Miramare Hotel Museum in Cagliari is an innovative concept that captures the heart of all guests who stay at least once in their life.
The small and extravagant hotel de Charme is located on the noble floor of Palazzo Marini Devoto, a majestic building built between 1870 and the end of the 19th century in the main street in Cagliari. The 24 rooms are actually ateliers where several artists created their works, getting in touch with the hotel, its builders, and guests.
“Art as an investment for the future” are the words of the visionary host Giuliano Guida Bardi, already well-known by the public for his activism in the revolutionary hotel industry.
It was Miramare Hotel that designed and created the Playable in art, a formula that allows artists around the world to stay in Cagliari and discover its culture and passion and pay the hotel bill with their artworks: a return to barter and patronage that enhance the humanity of artists and hosts, which is often depressed by the money value of their passions. This process led to designing an Arcimboldian and multiform hotel: a melting-pot of styles and cultures, chronicles and stories that give it a unique charm.
The staff of young and enthusiastic collaborators, who animate the reception, the bar, the kitchen, and the dining rooms, is the icing on the cake. They are all very young and cheerful and help provide a pleasant stay. They organize tours by tuk-tuk around the Marina and Castello alleys in the historic center, amazing boat trips in Golfo degli Angeli , or rides on the Piper PA28 to admire the pearls of South Sardinia from above. A unique experience, in front of the tourist port in the suggestive neighborhood of LapPola (or Martina), a kind of souk with an extraordinary gastronomic offer, from starred restaurant to taverns with charm.
February has officially kicked-off and the spring moods—lockdown permitting—are high. Tier 3 folk, rejoice! Don’t let lockdown hamper your cheer; fashion can still be in order. Whether you’re racing for Zooms in full-force or gathering for a (socially distant) dinner, fuss-free wardrobe staples are your tickets to keep you in good spirits.
There’s plenty on the high-street for the taking, including comfortable options of chuck-on gear that are bound to turn heads among your colleagues and peers—ditto. Dress for a meeting with maximum ease in a striped number from Marni, or look to Umbro for a classic nod on tailoring.
Stay comfy, stay safe! Shop Man In Town’s edit of covetable wardrobe staples, below.
Striped crew-neck jumper, £650, available at farfetch.com
Classico high-neck jumper in black and bio lime, £40, available at umbro.co.uk
Grizzly mid tumbled shoe in brown, £200, available at sebago.co.uk
Pallashock OG in marshmallow, £80, available at palladiumboots.co.uk
Logo-jacquard crew-neck jumper, £335, available at farfetch.com
Boxing felt shirt jacket, £1,099, available at farfetch.com
Panelled crew neck jumper, £310, available at farfetch.com
Knitted wool cardigan, £270, available at farfetch.com
Classic cotton polo shirt, £184, available at farfetch.com
Chevron pattern jumper, £1525, available at farfetch.com
“If it’s style, it is a thing of the past.”– Karim Rashid
Let’s start with your training. Is there a figure who was like a mentor to you?
Early in my career, Ettore Sottsass taught me that there are many beautiful design objects, but you have to ask what they do for us? In the sense of human, inspiring objects, Memphis was a revelation. Many imposing design objects need to stand by themselves to impress. I always ask myself, what is left, if you take the design away? If it’s style, it is a thing of the past.
Also, Sottsass taught me not to be too much of an artist to be a great designer. I keep his vases, and a few Memphis works around to remind me of this. An artist is not a designer, and a designer is not an artist. What counts in the end is to help the world become a better place from aesthetics to human behavior, from the ecology to the economy. Hence design is a creative act, a social act, a political act, and an economic act.
During our conversations, you have mentioned you were also a student of Maestro Gaetano Pesce; what is that you learned and remember from Pesce as a teacher. Is there something of that time and of his teachings that still influence your work? And what is the best memory you have of this experience?
I studied under Gaetano Pesce near Naples in 1983. Gaetano gave us an unusual assignment to design a drinking glass with a head or a person’s face. It was an unusual assignment. He reminded me of my father a lot because my father was quite figurative that way, and a sculpture and an artist, just like Gaetano. I learned from him the notion of Variance. Back in the 60s and 70s, he did many experiments where he would take a plywood box and inject polyurethane foam but not allow the box to fill up with foam fully. Every time he would open up the box, it would be a different chair. It was is non-serialized production. And I took his ideas of non-serialized production to a company called Nambe in Santa Fe back in the 90s. I used a CNC machine and created a software that the CNC machine would cut out of alloy vases. But because of the algorithm, it would cut a different form every time. This process was non-serialization through mass production, but obviously, I was doing it digitally. Whereas when Gaetano was doing the experiments, it was a hands-on way of creating non-serializations. He also did a beautiful table for Cassina where the workers poured the colored resin in the mold, and the colors world mix, so each table came out differently. That peculiarity was the most crucial aspect of his design philosophy.
Minimal and futuristic shapes are often the leitmotif of your creations.
How would you define your style?
I don’t have a style. I focus on new social behaviors, new paradigms, new technologies, new materials, and embracing and mirroring the age we live in. To design using contemporary criteria, in turn, shapes the future. If I style, I only imitate the past.
Completely new shapes, volumes that develop within different volumes, shapes that overlap, you have given your best in fashion too. Among your collaborations with various brands, if you had to choose an experience that touched you particularly, which one would you prefer to tell us about?
I was greatly inspired when working on the HUGO BOSS Boat. Here was an opportunity to speak about speed, exclusivity, energy, power, and courage through the sailboat’s visual aesthetics. I intended to make a graphic statement by embracing new technologies and materials. I worked with Solar panels, techno paints, and techno printing technologies to shape a photogenic, memorable sailboat. Meeting Alex Thompson and touring the boat showed me the great passion needed for these races and projects. Meeting with HUGO Boss and the ATR team members, having a constant back and forth dialogue was essential in shaping the final design. Meeting with Stewart Hosford, showing me the carbon fiber samples helped steer us in the right direction for what we should base our design around. Using carbon as the direct inspiration for the livery as this boat is made of carbon fiber is the first of its kind.
Every round of designs required analysis from a performance perspective. It led to many iterations and revisions but ultimately helped us narrow down the best possible design functionally and aesthetically, marrying the Hugo Boss brand & ATR with my aesthetics. I have worn Hugo clothes and cologne for many years and always appreciated the simplicity but innovation of materials and perfection of quality. I understand the desire for innovative materials and the need to embrace new technologies in all they do. Hugo does not follow the flippant recycling of trends. I see myself with these same attributes- precision, elegance, minimal, yet humanized.
Let’s talk about the future. What is innovation for you? Both in the field of fashion and design.
Innovation only comes when one focuses on contemporary issues and works with recent social changes, needs, and desires. Innovation and design are inseparable, as technology and design are also inseparable. Fashion should talk about how we live and not repeat antiquated derivative styles of the past. We live in a data-driven digital age, and like our digital tools, our physical world should have the same seamlessness, ease, immateriality, functionality, and smartness.
Why the choice of often bold colors? What is their meaning to you?
As a 5-year-old child, I loved neon colors and colors that were alive. Until today I find these colors (as accents) can change our mood, create more positivity, make us feel more alive. Color can alter our behaviors and elevate our mental well-being. Of course, color needs to be used in a very sensitive way, and then it can be a beautiful phenomenon, be it an entire building, an interior space, a product, a piece of furniture, a piece of clothing.
You are a reference point for design enthusiasts, a key figure for the new generations, especially for the transversal way you manage to develop your projects. What message would you like to give to them?
I would tell design enthusiasts and consumers to sincerely question what they’re purchasing, creating, and bringing into their homes. We must remember the obvious HUMAN issues in a product. Are consumers flippantly purchasing useless kitsch at the checkout? Are they assessing a product for criteria like Emotion, ease of use, technological advances, product methods, humor, meaning, and a positive, energetic, and proud spirit?
Can you tell us about your relationship with music?
I listen to a very broad range of music. Music affords me to concentrate, be inspired, dream, imagine, and become completely engrossed in what I am working on. It is an essential part of my process. I mostly listen to electronic or jazz – without lyrics since it takes me into my lyrical state of mind, and I also write my own lyrics while I am drawing.
This pandemic has forced us all to stop and reflect deeply. What do you imagine in the future of design?
Even in this hyper-consumptive world, in the future, we will own nothing – this is nature- we lease cars, we rent houses, and soon we will learn to lease or rent everything, experience it for a short while, and go on to the next. We will create a forever dynamic, ever-vast changing human condition, where everything will be cyclic, sustainable, biodegradable, customizable, personalizable, and seamless. This is Utopia, this is freedom, and this is nirvana. All the goods in the world will only exist if they give us a new or necessary experience. We will dematerialize.
Eclectic characters like you are also great visionaries. Do you dream of something revolutionary?
In the next year, I plan on building my dream house! I’ve designed so many spaces for others, but this will be my own Utopia. For so long, I was inspired by Pierre Cardin’s Bubble House (Palais Bulles) in addition to his fashion and product design. The space is so soft, curved, organic, and conceptual. Like this, my dream home will engage technology, visuals, textures, lots of colors, and meet all the intrinsic needs of living a simpler, less cluttered, but more sensual envelopment.
Finally, the concept of sustainability seems to have entered concretely within the most varied areas of production. Could you give us your idea of “quality of life”?
Recycling is in a cyclic paradigm now in the United States and many other countries. Conserving resources means using less raw materials and energy throughout a product’s entire life — from its development and manufacture to its use, reuse, recycling, and disposal. I am interested in biodegradable materials. I am trying to use bioplastics; the Garbo can is made of corn, and the Snap chair by Feek is made of 100% recycled polystyrene and is 97% air. A while ago, I designed packaging for a fast-food restaurant using starch and potatoes that are injection molded and have the exact appearance of plastic. These innovations are finally becoming part of the consumer zeitgeist.
Karim Rashid is one of the most groundbreaking, vibrant, and prolific designers of his generation. Over 4000 designs in production, over 300 awards, and working in over 40 countries attest to Karim’s legend of design. Each of his designs carries a unique color signature and fluidity that is inspiring and unforgettable.
His award-winning designs include luxury goods for Christofle, Veuve Clicquot, and Alessi, democratic products for Umbra, Bobble, and 3M, furniture for Bonaldo and Vondom, lighting for Artemide and Fontana Arte, high tech products for Asus and Samsung, surface design for Marburg and Abet Laminati, brand identity for Citibank and Sony Ericsson and packaging for Method, Paris Baguette, Kenzo and Hugo Boss.
Karim’s work is featured in 20 permanent collections and he exhibits art in galleries worldwide. Karim is a perennial winner of the Red Dot award, Chicago Athenaeum Good Design award, I. D. Magazine Annual Design Review, IDSA Industrial Design Excellence award.
23rd October is the opening day of ROMAISON 2020, the first edition of a project that has the support of the Mayor, Virginia Raggi. The project sees Rome become part of fashion’s modern history, revealing itself as an extraordinary design laboratory where high artisanship lives alongside historical archive. This is a new opportunity for the city, which is opening its historical locations to projects dedicated to fashion research, concentrating on the area’s artisanal roots, and how they are being translated into digital and technological modernity.
The initiative comes in two parts: an exhibition from 23rd October until 29th November at the Ara Pacis Museum and an event scheduled to be held at the Mattatoio di Testaccio, both of which promote this creative DNA as a source of eternal inspiration, which gave birth to a spectacular style where high fashion and theatrical costume combine.
The Ara Pacis Museum is to host a major exhibition showcasing Rome’s most prestigious costume studios curated by fashion historian and critic, Clara Tosi Pamphili, which evokes the studios where visitors can observe the creativity, the techniques and the Italian savoir faire, and engage with the costume studios’ private archives and collections.
Annamode, Costumi d’Arte – Peruzzi, Farani, Pieroni, Tirelli will take centre stage in an exhibition rich in outfits and accessories from various eras. For the first time, this event will showcase the rich heritage of authentic pieces from the end of the 18th century up to today. Among the iconic pieces there are also designs from the personal archive of Gabriele Mayer, including photos and videos. One section is dedicated to Mensura, which has produced mannequins for more than a century, highlighting the relationship between art and artisanship.
This contemporary and experimental narrative includes an extraordinary performance, Embodying Pasolini, which will be streamed live and available worldwide. TILDA SWINTON, the multi-award-winning Scottish actress, will take centre stage at the Mattatoio di Testaccio. The event, curated by Olivier Saillard, fashion historian, world-renowned fashion curator and ex-director of the Palais Galliera fashion museum of the city of Paris, reflects on the evocative power of the costumes created by Rome’s artisans for the films of Pier Paolo Pasolini.
The initiative is promoted by Rome City Council. Organised by Zètema Progetto Cultura with technical assistance from Rinascente. We would also like to thank Fondazione Cineteca di Bologna and Istituto Luce – Cinecittà and Fondazione Cinema per Roma.
It is considered the most representative event of a sector that represents the excellence of Made in Italy, with more than 200,000 square meters entirely outdoors, between land and water and 5 different exhibition areas: TechTrade area, the section dedicated to components and accessories, Sailing World, the area of sailing, Boat Discovery for outboard motors, Yacht and Superyacht and Living the Sea area. This edition was very special, not only is it the first physical event of this sector in the post-pandemic period, but also because the Boat Show celebrated its 60th birthday. The event – organized by Confindustria Nautica, the trade association belonging to Confindustria that has had the institutional representation of the entire marine industry since 1967 – hosted some of the most important names of the nautical world: for motorboats, there were Amer Yachts, Arcadia, AzimutBenetti, Ferretti Group with the FSD – Ferretti Security Division, FIPA Group, Pardo, Princess, Sanlorenzo, Sunseeker, VanDutch; for sailing, Beneteau, Dufour, Hanse, Jeanneau, Nautor’s Swan, Mylius Yachts, Solaris e Vismara. A new area will be dedicated to Superboat.
They presented a lot of novelties, focused on innovation technology, design and sustainability. Azimut Yachts presented one of its most desired yachts: Magellano 25 Metri, a project born from the collaboration with the world-renowned artist and architect Vincenzo De Cotiis, who designed the interiors of the boat, perfectly in line with his unmistakable style. One of its features is the use of carbon and of the latest technologies, such as the air sanitization system based on a NASA patent and the Hotel Mode functionality that guarantees long-lasting stops with zero emissions. The collaboration with Vincenzo De Cotiis was born from a common bond with fiberglass: essential construction material for Azimut Yachts and one of the artist’s favourite materials. In this yacht, the fiberglass has a completely new life, becoming a design element.
Another Bonetti/Kozerski Architecture’s interior design project for the new Oasis 40 M model. The Oasis 40M superyacht is the new flagship of the Boat Show and the most photographed boat, thanks to its incredible beach area situated at its stern, which becomes an elegant lounge with infinity pool. The yacht has 4 decks with 5 cabins for 10 guests and 4 cabins for 7 crew members.
Moreover, the convertible boats of Evo Yachts could not miss. Evo Yachts presented its new project: Evo R6 Open. 18 meters long, this model has wide areas, suitable to enjoy the sea view. Compared to the classic version, this new Open model has a steel roll-bar, with a suspended wing that connects two uprights: the result is a sportier boat that communicates an idea of lightness. Its most important feature is the beach lounge area, with its ‘XTension’ side banks that increase the available space by 40 percent, allow you to create new life scenarios and realize a space that can host a 2.85 meter long tender.
There were also some important debuts such as Antonini Navi, which was born from a shipyard that, at the beginning, produced oil platforms and soon specialized in carpentry and aluminium manufacturing. Finally, 10 years ago, the new Antonini family’s generation set up the real company. This fact also led to the transformation of the Muggiano shipyard in La Spezia – one of the largest with a sea view in the area – to start the production of customizable superyachts. During this event, they presented the scale models of UP40 Crossover and U4P0 Explorer, two concept that will be realized thanks to a modular steel platform that allows us to choose the type of yacht during the construction process. Both concepts are characterized by a harmonious and innovative design, designed by Fulvio De Simoni, award-winning architect who plays a leading role in his team. “The boat show, which hosts the most important players in the nautical sector, represents for us the perfect location to illustrate our project. Starting from a great team, with an important background of technical and business knowledge, and from the strategic position of the Gulf of La Spezia, our shipyard aims to conquer this sector thanks to an offer based on reliability, experience and competence. Thanks to metals flexibility, a 100% customizable material, we start from a blank sheet and thanks to our technicians and interior designers we can fulfil all shipowners’desires” said Aldo Manna, Partner and Sales Director of Antonini Navi.
Even Amer Yachts pays attention to sustainability: last year, they began their journey in order to reduce the use of fiberglass by introducing a mixture with a sustainable and recyclable fiber, Filava, and implementing a new material in the onboard components of Amer 120. Covid-19 has slowed down the certification tests, still in progress in ENEA in collaboration of RINA, to insert FILAVA in the standard construction specifications of the composite, but this lockdown hasn’t stopped Amer Yachts; they are continuing the experimentation with some historical printers, by creating a stern section of the hull project, designed by Massimo Verme, that will be entirely realized in Filava. It will take part in the Solar and Energy Challenge of Yacht Club of Monaco in 2021. Thanks to the collaboration with SEALENCE, this new Amer Yacht’s proposal will be also enriched with DeepSpeed electric jets, presented at the 2019 Genoa Boat Show; they represent one of the most advanced devices on the market, capable of achieving a very high level of energy efficiency, unthinkable until now.
Another green innovation is h2boat, the first hydrogen powered boat, that has called public attention, as the marine world has a great impact on the environment. Thanks to an Italian patent, developed by the University of Genoa, they have created a system that is able to accumulate energy for on-board services and propulsion via a hydrogen powered system. It’s a very ambitious project, still in development, that could make the entire sector less polluting.
The Tate has officially announced that it shall award 10 artists with a £10,000 GBP bursary (approximately $12,300 USD) in lieu of this year’s Turner Prize.
In normal occasions, The Turner Prize jury would have announced it shortlist of artists in May and would have invited them to create artworks to be displayed in its autumn exhibition. However, as gallery spaces are shut down amidst the coronavirus disruptions, Tate has introduced Turner Bursaries which aims to help a larger selection of artists during these uncertain times.
This year’s jury has spent the past 12 months visiting hundreds of exhibitions to select nominees for the now-canceled Turner Prize exhibition. Much like the Turner Prize, these bursaries will be awarded to British and Britain hailed artists who have contributed remarkable works in the contemporary arts spectrum. A virtual meeting will be held in June to choose the 10 bursary winners.
Alex Farquharson, Director of Tate Britain and chair of The Turner Prize jury, commented in a press statement: “The practicalities of organizing a Turner Prize exhibition are impossible in the current circumstances, so we have decided to help support even more artists during this exceptionally difficult time. I think JMW Turner, who once planned to leave his fortune to support artists in their hour of need, would approve of our decision. I appreciate visitors will be disappointed that there is no Turner Prize this year, but we can all look forward to it returning in 2021.”