The Milan of “miracles” – interview with Guè and 5tate Of Mind

The Milan of “miracles” – interview with Guè and 5tate Of Mind

Tommaso Berra · 2 months ago · Art, Style

Milan is the place where things happen, the city of ‘miracles’ in the words of 5tate Of Mind, a brand that has launched its new collection dedicated to the city, which celebrates the entry into the brand of Guè, a symbol of a certain Milan at least as much as the Madonnina. It is precisely the Madonnina, together with the Biscione and a well-defined iconographic repertoire, that has mixed with the street world that has been part of 5tate Of Mind since its foundation in 2011. Founder Jimmy Spinelli explains that “Emme-I Miracles wants to recreate the character of a city and an entire movement, the miracles of Milan are seen through the eyes of the street, which does not wait for them but tries to make them happen“.
The collection was born years ago when we associated the brand motto with various cities, starting with Bologna and a JAY-Z cover. We wanted to give each city a team, without renouncing two aspects that even today are essential for a brand: credibility and authenticity with which ideas are born and transmitted“, the founder told Collater.al at the launch event in the Atipici store in Milan. 

In this collection, a direction is indicated that tries not to deviate from the path traced by hip-hop of its origins, there are garments and elements that reinterpret elements of the underground tradition since the 90s: “authenticity is important, timeless style has seen iconic garments and elements that return and are reworked such as a collegiate sporty style, technical-military style and the use of graphics on hoodies and t-shirts”, elements that appear on Miracles garments in orange, black and grey.

Giacomo Berti Arnoaldi Veli, a partner in the brand together with Guè, talks about how the aim is to ‘reconnect with the communities in the cities that are part of the movement of which we are an expression’, then adds that 5tate Of Mind has a ‘connection with the world of music and cultural movements that hardly other brands have. We are really connected with musicians from north and south and will do so in the future through events and faces that belong to the scene. Emme-I Miracles is not a collection that follows a movement but moves in unison with it, it represents and at the same time is part of a movement.
In the background some of Guè’s hits from recent years play, he has arrived in store and we ask him to tell us about the project too.

Some symbols of Milan are taken up in the collection, what is your symbol of the city?
Milan has famous symbols everywhere but there are many others. One of the ones I am attached to is Parco Sempione, it shaped me a lot in the 90s, there was a mixed humanity and I got into hip hop through the graffiti and writer scene that frequented the park.
The Milanese are portrayed in their stereotypes, that too is a symbol of Milan, as is the fact that it is the most European city in Italy and the mecca of hip hop, if all the major artists live here there must be a reason.
 

5tate Of Mind | Collater.al

The collection wants to be a unifying element for the scene, what is the aim of Emme-I Miracles?
The collection aims to pay homage to an original style, which is where we come from, I came into the project, we started from Milan but we will pay homage to other cities.

What do you like about rap music today?
There’s no one direction and I like that, so there’s no one drift. Everything is rehashed and it’s a cycle that comes back, a more original sound is coming back and it’s successful, Marracash does hip hop for adults and it works, kids on the other hand interpret the genres of now and it’s normal. There are many facets and many are successful, I prefer certain sounds but I don’t condemn anything, I listen more to reggae and Jamaican dancehall but everyone brings something new to their projects. Everything ends up in a blender and that’s interesting, then in the end one already listens to what one wants, there are interesting things everywhere.

Spotify’s Wrapped recently came out, which artists did you listen to the most?
In Italy the one I listened to most was Paky, on the chart I also had light artists like Bad Bunny, who I have always appreciated, and Drake, who although he has disappointed me with his latest projects is perfect for more chill situations. Among the underground I had Joey Badass, he was quite strange my Wrapped.

PH: Andrès Juan Suarez

The Milan of “miracles” – interview with Guè and 5tate Of Mind
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The Milan of “miracles” – interview with Guè and 5tate Of Mind
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Picasso’s style is a story of a friendship

Picasso’s style is a story of a friendship

Andrea Tuzio · 1 week ago · Style

When talking or writing about Pablo Picasso today it is necessary to make a brief but due introduction. 
The Spanish painter, sculptor and lithographer was without any doubt an unparalleled genius, unique, extraordinary and at the same time also troubled, restless, dark, troubled, problematic and, apparently, also fierce and cruel.

Here we we will not address the personal issue related to Picasso’s life nor the purely artistic one, here I will try to analyze his personal style, the one related to the ephemeral par excellence, fashion.

2023 is the 50th anniversary year of Pablo Picasso‘s passing, and given his enormous influence also on the aesthetics of artists in the collective imagination-from Picasso onward if one wanted to depict an artist one relied precisely on the Spanish genius-I decided to take a little trip “into the closet” of Pablo Picasso.

A style archetype with few equals, Pablo Picasso set an aesthetic marker that is still propagated in so many contexts today.

What comes out from the countless photos depicting the artist at a first distracted glance is a seemingly sloppy, improvised, careless look, but the truth tells us just the opposite!

For 16 years Picasso relied on the skilled hands of his personal stylist as well as one of his closest friends, the tailor Michele Sapone. Originally from Bellona, province of Caserta, Michele was born in 1912 and was immediately very willing from a business standpoint. 

First a bricklayer, then a farrier and finally a tailor as early as age 20 in the tailor shop of mastro Carluccio, Carlo della Cioppa, in his hometown. The urge to leave southern Italy was strong, and after being in Turin where, thanks to the intense social, political and cultural life, he had the opportunity to make his skills as a tailor known. Because of the war he moved to Split, where he met the partisan Slavka, who would become his lifelong companion and with whom he would have two daughters.

Once he moved to Nice after the war, where he worked as maitre coupeur at Seelio Tailleur- Chemisier, he met Pablo Picasso by chance-thanks to mutual friend and poet André Verdet-who was living in Cannes, in his famous villa called “La Californie.” 

That meeting became the beginning of a 16-year-long collaboration and intimate friendship, during which Michele Sapone became in effect “Picasso’s tailor.” 

That fabric craftsman from the province of Caserta did not just “dress” Picasso; he created and sewed the clothes for him, trying to capture all the complex and indefinite facets of his very difficult character. 

It is the early 1950s and both protagonists in this story are imbued with a very strong creative energy. Soap was obsessed with “thinking of what to invent for the man who had invented everything”.

The first work Michele made for Picasso was a trouser “à la Courbet” that the artist loved from the first moment and that became the first piece of a union that led Sapone to create at least 200 pants, a hundred jackets and dozens of coats of all shapes and fabrics, but always of the highest quality. 

Pablo Picasso loved stripes, indelible from everyone’s memory are the mariniére T-shirts he wore thickly, as well as the short shorts and espadrilles, his brown leather strap watch, his loose sweaters with buttons or without , the baggy pants, the V-shaped sweaters, the wide-brimmed hats and the jackets shorter than the canons of the time – by this expedient he tried to “hide” his height, Picasso was 5 feet 3 inches tall.

Let me close with a tidbit: on October 25, 1956, Picasso’s 75th birthday, Sapone gave the artist a new jacket that Picasso immediately wore, saying he would keep it on all day.He immediately loved that jacket: made of brown and black horizontally ribbed velvet with a collar without lapels, with an opening on the chest but no buttons. Soap called it a “Mao jacket”, but in fact the tailor was referring to a work jacket that Bellona peasants wore while working. 

A story, that of Pablo Picasso’s style, about creativity, art and craftsmanship and at the same time about a friendship that will mark the lives of the protagonists forever. 

Credits: Il sarto di Picasso Luca Masia (SilvanaEditoriale)

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Karl Lagerfeld’s immortal style

Karl Lagerfeld’s immortal style

Andrea Tuzio · 3 weeks ago · Style

We are just over 3 months away from the most important and glamorous event in the fashion world and beyond, the Met Gala 2023.
Earlier in the day yesterday, the Costume Institute unveiled that co-chairing Anna Wintour at the event to be held on the first Monday of May and opening this season’s show will also be Penelope Cruz and Dua Lipa, rounding out the quartet composed of actress Michaela Coel and His Majesty Roger Federer.

This year’s Costume Institute exhibition at the Metropolitan Museum in New York will be dedicated to the immortal Karl Lagerfeld, one of the most important, visionary and decisive designers of all time.
The retrospective will be titled Karl Lagerfeld: A Line of Beauty and will be a journey through the career of the designer whose unique vision contributed to the history of the maisons he worked for, above all Chanel and Fendi.

I take my cue from this news and, a month away from the 4th year since the German designer’s passing, try to tell you about Karl Lagerfeld’s personal, peculiar and inimitable style.

If there is one character of our contemporary times that anyone, or almost anyone, could recognize through solely his look and aesthetic, it is certainly the “Kaiser”.

Lagerfeld was one with his style, expressing his personality. His signature and defining elements remained the same for years but, just as his vision and work evolved along with the totality of his look.

The image that has rightfully entered the collective imagination is certainly that of the legendary ponytail she has been wearing since 1976. First characterized by a raven black and then by an almost immaterial white, made so by the daily and manic use of Klorane dry shampoo. 

Another essential element of Lagerfeld’s look is the ever-present white shirt with a high, super starched collar that the German designer used to commission from the tailors at Jermyn Street, Hilditch & Key in central London-he apparently had more than 1,000 of them in his closet. 

Accessories also play a key role: the ties, the black sunglasses characterized by a very thick frame, and the ever-present gothic-flavored jewelry made ada hoc by Chrome Hearts or those with a vintage aesthetic from Lydia Courteille’s Parisian jewelry store. 

About himself Karl Lageferld described himself as follows in an interview with the Observer in 2007: “I am a caricature of myself, and I like it. It’s like a mask. For me, the Venice Carnival lasts the whole year”.

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The theme of mental health in Alexander McQueen’s SS01 show

The theme of mental health in Alexander McQueen’s SS01 show

Andrea Tuzio · 4 weeks ago · Style

There are moments that make history, moments that remain forever in the imagination of those fortunate enough to see them, to participate in them, and the ability to think about them and turn them into something that has forever and indelibly marked the course of events.
Without fear of contradiction, one such moment in the contemporary fashion world is undoubtedly Alexander McQueen’s Spring/Summer 2001 show entitled “Voss”.

Let’s start by saying that to call it simply a “show” is extremely reductive, that was something that crossed all kinds of boundaries and was able to amalgamate fashion, art, performance, social denunciation and raising awareness of a topic that is more important and contemporary today than ever before, mental health.

Sublime, enchanting, shocking, powerful, engaging and destabilizing, Alexander McQueen’s SS01 fashion show was all this and more. An almost theatrical portrayal of an extremely complex and still denigrated human condition, that of mental instability and all those mental health-related difficulties that affect a huge segment of the human population at various levels. 

One of the most well-known, famous and revolutionary fashion shows of the British designer who passed away at the age of only 40 in 2010, “Voss” is a lofty moment in contemporary fashion history in all respects..

The title of the show is a reference to nature, its beauty and enchantment (Voss is a Norwegian town famous for the wild and wonderful nature in which it is located) and in fact the garments in the collection reflect this very aspect – see the clothes also constructed with natural and animal elements such as shellfish shells and stuffed birds. But there is another one that is much more important and hidden before the eyes of everyone present and beyond: the context and setting of the show.

A large glass catwalk-like box placed in front of the spectators and the many photographers invited to the show and was the nerve center of the entire show. 

White tiles like those typical of a psychiatric hospital as well as walls composed of mirrors like those we find in interrogation rooms, used to control what goes on inside without being seen and, as a final element, another glass box but covered with metal to hide the contents. 

McQueen’s choice was to drop the audience immediately into a surreal and eerie atmosphere: for more than an hour the audience was left to wait for the show to begin while they could only see themselves reflected on the mirrored walls of the box with only the sound of a very slow and continued heartbeat in the background. 

In this way the designer also directly involved the audience, pushing them into a condition of stress and anguish, almost as if they were experiencing a kind of coercion to stay there, sitting and forced to wait. The same coercion of people forced to live trapped in a condition that is very difficult to understand, to share, and that often still leads, in many cases, to marginalization due to repression and superficiality (although things are fortunately changing thanks to normalization and awareness on the issue of mental health). 

The models moved as if they were vulnerable and helpless, gripped by fear and anguish, of those who are forcibly locked up not only in physical place but in a place of the soul and mind from which it is difficult to escape. 

After the last model on the runway, who walked down the runway in a bodice made of microscope slides painted blood red and a red skirt of ostrich feathers, the lights went out, the music stopped, and the only background noise returned to a slow heartbeat. 

Once the lights come back on, the steel-covered box opens and shows its interior: writer Michelle Olley naked, with a respirator, a pair of horns, lying on a chaise longue and surrounded by butterflies, like a post-apocalyptic Venus.

An ending that leaves the viewer open-mouthed and speechless, but at the same time forces the viewer to reflect in an almost overpowering way on one of the most sensitive and relevant aspects of our lives: the treatment, understanding and acceptance of mental disorders at all levels. 

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Infinity in the collaboration LV x Yayoi Kusama

Infinity in the collaboration LV x Yayoi Kusama

Andrea Tuzio · 4 weeks ago · Style

The one between Louis Vuitton and Yayoi Kusama represents more than just a collaboration that brings fashion and art together. 
This 2023 of the French fashion house directed (for the womenswear part) by designer Nicolas Ghesquière began under the banner of color and timeless beauty, but not only.

The idea of the LV x Yayoi Kusama collaboration, was born during the 2020 pandemic and echoes the first joint venture between the iconic Japanese artist and the maison of the LVMH group in 2012: a true dialogue that takes a step further by seeking infinity, representing the obsessive search of Kusama, class of ’29, since she was 10 years old. This quest is expressed artistically through her now characteristic polka dots, colorful and repetitive, which have invaded the entire Vuitton universe dialoguing precisely with the French maison’s monogram.

Bags, jackets, pants, glasses and accessories covered in Yayoi Kusama’s Infinity Dots become collectible works of art that, thanks to sharing extremely recognizable and immediate codes (polka dots and monogram), speak to anyone. 

The Japanese artist’s quest for infinity is reflected in the campaign dedicated to the LV x Yayoi Kusama collection, whose name is actually Creating Infinity, in a very strong push toward perpetuity, eternity, immortality.

The project has globally involved the brand’s best boutiques and the most important billboards around, such as the robot in the likeness of the artist painting her polka dots in the window of the New York store on Fifth Avenue or the huge 3-D images that camp out towering over everything and everyone in Tokyo, or even the huge installation on the splendid Champs-Elysées building that houses the maison’s beautiful boutique in Paris, covered in the colorful polka dots and a giant Yayoi Kusama painting them directly on the building’s walls.


Of course, Milan was also involved in this project, with the reopening of the former Garage Traversi, closed for 20 years and brought back to life, which Vuitton made its home during the renovation of the historic Palazzo Taverna headquarters. The second floor of the rationalist building designed by architect Giuseppe De Min in the 1930s-the first multi-story garage in Milan-is dedicated to the French fashion house’s special projects, including Creating Infinity itself. The worlds of Kusama and Vuitton merge in an immersion of what is the world of the Japanese artist: her Infinity Dots, black in this case, invade the yellow space, while the Metal Balls reflect the surrounding space in a sort of infinite repetition. 

The campaign dedicated to the LV x Yayoi Kusama collection is equally impressive. Shot by photographer Steven Meisel and under the creative direction of Ferdinando Verderi, Vuitton has assembled a series of absolute top models in a feast of color in which play and dream coexist perfectly. 

Bella Hadid, Gisele Bundchen, Christy Turlington, Liya Kebede, Senegalese-born model and photographer Malick Bodian, Chinese model Fei Fei Sun, Natalia Vodianova, Dutch model Parker Van Noord, American Karlie Kloss, Dutch model Rivanne Von Rompaey, Chinese He Cong, American supermodel of South Sudanese descent Anoki Yai, and finally, after a period of absence from the scenes, U.S. model and actress Devon Aoki.

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