Talent as a discipline: the story of Francesco Motta

Francesco Motta, aka Motta, is one of the best-known singer-songwriters on the Italian music scene. Born in Pisa in 1986, he made his debut as singer and drummer in 2006 with the punk and new wave band Criminal Jockers. In 2013 he studied composition for film at the Centro Sperimentale di Cinematografia in Rome and composed soundtracks for films and documentaries.

Shirt and pants Di Liborio, bracelets Nove25, rings and necklace stylist’s archive
Shirt Di Liborio

His career as a soloist began in 2016 with the release of his first album “La fine dei vent’anni”, for which he composed lyrics, music and arrangements, and which earned him the Targa Tenco. The two singles “Ed è quasi come essere felice” and “La nostra ultima canzone” of 2018 anticipated the release of his second studio album, “Vivere o morire”, with which he once again earned the prestigious award ‘Best Album of the Year’. Motta participated in the 2019 Sanremo Festival with “Dov’è l’Italia”, a song with social connotations about migrants, winning the evening of duets together with Nada.

Credits

Talent Motta

Editor in Chief Federico Poletti

Text Marco Marini

Photographer Davide Musto

Stylist Alfredo Fabrizio

Photographer assistant Valentina Ciampaglia

Stylist assistant Federica Mele

Hair & make-up Fulvia Tellone @simonebelliagency

Hair & make-up assistant Asia Brandi @simonebelliagency

Location Industrie Fluviali

Opening image: total look Gucci

Discovering the savvy angel Anna Ferzetti

Anna Ferzetti actress
Dress stylist archive, shoes Roger Vivier

Anna Ferzetti stands out among Italian actresses for her delicacy and elegance. As the daughter  of the great actor Gabriele Ferzetti, she began breathing in the scent of art right away, a gift that she has cultivated with commitment and devotion.

Step by step on her tippy toes, Anna has created a significant space for herself in the world of entertainment. With a filmography including few, carefully selected projects, in recent years the actress has set herself apart as a personality worthy of interest within the national movie and TV scene. Most notably, she has won over critics and audiences thanks to her bright roles in productions for the younger public and in popular comedies, including the Netflix series “Curon”, where we rediscovered her in 2020.
Recently she has been part of the cast of the successful RAI 2 series “Volevo fare la Rockstar”, but also of “Le Fate ignoranti” (“The Ignorant Angels”) based on the iconic Ozpetek movie.

Anna Ferzetti series
Dress Alessandro Vigilante
Anna Ferzetti tv
Dress jacket Valentino, boots Giuseppe Zanotti, rings Chiara BCN

Credits

Talent Anna Ferzetti

Photographer Davide Musto

Ph. assistant Valentina Ciampaglia

Stylist Nick Cerioni

Fashion assistants Michele Potenza, Salvatore Pezzella, Noemi Managò

Make-up Michele Mancaniello for #SimoneBelliAgency

Hair Simona Imperioli

Opening image: dress Alessandro Vigilante

The romantic fashion of Ann Demeulemeester, (also) featured at Pitti Uomo

The 102nd edition of Pitti Immagine Uomo is about to open its doors. This year features an exceptional special guest, who over the course of her career lasting more than 40 years has written indelible pages of the history of fashion with a capital F: in fact, the Ann Demeulemeester brand will be the guest of honour of the Florentine kermesse, as the protagonist of a special project curated by the same Flemish designer that will animate Leopolda Station during the four days of the event (14-17 June). It is a significant part of the brand’s relaunch strategy, which has been under Claudio Antonioli since 2020, added to the three collections designed so far by an internal creative team, as well as the reopening in September 2021 of the flagship boutique in Antwerp, a place intimately linked to the (glorious) past of the Belgian label.

The store was redesigned by Patrick Robyn, Ann’s husband and close collaborator, and is a showcase for the label’s new direction under the aegis of Antonioli. An entrepreneur, owner of the eponymous multibrand and already one of the co-founders of New Guards Group, he acquired the brand a year ago, determined to restore it to its rightful role. Indeed, it was the founder who brought it to the top of the fashion world as one of the Antwerp Six: the six designers (in addition to Ann, Dries Van Noten, Marina YeeDirk Van SaeneDirk BikkembergsWalter Van Beirendonck) who graduated from the Royal Academy of Fine Arts in Antwerp in the early 1980s and would soon make an indelible mark on the fashion of the time, becoming a fundamental part of fashion history.

Ann Demeulemeester: the beginnings

Ann Demeulemeester portrait
Ann Demeulemeester in her studio, Antwerp, 1999 (ph. by Kevin Davies)
Antwerp Six
The Antwerp Six

Just think: born in 1959 in Waregem, West Flanders, Demeulemeester had considered dedicating her time to painting in the beginning, as attracted as she was by Flemish portraiture, but soon realised the expressive strength of clothing and enrolled in fashion design at the Royal Academy of Fine Arts. She graduated in 1981, giving rise to the brand that bears her name four years later along with Robyn. In 1986 she joined forces with the above-mentioned university partners: they rented a van, filled it with their own creations and travelled to London to exhibit them at the British Designers Show, where they were a huge sensation. Their proposals, on the other hand, were astronomically far from the pomp prevailing in the eighties, a decade characterised, stylistically speaking, by shoulders, baroque, glitter and much more, their touchpoints were rather more in step with the conceptualism driven by the innovators who had arrived in Paris from the Far East a few years earlier, Yohji Yamamoto and Rei Kawakubo.

Ann Demeulemeester’s creative inspirations

Having gained notoriety, Demeulemeester began to detail her very particular vision of ready-to-wear: in her opinion, clothing is a means of communicating, an emanation of the creator’s personality, of her sensations, experiences and interests. The Belgian creative orients the latter towards the verses of poets like Rimbaud, Blake or Byron, on the music that expresses the anxieties of the youth of that time (Doors, Velvet Underground, Nick Cave…), on those paintings that, in youth, had pointed her towards the art school of Bruges. As a teenager, she then came across the cover of Patti Smith’s album Horses, with the cover featuring the artist in black and white wearing a superbly androgynous outfit (the work of Robert Mapplethorpe, cursed genius of American photography); she fell in love with the music and even more with her style: in her academy years she made three white shirts and managed to send them to the singer’s address in Detroit.

Patti Smith Ann Demeulemeester
Ann Demeulemeester with Patti Smith

The priestess of rock became her muse, and a friendship and mutual esteem soon arose between the two, with Smith even signing the introduction of the monograph published by Rizzoli USA in 2014, which retraces over 30 years of the label’s history with words and images, dwelling on the sentimental value that the garments signé Demeulemeester have for her (“I draw great power from wearing Ann’s clothes. They make me feel safe […] They are a talisman”, she wrote).

First collections

In the brand’s collections all this translates into a twilight romanticism veined with melancholy and bohemian spirit, in the chromatic absolutism of black and white (sometimes broken by flashes of bright colour), in the tension between opposing elements (rigour and delicacy, body and lightness, fluid shapes and others adhering to the body) that characterise every outfit, a real leitmotif of the designer’s work.
The first women’s fashion show in Paris was held in 1991, in a bare art gallery where severe, blatantly dark looks broke out, crushed by critics branding them “funeral directors”. She adjusted the bar, made her silhouettes drier and further refined her vision with almost scientific precision, while remaining elusive with unambiguous definitions and easy categorisations, which soon began to tickle the interest of the press, buyers and simple observers, struck by the designers cutting-edge, often deconstructive, approach.

Menswear did not take long to arrive, and in 1996 men’s outfits began to appear, seamlessly mixed with the women’s releases, a choice that was repeated in subsequent collections until the creation of a specific line in 2005. Besides, Demeulemeester never paid too much attention to gender distinctions, clearly ahead of today’s gender fluid. Men and women therefore shared many of the cornerstones that, season after season, forged the maison’s aesthetics: the insistence on fluid and elongated lines, bias cuts, preferably graceful, naturally soft fabrics (silk, rayon, jersey, linen), with textures reduced to a minimum even in the most dense materials such as leather or cloth, surfaces punctually rippled by layering or clever draping, the copious use of belts, ribbons and cords, as if to support garments from which a sense of precariousness emanates, of only apparent carelessness which is then the essence of Demeulemeester fashion.

Ann Demeulemeester collections
Ph. Erik Madigan Heck for Nomenus Quarterly
Ann Demeulemeester collections
Ph. Erik Madigan Heck for Nomenus Quarterly

The success of the label and her retiring from the stage

The brand’s man has a perennially dreamy look and a noble but tormented soul; a bit the maudit of today, a bit rebellious metropolitan style, with relaxed-fit trousers and crumpled blazers. A hint of vanity is granted with the use of feathers, a decoration that exemplifies the dialectic between natural sophistication and eccentricity that is so dear to the designer: thus feathers resting on wide-brimmed hats, attached to necklaces, bracelets and other jewellery or even covering the boas wrapping around the clothes of the Fall/Winter 2010 show.

Ann Demeulemeester runway
Ann Demeulemeester S/S 2007 (ph. by Giovanni Giannoni)

The brand’s consolidation process reached its peak with the S/S 1997 collection, a symphony in black & white punctuated, for the men’s part, by hints of layering, widely unbuttoned shirts and pants almost liquid in their looseness. This time the critics enthusiastically applauded the textbook performance, the New York Met Costume Institute purchased several key pieces, and the cult brand status became clear. Her withdrawal from the scene was a surprise in 2013, communicated with a handwritten letter. She was succeeded by Sébastien Meunier, who worked in the wake of his illustrious predecessor, introducing minimal variations from time to time, fluorescent touches here (S/S 2016), softness with decadent aesthetics of a closed bedroom there (S/S 2018).

Ann Demeulemeester black white
Ph. by Erik Madigan Heck

A new turning point: Antonioli

The new turning point came in the summer of 2020 when Meunier left the maison and after a few weeks Antonioli, one of the brand’s first historic retailers, took on the role for an undisclosed amount. The founder was (re)convened to play the role of creative consultant, some already hypothesise her greater involvement, her niche, while the new owner speaks to MF Fashion of a ‘new beginning’, yet to be written. Basically, it is a rethinking of the concept of masculinity, finally called upon to recognise all the fragilities, doubts and fears inherent in the human soul: the masculine ideal of Demeulemeester is present more than ever.

Ann Demeulemeester b&w
F/W 2021 collection

Matthew Zorpas, the first “digital” gentleman

When it comes to savoir-vivre, elegance and men’s style (concepts that are often overused but still hardly investigated in their countless nuances), Matthew Zorpas is the perfect person to examine the state of the art of everything relating to modern gentlemen’s customs and habits. Exactly ten years ago, this multifaceted Cypriot creative entrepreneur, Londoner by adoption, launched the site ‘The Gentleman Blogger’, which quickly became a touchstone for menswear and lifestyle in general, addressing outfits (often formal and highly recognised, for instance Esquire UK magazine included him in its annual ‘Best Dressed Men’ list in 2010) as well as travel (another passion and atout of the founder), wellness, tips for a community of passionate, demanding and cosmopolitan people.

The Gentleman Blogger influencer
Coat Paul Smith

In short, Zorpas proved to be a true forerunner of the matter, focusing on men and their interests well before the crowds of male influencers (or self-styled ones) on social media today. The numbers attest to his success, together with all the brands with which The Gentleman Blogger has collaborated over the years, from IWC to Tod’s, Fendi, Bentley, Nespresso and many others.
We had the chance to talk with him during his shooting about what distinguishes true gentlemen today, the impact of Covid on men’s taste in clothing, the changes affecting the men’s fashion industry and society as a whole, from the transformations in the communication scenario full of influencers up to the metaverse.

Matthew Zorpas Instagram
Total look Pal Zileri, shoes Church’s, watch Cartier

For several years now you have been considered a role model for contemporary (and aspiring) gentlemen, as the title of your – very popular – blog suggests. What distinguishes a true gentleman in 2022, what are his qualities in terms of style and otherwise?

I have seen the definition, attitude and form of the term change over the last ten years. At the end of the day a gentleman is pure, it is all about soul. It’s not an act or a lifestyle but a living. It’s not a forced, well-thought-out bespoke suit, but a casual choice of dressing up. It is so much easier to dress like a gentleman today and yet so much harder to carry the qualities of one.

The Gentleman Bloggercrosses the ten-year line this year. This platform allows you a privileged view of everything related to the male universe. In your opinion, what are the main changes that have affected menswear and, more in general, men’s lifestyle over this period of time?

I founded The Gentleman Blogger in 2012 and have been on this wonderful ride for ten years. I have seen the industry shift its attitude from arrogance towards influencers to embracing us, cheering us and choosing us. I have seen men’s lifestyle shift from proper and standard to relaxed and diverse.

Matthew Zorpas Gucci
Jacket Gucci @Tiziana Fausti (www.tizianafausti.com), shirt and scarf vintage

You prefer a personal style marked by sophistication, elegance with an ‘old school’ flair for tailored suits, patterns and motifs in the best British traditions, tuxedos, perfectly cut garments. Yet the lockdown, remote working and other consequences of the pandemic have deeply changed (and often negatively) formal attire, which had already been affected by significant transformations caused by changing consumer tastes and habits. How do you think formal wear will change in the future?

Change is welcomed here. Fashion is an industry that must follow consumers: it is for the diverse and knowledgeable consumer. It will continue to reflect movements, political or environmental crises. It is our job to make sure it moves and changes, it predicts and follows. Sadly, those who hold back will fail. Don’t translate this as an expansion in offering choices and options, but more on doing what is true to the DNA of the maison and doing it well.

Matthew Zorpas fashion
Total look Dolce&Gabbana, watch Cartier, burgundy ring Bulgari, shoes Christian Louboutin

Covid also impacted influencers between restrictions, closures and other disruptions, prompting them to change the tone and type of content posted on Instagram, Facebook & Co. Not to mention that this industry was already grappling with unprecedented challenges, from the ‘saturation’ of space to the pitfalls of virtual ’competitors’, the metaverse and other innovations that could soon change social media as we know it. What can you tell us about this, what is the state of the art in influencing?

Influencers as an industry will be here to stay for many years ahead. Just like the publishing industry had its run, we will need to allow the digital space to expand, grow, develop and when the right time comes it will clear and decline. We have not experienced the peak yet, as we are only now experiencing the years of transition from offline to online. The upcoming generation Alpha is developed and dedicated to online only.

Speaking of the metaverse, what’s your take on this? Could – and should – gentlemen also carve out their own space in a virtual reality based on pixels and avatars?

I am aware of the metaverse, it is not my personal space or choice. I am aware of TikTok too, it’s not my space though. We need to remind everyone that we have a choice to be anywhere we want to be. New platforms or worlds shouldn’t be there to replace the old but to satisfy and please the consumer.

Matthew Zorpas jewels
Total look Emporio Armani, ring Nikos Koulis

Travelling is one of your great passions, you have always cared about the world of hospitality and you have also collaborated with the Ministry of Tourism of your country Cyprus. After the Coronavirus ’storm’, do you think there will be structural changes in this sector?

With the beginning of the pandemic, every sector or industry had to implement structural changes, especially in the western world. From deliveries to production, to tourism and hospitality. With my team and the Cyprus Deputy Ministry of Tourism, we managed to put together the first open air social distancing ‘RoundTable’ event in 2020, followed by the ‘7AM campaign’ in 2021 and ‘ImagineBeingHere’ in 2022. We needed to rebuild the dream when there were no flights to the country, rebuild the need for people to visit when flights opened up again and now we are reminding visitors of both as we go back to normal.

Matthew Zorpas bio
Total look Zegna

Can you name at least three garments/accessories that should never be missing from the wardrobe, the ‘never without’ of every self-respecting gentleman?

There is absolutely no basic garment that anyone must own. We break every rule and every single one of us needs and should own whatever is necessary to them. I used to always say a double-breasted suit and a tuxedo. Now you can have a plain white t-shirt and Levi’s jeans and be a gentleman. Let’s move on with the times.

Matthew Zorpas style
Total look Alexander McQueen

Although making predictions is risky, how do you imagine The Gentleman Blogger in ten years’ time? What might characterise the gentleman community in the near future?

The Gentleman Blogger has been a wonderful adventure. I’m quite pleased with the change, the innovation, the creativity, the passion and community that has loved and surrounded this amazing project for ten years. I have no predictions about how my next project will develop but I’m excited to embark on the next adventure with the strength, purity and health to fight for it to become a success.

Credits

Talent Matthew Zorpas

Photographer Georgios Motitis

Styling Giorgia Cantarini

Stylist assistant Federica Mele, Emma Thompson, Mariam Ajami from MA Fashion Styling – Istituto Marangoni London

Location The Dorchester

On the Road, the epic of music tours in the Pirelli Calendar 2022

After the stop due to the pandemic in 2020 (an event rather rare in the history of the publication, interrupted only in 1967, with the exception of the hiatus in the period between 1975 and 1983), the Pirelli Calendar comes back in dazzling form and relaunches itself, we might say. All this with specially designed packaging and a song, both by Bryan Adams, singer-songwriter with a brilliant cursus honorum in music – over 100 million records sold, three Oscar nominations, five at the Golden Globes, 15 (with one win) at the Grammys – who, since the 1990s, has embraced an equally successful photographic career, shooting covers and editorials for magazines such as Harper’s Bazaar, Vogue, Vanity Fair, L’Officiel and Zoo.



On the Road, the title of The Cal 2022, also shares its name with the Canadian artist’s song, a preview of his new album So Happy It Hurts, due out next March. The calendar, which comes in a square vinyl LP-like package, features an ad hoc logo, celebrating the company’s 150th anniversary, alongside the elongated initial of the tyre multinational.



The underlying thread of this year’s edition is therefore the journey, presented in a tribute through images to the era, in many ways distant and unrepeatable, of great music tours, microcosms in their own right, with their own rituals, places and times. In such things the celebrities of the day took shelter out of the concert, between relaxing breaks in majestic suites (such as those of the Chateau Marmont, buen retiro of the rich and famous of Hollywood, location of glossy shots along with the Palace Theatre, also in L.A., and the Hotel Scalinatella in Capri), hairstyling and make-up sessions, moments of focusing backstage, huge luggage sets, limousine transfers and futuristic recording studios.



To interpret such a complex theme, suspended between loneliness and vitality, intimate atmospheres and references to rock stars iconography, the author brought together ten A-list names, among the most representative of international music from the Sixties onwards: St. Vincent is featured on the cover (as well as in the February photo, where she poses in the nude, faintly illuminated by the rays filtered by Venetian blinds). St. Vincent, a chameleon-like performer reluctant to any classification, figures here with a platinum bob, and, while sticking out her tongue at the observer, shows a Pirelli-marked pick. Next up is Kali Uchis, wrapped up in a nude illusion garment, with fishnet stockings and femme fatale lingerie showing; Cher, absorbed in who knows what thoughts in front of the dressing room’s full-wall mirrors; Iggy Pop, bare-chested (how else?) and covered in silver dust, ready for one of his legendary punk histrionic performances; Rita Ora, seductively posing in a bathtub in a metallic knit dress; the theatricality of rapper Bohan Phoenix, standing on a piano in cargo trousers, combat boots and silver opera gloves. The all-star cast is completed by Grimes, Jennifer Hudson, Normani and Saweetie.



Adams himself closes the roundup conceptually and in practice, being photographed in the December pages in a classic American car, putting an end to the on-the-road itinerary between music topoi and old-school stardom. It is a visual tour that deserves to be explored in depth by visiting www.pirellicalendar.com, where you can discover behind-the-scenes footage, unpublished texts and interviews with the protagonists of the 48th edition of The Cal.


5 HISTORIC KNITWEAR BRANDS TO (RE)DISCOVER

Spells autumn, reads knitwear: with temperatures dropping lower and lower, we need to get ready with pullovers, preferably in warm and cozy yarns, and above all wool. The options are basically endless, from evergreen shades such as navy blue, black and grey to eye-catching, frost-proof textures or remarkably fine, almost intangible. In any case, it’s best to play it safe choosing brands with decades of heritage with certain quality and blazonry, such as the following five.

Missoni

When you say knitwear, the mind immediately goes to of one of the most representative dynasties of Italian fashion, the Missoni family. For the fashion house founded almost seventy years ago by Ottavio and Rosita, work and life partners, knitwear has always been the at heart of a company with strong family connotations, the gateway to a success able to encompass decades, as well as changes in clothing habits and customs. Thanks to jumpers bursting with colours and flamboyance, Missoni-mania exploded in the 1970s, on both sides of the ocean: it was impossible to ignore the extravagant, multi-coloured, hypnotic patterns weaved across the garments produced by the designer-entrepreneurs’ workshop in Sumirago, in a joyful blend of shades, stitches and motifs that the Americans called “put-together”.

Crowned “best in the world” in 1971 by none other than the New York Times, knitwear earned the brand the Neiman Marcus Award in 1973 for “daring to explore new dimensions and colour relationships”, features that still distinguish the brand’s collections today; the Fall/Winter 2021 collection is no exception, in which Missoni’s expressive zeal bursts onto jumpers, turtleneck pullovers and cardigans with slouchy lapels through the familiar jumble of lines, intricate patterns and graphic textures, including mottling, enlarged chevrons, stripes creating optical games, and colours that fade from dark to light, or vice-versa.


Missoni family
Missoni pattern
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Ballantyne

Rising to fame in the 1950s thanks to “Diamond Intarsia”, a technique that made it possible to trace the typical elongated rhombuses on sweaters that made the Scottish brand’s fortune, Ballantyne celebrates its hundredth anniversary this year.

Admirers of the diamond pattern on its pullovers include royals, Hollywood stars and world-famous jetsetters (from Alain Delon to Jacqueline Kennedy, James Dean and Steve McQueen). Even Hermès and Chanel, impressed by the label’s ability to treat the finest fibres to perfection, entrusted them with their knitwear. In 1967, Her Majesty honoured Ballantyne’s signature knitwear with the Queen Award.

The company is now run by former artistic director Fabio Gatto, who, in order to bring it back to its golden age, has combined jumpers inlaid with the unmistakable argyle with a wide, varied range of weight and fineness, capable of satisfying lovers of ultralight under-jackets and of enveloping pullovers, as well as capsule collections from the Lab line, in which the production virtuosity of the house meets the fresh vision of young designers cherry-picked each time.


Alain Delon Ballantyne
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Drumohr

With roots firmly planted in Scotland, the land that originated this century-old brand (in business since 1770), Drumohr has been speaking Italian since 2006, ever since it was acquired by the Ciocca group.

The Brescian company has moved production from the United Kingdom to Italy, while paying the utmost attention to keeping intact the craftsmanship that, throughout the 20th century, had conquered actors, aristocrats and ultimate models of chicness, from the King of Norway to Prince Charles, from James Stewart to Gianni Agnelli; It was the latter, guardian deity of male elegance eternally imitated (with poor results, it goes without saying), who made Drumohr’s “razor blade” a must-have, renamed “biscottino”, a pattern consisting of small rectangles spread rhythmically on wool or cashmere.

Combining artisanal know-how and ceaseless research, the collections now include colour blocking, micro or macro inlays, embossing and precise reworkings of the pattern dear to the Avvocato, which do not disdain rather bold colour choices, matching, for instance, blue with pistachio, orange with burgundy, turquoise with burgundy.


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Malo

A history that is approaching the half-century mark; an entirely Italian manufacture, concentrated in the factories of Campi Bisenzio and Borgonovo Val Tidone; an idea of understated luxury, which lets the quality of garments with exquisite yarns and exquisite craftsmanship speak for itself. These are the pillars of Malo, a brand founded as a producer of cashmere knitwear in 1972, when Scottish dominance over the sector seemed untouchable. Despite that, it managed to establish itself thanks to the rich, vibrant palette of its pullovers constructed to perfection, bien sûr.

The company reached its peak between the 1990s and 2000s, then started a decline, interrupted in 2018 by a trio of entrepreneurs (Walter Maiocchi, Luigino Belloni and Bastian Mario Stangoni) who took over ownership, handing back an absolute central role to the craftsmanship of the offer, centred on cashmere from Mongolia, sometimes mixed with equally precious materials, from alpaca to silk and vicuña, nicknamed the “fleece of the gods”.

Deluxe fibres are, of course, at the heart of the F/W 2021 Boulevard collection, in which the nuances, architecture and charms of the great metropolitan boulevards are transposed onto extra-soft wools, in cool colours (above all the different shades of grey, the true passe-partout of the collection) or bright colours, inlaid with tiny geometric reliefs or slightly distorted braids, ribbed or compact, for garments with measured, clean volumes that the brand defines as “timeless and urban-chic”.


Malo n1
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Pringle of Scotland

When it comes to high-profile knitwear, thanks to its centuries-old traditions and incomparable wool varieties, Scotland is unrivalled, and this is even more true for a brand that refers to the country’s genius loci right from its name, Pringle of Scotland.

Founded in 1815 by Robert Pringle in the Scottish Borders, it is credited with at least two “patents” that were destined to have a profound effect on the fate of the wool industry: in the 1920s, it invented the argyle pattern, the iconic – it has to be said – lozenge pattern, promptly adopted by Edward VIII, Duke of Windsor, the unrepentant elegant and supreme arbiter of male good taste of the time, immediately imitated by the aspiring epigones of international aristocracy. Another feather in the label’s cap is the twin set, the combination of a crew-neck jumper and ton-sur-ton cardigan that has become a pillar of bon chic bon genre style. Basically an authentic national pride, it is not surprising that Queen Elizabeth, a distinguished customer of the knitwear factory, awarded it with the Royal Warrant in 1956, an honour certifying its status as official supplier to the House of Windsor.

Still made in the Hawick factory, Pringle of Scotland garments can be purchased from the comfort of home on the official e-shop, choosing from a fair range of relaxed fit models, from the ever-popular argyle jumpers to sweaters of vintage appeal, with the lion (a symbol retrieved from the archives) woven on the chest.


Pringle of Scotland Grace Kelly rid
Tilda Swinton Pringle
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Translation by Zoran Trevisan

Krug presents the Grand Cuvée 169 èmè Èdition champagne

“Champagne helps the wonder,” said the writer George Sand. Even Krug must think so. Krug is one of the main maisons in the world of sparkling wine. To celebrate its last edition – the 169th one – of Grand Cuvée, it developed a series of immersive musical experiences online to enjoy in front of a glass of wine of the new Èdition. This synesthetic experience merges wine tasting, sounds, voices, and audios 8D. It is curated by the Belgian songwriter and producer Ozark Henry and the VOCES8, an international choral singing group. 



The project is a musical interpretation of the Grand Cuvèe, the best symbol of the brand set up in 1843. The wine production, carried out by the Chef de Caves Julie Cavil, has similarities with the work of an orchestra director who has to connect different instruments. Every year, Cavil and the tasting committee start a creative process by tasting hundreds of wines to evaluate the melodies, and then they proceed with the composition, in which each of them is essential for the final result. 



In this case, the starting point was the harvest in 2013. It was an exceptional year that gave the wines chromatic elegance and fullness, further accentuated in the blend with dozens of reserve wines from different vineyards and années (the oldest is one of 2000). The result is a champagne with soft and refined tones, lively effervescence, characterized by floral, fruit and citrus notes, with touches of gingerbread. It is suited to a wide variety of matchings, from simple food such as aged Parmesan to gourmet dishes, from fish (oysters or grilled prawns) to desserts (carrot cakes, cheesecakes, tarte tatin). 

The Grand Cuvée 169 represents the last chapter of a century-year-old process started by the founder Joseph Krug, an idealist and unconventional winemaker who aspired to obtain, year after year, the best champagne, regardless of climate change. His dream is now honored by the first chapter of a series of immersive experiences.



Among the estimators of the new entry in Krug’s maison, there is the chef Ciccio Sultano of Duomo di Ragusa, two Michelin stars kept from 2006, and a brand ambassador. He praises the maison because it is an expression of simplicity (which, according to him, is a synonym of uniqueness). He matches the KGC 169 èmè Èdition with four basic dishes: caponata, olives with onions, tomatoes and basil, sauce of anchovy and crunchy bread. Together with the wine, they create “a moment of lightness and carefreeness that we all need”. What better way to toast the post-pandemic restart? 

Chef in Town- a food and beverage column curated by

Intl Editor Francesca Romana Riggio

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