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 tell the enchanting story 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 suit the brand’s classic, elegant yet innovative image. The characteristics of different scents clashes and merges. From spring to winter, from day to night, the 10 different perfumes are suitable to wear under different moods, on different occasions and in front of different people.

 

The package of the fragrances is also worthy of mention. Inspired by Dries Van Noten’s use of innovative prints, bold colors and exotic elements, the package juxtaposes two different vibes 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


The New Briko Detector: Reinterpreting a Classic

The New Briko Detector

Reinterpreting a Classic

Angera, May 10th 2023. It was a gloomy Wednesday, with the last weekend’s heat gone, the lakeside of Lago Maggiore returned to its early spring chills. But it didn’t dampen the enthusiasm of a group of fashion and sport journalists, who, thanks to the warm welcome of Briko, were eager to explore the brand’s eyewear production hub.

 

To celebrate the launch of the new Detector sports eyewear, the top-notch Italian ski and cycling technical clothing brand invited press from different fields to join the trip, discovering the process of their eyewear production. The new Detector sports eyewear is a reinterpretation of the famous model that won the Compasso d’Oro – the most recognizable industry design award – in 1991.

Founded in a town on the shores of Lago Maggiore in 1985, Briko if famous for its top-notch sports gear and high-performance apparel. Originally the producer of ski waxes for Italian ski team, founder Alberto Brignone soon decided to diversify its production by starting the production lines in glasses, helmets and ski clothing.

 

The new Detector is unisex, versatile and transversal eyewear, it keeps the most iconic silhouette of Briko, but with a design renewed in colors and materials. Without neglecting the technical characteristics that have distinguished the brand for over thirty years, the reinvention of Decector is perfect for use in various sports activities such as cycling, skiing and running, but also for the city and leisure time. Thanks to its high-end technical construction and innovative lens technology, Detector proves to be a winning accessory for all sportsmen who want to give their all.

 

The flexible and light silhouette of Detector, loved by sportsmen who do not intend to compromise in terms of functionality, comfort and protection, offers perfect adherence to the face, guaranteeing clear vision without distortions during physical activity.

 

The new Detector is available in three colors: Gray Shuttle with black lenses, Black Dune and Multi Pink Turquoise Gradient, both with mirrored blue lenses.

 

The new Detector sports eyewear is on sale from 20 March 2023 at the best sports shops and online at briko.com .


Text: Yves Tsou


The Mercer

The Mercer hotel is not just a place to stay, it is an experience that flings you in the heart of SoHo’s vibrant culture. As soon as you step inside its lobby, you’re greeted by a welcoming atmosphere that exudes style and sophistication.

Its aesthetic is a perfect blend of old and new styles that features exposed brick walls, cast-iron columns and soaring ceilings, all paired with sleek, contemporary furnishings and artworks. The hotel boasts seventyfour luxurious rooms, each one uniquely designed by Christian Liaigre to create a refined as well as comfortable atmosphere.

The lobby is a masterpiece of modern design, spotlighting a dramatic black and white color scheme which creates a bold yet timeless aesthetic. The space is bathed in natural light, producing a warm and inviting ambiance that leads you to linger and take in the surroundings.

As you make your way to your room, every aspect has been meticulously thought out to achieve a flawless integration of opulence and coziness. Rooms are generous and luminous, provided with large windows that offer a glimpse into the lively cultural scene of the neighborhood.

But it’s not just the physical space that makes SoHo’s first hotel so special. This place has a certain energy that’s hard to describe – a feeling that you’re part of something bigger than yourself. Perhaps it’s the sense of history that permeates the building, or the knowledge that so many legendary figures have passed through its doors… It’s no wonder that The Mercer has become a favorite spot among celebrities and discerning travelers alike. It’s been rumored infact, that Marc Jacobs, Leonardo DiCaprio and Johnny Depp are among the A-listers who have stayed at the hotel.

Of course, The Mercer it’s also a hub for creativity and innovation. The lodge has played host to countless events, from fashion shows to film premieres, and it’s a favorite among artists, writers and musicians. The creative energy is palpable.

A destination where history and modernity intersect, where luxury and comfort are seamlessly blended, and where artistry and inspiration are celebrated. Whether you’re visiting New York for the first time or you’re a seasoned traveler, you’ll be surprised how time can stand still in there.
The Mercer, that’s it.

Text: Daniele Tancredi

Photo Courtesy of The Mercer, visit website for more information

Special thanks to Michel Heredia


Patou x Mytheresa: Very the Parisian Feel

Patou x Mytheresa: Very the Parisian Feel

The exclusive capsule collection elaborates the definition of “Parisian Chic” with intricate yet durable designs

“Elegance, beauty, fine arts and fantasy, in these four words you’ll find my collections.” said Jean Patou, founder of the century-old couture house Patou.

 

Formerly known as Maison Jean Patou, the eponymous fashion house was founded after the idea of liberating women from their restrictive and uncomfortable attire. Known as “the most elegant man in Europe”, designer Jean Patou lowered the necklines, removed the corsets, loosened the silhouettes and shortened the skirts, designing evening dresses with simplicity and chicness. The ambition of this visionary further launched a sports line designed to be worn in daily life. His idea was groundbreaking, and the reception is phenomenal.

 

Back at that time, the clientele of the fashion house spans from celebrities in Hollywood to the elite in Paris. However, it all ended after the sudden passing of Jean Patou in 1936. The brand lost its aura and went off from the fashion world’s radar. Though deceased at a relatively young age, the legacy Jean Patou has left were precious and meaningful. His accomplishment in womenswear design is highly recognizable, and the fashion house has long been regarded as a pioneer in the transformation of womenswear.

Knowing the backstory of the brand and admiring the achievement of Jean Patou, LVMH acquired the dormant fashion house in 2018 and rebranded it as Patou. The newly revived Patou appointed Guillaume Henry as the artistic director, bringing a breath of joyfulness and refinement to its elegant and fashionable brand DNA. Today, Patou embodies Parisian chic with a touch of glamour, a twist of modernity and a sense of humor.

 

After Guillaume Henry took the rein, Patou joins forces with brands and talents from different disciplines on special collaborations, and the latest being the collaboration between Patou and Mytheresa. Launched on May 5th 2023, the exclusive capsule collection is an intricate yet durable design that is made to be lived in. Simple, fresh yet elegant, it epitomizes that chic and confident French urban girl that everyone wants to be. Just like what Guillaume said, “I am thrilled to have had the opportunity to collaborate with Mytheresa on this capsule collection; it captures the essence of Paris, a city that has always been an inspiration at Patou. Whether you’re by the seaside or not, this collection will transport you there and make you feel like you’re on vacation every day of the week. I hope that people will enjoy wearing these pieces as much as we enjoyed creating them!”

 

The Patou x Mytheresa exclusive capsule collection is sold on mytheresa.com from May 5th, 2023 onwards.


Text: Yves Tsou


Contemporarily Timeless

Contemporarily Timeless

N°21 x Wolford Capsule Collection

Fashion is constantly evolving, and collaboration between brands is an impetus propelling it further as inspirations and perspectives from different creatives confront, collide and converge toward new possibilities. That’s how we perceive the latest collaboration between N°21 and Wolford. Led by the renowned designer Alessandro Dell’Acqua and world top-notch intimate apparel designer Nao Takekoshi, the collaboration encapsulates the imagination of human bodies, the attention to detail and the expert craftsmanship.

 

Seductive yet elegant, appealing yet regal; the fusion between N°21’s contemporary aesthetic and Wolford’s the timeless design can be seen throughout the whole collection. Jumpsuits, dresses and bodysuits embellished with lace motifs or contrasting asymmetrical cuts in biodegradable material not only refine the silhouette, but also infuse a hint of sexiness to the collection. The capsule also includes distinctive and arousing, yet subtle hosiery, bras and briefs. Extended selection of leggings, skirts and jumpsuits in soft and stretchable vegan leather perfect the collection with diversity.

The collaboration between N°21 and Wolford represents a step forward towards sustainable craftsmanship, with the use of biodegradable materials and attention to craftsmanship. The capsule collection is designed for all occasions. From office to evening events, it exudes a timeless elegance whenever you are at wherever you go.

 

N°21 is known for their chic and refined designs as well as his attention to femininity. Their ability of combining high quality textiles with modern silhouettes blends perfectly with Wolford’s commitment to innovation. The collaboration between the two brands focuses on the celebration of the beauty and power of women, pushing the boundaries of sustainable design and craftsmanship.

 

The N°21 x Wolford capsule collection is available at N°21 and Wolford boutiques, online at numeroventuno.com and wolfordshop.com, as well as in an exclusive network of multi-brand stores around the world.

Text: Daniele Tancredi


I Apologize for Being Such a Disappointment

David-Simon Dayan is an artist based in Los Angeles. His work has been published in several publications as well as exhibited in The Museum of Fine Arts Boston, The Little Black Gallery, The Brooklyn Film Festival, and New York City Independent Film Festival.

 

His visual and written work captures an intimate and poetic look into an avant-garde world with a distinctive visual style and tangible feeling of warmth with his subjects. CAP 74024 has the honor to invite actor Ben Aldridge, a close friend of David-Simon Dayan, for an intimate talk with him on his poetry composition, his inspiration, creativity and sentiment.

What spurred you to write your first poem? Is it something you’d still stand by? Is it in this chap book? 

“i’ve written you every day,” which is the first poem in this collection, came about after spending time with someone I really felt connected to. Someone I thought I had, or rather did have feelings for and am now discounting because they were unrequited. And I wanted to tell him, but was too nervous to, and I kept writing these messages and deleting them. And this was the start of my love for writing poetry as an adult. But I recently discovered an old notebook of mine in a dusty box that’s been in storage recently, which mostly consisted of doodles, but then found a few poems. Mostly half-baked, but there’s one I now remember so clearly writing. It contained a line about craving the taste of someone’s cigarette on their lips, and I was probably sixteen when I wrote it, and though it may sound a bit precocious, I stand by it wholeheartedly. 

 

That doesn’t sound precocious at all. That sounds exactly like the musings of a curious sixteen year old and good grounds for a poem. Could you share your process of writing a poem? Do you feel altered by the act of writing poetry?

When I write poetry, it’s always on my phone. I’ll have a consuming feeling that I can’t shake, and it’s a bit like a string. Or a frayed stitch that I have to find the end of and pull. Because it’s exposing a thought burrowed deep in my mind, and it’s getting tangled in there so I have to grab hold and yank it out. And it often feels fleeting, if I don’t pull over and begin to write that thought it’ll burrow further and I’ll lose it. And writing the stream of thought doesn’t necessarily mean I’m free of it, rather I can look at it, I can hold it and read it and hear it speak its existence and try to find some gratitude for it by harnessing its power, one that, moments earlier, was exclusively being used for self-destruction.

These poems are highly personal, at times almost shockingly intimate. Is this work purely autobiographical? 

I think I try to bottle intimacy up through my work, though that makes it sound more conscious than it is. The act of reliving intimate moments often dictates what I write—it’s cathartic really. Though I’ve written some that aren’t explicitly autobiographical, each of these are. Autobiography comes most naturally.

 

You predominantly work as a visual artist; a photographer, do you think and write visually too? For example so much of this work feels like it draws on very real experiences, are you transported to those moments visually whilst writing? 

Photography in its execution feels far from writing in certain ways, but when I write, I always have visuals playing in my head. Whether a memory or imagined scenes with another person. When taking a photograph, whether documentary or produced, I always experience a sort of premonition of the composition, even if it’s only a split second before capturing it, and the act is an exercise in achieving the image, bringing it to life. But both are vehicles to a moment. Which might include the feeling of sand under your feet, or the view of a cold, dark room, or the back of someone’s head as you drift asleep. Isn’t all art a vehicle in that way?

 

Making sense of a moment? Yes it is. You manage to hold both the sensory and the cerebral in these poems, is it hard to strike that balance? 

Thank you. And thank you for asking because I didn’t want to go on too much a moment ago, but yes. The sensation feels extremely loud. And it’s usually somewhere in my back, like being stuck in an uncomfortable chair. I struggle to pinpoint these sensations though. My feelings seem to coat my thoughts with no way to separate the two. 

There seems a real push and pull between the reality of how you think and feel and how you ‘should’ think and feel, or how you’d ‘like’ to, almost as though you’re painfully aware of the alternatives and always wrestling with them? Can you speak to that? 

Absolutely. I’m constantly judging myself. Holding myself to a different standard than I can achieve. I consider potential often. And failed potential. We’ve all experienced the pressures of performing in a way that satisfies others, family often. Who we are differing from who we should be, who we ought to be. And we internalize these ideas. And we form our own ideas, independently. I often wish I were different in too many ways to list. I wish I was someone else entirely, someone who acted differently, who looked differently, who was different in every way imaginable, and I find myself caught comparing my actual self to my ideal self, which is a game I always lose.

 

The title of this chapbook, and the last poem in it, is heart crushing. Tell me what disappointment means to you. 

Disappointment is everywhere. It’s a possible outcome of every interaction. I have ideas of how I hope things might go, of what I may have the opportunity to experience, and often those hopes are met with disappointment. In this poem, I was referring to a time when I thought I shared an idea of how a relationship would go, but then realized it wasn’t possible. And even though he wanted it, and I thought I did too, I couldn’t fulfill my duties in that role. And I knew he was disappointed in me, that I was a disappointment, and I agreed. Which speaks to your earlier question about the disparity between what I am and what I should be.

These poems seem brutally honest, some may say self punishing. How does it feel to be exposing these parts of yourself? 

It’d feel a lot better if someone else would punish me. And it does feel exposing. It definitely did when I first started sharing my poetry, because I felt so open to criticism. So ashamed of these thoughts I was now publicizing in some way. But I’d say now it feels freeing. And the messages I’ve gotten from friends and complete strangers are so meaningful they’ve often moved me to tears. And I’m not lost to the beauty in the power of writing. Poetry is a shortcut to understanding another person, a shortcut to empathy and connection. For thoughts and feelings that feel so shameful, the expression of them has this profound ability to paint them a color I didn’t expect, shaping them into a robust tool. 

 

‘Lost in the Sea’ moved me to tears. In it, you write “the day fades/as does my smile,/allocated to memory, a presence no longer,/of paths crossed,/key to door,/hand to lamp,/open,/click,/a room appears,/one i know well, /staring blankly back at me with no appease/a wave/then quick, a thought, snap out,/as many say, you are your only/so get to know him,/love him,/care for him,/but being alone is remarkably lonely” I felt as though I’d lived it. Tell us about what inspired you to write it.

“lost in the sea” is about letting the worries of reality go, experiencing joy free of the burdens that feel ever-present. How it feels light and freeing, but it’s fleeting, because even though you danced under the heat of the summer sun, and you kissed the skin of a person you met that day, and it might free you momentarily, you’ll still end up in your bedroom, alone, after the day’s dissipated, and you’ll find yourself staring at your wall wishing you could feel the way you felt about them toward yourself.

 

Ugh, yes. Amen. Despite the evident pain, these poems are also filled with love, almost romance. Would you agree? 

I wouldn’t say they’re love poems *laughs*. But to some extent, they are. What can I say? I’m a romantic. But sometimes romance isn’t easy. Expectations aren’t fulfilled. Timing isn’t right, or the characters fall short, but I do hope for romance.

 

Yes they feel very tethered to love, craving it, losing it, feeling it, cultivating it for yourself, or sometimes the evident lack of self love, that wrestle, love seems to drive them for me, as a reader. You began sharing your poetry on social media. How did it feel to make that first post?

I appreciate you saying that. I felt wildly nervous sharing my poetry for the first time. I felt like a fraud, which isn’t new, but poetry carries so much vulnerability. It’s a one way ticket to the inner workings of my heart and mind. And most of these poems are about feeling lesser than in some way or another. Feeling like an imposter or a loser. But I was pleasantly surprised at the way people reacted. It was unlike any reactions I’ve gotten to photography. I believe because it felt so much more personal, so much more human.


Poems from I Apologize for Being Such a Disappointment


Poetry of David-Simon Dayan

Interview by Ben Aldridge


The Rhythm of Valextra

The Rhythm of Valextra

The kinetic installation in collaboration with Isabel + Helen for Salone di Mobile 2023

As a largest trade fair for furniture design in the world, Salone del Mobile has always been the benchmark event for design and furnishing. After three years of hiatus, downsizing and rescheduling due to global health crisis, Salone del Mobile is finally back to its original schedule. As the scale also returns to normal, Salone del Mobile and the city of Milan is ready to welcome international visitors and design lovers to come back for this mega design fiesta.

 

Not only do design studios and furniture brands revel in this most acclaimed and anticipated global fair, fashion brands also love to surprise the publics and their clients with exceptional installation arts in collaboration with design firms and artists. As a pioneering Italian luxury leather goods brand born in Milan’s Piazza San Babila, Valextra will not miss the chance to be part of this design carnival. In this edition of Salone del Mobile, Valextra collaborates with London-based design duo Isabel + Helen on an installation The Rhythm of Valextra, rendering kinetic experience of our foundations in engineering beauty.

 

Throughout many decades of the its existence, Valextra’s identity has intertwined with the spirit of Milan. It is not surprising that the brand’s constant inspiration is the city look: from non-trivial architectural combinations and inimitable elegance, to the celebration of engineering beauty to conceive meaningful everyday objects of desire. With Isabel + Helen’s unique and precise vision, Valextra’s distinctive approach of combining function with beauty unfold in front of the viewers eyes. With the kinetic installation, Isabel + Helen tells the story of Valextra, exploring the mechanism and materials chasing simplification and transformation of complex ideas into readable and understandable meanings. Their love for analog design processes transforms Valextra’s perspective and methods into a dynamic exhibition. Successively on different levels from pattern making and technical tools to brushes for hand-painting the signature Costa black lacquered edging the installation symbioses spontaneity and sobriety.

 

The Rhythm of Valextra kinetic installation and multi-sensory experience is exhibited in Valextra’s Milan flagship store, on Via Manzoni 3, during Salone del Mobile 2023.


Text: Yves Tsou, Anna Kovaleva