mug magazine #24

Year 14 issue #24 JULY 2014 A YEARLY MAGAZINESpedizione in A.P. 70% DCI TVregistrazione del Tribunale di Trevison. 1141 del 26/09/2001

Free Year 14 #24

BACK IN THE DAYS THE MISSION OF PRESENT-DAY FASHIONA CRAZY GUY LIKE ME

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Il manager contemporaneo deve saper am-ministrare e gestire lincognito e limmagi-nario, dove le idee prendono forma e di-ventano progetti, i sogni realt. La veloci-t dettata da internet sembra regnare, cam-biano i consumi, un mondo veloce e frivolo si presenta come una bandiera al vento.

Su questonda gli e-commerce crescono a discapito del retail; il consumatore fina-le ricerca lesclusivit, la piccola realt che fisicamente non pu raggiungere, che sia essa a Tokyo, a Copenaghen o Venezia. Tutto accessibile con un click.

Rispondendo allesigenza del consumato-re finale, il business model dei produtto-ri cambiato, questa nuova strategia, che accorcia la filiera, permette di produrre locale e ragionare globale, valorizzando e premiando la qualit e lartigianalit.

Mug Magazine riscopre i valori e le tradizio-ni, mette in contatto queste realt, che rap-presentano il successo di aziende familia-ri dove le nuove generazioni hanno integra-to le competenze dei genitori ampliando il mercato con una strategia coesa e armonica.

Todays managers must be able to in-terpret and govern the world of crea-tiveness and the unknown, as their ideas take shape and become projects, their dreams come true. The speed imposed by the internet seems to be all-pervad-ing; while consumption habits change, velocity and frivolity make us live in an endlessly changing world.

In this context e-commerce grows to the detriment of retail; final consumers strive for exclusive items they are phys-ically unable to get, be they in Tokyo, Copenhagen or Venice. Yet, everything can be obtained with a click.

By answering the demands of final con-sumers manufacturers business model has changed; aimed at rationalizing the chain of production, their new strate-gy boosts local production but involves global planning, at once enhancing and rewarding quality and craftsmanship.

Mug Magazine wants to rediscover and link the values and traditions of suc-cessful family-run firms, in which the new generations have integrated their fathers skills by widening the market through a balanced, consistent strategy.

EDITORIAL

Cover: Tel Aviv

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Mug Magazine

3Mug Magazineissue 24, year XIV

80A CRAZY GUY LIKE ME

Nicola Formichettis versatile creative ta-lent has since April 2013 merged with the daring vision of Renzo Rosso, who appoin-ted him Diesel Artistic Director to take ca-re of image-making and coordinate the Brands creative activities, from communi-cation to production and interior design.

90THE MISSION OF PRESENT-DAY FASHION

To accept challenges, risk, and stand in the forefront are today the tasks of a manager who has to govern change keeping an eye open for his firms strong or weak points, opportunities and threats.

MUG MAGAZINE 24Spotlight 7Colophon 18Back in the Days 19Parajumpers 68Puma 72Nigel Cabourn 74Leather Crown 77Nicola Formichetti 80Isetan 83Dover Street Market 86F.lli Cerruti 89Serica della Marca 94Bottoli 98Bevilacqua 100Only T-Shirt 102Rude Riders 104Diesel Black Gold 108Beby Italy - Diluce 110Manike++a 112 Isko - Creative Room 114WP & Woolrich 116McSorley's 118

ART & DESIGNVideo mapping 122Photography 128Art @ Lazzari 134

SHOWCASEThe mission of present-day fashion 90

19BACK IN THE DAYS

Ten years after Mug was first issued, before we resume our work, we would like to take a backward glance at the most significant events in our activity: the international stores we visited (mostly on the occasion of their inaugural opening), the up-and-coming or successful designers we told our readers about, the items and accessories we examined when presenting the firms that made them renowned.

4 Mug Magazineissue 24, year XIV

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NEWSSPOT-LIGHT

1ST PAT-RNThe name 1ST PAT-RN comes from some old paper patterns, found in a military garment store in Normandy, which had the "first pattern" stamp, the test item or prototype.The designer decides to value the knit-ted Cavalry, an exclusive fabric pro-duced in Veneto, through the creation of military and work jackets with their own original features, but with an actu-al fit. 1ST PAT-RN is a paradox between contemporaneity and tradition, charac-terized by the "Fabbricazione Italiana" (Italian Craftmanship) and the hand-crafted work.The jackets, found in the store or in old pictures, reinterpret the navy or Ivy League ones, the safari jacket of the Italian Army and the travel jackets of the 40's. Every item is made with indus-trial tailoring and attention to details. ASICS - EPIRUS

For the Winter 2014 ASICS has once again chosen Mauro Simionato to re-interpret the model Epirus with a cap-sule collection. The versatile creative director has chosen a running mod-el of the 80s, a slim-shape enriched with valuable leather and suede, brushed and combined with a water-proof technical material. The thick rubber and eva running sole differs in colour from the vamp and, togeth-er with the strings, is covered all over with a stippled print. The trademark of the collection is the white collar: all the different colours have in com-mon a white leather heel, with the lo-go ASICS printed in gold on a strip of refracting material.

1ST PAT-RNfirst pattern

Cavalry1ST PAT-RN40

1stpat-rn.it

2014ASICSEpirus 80EVAAsics

asics.com


BETA PEN"Writing in metalBefore the invention of the pencil, me-dieval scholars would use a silver tip to draw fine lines. This is the idea behind Beta Pen - a range of pens made of al-uminium or wood with an integrated, specially alloyed metal tip.

Beta Pen can be used to write on virtu-ally every paper surface, at every tem-perature or in any climatic conditions. There is no ink so it cant dry up or leak.

CAMO + PLATOYCamo [originate from Camouflage] chooses pLAtOY for a capsule collec-tion consists of two models of sun-glasses in two colors. The name Platoy is a play on words meaning "play plas-tic toys", but the glasses that are of-fered are made entirely by hand in a small workshop in Chiba, a rural town in Japan where Akira Ishiwatari moved about twenty years ago to escape the stressful life in the capital, a little as in Biella where Stefano Ughetti designs and manufactures its brands. The sun-glasses made for Camo have impor-tant frames, withlenses of different colors. The collaboration between Ste-fano Ughetti and Akira Ishiwatari cre-ates a unique product that comes from the tradition of the "know-how" dedi-cated to craftsmanship and contempo-rary design.

Camo22pLAtOYPlatoy"play plastic toys"20Camo Camo

camofactory.com

weinbrecht.de


CRASH BAGGAGEWhat is the first thing we think about when we buy a new suitcase?We worry that it might get ruined.Francesco Pavia, a young Venetian de-signer was inspired by this simple idea. Traveling from airport to airport he no-ticed how bags were handled, thrown about here and there, and how they became damaged over time. Thats how Crash Baggage was born. The damaged case! An innovative travel philosophy that has opened the way to a whole new way of conceiving the suit-case: that of the non-handle with care, where damage is no longer a problem.Crash Baggage already has the typical dents that are caused by frequent use. In-deed, over time, the new dents give even more personality to the suitcase. All this without forgetting the functionality and comfort of an object that has been creat-ed using the most advanced materials.With your Crash Baggage you will feel relaxed and at the same time unique while travelling.

MASSIMO CASAGRANDEItalian by birth and South African of up-bringing, Massimo Casagrande grew up between Venice and Johannesburg. Cur-rently based in London where he is sen-ior design lecturer at Istituto Marangoni.MCG is his collection of shirts, which are carefully detailed taking into con-sideration fit, construction and textiles. The designer draws inspiration by the looking at the works of Alberto Giaco-metti, Constantin Brancusi, Iriving Penn and Cy Twombly, revisiting the classic silhouette and bringing new energy inshirting and working to create future classics focusing on detailing, tonal fab-ric combinations, and layering.A functional-minimalism distinguishes Massimo Casagrandes work which de-velops seasonally within his collections in a harmonious way by using innova-tive materials and use of fabrics deliv-ering a bold and graphic collective of garments mixing classical lines with a contemporary elegance.

Crash Baggage

Crash Baggagedents Crash Baggage

crashbaggage.com

MCG

Massimo Casagrande

massimo-casagrande.com


HIBOY THE NEW COLLECTIONThe Italian brand Hiboy presents its new collection, focused on focused on leath-er artisanal manufacturing and tanning.

The Saddle Stitch line:The products of the Saddle Stitch line are made and sewn entirely by hand with "saddle stitch". The skins of "vegeta-ble Vacchetta" used are tanned with ex-tracts of the bark of mimosa and chest-nut, greased in wooden barrels with nat-ural fat and hung from the ceiling to dry. Finally, polished with amber stone like in the Tuscan tradition of the early XIX cent.

The Shell Cordovan line:The "shell is the subcutaneous layer that covers the hindquarter of a horse. It is the toughest part of the hide and has unique grain characteristics. Horween's Shell Cordovan is still tanned using a six-month-long process and formulas that date back to the early XX cent.The shells are put through a natural vegetable tanning process in order to allow the tannins to fully penetrate the dense fibers of the shell, then, hand-stained, glazed and finished over a long period that demands the measured pace of craftsmanship and patience.

BUTTEROSurrounded by the wonderful Tuscan Hills, Shoe Factory Buttero was found-ed in 1974 by Mauro Sani, who had the wish to make the best riding boots in the world. Today the company is 40 years old and now offers a wider prod-uct range: sneakers, leather sole shoes both made with passion, tradition, gen-uineness and deep care. New Runner style milled and handcrafted with Vi-bram outsole: Carrera, this is the name that mixes new technology and the an-tique handcraft of the tuscan shoe facto-ry. Buttero uses only the best local vege-table-tanned leathers named Vacchetta, available in four different colors in con-trast with the white outsole.

Hiboy

The Saddle Stitch lineSaddle Stitch

1800

The Shell Cordovan line Shell Cordovan19006

hiboy.it

Buttero197440VibramCarreraButtero4

buttero.it


KJRE PROJECTKjre project is the latest Scandinavian accessories label to have caught our at-tention. Using a continental approach, the brand seeks to mix Scandinavi-an minimalism with Italian leather craft, aiming to offer beautiful and careful-ly considered accessories. All the styles in the Heritage collection are designed and built just as they were over eighty years ago and are all handcrafted using premium leather, to the specifications which made each style timeless when they were first introduced. The current collection includes wallets, belts, docu-ment folder, bags as well as more unusu-al accessories such as glasses neck cases and pouch card organisers.

PETER NONPeter Non from the greek "petros" meaning "stone" and Non", from its or-igins in Veneto, is linked to the concept of "non-shoe". The handcrafted shoes are hand-assembled at the foot of the Dolomites, on an anatomical footbed made of cork and rubber. Sinatra, a unisex model, is a reinterpretation of the classic shoe, with a round and ta-pered shape. Ruffled and faded leath-ers from the wear of the treatment, suede or with crack effect, and textile fabrics coated with gum are bound to Vibram or leather soles. Research and experimentation characterise the de-sign of Peter Non which is accompanied to extreme attention to detail and qual-ity of the materials.

Peter Non Petros SinatraVibramPeter Non

peternon.com

Kjre project 80

kjoreproject.com


TODD SNYDER + CHAMPIONChampion goes back to its origins and rediscovers its first collections thanks to the collaboration with the New York de-signer Todd Snyder who re-interprets Champion most typical items by reap-praising t-shirts, sweatshirts and track suits in retro style and colours. I wanted the collection to enable people to feel grittier, says Snyder. Besides the essen-tial basic elements, the Todd Snyder+ Champion capsule collection also uses the faded captions that draw inspiration from old boxing gyms and old photos of the New York Athletic Club.

'FURNITURE PROJECT': MULLER VAN SEVEREN'S LANDSCAPES FOR LIVING IN In 2010 visual artists Fien Muller and Hannes Van Severen decided to cross the lines of their individual disciplines - photography and sculpture - and em-bark on a mutual 'furniture project'. Together they developed a series of unique design pieces, minimal in form and detailing but maximal in its usability and use of materials. Exactly these ma-terials were the starting point for their investigations.Muller Van Severen is not deliberate-ly forging references but uses them to develop their own language. "The im-age of minimalism is worn out. This fur-niture battles with minimalism and us-es it at the same time. Details have been left out, everything has been reduced to the most simple technological so-lution and still the result is very rich in ornamentation.

2010

mullervanseveren.be

ChampionT Todd Snyder + ChampionNew York Athltic Club

toddsnyder.com


BARBARA I GONGINI A JOURNEY TO THE FAROE ISLANDSBarbara Gongini was born in the cine-matic Faroe Islands. Over time, Barbara became an most active participant in the Nordic art discourse, working interdis-ciplinary in close collaboration with var-ious artists in film, music and photog-raphy. This indirectly sets the reflective tone for her elaborate creative process as a fashion designer.The collections include strong geomet-ric cuts and soft ovoid silhouettes, focus-ing on the versatility of traditional tai-loring. Expression and championing the power of the individual are central in the conception of each garment. Spe-cial is her delicate focus on delivering timeless collections, always with a sus-tainable and holistic focus, which is rath-er unique in this continuously revolving fashion cycle.

THE WHITE BRIEFS A SHORT STORYThis is a story of endless dialogues. When The White Briefs was founded back in 2010, Peter and Henriette Si-monsson set off on a journey to de-velop undergarments with a function-al aesthetic. The White Briefs was born, submerged in the quiet isolated studio, surrounded by the raw sweeping ele-ments, tucked away on the Southern Swedish countryside. Their conceptual approach embraces a stillness in mind, focussing on quality, minimalistic de-signs and adhering to the highest quali-ties of organic Gots certified fabrics. The studio has been able to secure several challenging and innovative col-laborations. Together with Fantas-tic Man Magazine, three special mesh garments for men were developed. Another fashion dialogue led to a spe-cial Camouflage capsule collection, curated by Nick Wooster. Lastly, the conversation with Mr. Peter Burks, let to the introduction of colourful graph-ics for the special A Free Man project. Simple and Relevant.

2010The White BriefsThe White BriefsGOTS (

FANTASTIC MAN A Free Man

thewhitebriefs.com

barbaraigongini.dk


ELINA DOBELE HOUSES FOR OUR FEETThe idea: pure forms, transformable constructions and to capture their con-sequent interaction within a world in turmoil. From her quiet Riga atelier in Latvia, Elina Dobele works from the con-templative state of current architectur-al discourse. At the studio, design is the leitmotif. Old meets new and the femi-nine brazenly counter the masculine. As lines fade, constructed houses for our feet appear. Locked in poetic dialogues, all shoes are crafted from a contempla-tive collection of memories. Each pair serves as a neo-classical reminder of tra-ditional construction. The process is central, with close attention paid to how shoes should be made. A selection of lit-tle gems, surely a good match for any modern wayfarer.

PROMOTE DESIGN IS GETTING READY FOR DIN 2015Following the growing success of the past two editions, Promote Design this year again will organize - din design in, the show taking place in Milan at the Fuorisa-lone, in the heart of the Lambrate district. Last year 130 designers exhibited their items at din 2014. Over 100,000 Interna-tional attendees visited the 2,000-square -meter venue during the 6-day event. In 2015 the new edition will be dedicated to quality self-made design, but enriched with news and further initiatives. In order to participate ask for further information [email protected]

elinadobele.com

2Promote Designdin - design in

130din 20142,000 6102015 [email protected]

promotedesign.it


MARCUS DEMarcus De was founded in 2013 and was inspired by the original Marcus de Almeida. The concept was to produce luxury shoes and accessories in very limited numbers ( just 24 pairs per style/colour) Designed with passion and made by Artisans using the best mate-rials and techniques honed over centu-ries in England.The shoes are made in Northampton, the centre of luxury shoe making for centuries.The shoes are then made by hand over a period of 12-14 weeks by skilled crafts-men using the goodyear welted con-struction method.Most leathers used are either English or British with the exception of some of the more specialist ones like cordo-van which is sourced from America and some rare calfs and suedes which are sourced from Italy.All shoe boxes are hand made in Eng-land using recycled materials. The shoe bags and wraps are also hand made in England and even the waxed cotton lac-es are made exclusively for Marcus De in England too.

SHOES FOR YOUR VAULT

DOMSAI, MATTEO CIBICDomsai is designed by Matteo Cibic.He is an eclectic italian designer. Matteo studied art at Kiad Canterbury UK and product design Politecnico in Milan, lat-er on he worked at Fabrica, the research centre of communication of Benetton. Domsai are Hand crafted in Italy, each of these gorgeous, anthropomorphic planters are one of a kind. Matteo refers to his little creations as a tamagochi for your table, but we like to think of them as a little (actually there are 3 size now 28cm, 40cm and the XXL version 185cm, not so little) space-age homes for your cactus or seedlings. They are all made of hand cast ceramic and mouth blown glass. Domlight is the new product of the family.

Domsai Domsai 328cm40cm XXL185cm Domlight

matteocibicstudio.com

Marcus De2013 /2412 14

Marcus De

marcus-de.com


BARENA LABORATORIOIn the nearby of the lagoon of Venice, Sandro Zara created Barena, inspired by Venetian tradition.Today starts "Barena Laboratorio" pro-ject, which proposes a series of proto-types and special developed garments, produced in limited edition or with ex-clusive fabrics.In this shop you can find unconvention-al jackets, pants and knitwear, tests and single pieces, created by the designer during the research and development phase of the collection.Barena Laboratorio draws from ware-house's fabrics archive, often only a few meters available, giving customers the opportunity to order their own suit choosing from these materials.The online shop was created to offer unique garments, a coat or a jacket avail-able only in a single color or size, a re-fined product, which brings with it the values and history of the company.

DETAILS, A LIFE WITH DENIMWearers leave their marks on their items of clothing and the story of their life is told by their wear and dirt or by the care with which they have been handled. Details, a Life with Denim gives us an account of peoples lives through three hundred vintage denim shots. Piero Turk, who photographed the details of his denim collection made up of items dating from the 20s to the 50s, had the idea of document-ing the product developments, the mending, accessories and treatments to provide a source of inspiration for those who process these fabrics.Stains, holes, darns, patches, buttons and oxidations bear witness to the wear-ers life. Each item is unique because it is the outcome of the work, time and ac-tivity of its wearer.

Barena Barena Laboratorio Barena Laboratorio

barenavenezia.com

Details, a Life with Denim 300192050

alifewithdenim.tumblr.com

Lazzari sasVia Paris Bordone, 14/16 31100 Treviso ItalyTel: +39 0422 598733 Fax: +39 0422 545456 lazzariweb.it

MUGMAGAZINEYearly magazine, issue #24,year XIV, July 2014.Registrazione pressoil Tribunale di Treviso n 1141del 26 Settembre 2001.

Via Paris Bordone, 14/1631100 Treviso - ItalyTel: +39 0422 598564 Fax: +39 0422 [email protected]

Registered director /Mara BisinellaGeneral coordination / Steven CrosatoGraphic layout /Nicola & Luca Facchini Ubis Three ubth.itJapanese text layout /Reiko HanafusaTexts / Alessandra Bortoletto(Page 68-71; 104-105; 108-109; 116-117)Steven Crosato(Page 77-79; 86-88; 100-101; 110-111)Andrea Da Villa(Page 72-73; 90-93; 98-99; 106-107; 112-113)Davide Parpinel(Page 122-133)Paolo Vitale(Page 80-82; 94-97; 102-103)Correspondents / Reiko Hanafusa (Tokyo) (Page 83-85)Marlo Saalmink (Copenhagen) (Page 14-15)

Translation /Mario CrosatoGlobal srl, made-in-global.euTexts /: Mug #13-14-15 / Mug 13-14-15 Paolo Vitale, Laura Scarpa, Alessandro DAnnibale Mug #16 / Mug 16 Paolo Vitale, Giulia Barbazza, Alessandro DAnnibalePhotographer / : Mug #13 / Mug 13 Roberto VacisMug #14-15-16 / Mug 14-15-16 Lino VecchiatoPrinting /Grafiche Antigagraficheantiga.it

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BACK IN THE DAYS

MUG MAGAZINE ANNO 7NUMERO 13

2007



A cardigan is a V-necked woollen jacket with a front buttoning and a horizontal welt pocket on each side,symmetrical to the front fastening. The cardigan owes its fortune and wide-spread use to its unquestionableversatility. The story has it that in 1854, while he was in Crimea, James Thomas Brudenell, the VII Earlof Cardigan, literally split open with a sword blow the regulation pullover he had been supplied with bythe British Army because he could no longer stand the unusual autumn heat.A legendary gesture that might have brought into being the jacket in ques-tion, as Brudenell, famous for leadingthe charge of the Heavy Brigade at Bal-aklava, during his three-month stay in Crimea had come acrossparticularly stuffy weather and had en-dured the considerable temperature variations in the peninsula.

The Earl enjoyed wearing this kind of jacket while at Deene Park Estate, North-amptonshire, and at his death in 1868, the term Cardigan was officially adopt-ed in mens wear.Although by the end of the XIX centu-ry the Cardigan had already acquired its typical features, it was to be used in-creasingly only in the 1920s, after it made its debut in the world of womens wear and fashion.Long-sleeved versions with pockets were soon enriched with a sleeveless model of Cardigan which immediately reached the peak of popularity.After being used mainly for sports activ-ities (in the 20s and 30s), the Cardigan became more and more a casual, leisure yet far from inelegant - item of wear.

Over the years the garment was given countless interpretations, particularly in the 70s, thanks above all to Chanel, who made the Cardigan extremely fashiona-ble with their Twin Set version.Nouvelle Vague-inspired looks contin-ued to propose this item of wear at in-tervals, while brands and designers have to this date kept creating their personal interpretation of the Cardigan and have made it an outstanding protagonist in the world of fashion and daily wear.

A Cardigans features offer countless ad-vantages: firstly, it can be worn either fastened or unfastened, and can be used throughout the day despite tempera-ture variations; secondly, it can be tak-en off without having to slip it off; lastly, models provided with (sometimes small) pockets enable us to carry a number of small accessories we wouldnt know where to keep. Around 1912 the first raglan-sleeved Cardigan models were created. In some South American coun-tries, Chile in particular, the Cardigan was for years commonly called Chaque-ta Rebequa, in honour of Joan Fon-taine who starred in Rebecca, the First Wife by Alfred Hitchcock, the film that showed the actress wearing this kind of jacket.

A CONCISE HISTORYBACK IN THE DAYS MUG MAGAZINE NUMERO 13SHOWCASETHE CARDIGAN


Articles and images from the issue #13 of Mug Magazine June 2007 / 20076Mug Magazine 13

Il cardigan una giacca in lana, scollata a V e abbottonata frontalmente allaltezza delladdome. Simmetricamentedisposte rispetto alla sua chiusurasi trovano, in genere, due tasche orizzon-tali interne, entrambe tagliate a filo.La versatilit di utilizzo di questo capo indiscussa e ad essa il cardigan deve la sua fortuna e grande diffusione.Si racconta che James Thomas Brudenell, settimo Conte di Cardigan, durante la sua permanenza inCrimea, nel 1854, abbia letteralmente ta-gliato con un colpo di sciabola il pull-over dordinanza fornitoglidallEsercito Britannico perch incapace di sopportare ulteriormente linsolito cal-do autunnale.Un leggendario gesto che avrebbe dato origine a questa giacca. Lo stesso Brude-nell, noto per aver guidatola cavalleria inglese nella Battaglia di Ba-laclava, durante i tre mesi trascorsi in Cri-mea aveva infatti incontratouna stagione particolarmente afosa e sof-ferto le forti escursioni termiche tipiche della Penisola.

Nel 1868, alla morte del Conte, che ama-va indossare questa giacca durante le per-manenze nella tenuta estiva di Deene Park (nel Northamptonshire), il termine Car-digan far ufficialmente il suo ingresso nellabbigliamento maschile.Nonostante avesse assunto i suoi elemen-ti caratteristici gi alla fine del Diciannove-simo Secolo il Cardigan trover maggio-re diffusione solamente dopo il debutto, negli Anni 20, nel mondo della Moda e dellAbbigliamento Femminile.Alle pi classiche versioni a manica lun-ga, dotate di tasche, verr presto affian-cato anche un modello di Cardigan senza

maniche, da subito popolarissimo.E dopo un utilizzo prettamente sporti-vo (negli Anni 20 - 30) esso divente-r sempre pi sinonimo di tempo libe-ro e di uninformalit non per questo non elegante.Al passare del tempo, le sue interpreta-zioni saranno sempre pi frequenti e in particolare negli anni 70, grazie soprat-tutto a Chanel, questa giacca sar di gran moda sotto forma di Twin Set.I look ispirati alla Nouvelle Vague conti-nueranno ciclicamente a riproporre que-sto capo mentre gli stilisti ed i marchi che continueranno, sino ai giorni nostri, ad of-frire la loro personale interpretazione del Cardigan contribuiranno sempre di pi al-la sua affermazione quale uno dei prota-gonisti assoluti del mondo della Moda e dellabbigliamento di tutti giorni.

I vantaggi derivanti dalle sue caratteristi-che sono molteplici: prima di tutto la pos-sibilit di indossarlo abbottonato, e dun-que chiuso, o aperto sul davanti ci per-mette di continuare ad utilizzare il Cardi-gan anche al variare della temperatura, nellarco della giornata; secondariamen-te lo si pu smettere senza doverlo sfilare dallalto; infine, se dotato di tasche (anche se spesso molto piccole) esso ci permette di portare sempre con noi tutte quei pic-coli accessori che non sappiamo mai do-ve mettere. Intorno al 1912 comparvero i primi Cardigan dotati di maniche raglan. In alcuni Paesi del Sud America ed in par-ticolare in Cile il Cardigan stato per an-ni comunemente chiamato Chaqueta Re-bequa in onore di Joan Fontaine, inter-prete di Rebecca, la Prima Moglie di A. Hitchcock, film durante il quale lattrice in-dossa questa giacca.


JOHN SMEDLEYThe model Davidson, with its palette of greys, combines a slim fit and clas-sical overtones; the fivebutton fasten-ing starts just below the breastbone and features a contrasting, upright dark grey neckline edging in plain stitch that matches the wristbands. The saddle shoulder in satin-like stitch shows an in-teresting detail: its upper part features a 1x1 ribbing. The two welt pockets of this cardigan (in pure merino wool and Sea Island cotton, as tradition demands) match the colour of the sleeves.John Smedley, one of the most impor-tant brands of high quality knitwear, can boast a tradition that dates back to the late eighteenth century. The Eng-lish Familys heritage has been passed down from generation to genera-tion since 1784, when their first facto-ry was opened in Derbyshire. Although the brand continues to be character-ised by the style that makes it unique, it has become a knitwear icon by propos-ing timeless items whose classical design is renewed season after season. Their products, among which the cardigan is outstanding, have always employed high quality natural fibres like merino wool and valuable Sea Island cotton, al-so called John Smedleys Sea Island Cot-ton. Their Autumn-Winter 2007 collec-tion merges tradition with innovation and focuses on colour-matching and modern cuts. In the Autumn-Winter 2007-2008 mod-els, traditional motifs and prints are pro-posed in a wide range of colours.

FRED PERRYEver since it was launched, the brand has owed its fame to the tennis play-er Fred Perry. The only Englishman who won the prestigious Wimbledon tour-nament from 1934 to 1936, the play-er was also famous for his charm and el-egance. After launching an innovative sweat-band bearing his name in print, Fred Perry gained renown for his polo-shirts with the famous laurel crown em-broidery, historically associated with the English prestigious tennis tournament. As tennis champions made this sport more and more popular, it increasingly came to stand for life in the open air and leisure, and cardigans (both sleeved and sleeveless) began to be worn over the renowned shirts.Fred Perry has this year asked Dan-ish stylist Peter Jensen to reinterpret his classical models for the project Blank Canvas with a womens collection of on-ly four models in black, orange and dif-ferent shades of grey.The cardigans in Fred Perry Autumn/Winter 07-08 collection combine clas-sical design and a revisited modern fit. Provided with set-in or raglan sleeves, they do not feature inside pockets and their neckline ends on the breastbone.The model Deep V in Peter Jensens womens collection is a close-fitting car-digan without front pockets, rigorous-ly plain-coloured except for the typi-cal laurel crown embroidered in gold on the left. The unmistakable Fred Perry lo-go is here proposed in a specially over-sized version. As the very name of the model suggests, the Vshaped neckline is particularly deep, to the extent that the fastening on the front has only four buttons in matching colour. The sleeves combine the features of set-in sleeves and hammer sleeves.

Duecento anni di esperienza fanno di John Smedley una delle pi importanti fir-me di maglieria dalta classe. La tradizione della famiglia inglese si tramanda di gene-razione in generazione dal lontano 1784 quando fu aperto il primo stabilimento nel Derbyshire. John Smedley diventa-to licona della maglieria proponendo in-dumenti senza tempo: un design classi-co che si rinnova stagione dopo stagione, mantenendo lo stile che lo caratterizza e lo rende unico nel suo genere. Il cardigan il fiore allocchiello di una produzione che ha sempre ricercato la qualit di fibre naturali come la lana Merino e il pregia-to cotone di Sea Island, ribattezzato John Smedleys Sea Island Cotton. La collezio-ne autunno inverno 2007 mescola tradi-zione e innovazione giocando con colori e tagli moderni. Il modello Davidson, in un gioco di colo-ri grigio su grigio, unisce tonalit classiche ad una vestibilit slim. Labbottonatura a cinque bottoni termina allaltezza del dia-framma ed contraddistinta da uno scol-lo grigio scuro, in contrasto, come i polsini, con finitura rimessa a maglia unita in pie-di. Le maniche a martello, in maglia rasata, presentano un curioso particolare: il quar-to di spalla a costina 1x1. Tagliate a filo, le due tasche interne di questo cardigan (in pura lana Merino e cotone Sea Island, come da tradizione) richiamano invece lo stesso colore delle maniche.Nei modelli Autunno/Inverno 2007-2008 i motivi e le stampe tradizionali vengono ri-proposti in una vastissima palette di colori.

La notoriet del marchio risale, fin dai suoi albori, al tennista Fred Perry. Oltre ad es-sere conosciuto come lunico inglese, dal 1934 al 1936, ad aggiudicarsi il presti-gioso torneo di Wimbledon egli era no-to per il suo fascino e la sua eleganza. Do-po aver messo sul mercato uninnovativa fascetta asciugasudore col suo nome im-presso sopra, Fred Perry si fece conosce-re per le polo dalla celebre corona di al-loro, storicamente associata al prestigio-so torneo inglese. Il tennis sempre pi dif-fuso, grazie ai suoi campioni, diveniva ogni giorno di pi sinonimo di vita all'aria aper-ta e tempo libero, e capi come il cardigan (con e senza le maniche) facevano la loro comparsa sopra a queste ormai famosissi-me maglie.Quest'anno Fred Perry, per il progetto Blank Canvas, ha chiamato a reinterpretare i suoi classici modelli il danese Peter Jen-sen con una collezione di soli 4 pezzi don-na in nero, arancio e tonalit di grigio.I Fred Perry Cardigan della stagione A/W 07-08 combinano invece forme classi-che ad una vestibilit moderna e rivisitata. Non presentano tasche interne, sono do-tati sia di maniche a giro che raglan e han-no una scollatura che termina sul petto.Il modello Deep V della collezione Donna Peter Jensen un cardigan dalla vestibilit asciutta, privo di tasche frontali e comple-tamente tinta unita, ad eccezion fatta per linconfondibile corona di alloro ricamata in oro, naturalmente sul pettorale sinistro. Nota particolare linconfondibile logo Fred Perry viene qui proposto in una ver-sione esplicitamente sovraddimensiona-ta. Come dice il nome stesso la scollatura a V particolarmente profonda, tanto da portare labbottonatura a 4 bottoni (tono su tono) allaltezza delladdome. Le mani-che sono invece un incrocio tra una mani-ca a giro ed una a martello.



DRUMOHRDrumohr cashmere knitwear was born in 1773 at Dumfries, Southern Scotland, where Mr James Paterson and his de-scendants used high quality yarns to start this leading brand, appreciated, among others, by the Duke of Windsor, George V and Prince Charles, as well as by film stars like Audrey Hepburn and James Stuart. Famous for its exclusive look and captivating details, the brand is universally known for its typical her-ringbone pattern, evolved from an ear-lier simple interwoven texture. In 2004 the textile Group Ciocca, Pierluigi Gi-ulini and Maurizio Marinella, the owner of the renowned Neapolitan shop, joint-ly bought the brand, gave new vitality to its image and enhanced its standing. After the recovery of its archive helped retrace the brands history, Drumohr sweaters with herringbone patterns to-day renew the excellence of Scottish cashmere. and are 100% made in Italy.The model in the illustration is from the current collection, comes in 100% Super Geelong wool and shows all the features of a traditional Drumohr cardigan, in particular its comfortable, smart fit. Ac-cording to tradition, the two front welt pockets lie inside the jacket, and the set-in sleeves end with bicolour wristbands provided with contrasting cuffs. The front fastening of the cardigan starts at the end of the neckline, has pearl but-tons, and is felled on both inside edges.The epoch-making Drumohr cardigans here reproduced have always been out-standing for their elegant style. These 100% cashmere garments do not have a V-neckline but can be buttoned up to the neck, have ribbed wristbands, and can be worn either with a loose bent down collar or with a buttoned collar.

CIVIDINIThe cardigans from the current Autumn-Win-ter collection we propose are both in 100 % cashmere with very high yarn count. The mens model has an irregular colouring re-alised by airbrushing, an effect obtained through nebulized colour that gives the item a unique look. The contrasting colours of the in-side and outside of the garment enhance its details, from the seams, to the ribbed wrist-bands and edging. The womens cardigan fea-tures details that renew its look complete-ly, and is characterised by an elegant cou-lisse that makes it adhere to the waist; the long sleeves folded over to the elbow are slightly rippled along the outer seam.These models, drawn from the historical ar-chive of Cividini collections, provide two typ-ical examples of the brands textile research. The twocolour cardigan (P/E 1998) was real-ised through tubular weaving. The inner lining is in soft silk, whereas the outside, that looks deliberately crumpled, is characterised by the presence of steel, an unusual material in cloth-ing, or rather a very thin stainless steel thread twisted with a silk one. The elegant model in shiny black cashmere dating from the Au-tumn- Winter 1995-6 collection combines the brilliancy of the fabric, obtained through outside polish treatment, with an original shawl collar.Cividini looked to a cultured, sophisticat-ed public when at the end of the 80s he de-cided to launch a new line that was to change the fashion market radically: technically first-rate cashmere knitwear, introducing signifi-cant innovations in design, experimental fea-tures and the choice of fabrics. In particular, it was by reviving traditional techniques (that of tubular weaving, for example) in combina-tion with the use of unconventional clothing materials that the brand became outstanding. Since 1995 Cividini has enriched its produc-tion with ready-to-wear lines, and brought to the fore its refined, high quality fashion.

a Dumfries, Scozia del sud, che nel 1773 nascono i cashmere Drumohr. Dove Mr James Paterson e discendenti diedero il via a questistituzione della qualit dei filati di pregio che vanta tra i suoi esti-matori il Duca di Windsor, Giorgio V e il Principe Carlo, oltre a stelle del cinema come Audrey Hepburn e James Stuart. Aura di esclusivit e dettagli di charme hanno reso celebre il marchio universal-mente noto per il tipico disegno a biscot-tino, che in origine consisteva semplice-mente in una trama intrecciata. Nel 2004 il Gruppo tessile Ciocca assieme a Mauri-zio Marinella dello storico negozio napo-letano, e a Pierluigi Giulini, hanno acquisi-to il marchio valorizzandone limportan-za e rivitalizzandone limmagine. Grazie al recupero dellarchivio Drumohr e al-la ricostruzione storica del marchio, og-gi i maglioni a biscottino sono tornati a rappresentare leccellenza del cashmere scozzese 100% made in Italy.Questo modello dellattuale collezione in 100% lana Super Geelong presenta tut-te le caratteristiche degli storici cardigan Drumohr: a partire da una vestibilit ele-gante e piuttosto morbida. Come da tra-dizione le due tasche frontali sono taglia-te a filo e si sviluppano allinterno del-la giacca. Le maniche a giro terminano con polsini bicolore dotati di risvolto a contrasto. La chiusura frontale del cardi-gan, con bottoni in madreperla, ribattu-ta internamente su entrambe le estremi-t e termina con una scollatura allaltez-za del petto.Gli storici cardigan Drumohr, qui ripro-dotti, da sempre si contraddistinguo-no per la loro eleganza formale; in 100% Cashmere e privi di scollatura a V, sono abbottonati fino al collo e dotati di pol-sini a costine. Possone essere portati sia con colletto aperto ripiegato che chiuso.

I cardigan dellattuale collezione Autunno-In-verno, qui proposti, sono entrambi in 100% cashmere dal titolo sottilissimo. Il modello uo-mo presenta una colorazione realizzata con la tecnica dellaerografo, dunque non unifor-me: un effetto ottenuto tramite la nebulizzazio-ne del colore che conferisce al capo un aspet-to unico. Il contrasto cromatico interno-esterno accentua i dettagli della sua confezione, dalle cuciture ai polsini e al bordo realizzati a coste. Il cardigan donna invece, dallestetica rinnova-ta a partire proprio dai particolari caratteristi-ci del capo, si stringe intorno alla vita grazie a unelegante coulisse; le maniche, rimboccate fi-no al gomito, si increspano lievemente lungo la cucitura esterna.Questi modelli tratti dallarchivio storico del-le collezioni Cividini costituiscono due esempi della sperimentazione tessile caratteristica del marchio. Il cardigan bicolor (P/E 1998) stato realizzato con la tecnica della tessitura tubica. Lo strato interno in morbida seta mentre le-sterno, dallaspetto volutamente stropicciato, caratterizzato dalla presenza di un materia-le inusuale per labbigliamento, lacciaio: un fi-lo sottolissimo di inox ritorto con un filo di seta. Lelegante modello in cashmere nero lamina-to dellA/I 1995-6 coniuga invece la brillantezza del tessuto, esternamente spalmato, con un particolare collo a scialle.Un pubblico colto e sofisticato quello a cui guarda Cividini quando alla fine degli anni 80 decide di lanciare una nuova idea che rivo-luzioner il mercato della moda: una maglie-ria in cashmere di altissimo valore tecnico, sti-listicamente innovativa per la scelta dei tessu-ti, la sperimentalit delle lavorazioni e il design. Il particolare connubio tra la ripresa di tecniche tradizionali (come quella del tubolare) e lutiliz-zo di materiali non convenzionali per labbiglia-mento diviene presto uno dei fiori allocchiel-lo del marchio. E dal 1995 Cividini si apre anche al Prt--Porter, portando sulle passerelle una moda raffinata e sempre allavanguardia.


The Library is located on trendy Bromp-ton Road, just a few minutes from the glitz and glamour of Knightsbridge. Sit-ting in Bibendum, across the road from The Library, owner Peter Sidell tells me over a coffee I was born in Kensington, just around the corner, and I remember, when we opened, almost 15 years ago the area was not this posh. Sidell start-ed working as a buyer for Jones (a real-ly popular store in the 80s) when he was only 17. Whilst there, he brought to Lon-don brands such as Stone Island, Ralph Lauren and Helmut Lang. After the expe-rience gained at Jones he started design-ing the menswear line for Joseph. In the past he even taught with Bikkembergs, as Professor at London Royal College of Art, and lectured Berardi and Stella Mc-Cartney at Central St Martins, London.I wanted to have a store with things that I liked. I had a major book collection I wanted to display and make available to people. I combined books and clothes to show where designers get their influ-ences. Spread over two floors, cool min-imal interiors on the ground floor con-trast with the lounge feel of the base-ment. While you may expect silence in a true library, here Indie Rock murmurs in defiance of the books, most of which are available for sale. There are lots of them; over 70,000 pounds worth displayed everywhere, between clothes racks, on the shelves, on rugs and tables down-stairs. The Library enables you to mix fic-tion with classics, modern literature with poetry and history, Sidell says, and that is exactly what he is doing with clothes. The Library fits in the niche market and it has a loyal customer base after the unique mix of high quality products. The fun, Sidell says, is being surrounded by big department stores and shops such as Chanel, Harrods, etc.

BACK IN THE DAYS MUG MAGAZINE NUMERO 13STORETHE LIBRARY



The Library si trova in Brompton Road, a pochi minuti dal fascino e dalle attrazio-ni di Knightsbridge. Mentre prendiamo un caff al Bibendum di fronte al suo ne-gozio, il proprietario Peter Sidell mi rac-conta: Sono nato a Kensington, qui ap-pena svoltato langolo, e ricordo che qua-si quindici anni fa, quando ho aperto il ne-gozio, la zona non era cos elegante. Sidell ha iniziato la sua attivit allet di diciasset-te anni come addetto agli acquisti per Jo-nes (notissima boutique di tendenza degli anni 80), e in questa veste stato uno dei primi a introdurre a Londra marchi come Stone Island, Ralph Lauren e Helmut Lang. Forte dellesperienza fatta presso Jones, per alcuni anni ha curato il design della li-nea uomo per Joseph; in seguito ha addi-rittura insegnato con Bikkembergs in qua-lit di Professore al Royal College of Art di Londra, oltre ad esser stato lettore di Be-rardi e di Stella McCartney alla St. Martins School di Londra. Avevo voglia di ave-re un negozio con cose che mi piacesse-ro. Avevo una importante raccolta di libri che desideravo esporre e rendere dispo-nibile al pubblico. Ho messo insieme libri

e abbigliamento per far vedere da dove gli stilisti traggano i loro spunti. The Libra-ry articolato su due piani, ma lelegan-te stile minimalista degli interni al piano terra contrasta con il piano inferiore che d limpressione di un salotto. A differen-za di una vera biblioteca dove ci si aspet-ta silenzio assoluto, a The Library, malgra-do i libri, la maggior parte dei quali sono in vendita, si sente un sottofondo musicale Indie Rock. Ci sono un sacco di libri espo-sti dovunque, sui sostegni per esporre gli abiti, negli armadi, sui tappeti e sui tavoli fino al piano inferiore, per un valore com-plessivo di oltre 70,000 sterline! The Li-brary consente di mescolare la letteratura di fantasia con i classici, la letteratura mo-derna con la poesia e la storia, afferma Si-dell, e riesce a fare esattamente la stessa cosa con labbigliamento.The Library un negozio di nicchia con una clientela numerosa e fedele che cer-ca proprio questo mix unico di prodot-ti di alta qualit. La cosa divertente, sostie-ne Sidell, consiste nellesser circondati da grandi magazzini e negozi come Harrods, Chanel ecc.


BACK IN THE DAYS MUG MAGAZINE NUMERO 13REPORT FROM TOKYOANTIQUE JAPANESE BANNERS

It was a fate. The collector, Mr Kitamu-ra discribed his first encounter with No-bori, Japanese antique banners. Since that moment, he has kept on collect-ing banners as his life work. After spend-ing 35 years, the number of his collec-tion has eventually come to around 200. As a result of placing great importance on quality before quantity always, most of the collection were from Edo period (1603 early 1900s). It was a best time for Japanese artists, because most of well known Ukiyo-e print art have been cre-ated arount this time. Not only on a nor-mal sized canvas, many of Ukiyo-e art-ists have also left their works on banners that time. At the same time, cotton have spread to public, then it has helped peo-ple to make even bigger sized banners. Then banners have become to use in a various ways in those days. The original purpose of using banners was to distin-guish between friend and foe alike dur-ing war. As time passed, the purpose has been changed. In Edo period, there were droughts, earthquakes and major fires have often occured. To ward off such evil spirits, people of Edo prayed to gods and Buddha hoping to regain tranquili-ty which in turn eased their minds. As a custom, banners were usually present-ed from relatives to celebrate the first Boys Festival. To pray for the sons safety and stable growth, female relatives gath-ered around to stitch the chi (used to tie the banner to the pole with hemp rope) onto expensive banners made by art-ists and printers. The design or pattern of the Boys Festival banners are usually depictions of prayers such as be strong child!, be a wise person!, be a great man! or have a happy life, a sigh of ev-erlasting affection for the child. Prayers for family, regional stability, and abun-dant harvest illustrated in energetic and

sharp contrasting brush work charaters can be seen in the Hono-Nobori. (Ded-ication Banners for Shrines and Temples). It is difficult to fathom the immeasurable interest placed on annual events and cer-emonial occasions in those days. Festivals at shrines and temples were times for the people to enjoy without restraints. On such occasions, many banners illustrated with energetic characters were hoisted to build up the festive atmosphere. Those banners used to be taken care of local people very carefully. In order to keep a good condition for many years, people have folded it neatly in every single rainy day, then have spread it again after rain stopped. Although, it must have required a great level of ability to draw all patterns and motifs in such vertical long sized can-vas. The special sized canvas have been used very effectively on all of them. This fact tells an ability of artists. In spite of this, antique banners are not well regard-ed in public these days, because of its size and no artists signature or seals on it. However, no matter what a valuation is, it would be simply appreciated to have this opportunity to meet another unknown beatiful world.



stato un evento fatale. Cos il Sig. Kitamu-ra, collezionista, ha descritto il suo primo incontro con i Nobori, gli antichi stendar-di giapponesi. Da quel momento la sua raccolta proseguita come lavoro per tutta la vita, e, a distanza di 35 anni la sua collezione consiste di circa 200 pezzi. At-tribuendo Kitamura maggior importanza alla qualit pi che alla quantit, gran par-te della sua collezione venuta a consi-stere di pezzi del periodo Edo (1603-inizi del 900), epoca di grande fioritura di ar-tisti giapponesi quando fu creata la mag-gior parte delle famose opere a stampa Ukiyo-e. Oltre a usare tele di dimensio-ni normali, molti artisti Ukiyo-e usarono anche bandiere per le loro creazioni, e la diffusione generalizzata del cotone port a bandiere di pi grandi dimensioni, usa-te in vari modi. In origine tali stendardi ve-nivano usati per distinguere alleati e nemi-ci in guerra, ma col passare del tempo tale funzione mut. Nel periodo Edo vi furo-no stagioni di siccit, oppure di terremo-ti e incendi, e per tener lontani gli spiri-ti malvagi che li causavano la gente prega-va gli dei e Buddha sperando di recupe-rare il necessario benessere fisico e men-tale. Era usanza che i parenti donassero

degli stendardi per celebrare la Festa del Figlio Maschio. Pregando per la sicurezza e la buona crescita dei figli, le parenti fem-mine si riunivano in cerchio a fissare il chi su costosi stendardi (fissavano lo stendar-do alla sua asta con spago di canapa) fatti da artisti e stampatori. Le raffigurazioni su-gli stendardi della Festa del Figlio Maschio consistono di illustrazioni che rappresen-tano esortazioni come sii un figlio for-te!, sii saggio!, sii grande, che la tua vita sia felice, cio espressioni di affetto eter-no per il figlio. Negli Hono-Nobori (sten-dardi devozionali per i templi e i santuari) si possono vedere preghiere per la fami-glia, per la stabilit del territorio e per au-spicare raccolti abbondanti espresse con energiche pennellate e colori in forte con-trasto. difficile spiegare lenorme inte-resse che esisteva per le ricorrenze annua-li e le cerimonie, in unepoca in cui le festi-vit presso i santuari e i templi erano mo-menti di autentico godimento per la gen-te. In tali ricorrenze si issavano stendardi decorati con illustrazioni e colori per cre-are latmosfera di festa, e gli abitanti del luogo, affinch si conservassero in buo-no stato per molti anni, se ne prendevano gran cura ripiegandoli ben bene nei gior-ni di pioggia e dispiegandoli nuovamente appena tornato il sereno. In ogni caso de-ve essere stato necessario un notevole li-vello di abilit da parte degli artisti per di-segnare motivi e decorazioni su tele verti-cali di tale lunghezza, efficaci proprio per le loro dimensioni speciali. Tuttavia le loro dimensioni e il fatto che esse non rechino la firma o il sigillo dellartista fanno s che oggi non godano di grande considerazio-ne presso il pubblico. A prescindere dalla valutazione che oggi se ne d, resta il fatto che lincontro con il mondo bello e sco-nosciuto che gli stendardi rappresentano comunque di grande interesse.


BACK IN THE DAYS MUG MAGAZINE NUMERO 13DESIGNER6267

6267 unmistakably recalls Tommaso Aq-uilano and Roberto Rimondi, the two stylists who created the brand in 2004. 6267 stands for the will to give up the habit of using a name on a label, to re-nounce the communicative efficacy of it and to rely instead on a code number for identity. A series of numbers which, as it was once customary to do with childrens clothes on a summer camp, are matched with an individual item to make it unique and set it apart from all others. The two stylists first met in 1998 when they both became consultants for an important Ital-ian manufacturer of womens ready-to-wear clothing for the foreign market. In less than ten years their artistic sodality earned them the first prize of Who is on Next?, a competition promoted in 2006 by Vogue Italia and Alta Roma, and led them to their debut on the catwalks of Milan fashion week. Their work is based

on design deeply rooted in fashion his-tory and tradition, and supported by an accurate analysis of clothing tailoring techniques, as is proved by the careful-ly studied volumes and colour matches. Thanks to an accurate choice of materials their clothing is first of all precious to the touch, and, far from showing off trivial luxury, it expresses true genuineness. In the 2008 Autumn-Winter collection lines harmoniously coexist when caban boule of military origin or jackets modelled on riding coats are matched with the slender silhouettes of their clothes. The veiling of tulle over bustiers is far from conveying vulgarity, the drainpipe trousers reach as far down as above the ankles, and the skirts and dresses take on different styles through overlapping and pleating. Even their hand-made sculpture-like knitwear provides new interpretations of body forms and volumes. The 6267 collections

are the outcome of a heart-felt research on the changes in the history of fashion and a perfect merging of ready-to-wear and high fashion clothing.By repeated-ly combining early 20th century hints with the lifestyle of the 80s these two fash-ion designers continue their evolution and unmistakably prove to be among the most talented creators in Italian and in-ternational fashion.



6267 come la volont di rinunciare al no-me e alla comunicativit del significan-te, per associare la propria identit ad un codice.Una serie di numeri che, come avveniva un tempo con gli abiti dei bambini in co-lonia, viene abbinata ad unindividualit, ad una sola manieradi essere e contribuisce a contraddistin-guerla dalle altre. Le storie di questi due stilisti si incrociano la prima volta nel 1998, quando entrambi sono chiamati ad occu-parsi della consulenza per unimportante azienda italiana del Prt Porter femmini-le internazionale. Il loro sodalizio, in meno di dieci anni, li porta prima a vincere il pri-mo premio di Who is on Next?, concor-so promosso da Vogue Italia e Alta Roma, nel 2005, e poi lo scorso Febbraio al de-butto sulle passerelle della settimana del-la moda di Milano. Il loro un lavoro che muove da una progettazione che affon-da saldamente le sue basi nella Storia del Costume e al contempo da unacuta anali-si delle costruzioni dei capi, per riflettersi nella particolare attenzione dedicata allo studio dei volumi e sullabbinamento dei colori. I loro abiti sono in grado di rivelare la loro ricchezza gi al tatto, grazie allac-curata ricerca dei materiali ma non osten-tano un lusso banale quanto piuttosto una reale autenticit. Nella collezione A/W

2008 le linee si sovrappongono armoni-camente quando caban boule di prove-nienza militare o giacche di ispirazione re-dingote vengono accostate alle silhouette sottili degli abiti. Le velature del tulle sui bustier non lasciano trasparire alcuna vol-garit ed i pantaloni a sigaretta si fermano sopra le caviglie mentre le gonne e gli abi-ti si lasciano trasformare da pliss sovrap-posti. Anche la maglieria, lavorata a ma-no in maniera quasi scultorea, reinterpreta sul corpo forme e volumi. Le collezioni di 6267 sono il frutto di unappassionata ri-cerca intorno alle trasformazioni storiche della Moda e una perfetta sintesi di Prt Porter e Couture. Grazie alla fusione del-le continue rievocazioni storiche dei primi del Novecento con un lifestyle Anni 80 questi stilisti confermano la continuit del-la loro evoluzione e si consacrano inequi-vocabilmente come una delle coppie cre-ative pi promettenti nel panorama italia-no ed internazionale della Moda.



BACK IN THE DAYS


2007



Articles and images from the issue #14 of Mug Magazine December 2007 / 200712Mug Magazine 14

One of Monclers ads dating from 1952 reads: Camping tents, sleeping bags, sportswear. Sportswear, thats the world we must explore in depth, to research on the origins and the history of the down jacket. It is commonly believed that the down jacket was first created by Moncler, but the renowned French firm, far from deserving our praise for the in-vention of the sports item, must instead be credited with the great contribution they made to its evolution. George In-gle Finch, an Australian chemical engi-neer and a climber, deserved record-ing in the history of Alpinism both be-cause he took part in the first expedi-tion to Mount Everest (1922) equipped with special oxygen masks, and be-cause he had an important role in the history of sportswear, as the inventor of the first jacket padded with goose down. Far from embodying our ide-al of down jacket, the model that Finch first wore on his expeditions (see pho-to) made him so clumsy that he was the target of his colleagues jeers. At first, climbers who chose to wear the garment must have felt it hindered their move-ments, but the advantages afforded by the natural lightness of the padding and its high warming potential soon turned the sports item into a must for all climb-ers, so much so that between the Wars it started to be manufactured in Canada. In 1954, at Monestier de Clermont, not far from Grenoble, Ren Ramillon de-cided to supply his workers with heavy jackets padded with down to enable them to better carry out their tasks dur-ing the cold winter months. As Ramil-lons daughter Annie Charlon remem-bers, the workmen employed in the production of tents and sleeping bags for the brand Moncler looked as if they were wearing boxes rather than jackets.

BACK IN THE DAYS MUG MAGAZINE NUMERO 14SHOWCASETHE DOWN JACKET

Lyonel Terray, on his return from Can-ada, was the first to place an order with Ramillon for the supply of down jack-ets. Terray, who was an alpinist him-self, famous for climbing the Himalaya, tried the jackets out, asked for tailor-ing changes and improvements, and soon became the technical consultant and production manager of the whole line of Moncler down jackets. Both the equipment for the Italian expedition to the Karakorum (1954) and the French expedition to the Makalu a year later were supplied by the French firm. Al-though the down jacket was first invent-ed in far off places, the world of fash-ion soon managed to turn the formal faults of the garment into distinctive, ap-pealing features. Body warmth preser-vation, a feeling of protection and light-ness are only some of the peculiar qual-ities that enabled this jacket to be-come a permanent icon in sportswear. Before the down jacket became wide-spread, any sports jacket or coat in use had proved a hindrance to body move-ments. At a time when the practice of winter sports involves more and more people, firms that manufacture sports equipment and wear enrich their collec-tions with a garment that may be bulky in volume but is functional and ensures protection against very low tempera-tures. Thanks to the softness and light-ness of the material it is padded with, and to its unparalleled flexibility, the down jacket has done away with the old belief that chunky clothing ensures pro-tection against cold. Yet, it was not un-til the late 70s that the down jacket took on the technical features that would characterise the urban style in cloth-ing. If countless firms contributed to the garments common use in daily life, by proposing slimmer fits that grant high

protection against cold, some of Elles journalists had the idea to emphasise the widespread wish to wear the down jacket for city use with a well-known photographic service. At that point the street, which had already had the pow-er to set different styles and social cus-toms, reinvented the use of this moun-tain item, so much so that the down jack-et, practically ignored by the media and the fashion magazines, became in the 80 the focus of attention in the world of paninari. At a time when Street Style was still unknown in fashion, squares were full of youths whose aesthetic be-liefs were linked to precise models and brands which they used to define the best ones: Timberland, Moncler, Best Company, El Charro etc. Unexpectedly, the trend was brought to the forefront by the media and the collective imagina-tion permanently linked it to such gar-ments as the down jacket. By the time the movement died out at the end of the 1990s, and was replaced by subcul-tures that expressed the fading of the decades optimistic view of life, sports-wear had undergone a profound revolu-tion, and the down jacket had become a versatile garment with the power to stir the creativeness of stylists, an item that features today among the elegant pro-posals of countless fashion firms. Young people who frequented sandwich bars and wore fashionable clothing.


Tende da campeggio, Sacchi a pelo, Abi-ti Sportivi recita una campagna pub-blicitaria di Moncler del 1952. Ed pro-prio nel mondo dellabbigliamento spor-tivo che unindagine sullorigine e la sto-ria del piumino si deve addentrare. opinione diffusa che tutto sia comincia-to con Moncler ma non a questa presti-giosa aziendache dobbiamo propriamen-te linvenzione di questo capo.A Mon-cler si deve piuttosto riconoscere il con-tributo pi significativo nellevoluzione di questa giacca in piuma doca. Nella storia dellAlpinismo vi un uomo infatti, che ol-tre ad essere ricordato per la prima spe-dizione sullEverest (1922) con speciali ma-schere ad ossigeno, noto per aver scrit-to una delle pi importanti pagine della storia dellabbigliamento sportivo: Geor-ge Ingle Finch. A questo chimico e alpini-sta di origina australiana si deve linvenzio-ne della prima giacca riempita (passate-ci lespressione) di piume doca.Il model-lo che Finch per primo utilizza (foto) du-rante le sue escursioni ben distante dal-la nostra idea di piumino, tanto che per la sua goffaggine, lo scalatore merita a lungo lo scherno dei colleghi. La capacit di mo-vimento inizialmente deve essere sembra-ta ridotta a coloro che sceglievano di uti-lizzare queste giacche ma il vantaggio de-rivante dallinnata leggerezza dellimbot-titura e laltissima capacit termica trasfor-mano presto il piumino in un capo impre-scindibile da tutte le attivit alpinistiche. La sua produzione iniziale, nel periodo compreso tra la Prima e la Seconda Guer-ra Mondiale, viene sviluppata principal-mente in Canada. Nel 1954, a Monestier de Clermont, non lontano da Grenoble, Ren Ramillon decide di fornire i suoi di-pendenti di pesanti giacche imbottite di piuma, per permettere loro di affrontare meglio il lavoro durante i rigidi mesi inver-nali. Questi ultimi, ricorder la figlia Annie

Charlon ripensando a quegli anni, impe-gnati sotto il marchio Moncler nella pro-duzione di tende e sacchia pelo, pi che delle giacche sembrava indossassero delle scatole. Al suo ritorno dal Canada, il pri-mo a richiedere questi giubbotti in piuma a Ramillon sar Lyonel Terray; alpinista, ce-lebre per la sua scalata dellHimalaya, che provandoli e sollecitandone modifiche e migliorie nella confezione, si trasforme-r presto in consulente tecnico e coordi-natore di unintera linea di giacche Mon-cler dedicate allalpinismo. Nel 54 la stes-sa spedizione italiana sul Karakorum sa-r equipaggiata dallazienda, che riforni-r, lanno successivo, anche la spedizione francese sul Makalu. Una storia comincia-ta migliaia di chilometri distante dai luoghi della moda che rapidamenteha saputo trasformare gli iniziali limiti formali del piu-mino nei suoi tratti distintivi pi affascinan-ti: mantenimento della temperatura cor-porea, senso di protezione e leggerezza sono solo alcune delle peculiari caratteri-stiche che hanno permesso a questa giac-ca di diventare una delle pi intramon-tabili icone dello sportswear. E mentre la pratica degli sport invernali conquista sempre pi persone, svariate aziende, de-ditealla produzione di abbigliamento e attrezzature sportive, introducono que-sto capo nelle loro collezioni. Nonostan-te il suo maggiore volume quello che esso in grado di offrire non solamente iso-lamento dalle basse temperature ma an-che una grande praticit: qualsiasi giacca e cappotto fin l impiegato per lo sport, pi che agevolare aveva impedito i movimen-ti. Grazie alla morbidezza, alla leggerez-za del suo materiale interno, la piuma e ad unindiscutibile flessibilit, il piumino rom-pe un binomio fin l imprescindibile: non pi necessario vestirsi pesante per sen-tirsi al riparo dal freddo.Prima di vede-re uscire il piumino dalla sua dimensione

tecnica per contaminare lo stile urbano dellabbigliamento dovremo attendere la fine degli anni 70. A contribuire a questi-nedita diffusione saranno da un lato la vo-lont delle aziende di proporre un capo sportivo pi sottile (comunque adatto al-le basse temperature) e dunque pi pro-babile per un utilizzo quotidiano e dallal-tro lintuizione delle giornaliste di Elle, per un noto servizio fotografico, di esaltare il desiderio comune di un utilizzo cittadi-no del piumino. A quel punto la strada, che gi aveva segnato le differenze fra sti-li e costumi sociali delle persone, a rein-ventare lutilizzo di questo capo da mon-tagna.Gli anni 80 trascinano questa giac-ca, da sempre distante dallattenzione di riviste di moda e mezzi televisivi, al cen-tro di un fenomeno sociale senza uguali: i Paninari.E prima ancora che si comincias-se a parlare di Street Style, le piazze si ri-empiono di giovani portatori di unesteti-ca legata a marchi e modelli precisi (quel-li che loro stessi avrebbero definito i pi giusti). Un movimento capace di unina-spettata quanto insolita visibilit mediatica e al contempo di restare, nellimmagina-rio collettivo attuale, indissolubilmente le-gato ad alcuni capi dabbigliamento come il piumino. Anche se gi alla fine del 1988 questo movimento giovanile si spegne, so-stituito da una serie di sottoculture che ri-flettono tutte la conclusione di un decen-nio vissuto allinsegna dellottimismo, il passo stato fatto: le porte dello sport-swear sono state abbattute e questa giac-ca divenuta ormai un capo versatile, ca-pace di stuzzicare la fantasia creativa degli stilisti ma anche di rientrare tra le eleganti proposte di numerose Maison di moda.



MONCLERSet up in 1952 at Monastier de Cler-mont, the city from which it drew its name, Moncler began its activity with the production of articles for mountain-climbing and camping. The severe cli-mate conditions of the place soon called for the creation of the precursor of the present-day down jacket, an item which was updated in the 1950s and 1960s to meet the demands of European moun-tain-climbers, and further improved in 1972 for the French national ski team. Lightness and warmth are two distinc-tive features of a garment which com-bines the top certified quality of its spe-cial down from South Brittany and Per-igord, and an ever renewed allure due to the soft, refined formal elegance that has made it outstanding.With its choice of volumes, the model Everest definitely embodies at best the features of Mon-cler items. In laqu nylon, this modern down jacket at once echoes the classi-cal models and adjusts the fit by slim-ming and updating it. The slightly slant-ing front hand-warmers are provided with invisible zippers in-between the pockets fabric finish. Supplied with a pull-out hood, the collar has buttons that match with those in the front fas-tening, and its contrasting lining bears the traditional balloon-shaped label that offers washing instructions.Like all of Monclers down jackets, this model is padded with high quality four flakes Class I virgin duvet, in compliance with R.A.L international regulations.Menes-tier is a technical model that interprets the brands practical, sports inspiration but also its care for style details and ele-gance in the choice of zippers, the two-colour contrasting finish, the wind-proof fastenings and the unmistakable logo on the sleeve and pockets.

THE NORTH FACEThe Northface, just as the hardest-to-climb side of a mountain, is a name that sounds like a challenge. The firm was es-tablished in San Francisco in 1966, and soon gained renown in the market for the quality of its climbing and backpack-ing equipment. Northface soon launched a line of clothing and products for ex-treme skiing and opened its first Europe-an office in the 1980s.From the Moun-tain Jacket, for which professional climbers have a strong liking, to Trail Running and Trekking footwear and the line of under-wear Baselayer System, each of their items is specially designed for people who like to face life as if it were a mountain or a city adventure.Never Stop Exploring. Provid-ed with two comfortable hand-warmers and with cuffs adjustable by velcro straps, this pocketable Nuptse Jacket model has shoulders strengthened by a double lay-er of taffeta and weighs only 655 grams. The garment can be used even under the most adverse weather conditions thanks to an important technical detail concern-ing the vertical zip, which is strengthened by an internal wind flap from top to bot-tom, and by seams on the points that have to resist high strain. Its 700 fill goose down padding and water-repellent treatment ensure great protection. The Gotham Ltd Jacket belongs to the Lifestyle Collection and is the ideal solution for those who love the comfort and convenience of tech-nical products without renouncing style. One of this seasons limited-edition nov-elties, it is realised in water-proof breath-able Twill padded with soft 550 goose down and has a detachable hood that can be worn with or without the synthet-ic fur rim. The jacket is also provided with two hand-warmers, besides the two pock-ets on the breast and the internal one for electronic devices.

Nata nel1952 aMonastier de Clermont, da cui deriva il proprio nome, Moncler comin-cia la sua attivit con la produzione di arti-coli per la montagna e il campeggio. Saran-no le esigenze climatiche a far nascere, quasi da subito, lantesignano del capo che cono-sciamo oggi, affinato negli Anni 50 e 60 per le esigenze degli alpinisti europei e poi ul-teriormente sviluppatonel 72per lutilizzo da parte della nazionale Francese di sci.Ca-lore e leggerezza restano i tratti distintivi di queste giacche che, mantenendo la massima qualit certificata del piumino (uno speciale Duvet proveniente dal Sud della Bretagna e dal Perigord), sono sempre riuscite a rinno-vare la loro allure, grazie alla morbida e raf-finata eleganza formale che da anni le con-traddistingue. Il modello Everest si conferma in assoluto uno dei capi pi iconici del mar-chio Moncler, a partire proprio dalla scelta dei suoi volumi. Questo moderno piumino in nylon laqu al tempo stesso diretta evo-cazione dei modelli classici e interprete di una rivisitazione della vestibilit, pi asciutta e attuale. Le tasche scaldamani frontali, qua-si verticali, sono dotate di zip a scompar-sa sotto le finiture in tessuto. Il collo, dotato di cappuccio estraibile, fornito degli stes-si bottoni, tono su tono, che percorrono la chiusura frontale; linterno a contrasto pre-senta la storica etichetta a fumetto, conte-nente le istruzioni sul lavaggio del capo. Co-me tutti i piumini Moncler anche questo mo-dello imbottito di Duvet di ottima quali-t, al suo primo utilizzo, certificato quattro fiocchi classe I secondo le norme interna-zionali R.A.L.Monestier un capo di chia-ra ispirazione tecnica che celebra lo spiri-to sportivo e pratico del marchio, senza tra-lasciare dettagli di stile e inconfondibile ele-ganza: le zip e le finiture bicolore, in contra-sto, le chiusure antivento e linconfondibile logo presente sia sulla manica che su ciascu-na delle tasche.

The North Face, la parete nord, il punto pi difficile da scalare nelle montagne. Un no-me che suona come una sfida: lazienda na-sce nel 1968 a San Francisco e si impone nel mercato per la qualit delle attrezzature per arrampicata e backpacking. The North Fa-ce lancia presto una linea di abbigliamen-to e prodotti per lo sci estremo e negli An-ni 80 apre la prima sede in Europa.Dalla Mountain Jacket, la giacca prediletta dai pro-fessionisti dalta montagna alle calzature per Trail Running e Trekking fino alla linea di inti-mo Baselayer System, ogni articolo studia-to per chi ama affrontare la vita come unav-ventura in montagna ma anche in citt.Ne-ver Stop Exploring.Questo modello Nuptse Jacket ha un peso complessivo di soli 655 gr. ed ha la partico-larit di poter essere ripiegata nella sua ta-sca interna (pocketable);le spalle sono rin-forzate con un doppio strato di taffet. do-tata di due calde tasche scaldamani e di pol-sini regolabili, tramite velcro. La zip verticale presenta un dettaglio tecnico molto impor-tante per un utilizzo del capo alle condizio-ni atmosferiche pi estreme: rinforzata con patta antivento interna su tutta la lunghez-za e cuciture nei punti sottoposti a maggio-re sollecitazione. Limbottitura, rigorosamen-te in piuma doca, da 700 fill e il trattamento idrorepellente garantiscono il massimo iso-lamento dallesterno.La Gotham Ltd Jacket appartiene alla Lifestyle Collection ed la soluzione ideale per chi ama il confort e la praticit dei prodotti tecnici senza rinuncia-re allo stile; rappresenta una delle novit di questa stagione, in tiratura limitata, ed re-alizzata in Twill impermeabile traspirante. imbottita in morbido piumino doca 550, il capuccio staccabile si pu indossare con o senza il bordo di pelliccia sintetica. La giacca inoltre provvista di due tasche scaldamani, due tasche applicate sul petto e una interna per i dispositivi elettronici.


PUFFAColour and understatement charac-terise this down jacket, that symbolis-es the British spirit in snow sports. As far back as the 1970s, the brand was al-ready renowned for its raglan sleeves and its typically contrasting colour com-binations on ski runs and in the streets of European capitals. A very light, high-ly technological garment and a style benchmark in the field of duvets, Puf-fa has for years been used by the Eng-lish Olympic team, by the English Royal Family in their moments of relax, and by the scions of aristocratic families on the ski slopes of fashionable mountain re-sorts. Puffa has renewed itself over the years both by researching on high qual-ity materials and by using a rich palette of contrasting colours. The lines Original and Alpine in Two Tones stick to the tra-dition of style and design of the brands earliest models; the Two Tones (see pic-ture) merges the comfort and versatili-ty that the brand has always focused on. Besides being provided with unmistaka-ble raglan sleeves, originally meant to al-low the shoulders to move freely during sports activities, this down jacket is tai-lored in the classic two-colour nylon taf-feta. The model Ventile shares its name with the waterproof natural cotton fab-ric it is made of. Legend has it that Ven-tile was patented by the army during the Second World War, to meet Church-ills demand that food convoys sail-ing across the Arctic should be protect-ed from the very low temperatures. The very high insulating power of this water-proof material enabled a great explorer like Sir Ranulph Fiennes to cross Antarc-tica. Ventile is provided with a 650-fill goose down padding that ensures com-fort and protection against cold.

HOXIn 1998 Andrea Caldaro was well ahead of his time when he gave life to the project Hox, an initiative which marked the beginning of a pol-icy of investment on research and design to boost his production of down jackets. At a time when the garment was going through a slack period, and its bulky look could be unbe-coming to a womans body, the Firm decided to meet womens demands by making tight-er fitting jackets through technically advanced materials and tailoring techniques: fabrics rem-iniscent of tradition, to make slimmer and more practical garments with a precious fin-ish. Hox is somehow the gene that governs the growth and change of new forms, a DNA se-quence that triggers the development of new creations, a name that associates the brand with the idea of endless evolution. In the space of few years, not only has the Firm achieved great success with over 750 clients on the Ital-ian market alone, but recent further develop-ments in logistics and the launching of a new line of research at Pitti Immagine Uomo 2008 have proved that Hox is ready for another leap forward. The down jacket in the picture was created by focusing on volume and weight reduction without impairing the garments warmth and comfort. The high-quality down padding and the outer micro-polyester fabric give a special softness to this garment in Hoxs Soft Touch line. The button-up hood, the six front pockets, the elastic wrist bands, and the highly performing materials are the distinctive features of a jacket that has changed to take on more practical features. The model RAF-FA, instead, perfectly illustrates how the brand has achieved significant stylistic changes in tra-ditional down jackets; the hardly perceptible pinstripes in the made-in-Japan memory ma-terial it is made of, the chenille wrist and waist bands, the hood rimmed with murmansky fur and lined with lapin inside are the unmistaka-ble details that characterise this modern goose down bomber jacket.

Colore e understatement per il piumino simbolo dello spirito british negli sport sul-la neve. Famoso gi negli anni 70, dalle pi-ste da sci alle strade delle capitali europee, il marchio inglese ha innovato il genere gra-zie alla manica a raglan e ai suoi caratteristi-ci accostamenti cromatici a contrasto. Ca-po tecnico leggerissimo e punto di riferi-mento nelliconografia classica del piumino, Puffa ha accompagnato per anni la squadra olimpica inglese, i momenti di relax dei reali dInghilterra nonch i rampolli dellalta so-ciet sulle piste delle pi mondane stazioni sciistiche. Le linee Original e Alpine in Two Tones conservano lo stile e il design dei primi modelli, come patrimonio del mar-chio, rinnovandosi attraverso gli anni nel-la ricerca di materiali di pregio e di una ef-ficace palette di colori a contrasto. Il Two Tones (in figura) incarna la perfetta com-binazione di comfort e versatilit, da sem-pre caratteristici del marchio; questo piu-mino infatti oltre ad essere dotato dellin-confondibile manica raglan, inizialmente in-trodotta per aumentare la capacit di mo-vimento della spalla (per luso sportivo del capo), evidenzia lutilizzo del classico taffeta di nylon bicolore. Il tessuto che caratterizza il modello Ventile invece lomonimo co-tone naturale waterproof. Si racconta che il Ventile sia stato brevettato in campo mili-tare, durante la Seconda Guerra Mondiale, per rispondere allesigenza di Churchill di proteggere dalle basse temperature i con-vogli di viveri che transitavano sullArtico. Grazie alle elevatissime prestazioni in fat-to di isolamento termico e idrorepellenza, questo materiale ha permesso ad esplora-tori del calibro di Sir Ranulph Fiennes perfi-no di attraversare lAntartico. Anche questa giacca vanta unimbottitura in piuma doca di ben 650 fill, in grado di garantire grande confortevolezza e protezione dal freddo.

HOX un progetto nato nel 1998 dalla volon-t di Andrea Caldaro di investire, in anticipo sui tempi, sulla ricerca e il design nella produzione di piumini. Il capo viveva allora una delle sue fa-si pi statiche ed in contrasto con i volumi am-pi di quel periodo, talvolta poco femminili, la-zienda decise di lavorare su giacche pi sfian-cate utilizzando materiali e costruzioni interne tecnicamente avanzate, allo scopo di risponde-re ad unesigenza femminile ben precisa: volu-mi asciutti e praticit duso, tessuti dotati di me-moria e finiture preziose. Hox il gene regola-tore della morfogenesi, una sequenza di Dna responsabile dello sviluppo degli organismi ma soprattutto un nome che lega questo marchio indissolubilmente allidea di continua evoluzio-ne. In pochi anni lazienda ha infatti ottenuto un importante riconoscimento, vantando gi ben 750 clienti solo sul mercato italiano. Il recente sviluppo della parte logistica e il lancio di una nuova linea di ricerca a Pitti Immagine Uomo 2008 ci dicono inoltre che Hox pronta per un altro passo in avanti. La giacca in piuma do-ca (qui raffigurata) stata interamente concepi-ta intorno allidea di ridurre volumi e peso spe-cifico del capo, senza per minimamente com-promettere capacit termica e comfort. Lim-bottitura in piuma di altissima qualit ed il tessu-to esterno in micro poliestere sono in grado di conferire al piumino, che appartiene alla serie Soft Touch di Hox, uneccezionale morbidez-za al tatto. La chiusura del cappuccio, le sei ta-sche frontali, i polsini in tessuto elasticizzato e la scelta di materiali altamente performanti sono i tratti distintivi di un capo evoluto allinsegna della praticit.Il modello Raffa invece perfetta rappresentazione dellevoluzione stilistica del piumino tradizionale proposta dal marchio; la leggera gessatura del tessuto esterno a memo-ria di forma, di provenienza giapponese, i pol-sini e il fondo realizzati in ciniglia e limbottitura del cappuccio, in pelliccia murmasky sul bordo e lapin allinterno, sono i dettagli inconfondibili di questo moderno bomber in piuma doca.



BACK IN THE DAYS MUG MAGAZINE NUMERO 14TINTORIA CRESPI

The new challenge that the European tex-tile industry has to face consists in the endless updating of the high profession-al potential it devotes to the quality, effi-ciency and promptness of their produc-tion. After duly considering their clients demands, firms like Tintoria G. Crespi have every day to devise new and orig-inal finishing effects to meet or even an-ticipate the markets ever changing requirements.Mr. Bruno Castro has for over thirty years been the production manager of this his-toric Firm, specialised in the upgrading of fabrics. He began his activity at the Tin-toria when it was managed by Mrs. Lucia Crespi, and his collaboration now contin-ues with Mrs. Crespis nephew Michele Ferrario. Mrs. Crespi, the Firms guide for over sixty years, was able to teach a lot to the people who worked for her: re-spect for clients, great and small, the

importance of synergy in team work, and the sense of belonging to a group are but a few of her teachings. An industry on a European scale, that invests each day on the determined people that make up its staff, the Tintoria still relies on the above values and on the collaboration of peo-ple who, like Bruno Castro, have made an important contribution to its success and must be credited with the excellent results it obtains each year.Over the years, Mr. Castros experience and creativity has achieved revolutionary results in the finishing treatments of shirt fabrics. For example he devised an anti-fungal treatment that leads to odourless shirt cotton fabrics simply by exploiting the antibacterial potential of rock alum. He also succeeded in obtaining natural stretch shirt fabrics through an innovative technique. After the natural cotton yarn has shrunk and taken on a sinuous look

through the finishing treatment, the new features it has acquired are made perma-nent through the use of chemical agents. The resulting soft and elastic yarn ena-bled him to obtain a highly soft-feeling fabric, without having to resort to lycra or other fibres. At a time when the mar-kets demand for naturally treated organ-ic fabrics was steadily increasing, the new finishing technique that Mr. Castro ap-plied to natural cotton fabrics was of cru-cial importance.With a potential that allows the treat-ment of over twenty million linear me-tres of fabric a year, the firm is constant-ly striving to devise ever new upgrading methods and invests on experiment and research that is bound to lead to endless innovation.


La nuova sfida dellindustria tessile europea risiede nella costante salvaguardia dellaltis-sima professionalit che la contraddistingue, fatta di qualit, efficienza e tempestivit pro-duttive. Ogni giorno aziende come la Tinto-ria G. Crespi devono individuare, sulla ba-se delle richieste dei clienti, nuovi e origina-li effetti di finissaggio, in grado di risponde-re alle crescenti esigenze di mercato e talvol-ta di anticiparle.Da quasi trentanni a dirige-re la produzione di questa storica industria, dedita alla nobilitazione del tessuto, il Sig. Bruno Castro. La sua avventura allinter-no della Tintoria cominciata ancora quan-do alla guida della Crespi era la Sig.ra Lu-cia Crespi e prosegue con il nipote Miche-le Fer

mug magazine #24

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