Ruinart_Dom Pérignon_Moët & Chandon

Everyone knows that champagne is best enjoyed cold. However, in Italy many believe this great wine is reserved for only New Year’s Eve, rather than summer. A mere myth. So, here are six choices for spoiling oneself at aperitif hour, on a boat or perhaps, in the sun.


“For the fifth consecutive year we serve our Cuvée Ruinart on all the beaches of the White Summer Ruinart circuit,” says Senior Brand Manager, Andrea Pasqua, who met MANINTOWN during the opening week of the 57th Venice Biennale, where he is divided his time between the Woven Forms vernissage, Louis Vuitton Foundation dinner, and parties at Fondaco dei Tedeschi and Palazzina G. “We are the champagne of contemporary art,” he stresses, “and throughout the Biennale, we have a welcome service at the Venice airport and a Ruinart Bike Bar at Cipriani.” And just in time for the arrival of summer, “from the 21st to the 23rd of June, we open the hidden gem of the Redentore terrace at Gritti Palace, where, upon enrolment on our site,, guests will have access to a dinner tasting menu or an aperitif, paired with ‘cicchetti,’ the Venetian street food, reinterpreted in a gourmet version by starred Chef Daniele Turco of the Club del Doge restaurant.”


Want to drink champagne under a beach umbrella without letting it get too warm? There is a solution. Champagne on the rocks? Mais oui! Moet Ice Impérial breaks the taboo of tradition and inaugurates a new style, a true drinking experience combining ice cubes with the unexpectedly effervescent bubbly. “Moët Ice Impérial champagne has been been made into an art form, rendering its flavour even more intense and fruity and introducing a completely new way of drinking champagne, without letting it get diluted by ice,” explains Benoît Gouez, Chef de Cave of Moët & Chandon.


Inspired by a new and fresh vision of contemporary drink culture, Veuve Clicquot has worked with expert mixologists to create a whole new champagne: Veuve Clicquot RICH and Veuve Clicquot RICH ROSÉ, with a higher dosage for more sweetness and aroma. Highlighting the Maison’s savoir-faire in wine production, Veuve Clicquot’s Chef de Caves, Dominique Demarville, explains: “super in champagne is equivalent to spices in a recipe: if used properly they allow specific aromas to come out, playing with flavour variety.” In short, transforming it into the basis for a fresh cocktail.


Graphic Ice, the new cuvée by Nicolas Feuillatte, exalts the joy of summer living. It is served in a large glass with ice where its floral notes and sweet freshness unite with lime and pineapple. A new elegant and sophisticated cocktail for summer to be enjoyed both day and night, when even the bottle of its special packaging becomes truly luminescent.


Krug Grande Cuvée is created beyond the very notion of millennialism, building upon the various wines of several vintages. Each year, when preparing the composition, Eric Lebel, Chef de Caves of the Maison, is faced with around 400 different wines. Within every bottle of Krug Grande Cuvée there are over twenty years of passion and dedication. As Lebel explains, “when we taste the first wines that remind of of the grapes as they were in the vineyards, it’s as if a single violin is playing. Our concert begins. The work gains depth and breadth, as our musicians merge into a single, clear and elegant symphony, a new Krug Grande Cuvée”.


In July and August, on the shores and along the crystal-clear beaches of Sardinia, Dom Pérignon Yacht P2 Delivery will offer a special service for on-the-sea delivery of its precious bottles. The maxitender, designed and built by Capelli Shipyard on the Tempest 900 model, keeps the champagne on ice and delivers it at the correct temperature. An exclusive service suitable even for one of the brand’s historic clients, Marilyn Monroe, who Pérignon celebrates with an exhibition, Imperdibile Marilyn, at Rome’s Palazzo degli Esami until July 30th. Her preferred bottle? The 1953 Vintage, which faithfully accompanied the actress on the set of her films.

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Connecting and nostalgia – a conversation with Alexandre Matiussi

At the apogee of postmodernism, for the first time fashion was welcoming the public to create content together. Co-create, exactly. Today this modus operandi shows a further development: brands increasingly cooperate even with each other and generate a sort of hyper-brand, albeit for a limited amount of time, a holistic synthesis of two different identities more powerful than each of its parts taken separately. Vetements and Gosha Rubchinskiy are the most blatant examples. Joint venture and co-production: this is the operating protocol by now. In the years when sharing is the necessary premise to the existence of the experience, the same is true for the creative process. The choice mostly focuses on the sportswear and street style icons of the 90’s. Sometimes this procedure seems rather melancholic and it is curious that the designers most embracing it, as if they are trying to bring back a time gone by, are those belonging to the last generation who lived the final moments of the analogical era. This is what Alexandre Matiussi talks about. For the Fall/Winter AMI collection – the brand is the anagram of his initials and the last letter of his surname, but it also means “friend” in his native language – he worked jointly with Eastpak on three exclusive models now available in selected stores. He, who often when designing feels like cooking, says that nostalgia is the ingredient that the American brand has brought to his kitchen, while AMI contributed to the project with a sprinkling of retro pop.

How do you feel these kind of collaborations enrich your work?
As a designer, I think it is an interesting exercise to merge your aesthetic with another brand’s heritage in order to create a hybrid product that can really have a positive response from the market. It is not an easy process, as the outcome needs to remain true to both ethos. But it is a challenge, and of course something that tests you is always enriching.

How do you usually choose the ideal partner and how did the idea of this specific collaboration come up?
Choosing the ideal partner is always very natural: if I feel a positive energy and it makes sense from a product point of view, I know straight away it is going to work. Everything falls into place naturally. When the opportunity came up for Eastpak, there was no hesitation. This brand for me evokes a sense of nostalgia: I’ve always had an Eastpak backpack, ever since I was a boy – I even tried to dig up an old photo of me wearing my Eastpak as a boy at school, but unfortunately my mother seemed to favour photos of my face rather than my back. It is a shame! – and seeing it on the AMI catwalk is an evolution of that relationship, a sort of coming full circle.

You worked on few iconic Eastpak models. Why did you choose these three?
I like the versatility of these models. They can be worn by who is really into style, or who approaches fashion from a more practical point of view.

The backpack is deeply rooted with reality and the everyday life. What did fascinated you the most about this object?
It wasn’t so long ago that the backpack was still being mostly used as a school or as a sport accessory, while it really entered the fashion sphere only very recently. Thus, it is intriguing to develop a product during this process of ‘democratisation’. AMI is also a brand that is firmly rooted in reality: it is about real guys and what they want to wear. I find most of my inspiration in the streets, from what people are actually wearing. So it made sense to work on a product that is part of their everyday life.

How are you going to wear these specific ones and how do you imagine others to wear them?
I ride a scooter around Paris so they are perfect for that. The Oversized Banana model started out as an image piece but I think I’m going to use it everyday because it’s actually really practical. As for other people, I designed it so that they can find their own style with it. Either a guy in a suit, jeans or shorts could make it work. I also didn’t think of a specifically men’s collection – or with the distinction between men and women. I just designed something I liked and that I find cool.

Which is the most precious thing you are going to take away with you from this journey you embarked on with Eastpak?
Bringing the energy and ideas of two brands together is a very cool thing. Connecting, collaboration: this is the way forward.

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The Woolmark Company and Belgian designer Raf Simons reunited on Tuesday, 11th July in the heart of Chinatown underneath the Manhattan bridge in New York to present his Spring/Summer 2018 menswear collection. The alliance was born next winter after the development of the Autumn-Winter 2017 collection that went on the first of February during the New York Fashion Week. The Australian company along with the Belgian designer took off on the catwalk 50 menswear looks: distressed tailoring, wide-brimmed hats, wide trousers, oversized sweaters, glossy raincoats, knee-high galoshes, pouches in collaboration with Eastpak, trench coats (some emblazoned with Saville’s Joy Division album art), and more. All of the suiting and knitwear pieces were comprised of Merino Wool, which is a collaboration luxury wool authority The Woolmark Company. In addition to apparel, Simons also presented the new Adidas Detroit Runners and Adilette slides. Chinese lanterns printed with artwork produced by Peter Saville for New Order hung from the ceiling. Of course, there were also celebrities in attendance: ASAP Rocky, NBA champ Andre Iguodal, Julianne Moore, Jake Gyllenha, Ashton Sanders, and Marc Jacobs. During the show, models — both male and female — walked down the runway holding umbrellas. It was reminiscent of a scene from Blade Runner, where Harrison Ford’s character Deckard heads to Chinatown. There were also neon signs that spelled out the word “REPLICANT” a reference to the fictional biorobotic androids from the 1982 sci-fi film. “There are a lot of things that go back to my early days and why we started doing the things we did”, Simons said about the inspiration for the collection in an interview with Vogue. “So there was strong music references from the past, as you can see. But there are juxtapositions in a different way taken out of context, basically; it’s about movies, it’s about cultures sliding together – that’s the most important message for me – Asian culture and the culture of the west coming together. And you know there was a bit of new wave, punk attitude, but not aesthetically, more in the attitude like taking different kind of things… good vibes… I wanted it to be energetic.” The collection was born from The Woolmark Company and Raf Simons mutual admiration for the fiber with the objective of source and create a wool rich spring collection in unexpected fabrications. The intent for the wool’s global authority is to speed sportive côté up, the global advisor of The Woolmark Company, underlines Fabrizio Servente, who then declares to Pitti Uomo: «This fiber lives a golden age due to a number of factors, with big news from the point of product view. The revolution is taking place in sportive world, where the wool, previously replaced by technical fibers, became fashionable once again with incredible textiles, appreciated by young people too». The Woolmark logo is one of the world’s most recognized and respected brands and representing pioneering excellence and innovation from farm through to finished product. The Woolmark Company is a subsidiary of Australian Wool Innovation, a not-for-profit enterprise owned by more than 25,000 woolgrowers that invests in research, development and marketing along the worldwide supply chain for Australian wool. In the spring-summer 2018 Wool Lab, the book of tendences which was presented as usual by The Woolmark Company and results from the collaboration with the most accurate spinners and textile workers, contains two themes dedicated to the current of “Active” and “Athleisure”. The message Raf Simons wants to communicate is: pride in individuality.

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Y/Project. Glenn Martens

He has a systematic approach with no system. This is what seems to be behind the success of Y/Project, headed by Glenn Martens. The mastermind behind the label and LVMH Prize nominee took on the role of Creative Director of Y/Project in 2013, after the cofounder, Yohan Serfaty, passed away. Glenn also won the Grand Prize at the Andam Fashion Awards and got a mentorship from Francesca Bellettini, President and AD of Yves Saint Laurent. The brand has nevertheless grown from seasons to season and has solidified its place in what can be called the Parisian Renaissance, alongside Vetements and Jaquemus amongst the others, which is really shaking up the way we consider fashion by looking at streetwear and couture at the same time. Y/ Project epitomises a postmodern mash-up of romanticism, tailoring, and the iconic streets of the 90s. For the recent fall season, Glenn pumped up the volume with a maximal approach to silhouette, putting together a masterful duality of royal historical references and hip hop icons; the perfect image for Y/Project’s cult following.

Who is the man you design for?
For sure he’s an eclectic man with no age. There’s a streetwear vibe of course but also classical elements, conceptual structures and shapes, and a sort of transformability in our clothing. You can reverse jackets, zip or unzip pants in different ways; it empowers you to change the way you dress according to your mood. We are indeed all made of different people at one time.

How would you describe your approach to fashion?
There’s no specific rule, it just comes about by watching people in the streets around us. I like to observe how clothes affect your attitude when you wear them. So we take whatever references we want, regardless of eras or subcultures. This quirky mix of anything it is the only fil rouge, really; we do what we want and try to find some balance and convincing output along the way.

If you have to pick your trademarks what would they be?
We flirt with proportions, urban vibes, historical references and play with elongated silhouettes. I like to look at things in many different ways.

What makes Y/Project such a successful and praised brand?
I work on honesty; delivering honest and very straightforward collections. I don’t follow any paths other than just finding inspiration that I can turn into something that I love. Beauty in fashion can come about for no specific reason. I never look at what other brands do but I do like to be connected to our audience and understand what they think.

Your denim really stands out as beautifully provocative. Do you consider it a key element in the collections?
For sure we try to use it as one of the richest elements in the collections. It adds value and suggests a different use of proportions so can be treated as couture pieces. Other than that, I don’t like to focus on one segment of the collection. There’s also always, for example, a kind of pervasive tailoring involved with different garments using silk and jersey.

Photographer| Edoardo DeRuggiero
Stylist| Nicholas Galletti
Hair| Azumi Higaki
Make up| Constance Haond
Model| Rodrigue D @ M Management

How do you translate your passions to your designs?
Before studying at the Royal Academy of Fine Arts in Antwerp I had a degree in interior architecture, so design and structure are very much part of my background. I come from Bruges, a town known for its beautiful gothic architecture, so my memories also shape my aesthetics; the austerity, the elegance, the construction, the opulence. I also find Venice to be the most beautiful city in the world – a nevralgic epicentre for arts. I went to the opening of the Biennale in June. It’s a moment I never miss in order to develop ideas, though my ideas can also come from something like clubbing in Berlin or hiking in the nature. I recently really appreciated a trip to Scotland because I believe that direct contact with nature is essential for me; it keeps me grounded and sets my mind free.

What was the concept behind your last collection?
It was all about a sophisticated and versatile 90s vibe with a bit of nostalgia. I consider that era the best period to explore, so the collection referenced California and European royalty of the past with deconstructed fake furs, bomber jackets, parkas and jersey shirts. It was about these all enigmatic and intriguing characters – meets – the rap kings of the 90s. There were oversized fleece sweatshirts with extended shoulder lines with jeans laced at the back and front with gold chains. Also, oversized leather trenches cinched with lots of buckles, and pants with wired piping creating volume and texture that carried through the collection. I also looked at football knits and t-shirts, and scarves with Henry VIII & Anne Boleyn, Napoleon & Josephine, Louis XVI & Marie Antoinette, and a surrealist sculpture used as an ornament, referring to my alma mater, Antwerp.

What role does social media play in this business?
It’s reality and we need to embrace it completely. Social strategies can make fortunes for a brand in terms of both communications and sales. I also like the idea that I can use Instagram as a form of research by following people that I don’t know but who have something interesting to say.

Y/Project has a cult following. Can you explain why you think this is?
I feel very blessed that a lot of people are following us. We are a small, new brand. I took over the label in 2013 and since then we have grown, but not too much. I try to stay focus and intuitive, and feed my followers with an emotional approach. I’m not planning on making big collections for now.

Your work has often been described as: conceptual, couture, sexy and cool. If you can pick one definition for Y/Project, what would it be?
It blends many different things by challenging and celebrating diversity. It’s a melting pot of contrasting elements that somehow create harmony. And this is something that I really like.

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His powerful and mysterious appeal has conquered the audience in theatres and on TV, his clear eyes and his engaging pleasantness make him irresistible, while he sits down with MANINTOWN to tell us about himself. He is Lino Guanciale, a well-know character of Italian fiction, with a consolidated theatre career that started with Romeo and Juliet, directed by Gigi Proietti. Passionate about literature, but with a rock soul, the actor from Abruzzo loves grabbling with roles that are very different one from another, from the good-looking and arrogant guy of the comedies, down to the surreal and somewhat Pirandellian roles of police commissioner Leonardo Cagliostro in La porta rossa, mysteriously lingering between the world of the living and of the dead. Besides theatre, his first and inalienable love, and TV, Lino Guanciale teaches acting to young people. A truly Italian chameleon-like, multitasking talent.

Where do you draw inspiration to interpret your characters?
It depends, often from the books I have read, rather than from movies, although they too play a role in it. Often from literary references, from comics to Dostoevsky, I am rather omnivorous. When I am reading a script, the first thing to cross my mind is a reference, which can range from Walt Disney to Crime and Punishment. Plus, I observe people a lot, in the streets on public transport, in any situation.

The most thrilling memory in your career?
This year, apart from seeing I Peggiori in the theatres, it was the TV success of La porta rossa, as none of us expected such a hit. The night of the last episode, because in Trieste they insisted that we should screen it in a cinema, with people in it, as if it were a film. A way of celebrating the fact that the series had a pretty much Trieste setting. It was extremely exciting.

What do you learn, as an individual, from your profession?
Trying to walk in someone else’s shoes. This is the most difficult part ever. I have recently noticed that also other actors share my view, I was happy to hear what Elio Germano said on Fazio about Kropotkin, also because I was convinced that I was the only one to have read it (he laughs, Ed). Seeing that many artists and professionals of my generation are trying to develop a certain background is good. Gramsci used to say that theatre helps develop people’s dramatic phantasy, and better understand how to walk in someone else’s shoes.

Which is the irresistible side of theatre?
People watching you live. This kind of relationship forces you to do your best in playing someone else, without forgetting that while you have to identify with a character, you should avoid having your audience fall asleep. You have to grab the audience’s attention, and this, in so many ways, makes me feel alive, while I am acting. Maybe this is the reason why I need to go back to theatre as often as I can, and I never want to give it up. It is also terrifying, in a beautiful way.

You teach in schools. What is the most important piece of advice you give to the young people who want to act?
I am currently teaching at Accademia del Teatro in Modena. First of all, I try to show them that, if they work hard, they can do more than what they actually think they can do. For an actor it is very important to try and explore different territories, as each one of them has a face and a body that pigeonholes him or her in a type of role. The question of the physique du rôle is unavoidable. But it is necessary to try and shatter this dogma, to convince those who may give you a role, that you can do different kind of things. The satisfaction lies in abandoning your comfort zones, what you know you can do well, and take risks. Doing what you still cannot do, can be challenging and illuminating. This profession is beautiful, if you manage to find reasons to be surprised, when it becomes a routine, it is the most alienating job ever.

What do your students teach you?
To question my assumptions. The best way to understand something is to try and explain it to someone else, therefore, every time I find myself “teaching”, I am forced to question my assumptions, in doing so I learn new things for my profession.

Which are your other passions?
A little anecdote: I have recently taken part, for the promotion of I peggiori, in the show I soliti ignoti, where I was asked about my passions and hobbies to build the game. I realized that I have no spare time, no hobbies, no private life beside my profession ( laughs, Ed). Joking aside, there are many things that I enjoy doing. But every time I am reading or every time I watch a movie or listen to music, in one way or another, it is as if I was working, because there’s always a connection with my work. I am also keen on sports; I was once an amateur rugby player. I enjoy walking, I am a big fan of all flâneur writers, who recount about the worlds one can discover when walking, also because I feel a physiological rejection for cars, although I actually really like them. I have to say that this is another passion of mine, driving helps me relax.

What is the garment that best represents you?
I have some t-shirts of music bands I like, like R.E.M., Joy Division, The Stooges, Velvet Underground, the Smiths, the Cure, bands ranging from the rock punk of the ‘60s to the new wave of the ‘80s. I have had these t-shirts for twenty years and these are the ones I wear compulsively. These are the garments I love best and that represent me. Instead, a garment that seems to suit me is the jacket. I think that a nice jacket with a Joy Division logo would represent me (he laughs, Ed).

An object that you always carry with you?
Everyone has his/her lucky charms, mine is a watch that my parents game me when I was thirty and I had just made my debut in cinema, but I was mainly a theatre actor, and I had not started with television yet. When they gave it to me, I got the message: “Time to get going!” (he laughs, Ed). I always wear it, as some of the family members who gave it to me have left us, this is a way to still have them with me.

A talismanic gesture?
Many! To do this job I had to learn to control a number of neurotic tics, nothing serious, but some of them have become like a trademark: snapping my fingers, stepping onto the stage with my left foot. Obviously, whenever there are needles on the stage, I have to gather them all and put them into my pocket; sometimes I collect as many as ten, as they are said to be lucky charms. Pavarotti reportedly had a 2-3thousand needles collection, which he had gathered on the stages around the world. Before and after a show I have to greet the theatre, and caress the stage. They all sound like rather stupid things to do, but, actually, they help me familiarize with the place where I am working. Standing on a stage has somewhat something to do with an execution, with the audience’s “guns” pointed at me. It is a dangerous place, so it is better to try and tame it before working on it.

A secret wish?
I have many, actually. I’d like to have more time to write, to publish something, a finished work. Also I’d like to make a trip on the Silk Road. I love travelling, even though I haven’t travelled much, because I have prioritized a profession that has me move non-stop (I rarely sleep two consecutive nights in the same bed). I’d also like to go the United States, especially the East Coast, the most “European part”.

Photographer| Manuel Scrima
Stylist| Stefania Sciortino
Grooming| Carola Sofia Retta 
Assistant Photographer| Sergi Planas and Lorenzo Novelli

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It happened on July 12 in New York, at The Public Hotel, Bally’s CEO Frédéric de Narp and the Grammy Award-winning music producer Swizz Beatz launched the new collection curated by Swizz and designed by the Spanish artist Riccardo Cavolo. The collaboration was celebrated with a dinner and a party animated by exclusive music performances by artists, all strictly signed Bally, like Slick Rick and Doug E Fresh, while Kid Capri and Kitty Cash have been working on the Dj set. The collaboration between Swizz and Bally, available to the public since the end of September, is a naturally born project, through an instagram post in which Swizz as accompaniment to a pair of sneakers signed Bally writes “Bally is back”. Hence, the need to entrust the design to an emerging artist is born. Here, through ‘No Commission’, an innovative platform curated by Swizz, which brings together emerging talents, Ricardo Cavolo is selected and involved in creating the collection and playful prints.

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A silent dialog that fills the dense plot of our days, leaving an indelible trace of fondness. That of our relationship to objects, those artifacts with which we surround ourselves, in which we instil meaning. Speaking with Humberto Campana of the famous design duo of Brazilian brothers, it is clear how his personal experience has a strong influence on design, which thus become like a travel journal, a snapshot of daily life or even the signature of social commitment. These iconic objects, children of this sustainable design, best represent Humberto and Fernando Campana: unique, inspired, contemporaries and wonderfully humble.

What is the current condition of design?
Today, it is like a political hardware store; a form of humanitarianism aid and aid to the planet. We must pay attention to all the rapid changes happening worldwide. In this way, designers hold a very powerful tool in their hands because their product is in continuous interaction with people’s lives. Think of the communities in northern Brazil: these social aggregates are disappearing along with their traditions, thus carrying them forward by way of design would mean a lot. Therefore, it is clear that design has implications that go deeper than pure aesthetics.

How does a city like Sao Paolo respond to the demands of contemporary design?
San Paolo and Milan are almost like twins, the energy is very similar, tough but extremely fascinating; it is a city that never sleeps, almost like the Manhattan of Latin America, full of skyscrapers and helicopters. It is not a metropolis that opens itself up easily, like Rio de Janeiro; you have to get to know it, discover all its nooks and crannies alongside its inhabitants. For the last 10 years the design scene in Sao Paulo and all over Brazil has changed very rapidly, and the Campana brothers are not the only ones demonstrating this evolution; there is also a whole new generation that we have influenced with the culture of design our ideas of free expression. More people are talking about this “design language” because they understand it, and globalization has certainly contributed to that.

The modus operandi of Campana: do you use a single, systematic approach to all your projects?
It is a challenge to treat every current projects differently; whether they are huge or microscopic, my approach is always the same: passion and love. Having the freedom to choose what I love to do is the engine that drives me every day; I was a lawyer and I left the profession to have this freedom. An artist has to have it. To be able to dabble in different universes: fashion, design, art, or any other that inspires me. The 21st century, above all, continuously reinforces the idea of hybrid figures that break barriers; what has to remain is the passion in affronting any job challenge. On a daily basis, I approach all projects with my gut and with lots of intuition. I allow myself to be inspired by dreams and suggestions, that sometimes become real and personal obsessions. Often these ideas turn into projects, but it doesn’t happen automatically.

Do you have very defined roles in your professional partnership?
No (he laughs). To tell you the truth, we’ve never defined any type of role. It is a relationship between brothers that isn’t easy to manage in the scope of business partners, you need to reach compromises, and luckily in our case, the perpetual conflicts have always been positive and stimulating.

FAST AND FURIOUS – beauty routine

“I wash my face and moisturise it every morning, but I have to do it all in seven minutes”.  Words of David Beckham that perfectly sum up the typical man’s approach to cosmetic care.   According to research, men have an average of 7 cosmetic products in their bathroom while women have an average of 21.
Let’s look at some of the essential steps of a men’s daily care routine, to be completed in those fateful 420 seconds.

In the morning, the first step of a man’s proper beauty routine is to wash his face and in this case we suggest a good cleanser, ideal for refreshing the skin. Thanks to Dead Sea minerals, moisturizing avocado butter and the soothing properties of cucumber and pomegranate extracts, this rich and nutritious gel provides a delicate detergent action that helps maintain the skin’s natural hydration.

After awakening the skin, it is essential to use a good moisturizing face cream, while the young-at-heart must be careful to prevent the early signs of aging.
The result of 15 years of research, the tri-molecular technology of this cosmetic legend tones and tightens the face and around the eyes.  An extra-light cream formula is perfect for those on the run, concentrated with a three-in-one effect effect: anti-wrinkle, anti-aging and moisturizing. Based on hyaluronic acid, Kukui oil and silk extracts, it deeply revitalizes the skin, leaving it firm and toned throughout the day.

Too often the eye contour area is overlooked, but it is precisely here where daily fatigue builds up.
It promotes the renewal of collagen, brightening and helping strengthen the delicate skin around the eye, erasing signs of fatigue. The Lumisphere complex illuminates the eyes and dimishes imperfections. The applicator, cold and round, promotes the penetration of microparticles of water that moisturize the skin.

TIGI 18,50 €
At this point, we’ve arrived at the beard and hair.
The first balm designed for both beard and hair, to shape and soften the hair follicle, thanks to its refreshing and soothing, nutritional properties. It is also perfect for taming thicker beards.

Those who do not have a beard can experience an absolute novelty direct from Paris, already with a cult following in the Ville Lumière.
It seems that in the Verdi Suite of the Grand Hotel et de Milan you are meeting rock stars, dressed in all black, with defined muscles and prominent rings on their fingers. It’s the branché look (the French world for cool) of the two hairstylists who have come to Italy with David Mallett, considered to be the best hairstylist in Paris.  His salon, located in a 17th-century building (in the 400 square metre apartment at No. 14 Rue Notre Dame des Victoires) is the favourite retreat for models, renowned designers and celebrities like Kate Winslet, Natalie Portman, Sharon Stone, and Naomi Campbell. In typical Parisian snobbery, his second opening 6 months ago at the Ritz was almost seen as a downgrade. Working with a state-of-the-art laboratory, David Mallett has developed luxurious essential formulas that utilise rare and heavily concentrated ingredients. Originally sold only by Colette concept store, his Hair Serum #DM027 (65 €) took 3 years of research and 27 formulas to develop. Its application takes just a few seconds, making it suitable for men as well.

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Cannes film festival provided the backdrop to MANINTOWN’s meeting with belgian actor Jérémie Renier, where he graciously took the time to sit for this series of pictures during a hectic press schedule promoting his latest release, Francois Ozon’s L’Amant Double. No stranger to the croisette, he made his debut there with La Promesse in 1996, and more recently was in Le Gamin au Velo, which won the Grand Prix in 2011. We later caught up with him on the telephone to talk about style both on and off camera, acting influences, and his latest releases.

What is your favourite aspect of being an actor?
Preparing for a role. I love discovering new worlds and different professions – for example learning to dance, sing or play an instrument, it can be quite exhilarating.

How exactly do you go about preparing for a role, then?
Of course it varies according to the part and depending on the movie and director, but I like taking a month or two to read and rehearse a script, either alone or with a coach, and fully immerse myself in the story.

Who are the actors who inspired you in your career?
The first actor I looked up to was Jean-Paul Belmondo. I was fascinated by his freedom and panache, and the way he could be at once explosive, sensitive and physical. I also liked Sean Connery with his english sense of class, as well as other anglophone actors such as Joaquin Phoenix, Daniel Day-Lewis, Christian Bale, and Philip Seymour Hoffman – the types who end up in unexpected movies. I love Tilda Swinton and her physical transformations for films: We need to talk about Kevin, Io sono l’Amore, or a Marvel movie – she’s always so fresh and powerful that it completely astonishes me.

Is there a director you would love to work with?
There are many interesting female directors at the moment – or maybe its just that they are finally getting the recognition they deserve: Maiwenn, Celine Sciamma, Valerie Donzelli, Kate Quillevere and Julia Ducournau. I always find their films more stylish, beautiful, intelligent and transporting than those of their male contemporaries – vive les femmes!

It’s not your first time at Cannes – would you say it’s been a good springboard for your career?
I wouldn’t say it’s been an explosion as such; I’ve always been more of a slow burner than ‘a la mode’ . I was very young being sixteen the first time I came here, but over the years I’ve had the chance to return often with diverse projects and meeting different directors – I guess it’s just not in my nature to explode.

You also starred in Potiche by Francois Ozon which was more comedic in tone, especially your portrayal. Do you feel as comfortable in comedies as you do in dramatic roles?
I’d love to say I feel equally at ease with both, but I have to be honest and say that comedy is something that comes less naturally, perhaps because of the specific rhythm it takes. It’s something I’m attracted to but it comes less instinctively and spontaneously, at least for now.

When reading the script for this year’s L’Amant Double, what convinced you to accept the role?
It was the originality of the project, and Francois’s idea of playing twins with contrasting characters in such an edgy thriller that quickly drew me in. The sulphurous, sexually charged element attracted me and I knew that it would be respectful and tasteful with Francois behind the camera. I felt safe and excited to work with him for the third time because besides counting him as a friend, he is also an incredibly gifted, prolific and versatile director.

You play twins, sometimes depicted on the screen at the same time. What was the biggest challenge in playing them? Is there one you enjoyed playing more?
To find subtlety and to keep them disparate and not make caricatures out of them, especially with Louis the more tyrannical, intense, arrogant and aggressive of the two. As for Paul, the other brother, I was trying not to be too linear or soft, but to give him dimension and complexity. What was most interesting as the story progresses and as the character of Chloe loses her grip on reality and her ability to tell the twins apart for me was to switch between them with a smile or a change in expression, for example just in the eyes. But I enjoyed playing both characters equally, from the simple, sweet, and complex Paul to the pretentious, perverted, sexual and physical Louis.

Up next we have your film Carnivores, co-directed with your brother Yannick Renier, a story of two sisters. How was it working with your brother as co-directors, having already worked together as actors?
It happened very naturally. The project has been in the works for many years so we had a lot of time to talk about our respective desires and concerns, so we were able to make sure that it went smoothly – plus we know each other so well that it was quite instinctive and natural.

How would you describe your personal style? Who are your favourite designers at the moment?
It varies, quite casual in general but I do like designers such as Comme des Garcons, Acne, Ami and Margiela. I’m not eccentric, loud, or fashion-forward, I like mixing textures, an old pair of jeans with a cool t-shirt for example. I rarely buy clothes but when I do I tend to look at the materials and fabrics.

Off set, have you ever been inspired by one of your films’ characters in the way you dress in real life?
I would have loved that just as much as reversing it and informing the look of one of my characters myself, because often the costumes aren’t particularly inspiring, apart from in L’Amant Double, where I wear a lot of suits and Francois flattered me greatly with the framing and lighting. But in the upcoming film with my brother, the male characters dress a little more as I’d want to look on screen. I’d actually love to play a character with a strong look but we tend to be quite conservative in France when it comes to style – there’s a fear of portraying trendy or beautiful characters. Sometimes when prepping a film I’ll try on a costume that I think looks good and I’ll be told that it’s too flattering and “he looks like a model” even though I’m clearly not. There’s a fear of doing something excessively beautiful, but I’d say I’m the opposite, to me aesthetics and beauty are important in cinema.

Photographer| Stefania Paparelli
Stylist| Nicholas Galletti
Hair Stylist| Cindy Faugeras for Franck Provost Paris.
Make up artist| Aurélie Payen for Franck Provost Paris
Location| The JW Marriott, Cannes

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palm angels: francesco ragazzi


Los Angeles, with its lifestyles spanning from that of hyper-glossy celebrities to skate park youth, has become a breeding ground for fashion. Creatives from every industry- tech, beauty, art, design- have warmed up to the City of Angels, celebrating it as a wellspring of inspiration, a sun-washed frontier for the creative pioneer. A true visionary indeed, challenging the conventions of standard gender dressing and leading the way with innovative imagery, whilst famed for the rejuvenation of the tracksuit, Francesco Ragazzi is taking the world of luxury streetwear by storm. At 31 years old, he is first and foremost a passionate and talented photographer with a clear and modern vision- a vision that positioned him at the forefront of luxury and commercial fashion for the last 10 years, in the role of Art Director at Italian fashion powerhouse Moncler. He has also earned fame in the sports world for his book, ‘Palm Angels,’ which is comprised of large-format photographs of skaters in Venice Beach and Manhattan Beach, capturing the essence of LA’s skateboarding scene and the raw sensibility of its intersection between the sport and fashion.Shot in the spirit of the legendary Z-boys of Dogtown, Ragazzi o ers readers a modern-day glimpse of the longstanding sport, with foreword written by Pharrell Williams, ‘Skateboard P.’ Ragazzi founded his label in 2015 combining his love of skateboarding, photography and tongue-in- cheek design.His designs can be described as an assortment of upscale, skateboard-inspired apparel and accessories, that happens when he mixes his Italian sartorial background with the laid back vibes. You might say that his collections take you to a world in which you might wear a reinvented sporty suit while smoking a joint and sipping a drink in a Milanese bar, don’t you think?

Let’s start with the name. Why Palm Angels?
It all started with the first photo I took of a skater with blonde hair who seemed to “ fly” through the air lit by the sun underneath a palm tree during one of my trips to the City of Angels.It was a dazzling vision.I also once took a photo of a palm tree enveloped in a band of fire, that photo was used as a press image for the Fall/Winter 2017 collection.

The inspiration comes from California, the sports and skating world- how do you find new sparks of inspiration every season?
The brand always takes from key elements of the Californian lifestyle seen through Italian eyes.When you always live in the same place, you don’t notice what other people see when they are just visiting, like the palm trees were for me. The inspiration comes from lots of tiny details, also and mostly from daily life, like shopping at Walmart and Costco.

One of your symbols is the marijuana leaf- why did you choose it?
In some ways it is really a part of Los Angeles, the smell is everywhere, it permeates the streets of Venice Beach. It’s not taboo like it is Italy.

After Paris, you choose to show on the runway of Milan. In your opinion, is Italy ready for this sporty invasion?
I would like it to gain ground. For two seasons now I have chosen to show the collection in my birth city, to shake things up a bit. We got over 300 publicity posters and sent trucks to hand out merchandising for the brand in the most important gathering points in the city to let people know about the time and place we were projecting a video on the outside of buildings. It was a way to evoke interest and get in touch with the public in a direct way.

What does elegance mean for you?
Something that roots in the past.The Spring/Summer 2017 collection drew from youth culture in the 1970s, populated with style icons like Jimi Hendrix in an evocative way that exudes the expressive freedom and the spirit of pure energy of those years with marijuana leaf and kamasutra print motifs.It’s refined streetwear with a tailoring vibe that reflects the mood of the new generation.

Music and fashion continue to merge- if you had to name a musical genre or musician that represents Palm Angels’ style, which or who would it be?
Without a doubt A$AP ROCKY.

You work a lot toward collaboration between brands and various industries and levels. Do you have something in the works?
When its the right match, collaborations turn out great; I don’t believe in forcing anything.We’ll see what other opportunities come up.

Next steps and future ambitions?
I hope with all my might that I can make my brand grow organically.

Photographer| Edoardo DeRuggiero
Stylist| Nicholas Galletti
Hair| Azumi Higaki
Make up| Constance Haond
Model| Philip LDB @ New Madison

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