The human machine and Arca’s mutant faith

Body, mind and spirit: it is not easy to trace common themes in the artistic production and modus pensandi of Arca, the Venezuelan DJ, singer, fashion icon and producer. One should perhaps speak of guiding principles rather than common themes.

The role of the body is undoubtedly central. Body is all that we have at our birth; however, it is not only flesh and blood, but also body in its extensions. In the Vincentian Vitruvian man, the material perimeter of the human body coincided in the shapes of the circle (the divine) and the square (the earthly). For Arca, the divine and earthly coexist, but the geometry is extended, complicated. Arca’s figures explicitly refer to the Vitruvian man: in the Prada/Rakata video (whose images were later used as the covers of her latest albums), we see Arca in an almost laboratory-like set, with doubled limbs and heads, in poses that trace squares and circles, but also progressively more complicated shapes. This is where the mind comes into play, capable of making itself the bearer of a continuous increase in the body: alterations, extensions, duplications, eliminations. Such manifestations of the body are just as real if on flesh and blood as if in a music video, a cover or an art performance.



Arca tends towards a (re)solution in a series of Vichian courses and recursions, in which person and machine become one, split, and recombine. It is no coincidence that over the course of her latest project the concepts of “first death” and “last birth” appear several times, in a continuous cycle of rebirth and reinvention.  Arca is in this sense her own deus ex machina: and this is where the spirit comes into play. If in Greek tragedy the god brought resolution, while here faith is earthly, and is a faith in constant change, what Arca herself repeatedly calls a ‘mutant faith’. Mutant was the title of her 2015 album, while mutant faith appears explicitly for the first time as a concept in her creative output with the performance art residency Mutant;Faith, in New York for four nights in October 2019.

This belief is one of the red threads within Arca’s latest ambitious and maximalist project: a pentalogy of albums entitled Kick, from the prenatal kick, conceived as the first tangible sign of a human being’s life. KiCk i opened the kick cycle in mid-2020, followed closely at the end of 2021 by its iterations ii, iii, iiii and iiiii, released one per day over the course of a week between November and December 2021. 59 songs in total across five albums, initially conceived as a trilogy, later becoming a tetralogy, to which a surprise fifth element was added. These facts alone give an idea of how much of the artist’s production is in progress. The process is more important than the final goal, and it is the journey itself that gives meaning to exploration, to experimentation.



More is always more for Arca. Describing the project from a musical point of view is not easy, precisely because of its constant mutability, in which one can sense the longing for fixed points; these goals, however, are nothing more than new starting points for further extension and complication. The first kick is somewhat the most pop element (not coincidentally, also the one with the most guest artists, such as Björk, Rosalía, Sophie, Shygirl), but also the one that presents the vastness and eclecticism of styles present in the following four works. KICK ii starts with a series of reggaeton-like songs, which in the second part are dissected into a series of tracks with impalpable atmospheres, in which the rhythms and melodies tend to fade away. The third volume draws its inspiration from club music, especially techno.



The atmospheres from the first to the third volume tend towards an increasing agitation, which is then to some extent resolved in the last two chapters: in kick iiii Arca achieves a sort of synthesis of her meta-pop, in a collection of songs rich in melodies, full of poetic suggestions and manifestos of intent. Queer is a political song in which Arca exalts the strength and pain of her own queerness, in tears that are tears of fire, of a queer fire. Planningtorock, famous for another queer dancefloor anthem from 2013, Let’s Talk About Gender Baby, is the guest on the track. Shirley Manson of Garbage (who came to prominence in 1993 with a song called Queer; is this a coincidence?) recites the words of another manifesto, Alien Inside, a celebration of the otherness within each of us, as an opportunity for constant renewal. The fifth and last (?) kick, a surprise release without any announcement, is a coda, a sort of epilogue to the project. Of the five albums, it is the most stripped-down, in which Arca rediscovers the instruments and elements of classical music that marked her early works, such as Xen. Unlike her first efforts, however, the music here is less claustrophobic, airier, enriched by elements of ambient music, leaving the impression of an open ending.



Compared to the artistic beginnings of the Arca project, the new element seems to be that of greater openness, which is exuded in a pop (in the broadest sense of the term) afflatus at a musical level, the reflection of which is also perceptible at an aesthetic level. It is no coincidence that Arca has gone from being a niche phenomenon to extending her tentacles (metaphorical and mechanical) into the mainstream, recently also becoming a fashion star, featuring on covers for Vogue Mexico and advertising campaigns for Bottega Veneta, and attracting the attention of contemporary art icons such as Marina Abramović and Hans Ulrich Obrist.

With an increasingly deep and varied artistic output, it is difficult to predict what direction Arca’s career will take in the future. However, one thing can be said with almost total certainty: we are unlikely to see her fixed in one place for too long.

Italy shines in the 2021 World’s 50 Best Bars ranking

The awards ceremony of the World’s 50 Best Bars 2021 was held on the 7th of December in London. The 13th edition of the event, which it classifies and rewards the best cocktail bars in the world, voted by a jury made up of over 600 professionals including journalists, bartenders and leading figures in the food and beverage industry, was particularly significant, as it came at the end of a critical period for the world of catering and hospitality in general, including closures, limitations to international travels and a drastic decline in customers arrival. The Content Editor of The World’s 50 Best Bars, Mark Sansom, was therefore keen to underline the “resilience and sense of communion” shown by the locals, while Elisa Gregori, International Business Unit Director of Perrier – main sponsor of the event – placed the emphasis on the  fact that the sector “has shown incredible resilience and has learned to adapt to local restrictions”.



Italy has excellently defended its illustrious tradition in the field of signature drinks and mixology, placing itself after Singapore, China (the Asian city-state and the former celestial empire both six addresses on the list), USA, Australia , Mexico (four each) and Spain (first nation in Europe with four venues, including the third classified, the Paradise of Barcelona) thanks to its three cocktail bars, the same number as the United Kingdom, the true triumph of this’ year with the London Connaught Bar repeating the first place of 2020, also winning the title of best bar in the old continent, and the Tayēr + Elementary, also in London, in second position.


London Connaught Bar Team : Giorgio Bargiani, Ago Perrone, Maura Milia

Specifically, it is the Drink Kong of Rome (creature of the king of the Capitoline bartenders Patrick Pistolesi, with an atmosphere between 80s sci-fi and a refined nightclub, with lighting with neon tubes and the oriental appeal of the Japanese room), from the Milanese 1930 (speakeasy of the duo Flavio Angiolillo-Marco Russo, inspired in all respects by the clandestine haunts where, in the United States, people gathered to drink in the times of prohibitionism, the address is secret, hidden by an anonymous door, and to find it you have to rely only on the word of mouth of the “initiates”) and about Camparino, the historic sign of social and cultural gathering of Milan, the Galleria Vittorio Emanuele II; if the first one has dropped from 45th place in 2020 to the current 19th, the latter has gained five positions compared to the past year and is now 20th, while the 3rd one, new entry in the list, is on the 27th position.


Drink Kong, 1930, Camparino in Galleria


Actually, we also find a bit of Belpaese on the top of the podium, the Connaught team, the bar of the homonymous five-star luxury hotel in Mayfair, is led by Agostino Perrone, Giorgio Bargiani and Maura Milia, respectively Director of Mixology, Head Mixologist and Bar Manager, architects of a success that it has its flagship in the modern reinterpretation of the classic Martini cocktail, prepared by expert bartenders using a trolley that it moves from table to table. Ad hoc awards then it has assigned , among others, to the Attaboy of New York, winner of the Rémy Martin Legend of The List (a special prize that can be obtained only once, awarded to the venue that showed greater consistency in the “performances” in the ‘span of the 13 editions of the World’s 50 Best Bars), the President of Buenos Aires (Nikka Highest Climber), the Re di Sydney (Ketel One Sustainable Bar Award), the Cardiff Lab 22 (Siete Misterios Best Cocktail Menu) and the Hanky ​​Panky of Mexico City, whose debut in the ranking at 12th position earned him the Disaronno Highest New Entry.




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.


THE EXCLUSIVE GIORGIO ARMANI X 10 CORSO COMO COLLECTION

Giorgio Armani presents an exclusive preview of the Giorgio Armani – 10 Corso Como collection. A synthesis of unique style, in iconic black and white, the unprecedented collaboration with 10 Corso Como has created a timeless collection, embodying the consistent and constantly renewed lexicon of Armani’s storytelling.

Blazers with accurately defined shapes, single or double-breasted, long coats and cabans, flowing trousers, soft pullovers accessorized with low lace-ups or pumps, and two bags, one large and enveloping, and La Prima in its classic version. The opposition between masculine and feminine is resolved in a light and impactful sign, and the choice of black and white conveys a graphic vision, highlighted by patterns of jacquard stripes. The materials are natural and precious: wool, silk, velvet, cashmere, and a sweatshirt that ironically plays with the stylised face of Giorgio Armani.

The collection, with dedicated packaging, is available from 18 November at 10 Corso Como in Milan and online, and then also in Giorgio Armani shops in Milan, New York Madison Avenue, Tokyo Ginza Tower and Shanghai.

Translation by Zoran Trevisan

Chef in Town: Foss Marai, the leading winery in the production of sparkling wine and its strength

They call it <<heroic viticulture>> and Carlo Biasotto, founder of Foss Marai winery, tells it like this:

“We were children, and our parents used to order us to go and pick the grapes: that was the time to cry because we knew how hard and dangerous the work was.”

Land with a 45-degree slope, no terracing, the need to intervene by hand, limiting the use of machinery that would risk tipping over: this is why the work of winegrowers in Valdobbiadene is called <<heroic>>. The landscape is so suggestive, with hills that weave infinite shades of color, from clover green to fern green, as hard as it is for man to tame it.

It is in the Conegliano-Valdobbiadene area, today a Unesco World Heritage Site, that Foss Marai wines are born. Thanks to the respect of the “disciplinary regulations of the wines of controlled and guaranteed origin Conegliano Valdobbiadene – Prosecco” aimed at the full protection of prosecco, a wine symbol of Made in Italy quality, without forcing the plants and the cultivation system.

The Biasotto family is formed by Carlo, Adriana, and their children Andrea, Cristiana, and Umberto. They continue the tradition of respect for the territory: the company’s DNA, founded in 1986.

It is an agricultural model where the secret is know-how, craftsmanship, precision, and care with which complex selective and productive processes are managed. These processes are often long because they are based on manual labor and therefore expensive: any compromise would ruin the outcome’s quality.

In the use of autochthonous and indigenous yeasts of prosecco, especially the DOCG territory lies their strong point.

An accurate selection is done by the external state of grapes, called <<pruina>>. It is a wax that covers the berries. There is a multitude of types, and thanks to the collaboration with the University of Piacenza, a selection of yeasts suitable for alcoholic fermentation has been made: both for base wines, the result of the primary transformation from must to wine, and for fermentation in autoclaves. These yeasts guarantee the uniqueness, typicality, and variety of the grape, and the original aroma is maintained, which would be lost if commercial yeasts were used, giving prevalence to fermentation aromas rather than varietal ones.

Mother yeasts are kept in small chemical vials. Every three/four months the brown part must be renewed, and a small portion of yeast (the white part) is taken, then re-inoculated in a new vial; at a temperature of 35/37 degrees Celsius, growth waited for a week until the yeast colony is in good health. Then the vial is placed in the refrigerator for storage and monitored.

The meticulousness of the process is necessary to make sure there are no bacteria because it is predominant to maintain freshness and vivacity. The pride of Foss Marai, in this step, are the innovative technological tools used: from machines with an infrared laser to “enzymatic” implements for the examination of alcohol and sugar.

While other producers use commercial yeasts, mostly selected by multinationals, often from the Netherlands, Foss Marai has been selecting and working with its yeasts for 20 years, producing 20,000 bottles per day, for a total of about 2 million per year. The result is a particular and unique timbre. In years that are not particularly favorable, it is possible, thanks to the 30 indigenous yeasts, to give the same results as in happier vintages, with the same aromas and scents, reducing to a minimum the gap between one harvest and the next.

Many reflections arise knowing the history of this family, which has put the love for its territory before everything else, which has made life itself become <<work>>. Jean Giono, a French writer, born into a family of Piedmontese origin, would sum up the thought in a sentence, taken from his essay <<Letter to the peasants on poverty and peace>>, written in 1938:

“One cannot know what the work of the peasant is: whether it is plowing, sowing, mowing, or whether it is at the same time eating and drinking fresh food, having children and breathing freely, for all these things are intimately united, and when he does one thing he completes the other. It is all work, and nothing is work in the social sense of the word. It is his life.”

Chef in Town- a food and beverage column curated by

Intl Editor Francesca Romana Riggio

We Take A Glimpse Into NICCE’s World Of Pared-Back Ease Through Its Little Things Campaign

NICCE Q4 men’s collection is easy to decipher: You just need to glance at the array of pared-back codes to understand why. With numbers ranging from hooded sweatshirts to chuck-on joggers, the looks are posed with militant confidence against the vibrant canvas splashed in pangs of orange, brown and yellow. Labelling the collection as solely practicality influenced, however, would be a false judgement. The latest influx of garments (from catwalks to streetstyle) has seen a soar in functional sportswear and with shirts and bottoms in light, with cotton bases, NICCE Q4 men’s collection makes up for the ideal sportswear aficionado inspired by a proclivity for wear-anywhere comfort.



The campaign for the brands final collection of the year was shot at Peckham Liberal Club by photographer Ollie Radford, capturing the collection in a retro nostalgic setting. From pints to playing pool, the campaign aims to stir a silliness and appreciation for the little things in life after this year’s disruptions, and as we head into the festive season its intent is to offer the cosy-yet-cool vibe to one’s look. Past the printed sweaters, cuffed joggers, long t-shirts and sporty bucket-hats topped with two-toned sneaks offerings and crispy chains, NICCE takes the sporty street aesthetic and reinvents it with dazzling colour and bold, statement stripes. Loose and light hoodies have also made their way into the collection, proving that fun but practically comfortable pieces suitable for everyday and any day wear is at the centre of the NICCE’s spirit.



Shop the collection now, available at nicceclothing.com.

December 1st, 2020 – World AIDS Day

On the occasion of December 1st, World AIDS Day, Asa Milano and Milano Check Point, collaborating with CIG – Arcigay Milano, create a special photo and video campaign to raise awareness on HIV, in this very special moment in which the Covid-19 emergency has focused all the media attention on the pandemic. Despite this, HIV continues to spread silently and, unfortunately, people talk less and less about this issue. For this reason, the goal of the campaign – created by Federico Poletti and Daniele Calzavara – is to explain to as many people as possible what HIV is and what is the current situation in order to communicate the message that if HIV is not detectable, it cannot be transmitted: a message that is summarized in the U = U (Undetectable = Untrasmittable) campaign. A manifesto that wants to break down the prejudices against people living with HIV. This is why ASA and Milano Check Point have chosen the slogan #STOPHIVSTIGMA COMBATTI IL PREGIUDIZIO CON L’INFORMAZIONE, which can be found in the photographic campaign spread through the social media accounts of all the people involved. Many well-known faces have joined the campaign on social media, from Sandra Milo to Ferzan Ozpetek up to M ¥ SS KETA, as well as many young actors and actresses and people who have decided to spread the meaning of this equation, scientifically proven for years: U = U Undetactable = Untrasmittable (a HIV – positive person in therapy and with an undetectable viral load cannot transmit the HIV virus).



Over 30 personalities from the world of cinema, music and entertainment participated in the video directed by Manuel Scrima and Giovanni Conte. A beautiful and important signal came from Rome, the symbolic city of cinema, which, thanks to the involvement of Sonia Rondini and Fabrizio Imas, has mobilized with various personalities from the Italian entertainment world. The video, which will be available on December 1st, was shot between Milan and Rome, thanks to the support of the Hotel Valadier, the Mediterranean Restaurant, Giardino del MAXXI and Angelo Cruciani.



“This year, since the pandemic prevents us from organizing events, we have created a video and photo campaign, which involves both well-known faces and ordinary people, that will be spread on social networks to underline that HIV is still spreading and that it’s always subjected to prejudices” – said Massimo Cernuschi, President of ASA and Milan Check Point.

“In a historical moment in which all our resources and energy are invested in the fight against Covid-19, HIV continues inexorably to run its course. There are about 130 thousand HIV-positive people In Italy and 39 million in the world. We always have to remember these data for ourselves and for others, not only on December 1st! – adds Sandra Milo on her Instagram account.

“A video about this topic is essential – comments Manuel Scrima, the director – because many people are still victims of prejudices or simply poorly informed. We wanted the characters to look their audience into the eyes and honestly explain that we shouldn’t be frighten by HIV because, through the correct therapies, HIV positive person cannot be contagious.”



Finally, BURRO STUDIO – a communication agency mainly focused on branding and graphic design, founded by Federica Caserio and Giovanni Manzini – has developed graphics about the U = U Undetectable = Untrasmittable topic, which will be used both for the web campaign and for a t – shirt limited edition, available from mid-December. For the “I Can Give You” campaign, developed by Burro Studio, ASA Milano decided to relaunch Randy Davis social project, which focuses on the H I V letters, associating them to some words with a positive connotation such as Hope, Inclusion and Vision. It is another way to underline that HIV-positive people in therapy can only transmit these values ​​and not HIV.

Sporty & Rich: Good Health Starts Here

Sporty & Rich is a unisex streetwear and lifestyle brand, founded by Emily Oberg in 2014. It began as a mood board for life: a collection of images from past and present that represent a life surrounded by beauty.


Emily Oberg


Grown up in Canada, Emily Oberg got connected with the Complex team before moving to New York in 2014. She began her career as an Editorial Producer and towards the end of 2016, she started to work alongside streetwear mogul Ronnie Fieg at KITH, taking on the role as the Creative Lead of KITH Women. Originally launched as an online magazine, Emily founded Sporty & Rich in 2014. After some initial success, Emily decided to leave KITH and to move to Los Angeles. Her move to the West Coast influenced her desire to promote positive lifestyle choices in herself and others and helped her to explore her passions through a variety of projects and collaborations.



Conscious of the effect that clothing brands have on the environment, Emily wanted to build a company where they could offset their impact on the planet as much as possible. That is why she decided to produce garments in small batches on a pre-order basis, achieving Climate Neutral Certified status, as well as partnering with environmentally focused organizations.



Today, the brand offers a collection of thoughtfully designed products that emphasize longevity by placing health, fitness and the wellbeing of ourselves and our planet in the forefront. The ethos is, ‘Be nice, drink water, be good to the planet, take care of yourself and live a life of pleasure.’ Her brand is still growing, with notable fans such as Elsa Hosk, Rosie Huntington-Whitely, Chiara Ferragni and Dwight Howard as well as wholesale distribution through Moda Operandi, Selfridges, The Webster, Ssense and others.

Supporting new talents – Matchesfashion launches The Innovators Programme

The well-known London-based e-commerce platform Matchesfashion launches its new program The Innovators, which features 12 fashion designers that stood out from the crowd in the global fashion scenario. “What makes an innovator?” is the question that started this program aimed at actively support emerging, talented and, of course, innovative designers for one year.

The project idea became solid during COVID-19 pandemic, as Fashion & Buying Director Natalie Kingham stated, when the designers expressed their need of a more practical support, in order to let their emerging brands thrive during these difficult times. For this reason Matchesfashion decided to turn The Innovators into a programme not only able to showcase young talents, but also in the position to give them a tangible support through tutoring and marketing activities.

Now a question comes to mind: What’s the reason for being so into new talents? Matchesfashion answers, stressing the importance and the influence in fashion of the “small labels with strong narratives and beliefs”.

The chosen brands not only make us question our relationship with usual designs, they are above all social innovators, who advocate for a deep change that they expect to witness in the fashion industry: sustainability, gender fluidity, diversity and inclusion are just a few of the values these young designers want to carry out.

Art School

“An innovator is someone who pushes the boundaries – And is a rebel against the system”

With its peculiar aesthetics defined by the founders, Eden Loweth and Tom Barrat, “decadent minimalism” the brand Art School displays luxury clothes inspired by the Hollywood glamour which reinterpret the concepts of menswear and womenswear.

Bianca Saunders

“An innovator is someone who creates their own lane and is confident in what their work has to say and also, someone that can create their own tribe”

The designer Bianca Saunders based her brand on 3 main points: gender fluidity, cultural heritage and music, that has always had a strong influence on her. Her style showcases an interesting dualism: from one side clear minimalism while on the other rich draped fabrics.

LOVERBOY

“What makes somebody an innovator is their ability to tap into an authentic energy within their work. Output is honest and relatable, whether you’re from any walk of life”

The brand LOVERBOY reflects its Creative Director Charles Jeffrey’s vision, embracing the typical London night-life spirit. His trademarks are painterly prints and structured highly-detailed silhouettes.

Chopova Lowena

“Being an innovator I think means being able to think and act differently and kind of commit to one’s vision”

Emma Chopova and Laura Lowena’s brand makes ready-to-wear inspired by the contrast between traditional dresses and sportswear, blending Bulgarian tradition with the ‘80s rock.

Wales Bonner

The founder Grace Wales Bonner shows in her designs her love for beauty as well as her intention to mix two different worlds: Afro culture and European luxury. The peculiarity of her style is for sure her reinterpretation of “race” and “gender”.

Harris Reed

“An innovator is someone who is not scared, who does not hold back. Someone who is ready to make a change in this world”

The brand Harris Reed is founded on beauty and a gender-fluid identity, with a strong aesthetics inspired by Victorian age and glam rock. According to the designer there is always a good reason to properly dress up and play with the silhouette, regardless of the occasion.

Germanier

For the founder Kevin Germanier the main objective is to raise awareness in the fabric choice. Sustainability to Germanier is essential and he shows it in his collections, where clothes are made from upcycled materials.

Ludovic de Saint Sernin

“I think you’re an innovator when you find unique ways to present yourself”

The French designer Ludovic de Saint Sernin blends in his collections a minimalistic style and a gender-neutral look. It’s Saint Sernin who stated that “a garment is defined by the wearer”.

Halpern

“What makes someone an innovator are authenticity and a clear point of view. If everyone likes what you’re doing, you’re probably doing something wrong”

The first thing to Michael Halpern is color: pastels and bright shades mixed together in a design that distinguishes itself for its well-defined silhouettes inspired by the ‘70s night-life.

Ahluwalia

“I think it’s important for diverse stories to be told by authentic storytellers”

Priya Ahluwalia presents collections whose distinctive trait is, above all, denim. Another essential element is sustainability: she only uses vintage scarves and deadstock textiles.

Stefan Cooke

“An innovator is someone who makes you question your relationship with fashion”

Stefan Cooke and Jake Burt carry out their willingness to make “unfamiliar the familiar”, creating slightly unique pieces. They take inspiration from modern art and urban subculture.

Thebe Magugu

The Johannesburg-based designer during the creative process focuses on history and storytelling, in particular not widely-known or forgotten stories expressed  through his clothes. He advocates for a fashion system kinder towards both the environment and the single workers.

Sources: https://www.matchesfashion.com/intl/mens/stories/2020/09/the-design-innovators-issue/designers-introducing-the-innovators-aw20

Production: Christopher Garfield

Creative Booking Director: Tomasina Lebus

Photographs by Trisha Wars

Interviews by Billie Brand

Louis Vuitton opens new store in Las Vegas

Louis Vuitton has opened a new men’s store in Las Vegas. Located in the famous Bellagio luxury resort and casino, the new shop features a contemporary design reflective of the Paris brand’s luxury roots and uncompromising craftsmanship. The outpost overlooks the popular Bellagio fountains and designed with an eye-catching façade studded with twisted stainless-steel blades. Moreover, the interior is as sleek and as pristine as they come with leather goods being the first selections customers see.

Moving along inside the shop are travel goods and accessories with ready-to-wear at the rear which opens to a relaxing outdoor terrace. Consumers will be pleased to know that the new LV men’s location carries the latest season collection as well as the new LV Volt unisex jewelry collection up for pre-launch. The release, which is the second collection by Francesca Amfitheatrof, Louis Vuitton’s Artistic Director of Watches and jewelry, is part of the store’s opening. 

The Bellagio outpost is Louis Vuitton’s third store in Las Vegas. The other two are located at the Wynn Las Vegas and the Forum Shops Caesars.