IN STUDIO with Cosma Frascina – ep. 2

Giorgia Massari · 2 weeks ago · Art

For the second episode of IN STUDIO, Collater.al’s new format to explore creatives’ studios, we ventured to China Town in Milan, to delve into Cosma Frascina’s underground studio. Hailing from Salento, Cosma swiftly captured the city with his art, teetering on the delicate line between collectible design and contemporary art, although he prefers to identify as an artist. Perhaps because his furniture pieces are more functional sculptures, and recently, he’s begun experimenting with painterly materials. It’s worth mentioning, however, that Milan, at least initially, embraced him as a designer. His initial interaction with the city was a design project during the 2015 Fuorisalone, followed by 2018, culminating in a personal exhibition in 2021 curated by Quei Studio, marking his definitive relocation to Milan. AD Italia has also recognized him among the new talents in Italian design, as have Elle Decor and Domus, which have highlighted his collections. Yet, a definitive label isn’t necessary for this artist, who skillfully navigates materials with a sensitivity rooted in his origins. Let’s uncover more about Cosma Frascina, who graciously opened his studio doors, revealing where all his work is conceived and created.

Who is Cosma Frascina?

Born in ’89, Cosma Frascina grew up in Salento. Despite a nomadic life leading him to study and work outside his region, his origins resonate within him intensely. His artistic background and subsequent degree in Product Design equip Cosma with both technical expertise and poetic sensitivity. The work we see today stems from an incident in Puglia that somehow shaped his career. A block of tufo, gifted to him years ago by an acquaintance, caught Cosma’s attention, leading him to start working with it. The limestone became the artist’s preferred material, giving life to Eroded Panorama, his most distinctive series. Now in Milan, bereft of this material, Cosma seeks its textures in cement and natural pigments, experimenting with new techniques.

The studio

As previously mentioned, Cosma Frascina’s studio is located in Milan’s China Town district. A small courtyard covered by vines precedes the entrance door leading to an underground space. Descending a set of small wooden stairs reveals a long area shared by Cosma and other artists. Natural light is scarce, each artist has their own workstation equipped with lights, shelves, and work surfaces cluttered with various tools and materials. Cosma occupies the last corner, at the far left. Initially, he shares that this place has a long artistic history. Since the early 2000s, it has seen a multitude of artists, initially including former assistants of Arnaldo Pomodoro, paving the way for a succession of brilliant personalities. However, let’s understand what brought Cosma here and how he experienced the transition from Salento to Milan.

How was your move to Milan?

My arrival in Milan was a bit traumatic. The first series I did here is called “Crack.” The name is somewhat ironic, playing on the sound of a crack, caused by a fracture, which I actually experienced after a tough period. It was April 2021, and I was in Milan for an event during Fuorisalone. I was setting up a villa, brought some works from Puglia, and everything went quite well, with various publications and recognitions. But that wasn’t the crack. Ten days later, about to return to Puglia, I broke my hand while skateboarding. I underwent surgery and did my recovery here. One day, I saw a story on Instagram announcing an available spot in this studio. I replied, came to see it the same day, and naturally ended up staying here in Milan. Besides talking about an actual fracture, the “Crack” series also marks my transition from two entirely different environments, a village in Salento near the sea and the city of Milan.

How was this transition?

Actually, I miss my land more when I’m not there than when I am. In Puglia, we have family vineyards. Initially, I did something else; I built vineyards. I’m actually a decent winemaker at heart. The countryside is mine; it’s my roots. The further south I go, the better I live, but I adapt easily. I try to make the most out of the situations that arise, as in this case. I can’t deny that my life here has definitely changed for the better, disregarding certain aspects. Consider that I come from the Southern province where it wasn’t easy to showcase my work. I had to believe in it a lot; it was a significant test of strength. Initially, I experienced Milan with a certain hype. The Design Week went really well, then Covid-related restrictions came in, and I didn’t take it well. I even thought of quitting, but I could never do that; I need it.

What’s your relationship with the studio like?

Actually, I have two studios: one here in Milan and a family space in Salento. They are completely different. The change was strange. I approached a shared space, a type I wasn’t accustomed to, especially because I’m a very individualistic person; I enjoy being alone. The studio is a place that connects you with yourself; it’s you with your thoughts that align with your hands. In the past, this space has been somewhat my place for contemplation. If I feel like I don’t have a place of my own—besides my home—I’m here even just to smoke a cigarette. Also, because my design phase is deeply connected to thinking; then, I work freestyle in the moment.

How do you envision your ideal studio?

My envisioned studio, one that’s yet to be, is solitary, by the sea, and connected to where I live, all consolidated. I like working in the evenings and at night; if I didn’t have a fixed job, I’d set my rhythm based on what I want to do, plain and simple. I also enjoy waking up early; lately, I sleep less. It might be hitting thirty.

Are you attached to this place or would you leave tomorrow?

I’d leave Milan tomorrow, actually. I never chose it. I acknowledge that it’s giving me something back, but I’m not sure if we’re even in terms of what I’ve given it. It’s more like a gym, really. I didn’t choose to come here; it just happened. Essentially, if I think about how I want to live, I’d want to be close to the sea and work outdoors. I could leave tomorrow; everything could fit in a small van—six boxes, at most.

Is this response also tied to missing your materials?

Yes, definitely. Here in Milan, I’ve started working with cement. I found myself without the limestone and began creating tapestries reminiscent of the aesthetics of “Eroded Panorama,” on a net I found in the studio. “Eroded Panorama” is my most distinctive series. I’ve somewhat built my identity around this series. It represents me; there’s the use of limestone, the stone from my place of origin, Puglia.

What are the essential tools in your studio?

In my studio in Puglia, I have an air compressor and pneumatic chisels. Although I started with a hand chisel initially, I equipped myself afterward. The flexible tool, disks, and blades are indispensable. Here in Milan, it’s much more basic. Molds and spatulas are essential, a bit like a lighter. Another tool I use is the pressure washer. It could be considered indispensable because the interventions on my works are always disguised. I carve the limestone, make holes, but then I go over them with the pressure washer to remove the artificial mark and leave that filter of unpredictability and chance. I recreate that natural effect linked to rain and wind.

It almost seems like an archaeological imaginary. Do you see yourself in this?

Yes, I wanted to be an archaeologist. Personally, I like to reclaim what exists, what one has, and at the same time, I have a great need to leave an imprint.

Ph Credits Andrés Juan Suarez

Tags studio visit

Art

IN STUDIO with Cosma Frascina – ep. 2

1 · 15

2 · 15

3 · 15

4 · 15

5 · 15

6 · 15

7 · 15

8 · 15

9 · 15

10 · 15

11 · 15

12 · 15

13 · 15

14 · 15

15 · 15

What the Lego Birkin Made Me Think About

Anna Frattini · 3 days ago · Design, Style

For days, an image of a Birkin made of Lego bricks has been circulating on Instagram. The perfect recipe for viral content. The orange we associate with Hermès reimagined in a new, unsettling way. The ubiquitous Birkin and all other luxury goods transformed into Lego can be found on @glam.tol, the profile that sparked this phenomenon. However, all the content is crafted with the valuable assistance of AI.

Many of the objects conceived by @glam.tol that have gone viral firmly belong to the concept of quiet luxury, an interesting aspect of this phenomenon that reminds us of how attracted we still are to very expensive bags and brand-branded accessories—thus, highly recognizable items like the Ralph Lauren signature cap. According to some, the intention behind these images might be to announce the collaboration between Lego and Hermès. However, on TikTok, others think it’s unlikely given the rarity with which the French fashion house has entered into partnerships throughout its history.

@thebrandblueprint Hermès and Lego partnership is sadly never going to happen because Hermes doesn’t partner with brands #collaboration #hermes #legos #marketing #brand #branding #rollsroyce #mcclaren #greenscreen ♬ original sound – Brooke💡Marketing, Brand, Ecom

In short, a lot of smoke and no fire, except for the umpteenth confirmation of how easy it is to create hyper-realistic images thanks to the use of Artificial Intelligence, a topic that has been debated this year by PhotoVogue but continues to be relevant not only in the world of photography but also in marketing. The virality of these images is the proof.

courtesy @glam.tol

Tags AI

Design

What the Lego Birkin Made Me Think About

1 · 6

2 · 6

3 · 6

4 · 6

5 · 6

6 · 6

Swatch pays tribute to the world of The Simpsons

Anna Frattini · 2 days ago · Style

The donuts from The Simpsons, Homer’s favorites, have become iconic in our imagination as the quintessential donuts. So much so that Swatch has reproduced them on a watch. SECONDS OF SWEETNESS is a tribute to the world of The Simpsons and the typically American donuts loved by Homer. In short, this Swatch immediately makes us want to rewatch the nineteenth episode of the ninth season of The Simpsons, where Homer is prosecuted by the Giant Donut.

Let’s talk about the watch. It’s an item that plays with the donut theme, becoming immediately recognizable for fans of the TV series. The donut-shaped dial adds a fun touch to the way we wear Swatch, dressed in sugary style on this occasion. Moreover, the watch is also available with SwatchPAY! functionality, very useful in everyday life.

Available from November 2, coinciding with the arrival of the 35th season of The Simpsons. But the surprises don’t end here; Swatch and animated series fans will be surprised by other projects involving all the protagonists of the TV series. This watch comes alongside the launch of two other products also inspired by the world of The Simpsons: WONDROUS WINTER WONDERLAND and TIDINGS OF JOY. The first brings together the cartoon characters in gingerbread version as they dance on the snow-studded strap, while the second immortalizes the Simpson family singing together for the holiday season. Both models are already available in Swatch stores and on the website.

Tags swatch

Style

Swatch pays tribute to the world of The Simpsons

1 · 5

2 · 5

3 · 5

4 · 5

5 · 5

Everyone wants Dr. Martens’ Jadon collaboration with Ganni

Anna Frattini · 2 days ago · Style

The Jadon shoe is celebrating its 10th anniversary, and Dr. Martens has decided to commemorate the occasion with an unexpected partnership with Ganni. Rebellion and coolness come together in a boot that, when reimagined, becomes even more iconic. The photo announcing this partnership, captured by Grant James-Thomas, is a clear sign of the fusion of these two iconic brands.

GANNI è un brand che ha fatto irruzione nei feed di tutti per i look bon ton ma anche smart, dimostrando un dinamismo unico nel suo genere. La componente giocosa e positiva delle sue collezioni assume un carattere progressista che ha permesso al brand danese di farsi conoscere diventando un fenomeno globale. Insomma, c’é tutto. Anche il logo a farfalla di GANNI. Uno degli aspetti più interessanti di questa scarpa, però, sta nel materiale: una combinazione di poliestere e materiali privi di pellame. Ci troviamo quindi davanti a una scarpa che – con ogni probabilità – andrà subito sold-out.

GANNI is a brand that has made its way into everyone’s feeds with its chic and smart looks, demonstrating a unique dynamism. The playful and positive component of its collections takes on a progressive character that has allowed the Danish brand to become a global phenomenon. In short, this partnership has it all, including GANNI’s butterfly logo. However, one of the most interesting aspects of this shoe lies in the material: a combination of polyester and leather-free materials. We are therefore faced with a shoe that will likely sell out immediately.

The price is €285, available in sizes EU36 – 48 on ganni.com and drmartens.com, as well as in some selected stores.

Moncler embraces Rick Owens’s futurism

Anna Frattini · 1 day ago · Style

The collaboration announced today between Moncler and Rick Owens takes us into a new dimension, adorned with meticulously designed garments to fit into the environment recreated by Owens. A certainly innovative and extraordinary scenario, a “Sleep Pod” serving as the backdrop for the entire launch campaign. From the photos, it appears as if we are witnessing a tent with a futuristic character, a backdrop that is both comforting and strange at the same time.

Moncler x Rick Owens: details from the collection

An intimate, deeply introspective project is found in the concept of the silent sleeping pod recreated by Owens. «Halfway between a meat locker and an Egyptian tomb,» reads the press release. A truly captivating concept that comes with matchy-matchy outfits to be worn within this reality isolated from everything and more. Additionally, in the background of the campaign photos, the co-branded logo can be glimpsed, which we will see on all the pieces.

Let’s step out of this Sleep Pod for a moment and talk about the collection: the silhouettes are elongated, and the padding features a very interesting ray pattern. The palette, clearly, plays with very dark tones with the addition of dyed cotton denim and organic cotton jersey along with nylon and cashmere shaded from blue to acid yellow. The variety of garments remains one of the most interesting aspects: flight jackets, puffers, and down jackets, along with extra-long coats, accompany skirts, shorts, and tops. The denim, on the other hand, is cut to create tunics, dresses, and skirts, ring scarves, and shaggy boots along with a quilted blanket. In short, everything we could expect from a collaboration of this caliber is present in this collection.