because right now the fashion scene is not very diverse in South Asia, we don’t have a platform that that can emphasize the versatility of the designers that we have in South Asia. Hence, we wanted to promote them here in Europe since the cultural diversity is already existed in European society. Also, we wanted to change the outlook of how world sees South Asia. Right now, they see us more as manufacturers than designers. But in fact, South Asia has the ability and the intellect to create something that can be mixed of culture and be considered as design. So, we wanted to bring all the designers that we have in South Asia and promote the sustainable practices they do. At this point, it’s very important that the West is looking towards the East as a market perspective and also, it’s important for the Eastern designers to look towards the West to approach the designs and business opportunity. We wanted to create a platform that can give them this kind of boost and we can have a dialogue between East and West.

 

Normally, when people talk about the Silk Road, India and South Asian continent rarely come in their mind in the first place. Are you afraid that the naming of the platform might be a bit confusing?

 

Soumil: We are aware of that, but we want to focus more the ideology of Silk Road, which is the trade of goods between the East and the West in the past and use it as a reference of cultural exchange. Together, we create a modern Silk Road that bridge the fashion, design, are and culture between the two continents.

Over the past years, we’ve seen more and more Indian models walked down the runway, and aspiring Indian designers showcased their design in the fashion capitals. India is also forecasted to be the next big luxury market to grow in the next ten years. Do you think it will bring a positive impact to the current Indian fashion and luxury market?

 

Yamini: Yes. It’s nice to see Indian models and designers are coming forward and gain more visibility worldwide. But I still feel there are some diversities lacking in terms of design. We feel that there should be more Indian designers in the fashion industry. By creating this platform, we also want to show the world that South Asian designers does not only design Saris, they have all practices which have been used by other designers and we wanted to promote those techniques and culture in a global scale.

 

Soumil: Also, I think there is a possibility for Indian or South Asian designers to learn from the European market, which is already very mature. Right now, we don’t have this system back in India or other South Asian countries. Our main work is B2B in South Asia and B2C in Europe, so if we can have a platform like TSR Paris, we can share the knowledge we’ve learned in Europe and bring it back to South Asia.

Brands with strong cultural references could attract a specific group of clients, and might also be a hit when ethnic vibe is on trend. But as trends are often seasonal, the fever for them might die out soon. Do you think it will be a potential hamper hindering the growth of the platform?

 

Soumil: If you look at our platform, you can see that we are going towards the European audiences. We have a perspective of promoting diversity, but also, we want to relate to the people we are selling to. No matter what kind of viral trends are going on now, there’s always a general trend in the fashion industry. If those seasonal trends can mold themselves into the generalized trend, it can definitely last longer. To have those trends that actually become the core identity that people can relate is very important. The brands we represent have their core values and identities that can transcend culture. So, I don’t think the die out of a trend could be a hamper for the growth of our platform.

 

Yamini: Here in Europe, you have clear distinctions between the four seasons. Off-season excess inventory is an issue for major fashion brands, and it’s actually not very sustainable. In India, you don’t have seasons. Designers are creating garments that can last longer. They don’t want to carry extra inventory, and only create made-to-order or custom order. This is something so great and so major that we would like to promote. I believe that we have to learn from each other, and that’s why TSR Paris is going to be that bridge to convey this information.

 

Do you think the aesthetics, the strong visual and the distinctive cultural identities of these emerging Southern Asian brands on TSR Paris will be well-received by the mainstream fashion world in Europe?

 

Yamini: Yes, I we definitely feel that. I think that this is a very long-needed platform. The South Asian fashion platforms are very well-conveyed in the US, in Australia even in the UK, and I think it’s about time for Europe to have one too. Also, unlike any other South Asian fashion platforms, we are not selling saris or traditional garments but designer’s clothes. We really think that this platform is high-needed. The website is performing well and the feedback we received are positive. We started here in Paris, but the whole goal of TSR Paris is to take our culture to every part of Europe and then later to the UK, the Us, and so on. The goal of this global platform is like the Silk Road, connecting East and West. For now, we are taking South Asian designers to Europe, but our ultimate goal is to bring back nice European brands which are not well known in South Asia and introduce them to the market there.

How do you choose the brands on the TSR Paris?

 

Yamini: I started my career in Paris, so I literally have 0 connection back in India. I went to India last August and we got to meet some designers by contacting them on their Instagram. We proposed them our ideas and they were interested in entering the European market. That was how we get Papa Don’t Preach and Bodice, and the rest was just by the word of mouth.

 

Soumil: Our core values lie in the sustainability. I know it’s hard to define sustainability in fashion nowadays, but we are going towards to those ethical brands that believe in gender equality and pay fair wage. It’s community-driven, and that’s how we select our brands.

 

Yamini: Just as a supplementary note, the brands we have a lot of sustainable practices. Our brand Bodice use their old fabrics to create new garments; Kissa-goi has everything made by hand and use recycled cottons. Bhavya Ramesh is using only recycled silver to create her jewelry. Her jewelry is a bit imperfect, but this imperfection is environmental-friendly. In TSR Paris, you can buy from designers who are practicing such good ethics and help supporting local communities back in South Asia.

 

It seems like all of the five brands that you are representing currently are all from India. Do you plan to expand the roster to designers from other neighboring South Asian countries?

 

Soumil: Yeah, we are in contact with brands in different parts of South Asia like Sri Lanka, Bangladesh and Pakistan. India was an easy start for us since both Yamini and I are from India. Even in India, we struggled a bit in the beginning. Now we have the trust from the Indian designers, it would be much easier to scout brands in other parts of South Asia. It is also important to understand that for us, the platform is more than a fashion exchange. We don’t want to focus only on fashion designers, we want TSR Paris to represent the culture itself. We are seeking collaboration with different restaurants or artists from different South Asian countries in order to create a community value.

 

Yamini: We will have a pop-up event from June 7th to 11th of June, where we will be collaborating with a Sri Lankan restaurant for catering and also with artists. I work in fashion, and Soumil is an artist. We have lovely books, amazing artists, fascinating culture and excellent designers there. We want to bring them to Paris and introduce them as a creative community.

How would you describe the Indian and South Asian design? What are the keywords that come into your mind when you describe them to your European clients?

 

Yamini: For me, Indian and South Asian design are very detailed-oriented and time-consuming. Designers are exchanging time for the perfect piece. Every embroidery is stitch by hands, and every pleat takes hours to create. Also, the ancient weaving techniques is an essence in the Indian and South Asian design, and that can all be found in our designer’s fashion pieces.

 

Soumil: If you want to encapsulate it in 3 to 4 words, that would be color, culture, detail and intricacy.

 

Since both of you have worked in the fashion industry in Europe, how do you use your past experiences to help the brands on TSR Paris to raise their visibility in Europe?

 

Soumil: By living and working here in Paris for 8 years (and Yamini 7 years), we’ve been enrolled in fashion industry from the ground up. We know the people here and we can definitely help these brands to gain visibility. These brands might have some visibilities already in some English-speaking countries, but they are still unknown to the mainland European countries. It is due to the language and cultural barriers, and we are the bridge that cross through these barriers.

 

Yamini: I worked with some brands we represent on their pricing, consulting, communication and so on. Their look can also be worn by European influencers and celebrities, this will definitely help them gain more visibility.

 

Visit tsrparis.com for more information on the sustainable fashion brands TSR Paris represents.


Interview by Yves Tsou.


Into the Dries' Garden

Into the Dries' Garden

Dries Van Noten's Beauty Collection makes its first presence in Italy

Decades after the foundation of his eponymous fashion house, avant-garde Belgian designer Dries van Noten launched a Beauty Collection in March 2022.

 

One year after its global debut, the Dries Van Noten Beauty Collection inaugurates its presence on the Italian market. Landing in a corner at Rinascente department store in Rome Via Del Tritone, Dries Van Noten utilizes this space to disclose the secrets behind the creation of its Beauty Collection.

 

In celebration of the opening in Rome, Dries Van Noten turned the terrace of Rinascente into a lush garden, inviting guests to discover the beauty of its Beauty Collection through enchanting stories and enticing scents.

To concoct the most distinctive and appealing fragrance, Dries Van Noten invited 11 perfume noses to his beautiful garden in Antwerp for an inspirational tour. The fragrance experts scented the aroma of exotic flowers and endemic leaves in the Dries’ Garden and developed 10 signature fragrances that best suit the brand’s classic, elegant yet innovative image. The characteristics of different scents collide and collude, transforming into 10 exquisite perfumes that are suitable to wear under different moods, on different occasions and in front of different people – from spring to winter, and from day to night.

 

The package of the fragrances is also worthy of mention. Inspired by Dries Van Noten’s use of innovative prints, bold colors and exotic references, the package juxtaposes two different elements to create eye-catching visual impact. Just as the name of the collection, they are simple “impossible combinations”.

 

To wrap up the whole experience, the brand invites the guests to take a look at their make-up collection and beauty accessories. They are the perfect products to complete your look. The bald and dashing colors of the lipsticks will definitely make you the center of the topic! And don’t forget to always wear a silk foulard around your neck when you use the Dries Van Noten fragrance—as it will help the aroma to stay longer!


Text: Yves Tsou


Nary a Sigh

Photography: Junior Angeloti (@juniorangelotifoto)
Model: Gabriel Valentim (@gabrielvalentim)


Don't Forget the Box

(left) bra & necklace PAULA NADAL, trousers ACNE STUDIOS, shoes BALENCIAGA  (right) bag & shoes BALENCIAGA

(left) jacket ANN DEMEULEMEESTER, top CALVIN KLEIN 205W39NYC, shorts CHRISTIAN DIOR, shoes SAINT LAURENT  (right) boots CELINE

(left) jacket DRIES VAN NOTEN, shorts ANN DEMEULEMEESTER, shoes SAINT LAURENT  (right) jacket SAINT LAURENT, trousers & heels CELINE

(left) top CALVIN KLEIN 205W39NYC, shorts CHRISTIAN DIOR, shoes SAINT LAURENT

(right) swimsuit ISABEL MARANT

(left) blouse & bag BALENCIAGA


Photographer: Jonas Bresnan (@jonasbresnan)

Stylist: Sandra Sole (@sandrarayso)

Assistant: Carlota Rodrigues

Model: Marina Ontanaya (@guindideguindilla)

Special thanks to afterlifemode.com