Professional Documents
Culture Documents
SEPTEMBER
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BY LE STER, SEE PAGE 154
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∑ 025
SEPTEMBER
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CONTRIBUTORS
DAL CHODHA
Writer
This month, Chodha found inspiration in
the works of French writer Georges Perec
(page 106). ‘The story led me to re-read
Perec’s An Attempt at Exhausting a Place
in Paris and I was struck by how much of
it had influenced my own work,’ he says.
‘I often type pointless observations on my
phone, but I’ve never valued them as much
as I do now after writing these extended
captions. I’m interested in writing things
that are not easy to label.’ Chodha’s second
book will be released in autumn.
PAOLA DOSSI
Photographer
Dossi is a Milan-based photographer who
focuses on intimate connections between
objects to spark curiosity and contemplation.
For this issue, Dossi captured the essence
of Gucci ArtLab (page 080). ‘It’s a place
where fashion, innovation, craftsmanship
and art converge to bring new ideas and
projects to life – and you can really feel it,’
she says. ‘There’s a sense of excitement
and ‘possibility’ in the air. It’s like stepping
into a laboratory of imagination.’
042 ∑
Models: Adual Akol at Storm Management, Guo Jike at Elite Model Management. Casting: Ikki Casting. Hair: Roku Roppongi at Saint Luke using Babyliss Pro. Make-up: Jimmy Owen Jones at Julian
Watson Agency using Westman Atelier. Manicure: Ami Streets using Dior Manicure collection and Miss Dior hand cream. Fashion assistant: Kristina Bergfeldt. Lighting assistant: Robin Bernstein.
Digital operator: Conor Clarke. Set design: George Lewin Studio. Set production manager: Hermione Fenton. Assistant: Matilda Greenwood. Retouching: Agata Bielska. Producer: Anya Hassett
∑
Designed to evoke the blooming first stages of romance, eclectic
fusions of colour and texture defined Missoni’s womenswear
WAVE LENGTH
collection, such as this wool overcoat, featuring waves of 3D knit.
047
This page, jacket,
£3,100, by Prada
Opposite, shoes, £820,
by Ferragamo
Prada’s co-creative directors Miuccia Prada and Raf Simons noted a desire to oppose
ON POINT simplicity with moments of ‘comfort and exaggeration’ as epitomised in a series
of precisely tailored jackets for men, out of which fuzzy winged collars emerged.
048 ∑
Maximilian Davis’ second season as Ferragamo’s creative director saw him continue
RISING STAR to hone the Florentine house’s shoe offering with this mock-croc riff on the Mary
Jane, drawing inspiration from old Hollywood starlets but with a contemporary bent.
Belt, £810, by Max Mara.
Bodysuit, £239, by Wolford
Max Mara’s creative director Ian Griffiths looked to 18th-century philosopher Émilie
UNDER THE BELT du Châtelet, whose liberated take on the era’s dress codes inspired cocooning opera
coats and leather obi belts, cut with the modernity synonymous with the house.
∑ 051
Dress, £990; necklace,
price on request, both
by Victoria Beckham
Inspired by Jackie Onassis’ reclusive cousin Little Edie, immortalised in the 1975
HAIR LINE documentary Grey Gardens, Victoria Beckham’s eccentric collection featured surreal
necklaces recalling human hair, a nod to the work of Brazilian artist Solange Pessoa.
052 ∑
Bag, £2,490, by Burberry
Burberry’s creative director Daniel Lee brought his unique eye for cult accessories to
KNIGHT MODE his latest collection, which included the ‘Knight’ bag, featuring an elegant horse-clip
fastening, a nod to the brand’s archival logo of a charging knight on horseback.
054 ∑
Dress, £2,100, by Loewe.
Shoes, £725, by Ferragamo
056 ∑
‘A l’Écoute’ rings, price
on request, by Hermès
∑ 059
Skirt, £425, by
Margaret Howell. Shoes,
£725, by Ferragamo
060 ∑
Glasses, £565, by Lindberg.
Coat, £3,296; jacket, £2,295,
both by Dunhill
Glasses were rife on the runways, a reflection of the season’s thoughtful mood. This
PERFECT VISION pair by Lindberg are defined by a near-impossible lightness, a result of three decades
of innovation and refinement, much of it inspired by contemporary architecture.
∑ 063
Jacket, £2,650; top, £1,320;
leggings, £1,510; belt,
£475, all by Saint Laurent
by Anthony Vaccarello
A bold shoulder unified Anthony Vaccarello’s offering for Saint Laurent, an echo of
WELL PADDED the house founder’s 1980s designs, with the runway set evoking the ballroom of the
Paris Intercontinental, where Yves Saint Laurent used to show his couture collections.
064 ∑
Shirt; tie; trousers;
boots, all price on request,
by Bottega Veneta
For Bottega Veneta, Matthieu Blazy imagined a series of ‘characters’ one might
KNIT TOGETHER find on a buzzing Italian piazza, recreating archetypal looks in unexpected materials,
like this business-like shirt, tie and trousers, made from various textures of knit.
∑ 067
Little gems
British jewellery and homeware brand Completedworks
turns its reductionist vision to bags
PHOTOGRAPHY: JACOB LILLIS WRITER: HANNAH SILVER
A preoccupation with the relationship the way leather folds or crumples and knots, quite helpful in a way because you can make
between form and function meant a move which is obviously something very often it quite unfussy if you’re forcing yourself to
into fashion accessories was perhaps associated with bags,’ she says. ‘There’s always make sure there’s nothing unnecessary there.’
inevitable for London-based jewellery and been a cross-pollination of ideas: behind the It is a reductionist aesthetic that is
homeware brand Completedworks. For scenes, we like to have these ideas that we encompassed not only in the brand’s pieces
the past decade, its artistic director Anna put aside because they were only relevant but also in its newly opened boutique in
Jewsbury has infused ceramics and jewellery to products that we didn’t offer. We then London’s Marylebone, which juxtaposes
with a sculptural sensibility, presenting kept them for the right moment.’ smooth limewash against aluminium
everything from vases that appear to have Jewsbury, who studied mathematics and shelving, creating a linear language teasingly
been casually scrunched in the hand to philosophy at Oxford University, is interested at odds with the undulating forms of the
offbeat, playfully proportioned earrings. in bringing creative solutions to problem jewellery. The opening has neatly coincided
Now, she turns her sharp eye to bags. solving. ‘We’re always trying to create with this new direction for Completedworks,
This fascination with exploring the limits something modern and classic, but with a natural evolution that has always
of a material and bringing a malleability to subversive elements to it. We want everything characterised Jewsbury’s brand management.
seemingly resistant forms has always inspired to have a really clear signature and design ‘The ceramics followed very intuitively
Jewsbury. ‘One of the things we’ve always language,’ she says. ‘In an argument in maths from the jewellery, and you could manipulate
done from the beginning with the jewellery, and philosophy, you don’t want anything to them in a similar way. Whereas with bags, it’s
and also ceramics, has been exploring the be there that doesn’t need to be. Taking that a completely new world and there’s so many
movement of fabric and leather, looking at kind of discipline to creating collections is more rules, it makes me realise how free, in »
068 ∑
Design
This page, Completedworks
founder Anna Jewsbury
Opposite, left, pearl bag, £695;
right, ‘Squeezed’ vase, £125,
both by Completedworks
Design
070 ∑
This page, the living room of
Room 24, currently Venice’s
largest suite, features double-
height windows overlooking
the Grand Canal, from
which Canaletto painted a
view of the Rialto Bridge
Opposite, a marble sculpture by
Fabio Viale in the water entrance,
built as a homage to the
architecture of Carlo Scarpa
072 ∑
Travel
SUITE DREAMS
‘We wanted the Venice Venice bas-reliefs stacked between rows of arched windows,
it was in danger of peeling off the structure entirely.
to be as far from a typical The hotel’s first 25 rooms, which opened in 2022,
were each inspired by a different artist or movement.
‘art hotel’ as possible. The art ‘My wife and I have been collecting art for 25 years.
We’ve developed many relationships with artists and
isn’t an afterthought. Instead, curators, but we wanted the Venice Venice to be as far
from a typical ‘art hotel’ as possible,’ says Gallo. ‘The
it is born with the room’ art isn’t an afterthought. Instead, it is born with the
room.’ You can stay in a canalside suite conceived as
a homage to Christo and Jeanne-Claude, with original
sketches of their landscape-spanning installations,
or an attic room dedicated to the Fluxus movement,
including a looping video of I Like America and America
Likes Me, a 1974 performance by Joseph Beuys. Or, spend
a morning in side-by-side soaker tubs meditating on
a John Cage score. Naturally, one room has been given
over to pieces that debuted at the Venice Biennale.
Among them is a single element of Enzo Mari’s 1973
Falce e Martello, a life-sized wooden puzzle that, when
Above, the treatment room at put together, takes the shape of a hammer and sickle.
the Felix Anima spa features
an installation by Romanian artist For the second phase, which is gradually being
Victoria Zidaru. Fabric tubes filled opened over the course of this year, they were even
with medicinal herbs and flowers more ambitious, with larger, more elaborate rooms,
diffuse a fragrant perfume
throughout the low-lit space masterpiece works from some of the 20th century’s
Above right, Room 53, known most revered names, and site-specific installations by a
as the Revolutionary Room, is host of contemporary artists. Among the collaborators
dedicated to the work of Joseph is Romanian artist Victoria Zidaru, who designed the
Beuys. Most of the furniture
throughout the hotel is by the hotel’s spa treatment room. ‘About five or six years ago,
hotel’s own brand, The Erose during the Biennale Vernissage, I stopped into the »
∑ 077
Travel
Above, a 5m-long 1985 artwork Romanian cultural institute,’ Gallo recalls. ‘There was
by Jannis Kounellis hangs above this small woman standing with her artwork and she
the dining table in Room 24
told me about her approach – her work with natural
Left, Dream (2013), by Yoko
Ono, hangs in Room 72, which elements, her connection with spirituality and the land
also features a terrace with where she lives. At that moment, it came to my mind
views across the Grand Canal that I wanted the room to become a piece of art itself
to the Rialto Bridge
– and I wanted her to do it,’ he adds. Following the
conversation, the couple flew to northern Romania,
where Zidaru lives, to develop the project together.
The result is an installation of woven fabric tubes filled
with fragrant grass and flowers from Zidaru’s farm.
In addition to practising artists, Gallo and Rinaldo
were also keen to include the masters. In a suite on the
palazzo’s piano nobile (currently Venice’s largest suite,
this two-floor, two-bedroom apartment boasts a grand
piano and double-height windows overlooking the
Grand Canal), they wanted a work as spectacular as the
space. ‘It’s where Canaletto used to paint,’ says Gallo.
‘We wanted to celebrate it with one of our favourite
art movements, Arte Povera, and one of our favourite
artists, Jannis Kounellis.’ The couple acquired a large
1985 painting from the painter’s private collection.
When they open in late 2023, the hotel’s crowning
jewels will be two waterside suites, which, at around
200 sq m each, will eventually oust the Kounellis room
as the city’s largest. The first will feature direct access
to the water and function like an apartment for guests
embarking on longer stays. The second will boast a
private indoor pool, the only one of its kind in Venice.
But Gallo’s main concern at the moment is finding the
perfect artist to bring his vision to life. ‘I think,’ he says,
‘we’ll dedicate the pool suite to David Hockney.’ ∂
venicevenice.com
078 ∑
This page, a Gucci
‘Bamboo 1947’ bag
in ArtLab’s dedicated
bamboo workshop
Opposite, three layers
of lacquer are required
to finish the bamboo bag
handles, a painstaking
process mastered by
artisans with decades
of experience
080 ∑
Intelligence
I
t’s a bright and sunny afternoon in Scandicci, Above, powered by
photovoltaic panels and
a short 8km drive from the centre of Florence. equipped with a system that
Filled with FedEx vans, busy roundabouts and limits unnecessary energy
industrial warehouses, the bustling suburban hub consumption, the LEED-
certified ArtLab includes the
stands in stark contrast with the Tuscan capital classrooms and workshops
and its cultural landmarks, but for one conspicuous of École de l’Amour, Gucci’s
structure: Gucci ArtLab. With its vibrant 10m- education programme
high murals, the sprawling 37,000 sq m space is as Right, all Gucci shoes and
leather goods are prototyped
unmissable as the statue of David – apt, given that at ArtLab, including its
a large-scale fashion anatomy is taking place. iconic 1953 horsebit loafer
Inside, artisan Fabio is adding volume to shoe
lasts with putty before smoothing the surface by hand
and checking how the light falls from every angle;
Maurizio is finishing off a new-season diamanté loafer
by joining its upper to its insole with precise hammer
action; and Claudio is moving bamboo slowly over
the naked flame of a Bunsen burner before bending
it to achieve a perfect curved handle.
In adjacent laboratories, scientists and state-of-
the-art robotics are working in tandem, testing soon-
to-be cult bags for elastic-band fatigue and zip
reliability. Treadmills are taking a pair of heels for a
long-distance walk to calculate their durability, and
a holdall is being checked for colour transfer using
an automated mannequin that has been bopping
on the spot, non-stop, for a couple of days.
An insatiable hive of activity, Gucci ArtLab is
home to all of the Italian fashion house’s shoes and
leather goods prototyping processes. Since its opening
in 2018, manual and mechanical artisanship have been
working hand in hand, with each of Gucci’s season-
defining pieces engineered and fastidiously tested by
a team of 950 specialists before hitting the catwalk. »
∑ 083
Intelligence
This page and opposite,
ArtLab’s archive library
features hundreds of
original moulds bearing
the Gucci logo, dating
back to the first under
founder Guccio Gucci, and
finishing under Tom Ford’s
creative directorship
∑ 085
Intelligence
086 ∑
Under Construction
OPEN
FORUM
Behind the new V&A East’s intricate façade
is a space for the imagination to unfold
WRITER: ELLIE STATHAKI
090 ∑
Under Construction
to imagine it becoming visual shorthand for the Above, the new museum’s The building’s façade is made of distinctive, individual
creativity it will contain, as well as the whole area. ‘We largely prefabricated steel concrete panels. ‘We wanted a façade that exploited
structure is clad with individual,
wanted it to read as a special thing, but we didn’t start made-to-measure precast the possibilities of the material and reinterpreted the
with it being a symbol in itself,’ says Tuomey. ‘Even so, concrete panels with a sandy, façades at the V&A South Kensington – such as the
terrazzo-like finish. They are
the project’s looks are squarely rooted in the design a reinterpretation of the stone
sgraffito on the Henry Cole Wing,’ says McKeown.
disciplines. In 2018, the V&A in South Kensington held façades of the original V&A Visitors can get a closer look at the panels from one
an exhibition on Balenciaga, and one of the items on building in South Kensington of the three terraces, while taking in the striking vistas,
display there, an X-ray of a silk taffeta dress and its which also played a key role in the spatial development.
Photography: Peter Kelleher © Victoria & Albert Museum, London
interpretation by artist Nick Veasey, caught Tuomey’s ‘The journey [through the museum] ends with a
eye. ‘I began to think about the space between the figure view at the top, and the openness towards the park is
and the form, what it is and what it can be,’ he says. a big part of the project,’ says Tuomey.
‘They are not visibly connected, but they are very As building works are underway, efforts are now
connected, and you move in between the body and ramping up on the exhibition design. The permanent
the fabric.’ It sparked an idea about a building that Why We Make collection galleries will be created
would allow space for people to do the same. by JA Projects with A Practice for Everyday Life and
The result is V&A East, subtly mysterious in its Larry Achiampong, focusing on global creativity and
semi-opaqueness, with enclosed and open spaces inclusivity, and craft of all kinds. The aim is for content
designed to house temporary exhibitions, as well as take and building to operate in sync, fostering physical and
visitors on a journey through the V&A’s collections, virtual space for the imagination to unfold. ‘There’s a
its artefacts protected by high-spec climatic conditions. tendency in architecture to try and control everything,
The outcome is a vertically-organised building, spread and this is not the most interesting way to carry on,’
across five floors, with an immersive circulation area says Tuomey. ‘It is a better test of a concept to see that
that wraps around open-plan spaces. The ground level it can survive while it is translatable and inhabitable
is scheduled to remain open – no barriers or gates that by entirely different beings. It tests its robustness.’
one needs to cross to enter beyond the café and store. And that, as they say, is where the magic happens. ∂
It needed to feel ‘invitational’, stresses Tuomey. odonnell-tuomey.ie, vam.ac.uk
092 ∑
Fashion
094 ∑
Chic
street
The Celine store on Rue Saint-Honoré is
designed to capture the spirit of Paris
PHOTOGRAPHY: SPELA KASAL FASHION: JASON HUGHES WRITER: JACK MOSS
Fashion
Right, ‘Maillon Triomphe’
hoop earrings, £3,650;
‘Celine Line’ double
necklace, £1,750, both by
Celine by Hedi Slimane
Below right, ‘Bois
Dormant’ fragrance, £315,
by Maison Celine
Opposite, dress, £14,600;
shoes, £690, both by
Celine by Hedi Slimane
Untitled, undated painting,
mixed media on canvas,
by Vivian Suter
∑ 097
Fashion
Right, dress, £60,200;
‘Maillon Triomphe’ hoop
earrings, £1,500, both
by Celine by Hedi Slimane
Opposite, jacket,
£2,000; blouse, £1,100;
trousers, £740; ‘Maillon
Triomphe’ ring, £1,800;
‘Celine Line’ double
earring, £1,100; ‘Celine
Line’ triple earring, £1,300;
shoes, £830, all by Celine
by Hedi Slimane. ‘Haute
Maroquinerie Triomphe’
bag, price on request, by
Celine Haute Maroquinerie
by Hedi Slimane
also feature, while an eclectic array of rebellion. First opened as a vaudeville craft. A shimmering babydoll dress was
furniture and objets are selected for their theatre in 1931, The Wiltern’s opulent art embroidered with more than 90,000
‘sculptural typology’. Each element is chosen deco interior has since become one of the crystals and paillettes (in Slimane’s typically
or designed by Slimane, a continuity of the city’s cult music venues, hosting the likes insouciant style, it was worn with a slouchy
singular vision he brings to his collections. of Nina Simone, Prince, Patti Smith and bag and dark sunglasses), while a series
It provides an apt setting to capture The Rolling Stones (on the evening of the of liquefied metallic gowns at the end of the
Slimane’s recent couture offering, shown show, the after-party’s live soundtrack show were stitched, entirely by hand, with
as part of the house’s A/W23 show at The came courtesy of Iggy Pop, The Strokes, thousands of rhinestones, sequins and beads.
Wiltern theatre in LA last December. An Interpol and The Kills). This closing milieu was backdropped by
honorary resident of the Californian city Mixed among the ready-to-wear – for an enormous version of the house’s Triomphe
(Slimane lived in LA for several years before A/W23, Slimane estimated it made up monogram – a symbol revitalised during
moving back to France, where he now resides ‘around 20 per cent of the collection’ – Slimane’s tenure and inspired by the
close to Saint-Tropez), the collection itself the couture pieces spanned everything from architecture of Paris’ Arc de Triomphe –
melded tropes of Hollywood glamour with tailoring to evening wear, often featuring here illuminated, Hollywood-style, in lights. ∂
the designer’s eye for subculture and extraordinary feats of embroidery and Celine, 384 Rue Saint-Honoré, Paris 1e, celine.com
098 ∑
A travelling show celebrates
pioneering German luggage brand
Rimowa’s 125 years in business
PHOTOGRAPHY: STEFAN DOTTER WRITER: JACK MOSS
Design
A new exhibition,
entitled ‘Seit 1898’ (‘seit’
is the German word for
‘since’), looks back at
luggage brand Rimowa’s
output with a series of
displays that feature more
than 100 cases from its
archives and celebrity fans
A
new travelling exhibition, ‘Seit 1898’, filled heavily customised (musician Patti Smith’s is Above, in 2018, Rimowa
with ‘living artefacts’, celebrates 125 years covered with studio stickers). Other cases are collaborated with
streetwear label Supreme
since the founding of Rimowa in Cologne, variously battered or scuffed, marks of wear to produce custom case
the German city the luggage brand continues that Bonnet-Masimbert says only attest to versions in black or red
to call home more than a century on. their status as lifelong travelling companions. Opposite, above, the
entrance to the exhibition
‘These are far from museum objects,’ says ‘There’s an emotional part to it – people features a reception
Rimowa CEO Hugues Bonnet-Masimbert at feel so proud of their beloved Rimowa case desk and a vivid blue
the exhibition’s first stop in Tokyo, where, in when they travel, and they were delighted to carpet interwoven with
vintage Rimowa logos
June, it occupied Jing Harajuku, a glass-walled lend them to us and have them on display,’
Opposite, right, Rimowa’s
gallery space close to the district’s busy says Rimowa’s senior VP of product and one-bottle travel case,
metro station. This is not to say that they’re marketing Emelie De Vitis, noting that, such designed to hold a single
not precious; rather that many of the objects is the reality of these pieces, several suitcases bottle of champagne
have been donated by those who use Rimowa came with the discarded belongings of their
cases daily, including a phalanx of stars owners still inside (‘no names,’ she smiles).
from Pharrell Williams to LeBron James. ‘At the end of the day, they are meant to be
The exhibition’s next stop is New York, then suitcases,’ says Bonnet-Masimbert. ‘They’re
Cologne, with possible further stops still in not meant to be frozen in the past.’
the works – cases will then ‘return to their The choice of Tokyo as the exhibition’s
owners and go back to their lives’. first destination was purposeful; in the 1970s,
The exhibition’s climax is a display of Japan was one of the first international
cases from notable clients that span the destinations where Rimowa was sold. Its
fictional (an aluminium case emblazoned signature aluminium ridged suitcase found
with the face of Emily in Paris’ outré couturier rapid success in the country, which De Vitis
Pierre Cadault, for the faux ‘collaboration’ suggests is down to an affinity between
depicted in the Netflix show), the surreal German and Japanese principles of design.
(a clear carry-on used by artist Takashi ‘[The Japanese] love durability, they love
Murakami, stuffed with soft toy versions of craftsmanship, they love high design,’ she
his signature cartoon flower motif ) and the says. ‘I think it has acquired cult status.’
102 ∑
Design
∑ 105
‘What happens when
nothing happens’
This season’s defining looks draw on ordinary materials presented in
extraordinary compositions, an approach that resonates with the writings
of Georges Perec, who explored the minute magnificence of everyday life
Photography A LESSA NDRO FURCHINO CA PR IA Fashion JASON HUGHES Writer DA L CHODH A
106 ∑
The Glossary
Fashion fetishises the new, the outré, the extraordinary, but it’s our own thinking
that keeps things feeling fresh. The whims for A/W23, namely the longer length of
a jumper or the bumpier texture of leather, are just that. In 1973, the French author
and artist Georges Perec wrote an essay called The Infra-Ordinary, an ongoing attempt
to notice, record and then recall the exact opposite of the extraordinary. ‘What speaks
to us, seemingly, is always the big event, the untoward,’ he says, before revelling in
the small and unexceptional. It is a meditation not necessarily on simplicity or finding
the joy in the everyday, but a succinct reminder that the objects that soak up our
attention are often a diversion from an essential truth. We are too easily distracted
from recognising – and knowing – what is effortless and sincere.
Above, top, £1,890; dress, £42,900; brooch, £3,650; belt, £375, all by Louis Vuitton. Shoes,
£575, by Jimmy Choo. Opposite, shirt, £8,000; trousers, £890; boots, £1,800, all by Zegna
The Glossary
Above, jacket, £3,825; shirt, £420; trousers, £1,360; bag (left), £1,815; bag, price on request; boots,
£1,200, all by Ferragamo. Opposite, jumper, £920; skirt, £10,500; shoes, £1,070, all by Prada
In 1974, Perec wrote An Attempt at Exhausting a Place in Paris. Over three dull
October days, he documented the habitual, rhythmic actions being played out
around the city’s Place Saint-Sulpice: mopeds parked in a line, a car covered in
dead leaves, a man with a surgical collar, a woman carrying an ugly lamp, a little
girl wearing a red hat with a pom-pom, several women in shades of green, and
some sort of basset hound. Fashion is, superficially, the opposite, often presented
away from the thrum of the street. This great embroidered Prada skirt was first
revealed during the brand’s A/W23 show underneath a vast retractable ceiling
designed by AMO to swallow up a series of 16 chandeliers, each covered with fresh
white lilies. No ordinary setting. Yet after its unveiling, the satin skirt worn with
a neat camel sweater in an unadorned corporate hinterland has a different,
altogether more humble job to do. Miuccia Prada commented: ‘Mainly what I care
about now is to give importance to what is modest, to value modest jobs, simple
jobs, and not only extreme beauty or glamour.’ Away from any elaborate staging or
theatrical folly, the skirt’s extraordinariness – its voluminous sway, splashed with
origami tulips – amplifies the circadian rhythms behind our professional lives.
∑ 109
‘We live, true, we breathe, true; we walk, we go downstairs,
we sit at a table in order to eat, we lie down on a bed in order
to sleep. How? Where? When? Why?’
Above, cardigan, £1,210; top (worn underneath), £1,070; top (worn underneath),
£465; skirt, £1,160; bag, £2,300; tights, £535; shoes, £920, all by Miu Miu. Opposite,
coat, price on request, by Loewe. Boots, price on request, by Bottega Veneta
‘Aluminium EA 117’ chair, from £2,640, by Charles and Ray Eames, for Vitra.
‘Boby’ trolley, £393, by Joe Colombo, for B-Line, from Aram
110 ∑
The Glossary
Perec’s attempt to find the time, space and language to explore what we
might otherwise overlook gives us all a way to assess the coming season. Here,
someone in Miu Miu’s tobacco knit cardigan, matching knit top and chevron
wool skirt uses their soft leather handbag as a pillow. Another, dressed in
Loewe’s long double-breasted cashmere coat, is showered in reams of plain A4
paper. We see clothes that are deliberately unremarkable (chic, of course, lovely,
recherché), which serve as a caution not to undervalue the obvious. Jonathan
Anderson decreed his collection for Loewe was ‘an act of reduction’, showing it
in a white laboratory lined with floor-to-ceiling portraits of otherworldly beings
by the American artist Julien Nguyen. So much of how fashion is presented
obfuscates the tactile reality of clothes. The warmth of a good knit pulled down
across our fists or the crunch of a cotton poplin shirt when freshly steamed.
Sensations that reinforce our relationship to touch. It is the weight of pressed
leather on the shoulders, or a dress belted around the body. It is tailoring that
feels, in every touch, much more luxurious than it might first appear. The true
greatness of the looks photographed here is in how they feel on the body.
How they lend the most mundane of activities more majesty, more matter.
The Glossary
Above, dress, £10,170, by Alaïa. Shoes, £575, by Jimmy Choo. Opposite, coat; coat
(worn underneath); shirt; tie; boots, all price on request, by Bottega Veneta
‘Aluminium EA 117’ chair, from £2,640, by Charles and Ray Eames, for Vitra
Fashion comes into focus when the world is in flux. Of course, it is always on the
move, yet the returning rhythm of life shapes what we feel about clothes. For now,
we are thinking about a certain quietness, a stealth mode of luxury born in response
to the loudness of our times. The shoutier the headlines, the brighter the bulbs,
the softer the skirt? The more exhausted the planet, the higher the heel, the tighter
the sleeve? The ruder life becomes in the city, the wider the shoulder. The more
abstract reality seems to be, the bluer the denim, the softer the cashmere. The
clothes we want to wear are in tandem with the things we cannot control. Talking
about his A/W23 collection for Bottega Veneta, creative director Matthieu Blazy
described ‘the alchemy of the street’ as his inspiration, celebrating Italy’s people,
traditions and crafts. While global newsfeeds seem increasingly uncontrollable,
the grasp we have on our daily lives has a renewed, urgent value. Like Perec, we
can find some solace in the simplicity of the habitual. In the feel of double-faced
houndstooth wool brushing against our bodies. In long, grey, crisp, smart tailoring –
looks not so much advocating minimalism or silence but a shift in our attention.
∑ 113
‘Where is our life? Where is our body? Where is our space?’
Above, jumper, £1,850; trousers, £1,520; boots, £1,035, all by Saint Laurent by
Anthony Vaccarello. Opposite, coat, £4,890; scarf, £3,690; boots, £1,930, all by The Row
‘Toio’ floor lamp, £990, by Achille and Pier Giacomo Castiglioni, for Flos
For stockists, see page 169
114 ∑
The Glossary
Models: Vivi Cazotti at
The Hive, Wang Chen Ming
at IMG Models
Casting: Svea Casting
Hair: Mike O’Gorman at
Saint Luke using Wella
Professionals
Make-up: Sunao Takahashi
at Saint Luke
Fashion assistant:
Kristina Bergfeldt
Photography assistant:
Federico Gioco
Interiors: Olly Mason
Producer: Anya Hassett
Perec captured the perfectly ordinary – its symbols, textures, colours and
hierarchies. So we should admire fashion in its daily setting. At work. In the
street. On the train. Yet our introduction to this extra-long wool turtleneck
sweater by Saint Laurent was seeing it circling underneath the historic muralled
dome of Paris’ Bourse de Commerce. The Row’s black wool and mohair canvas
coat paired with a heavy double-splittable wool scarf first sashayed through
daylight-flooded rooms in an intimate couture-style salon show – a métier known
more for its gilded opulence. These looks, now photographed here in a mundane
environment, with the models acting out subtly rebellious actions deemed
inappropriate for the office, allow us to contemplate the power of clothes away
from the pageantry. A languid phone charger strewn on the floor, the errant
reams of paper, the modernist furniture, the executive toys – the presence of
each object punctures the spectacle of fashion, but not its allure.
SEPTEMBER IS ALL ABOUT...
THE BOLD AND THE BEAUTIFUL
p118
OUTER EDGE
Pump up the volume as temperatures drop
p130
SITTING PRETTY
Home is where the art is for Armani Casa
p136
BRIGHT FUTURES
The evolution of Paco Rabanne
p144
FLAMING LIPS
This season’s hottest shades
p154
INNER CITY CHIC
Be street smart in strong looks and sleek tailoring
p170
THE RETURN OF WALLPAPERSTORE*
Shop online from our curated selection
∑ 117
Fashion
∑ 119
120 ∑
Fashion
122 ∑
Fashion
Fashion
Above, coat, £9,500; top,
£790; trousers, £1,035; shoes,
£1,290, all by Saint Laurent
by Anthony Vaccarello
Opposite, coat, £3,850; shirt,
£590; trousers, £980; shoes,
£980, all by Giorgio Armani.
Socks, £15, by Falke
∑ 125
Above, coat, £595, by Herno
Opposite, coat; top, trousers; shoes,
all price on request, by Fendi
126 ∑
Fashion
Fashion
Models: Zhuo Chen at
Next Management,
Chol Mabior at Models 1
Casting: Svea Casting
Grooming: Chris Sweeney at
One Represents using Typology,
Sisley Paris and Philip B
Fashion assistant:
Molly Swatman
Digital operator: George Zenko
Lighting assistant: Aaron Tarjani
Producer: Anya Hassett
Above, coat, £1,300, by Paul Smith
Opposite, coat, £4,010; jacket (worn
underneath), £4,825; shirt, £485; tie, £185;
trousers, £2,915; shoes, price on request,
all by Ferragamo. Socks, £15, by Falke
For stockists, see page 169
∑ 129
Space
Above, a ‘Space’ dining table and ‘Logo’ lamp, by Armani Casa, Opposite, a pair of ‘Rondò’ armchairs, by Armani Casa, with
with rock crystal quartz artworks (1968/1979), by Andrea Cascella Flavia Teste Rosso marble sculpture (2012), by Vanessa Beecroft
(Brun Fine Art, Milan) and a bronze soldiers sculpture (c.1934), (Galleria Lia Rumma, Milan) and glazed terracotta artworks
by Arturo Martini (Walter Padovani, Milan) (1968/1970), by Guerrino Tramonti (ED Gallery, Piacenza)
130 ∑
TALENT
SHOW
Defined by its use of precious materials, refined finishes and innovative textiles,
Armani Casa creates furniture with an enduringly elegant aesthetic. We’ve paired
pieces from its collection with important Italian art and rare artefacts, from the
Renaissance to the 21st century, showcasing the very best of the Made in Italy ethos
Photography BEPPE BR A NCATO Creative direction NICK V INSON
Space
Opposite, an ‘Open’ sofa, ‘Ninfea’ table and ‘Logo Mini’ lamp, Above, a ‘Smart’ chest of drawers, by Armani Casa,
by Armani Casa, with (behind sofa) Kleenex (1974), by Luciano with Madonna and Child wax high relief (18th century),
Bartolini (private collection, courtesy Robilant + Voena, by Girolamo Ticciati (Walter Padovani, Milan), Intreccio
Milan), and (on table) terracotta sculpture (1963), by Michelangelo di Situazioni (1969), by Armando Marrocco (Robilant
Barbieri (Dei Bardi Arte, Arezzo), and bronze sculpture + Voena, Milan), and Concetto Spaziale, Cratere (1968),
(1969), by Agostino Bonalumi (Robilant + Voena, Milan) by Lucio Fontana (Robilant + Voena, Milan)
∑ 133
Space
Above, a ‘Riesling’ bar cabinet, by Armani Casa, with terracotta Opposite, ‘Camilla’ desk and ‘Logo Mini’ lamp, by Armani Casa,
lioness sculpture (19th century), by an unknown artist with (on wall) Testa di Doge and Testa di Vescovo mosaics (both 14th
(Brun Fine Art, Milan), and Untitled (1959), by Paolo Scheggi century/Alessandra Di Castro, Rome) and (on table) Betelgeuse
(private collection, courtesy Robilant + Voena, Milan) rock crystal quartz (1979) and Senza Titolo rock crystal quartz
(1967/68), both by Andrea Cascella (Brun Fine Art)
For galleries and stockists, see page 169
134 ∑
Fashion
In 1966, the Spanish couturier Paco Rabanne following month, in Paris, French designer begin with Dossena tasking his team to
presented his breakout collection, ‘Twelve Julien Dossena – creative director of the experiment with fabrics and embellishment.
Unwearable Dresses in Contemporary house since 2013 – presented a collection This season, sharp, elongated metal
Materials’. An evolution of an earlier project, that he described as a ‘coda to the couturier’s paillettes were honed to evoke both the
as well as his work creating plastic accessories legacy’, ending with five archival dresses ‘lightness and movement of feathers’ and
for Parisian houses like Schiaparelli, and featuring spoken extracts from Rabanne ‘little weapons’. Elsewhere, a layer of sheer
Balenciaga and Givenchy in the early 1960s, as part of the show’s soundtrack. ‘Spanning mousseline was combined with metal mesh
the collection of abbreviated mini dresses five decades, these dresses will signal the to conjure up the effect of ‘smoke around the
were fashioned from futuristic panels of innovative craftsmanship that defines the metal’, while leather panels seemed to melt
aluminium and iridescent plastic, joined timeless and totemic women of Paco away into diaphanous chainmail.
together with metal rings to evoke chainmail. Rabanne,’ read the collection notes. ‘The two materials together have this
The audacious designs would send a ‘He left behind so much, all those radical tension, this new interaction,’ says Dossena,
jolt through Paris’ traditional haute couture moments of modernity,’ says Dossena, who grew up in the Brittany resort of Le
salons – ‘he’s not a couturier, he’s a metal speaking from the Rabanne design studio Pouldu, not far from where Rabanne would
worker,’ Coco Chanel is said to have sniped on Paris’ Rue Françoise (‘Paco’ has now been spend most of his later years. He never met
– and posited the designer, who first trained dropped from the house’s name as part of the couturier, preferring to respect the
as an architect, as fashion’s enfant terrible. a wider rebranding). ‘He was really fighting distance that Rabanne placed between himself
Alongside fellow couturiers André Courrèges against the old rules, the old world. Even and fashion by the time he left his label in
and Pierre Cardin, and furniture designers aesthetically, he didn’t understand couture, 1999. ‘I did hear from a few people who were
such as Verner Panton, Arne Jacobsen and and he didn’t want to understand.’ still in contact with him that he was really
Eero Aarnio, he was deemed responsible for The collection itself had been completed liking what we were doing with the brand,’
ushering in the ‘space age’ spirit of the late prior to Rabanne’s death, though a sensorial says Dossena. He was even told that Rabanne
1960s, which used post-war industrial focus on material and texture – several of had said he was welcome to reach out for a
materials to create a gleaming, utopian vision the intricate paillette-covered gowns and coffee the next time he was in Brittany.
of the future. ‘I defy anyone to design a hat, skirts could be heard jangling as they walked ‘I never dared to,’ says Dossena. ‘He was
coat or dress that hasn’t been done before,’ the runway – felt a fitting homage to the doing so many other things, and expressing
Rabanne said in 1966. ‘The only new frontier designer’s legacy. ‘When you wear Paco himself across so many other fields. And I
left in fashion is the finding of new materials.’ Rabanne chainmail, it’s really a feeling. There wanted to respect that – when you work on
In February this year, Rabanne passed is a sensation between the garment and the somebody’s name, on their designs, you don’t
away, aged 88, at his home in Brittany. The skin,’ he smiles. As such, collections often know how they feel. I wanted to keep that »
Dress, £51,400, by
Rabanne. Boots, £1,225,
by Jimmy Choo
∑ 137
respectful distance. So I never met him, but became fascinated by the work of Belgian into the trap of recreating [garments],
I don’t regret it. Let’s call it politeness.’ designers like Dries Van Noten and Martin or being retro,’ he says. ‘Then, at some
Besides, the designer brought his own Margiela; on graduation, in 2008, he took point, I thought we were solid enough to
influences to the house. He remembers first an internship at Balenciaga, which was in recontextualise some of the archive.’
encountering fashion through a video of a the process of being reinvented by creative When he did, he didn’t leave for three days,
Jean-Paul Gaultier runway show on TV as director Nicolas Ghesquière. The French- ‘taking pictures of every little thing’. What
a child in the late 1980s, the beginning of a Belgian designer’s anachronistic approach struck him were not the singular garments,
lifelong fascination with clothing (in a full- melded archival silhouettes with moments but the overwhelming sense he got of the
circle moment, he was selected as Gaultier’s of futurism, something which proved hugely designer from old photographs, newspaper
guest designer this season, showing a influential to the young Dossena. editorials and discarded chainmail tests.
collection at the last couture week in July). In 2012, he left Balenciaga and launched ‘Rabanne was just in love with metal,’
‘He was surrounded by all those crazy, his short-lived label Atto. Later that year, says Dossena. ‘To him, it symbolised the next
beautiful people,’ he says. ‘I’d never seen stylist Marie-Amélie Sauvé – a longtime civilisation. He wanted everyone dressed
people like that in Brittany, and I was like, Ghesquière collaborator, who now styles in it. It felt like I was seeing this really deep,
“Wow, that looks so fun. And that’s a job?”’ Dossena’s own collections – introduced him personal, cultural expression of him.’
Dossena would go on to study art at to Marc Puig, CEO of the Puig conglomerate, Now Dossena visits the archive when
the Duperré School of Applied Arts in which owns Rabanne. The house had gone ‘he wants to be surprised’, likening it to the
Paris, before moving to Brussels’ visual arts through two designers in two years and was feeling of visiting an exhibition or gallery
institution La Cambre to become part of the in need of some stability. After working for inspiration. On one of these visits, he
prestigious fashion school (notable alumni at Rabanne for eight months, Dossena was discovered photographs of Salvador Dalí
include Saint Laurent’s Anthony Vaccarello, promoted to creative director in 2013. alongside models in Rabanne’s dresses at the
Bottega Veneta’s Matthieu Blazy and For the first four years, he did not enter artist’s house in Catalonia in 1966. Another
Courrèges’ Nicolas Di Felice). There, he the house’s archive. ‘I didn’t want to fall video, taken at some point during the »
138 ∑
Fashion
This page, coat,
£5,520, by Rabanne
Opposite, dress,
price on request,
by Rabanne
Fashion
140 ∑
1960s, showed the pair throwing sewing Spain, during the couturier’s heyday. ‘In though in the group’s 2022 financial report,
machines on the floor as a riposte to the ‘old fashion, you have all the freedom and liberty it noted its fashion arm was ‘growing at the
world’. ‘When you see that video, you can feel that you want,’ he recounts. ‘Except one same pace as the company’, whose overall
the radicalness, the craziness. Together, they thing. You are not allowed to attack the revenue rose by 40 per cent.
became this great avant-garde energy.’ beauty of women.’ Rabanne saw women As for why, in the topsy-turvy world
For the A/W23 collection, four of Dalí’s as figures of sensual power, describing his of fashion – where creative directors rarely
paintings – which Dossena describes as clothes as ‘weapons’. ‘The woman of last more than a few years at a house –
‘mental landscapes’, surreal, dreamlike tomorrow will be efficacious, seductive and, Dossena has achieved such staying power,
tableaux – appeared as prints across a series of without contest, superior to man,’ he said. the designer credits the ‘absolute freedom’
sliced-away gowns. They had been used with Dossena says he has been largely he has been given at Rabanne. ‘It’s so close
permission of the Dalí Foundation (aware of surrounded by women for most of his life, to me, because I really built it from the
Rabanne and Dalí’s relationship, they were and collections often emerge from observing beginning,’ he says. ‘Nobody expected
keen to collaborate), and contributed to what his female friends going about their day-to- anything from Rabanne when I started; it
Dossena calls the ‘exploration of sensation’ day lives, ‘on the street, in their couples, with was tough work because you have to prove
that runs through the collection. ‘It’s about their family, when they dance, or when they the value of the brand, but I could create
sensuality, but a new kind of sensuality,’ says work. It’s a little bit like sociology. I want it the exact way I thought it should be.’
Dossena. ‘The imagination of what it feels to give them what I think they might need.’ ‘Now, there’s a perception of the brand
like to touch – the dream and the So far, so successful. In his ten years at that is completely different,’ he continues.
subconscious, they arrive in that moment.’ the house, Dossena has transformed Rabanne ‘First, it was the industry insiders that were
Archival interviews with Rabanne show from a near-forgotten fashion house to an sceptical about what Rabanne could be.
the designer repeating a piece of advice for agenda-setting, financially successful label Then we got them on side. Now, Rabanne is
his mother, who worked as chief seamstress built in his vision. Puig does not release the going mainstream. I can feel the evolution.’ ∂
for Balenciaga in San Sebastián, in northern fashion results for its individual brands, pacorabanne.com
Fashion
This page, dress,
price on request,
by Rabanne
Opposite, top,
£800; earrings, £490,
both by Rabanne
For stockists, see
page 169
Model: Shuting
at Elite Paris
Hair: Beth Shanefelter
using Less is More
Make-up: Kamila Vay
using Edulis and
Make Up For Ever
Photography assistant:
Hugo Varaldi
Fashion assistant:
Sara Perilli
Producers: Anya Hassett,
Tracy Gilbert
∑ 143
Beauty
∑ 145
Beauty
Colour Infusion
lipstick in Cardinal Red
Satin, £80, by Isamaya
∑ 147
This page and opposite,
Matte Trance lipstick in
Elson, Full Blooded and
Deep Orchid, £36 each,
by Pat McGrath Labs
148 ∑
Beauty
Beauty
This page and
opposite, Rouge Coco
lipstick in Dimitri,
Gabrielle and Marthe,
£37 each, by Chanel
∑ 151
Beauty
∑ 155
Fashion
Above, dress, £850; shirt, £470, both by Marni. Shoes, £960, by Prada. Socks, £14, by Falke
Opposite, coat, £3,170, by Gucci
∑ 157
Above, coat, £5,650, by Dolce & Gabbana
Opposite, coat, £3,500; shirt, £590; tie, £450, all by Alexander McQueen
158 ∑
Fashion
Fashion
Above, dress, £7,550; shorts, £1,080, both by Valentino. Tie, £280, by Valentino Garavani. Shoes, £1,480, by Alexander McQueen
Opposite, dress, £1,090, by Sportmax. Tights, £29, by Wolford
∑ 161
Above, jacket, £5,450, by Loewe. Shoes, £960, by Prada. Bodysuit, £155, by Wolford. Earrings, £3,695, by Le Ster
Opposite, eyeliner in Technical Black, £33; colour stick in Destroyer, £32, both by Byredo
162 ∑
Fashion
Fashion
Above, jacket, £2,415; skirt, £1,255, both by Proenza Schouler. Bodysuit, £155; tights, £29, both by Wolford
Opposite, jacket, price on request; necklace, £1,365, both by Chanel
∑ 165
Model: Isa Gustafsson
at Next Management
Casting: Ikki Casting
Hair: Michal Bielecki
Make-up: Marielle Loubet at
Calliste Agency using Byredo
Fashion assistant:
Kristina Bergfeldt
Digital operator: David Fitt
at Sheriff Projects
Photography assistants:
Enzo Tonati, Nicolas Darde
Retouching: Sheriff Projects
Producer: Anya Hassett
166 ∑
Fashion
Zaha Hadid Alan Fletcher Raf Simons Karl Lagerfeld Barbara Kruger David Hockney
W*88 W*94 W*126 W*127 W*141 W*154
Yayoi Kusama Linder & Paolo Roversi Julio Le Parc Wolfgang Tillmans Do Ho Suh Lorna Simpson
W*159 W*174 W*195 W*208 W*216 W*228
Isaac Julien Virgil Abloh Mark Bradford Daniel Arsham Apple Design Team Helen Pashgian
W*243 W*257 W*267 W*270 W*273 W*276
Offer closes 31 December 2023. For full terms and conditions, visit magazinesdirect.com/terms
Stockists
Right, coat; bodysuit, both
price on request, by Lanvin,
see page 118
Alaïa
maison-alaia.com
Alessandra Di Castro
alessandradicastro.com
Alexander McQueen
alexandermcqueen.com
Aram
aram.co.uk
Armani Casa
armani.com
Balenciaga
balenciaga.com
Bottega Veneta
bottegaveneta.com
Brun Fine Art
brunfineart.com
Burberry
burberry.com
Chanel
chanel.com
Dei Bardi Arte
deibardiart.com
Dior
dior.com
Dolce & Gabbana
dolcegabbana.com
Dunhill
dunhill.com
ED Gallery
edgallery.it
Falke
falke.com
Fendi
fendi.com
Ferragamo
ferragamo.com
Flos
flos.com
Galleria Lia Rumma
liarumma.it
Giorgio Armani
armani.com
Gucci Lindberg Pat McGrath Labs Standing Ground
gucci.com lindberg.com patmcgrath.com standing-ground.com
Hermès Loewe Paul Smith The Row
hermes.com loewe.com paulsmith.com therow.com
Herno Louis Vuitton Prada Valentino
herno.com louisvuitton.com prada.com valentino.com
Isamaya Margaret Howell Proenza Schouler Victoria Beckham
isamaya.com margarethowell.co.uk proenzaschouler.com victoriabeckham.com
Jil Sander by Lucie and Luke Meier Marni Robilant + Voena Vitra
jilsander.com marni.com robilantvoena.com vitra.com
Jimmy Choo Max Mara Rohk from Farfetch Walter Padovani
jimmychoo.com maxmara.com farfetch.com walterpadovani.it
Lanvin Missoni Saint Laurent by Anthony Vaccarello Wolford
lanvin.com missoni.com ysl.com wolfordshop.co.uk
Le Ster Miu Miu Sportmax Zegna
le-ster.com miumiu.com sportmax.com zegna.com
∑ 169
WallpaperSTORE*
WallpaperSTORE* is back. Our curatorial eye brings you the best design, lifestyle products
and tech, all chosen by the Wallpaper* team of editors and tastemakers from the most exciting
creatives and brands. Visit Wallpaper.com to access the best objects that money can buy
‘Shaker System’
bathroom accessories
by Kvadrat/Raf Simons
The arrival last year of an accessories collection
by Danish textile brand Kvadrat and designer
Photography: Neil Godwin at Future Studios for Wallpaper*
170 ∑
9000 9001