August 29 2014

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5 posts tagged "Ennio Capasa"

The Split-Second Preview: Costume National Homme


The Fall ’14 menswear collections move on to Milan tomorrow, and will be followed by the shows in Paris. Before the new clothes hit the runway, we’ve asked some of the most anticipated names to offer a sneak peek. Per usual, it’s a busy time for all—designers and fashion followers alike—so we’re continuing our split-second previews: tweet-length at 140 characters or less. Our entire collection of Fall ’14 previews is available here.

Costume National

WHO: Costume National Homme, designed by Ennio Capasa

WHERE: Milan

WHEN: Saturday, January 11

WHAT: “Final Touch” —Ennio Capasa. The designer sent us a sneak peek at his Fall ’14 fabrics, above.

Photo: Costume National Homme

Costume National Heads Home


Ennio CapasaIt doesn’t look like Miu Miu will be hitting the runway in Italia anytime soon, but the Italian Chamber of Fashion did score a coup today. After showing in Paris for twenty years, Costume National will be sending its Spring ’14 collection down the catwalk in Milan this fall. “This is not about Italians showing in Italy and the French showing in France,” designer Ennio Capasa—who is, in fact, Italian, and based in Milan—told WWD. “Fashion is a large, international community, and I had this feeling that Italy…is going through a difficult moment right now…I wanted to help, to show some solidarity…I couldn’t say no to my country.” No word yet if the move is permanent or a one-season deal, but we’ll be keeping our eyes peeled to see if any other Italian designers decide to head home and help breathe new life into Milan fashion week.

Photos: Yannis Vlamos/ InDigital/ GoRunway

At Costume National, Bigger Is Better


Costume National has been a Soho mainstay for years, first on Wooster Street, then on Mercer. The brand recently made its third move within the neighborhood, to a sprawling 4,000-square-foot flagship on Greene Street. The new, larger space maintains the minimal decor of its predecessors, with freestanding plinths for display—according to a longtime employee, designer Ennio Capasa considers his footwear like miniature sculpture—and graphic white walls with flashes of black. A bit of news came along with the new location: A label rep revealed that the upcoming CN campaign will star punky model Eliza Cummings in a New Wave-inspired shoot.

Costume National is now open at 150 Greene St., NYC.

Photo: Courtesy of Costume National

Marina Abramović On Her Own Life—And Death


It takes a particular kind of person to stage not only their life, but also their death. But performance artist Marina Abramović is that special kind. She had already created her biography twice—first staged by herself, ten years ago, then by theater director Michael Laub—but for the third iteration of The Life and Death of Marina Abramovic, the artist put herself entirely in the hands of another artist: avant-garde legend Bob Wilson. Wilson accepted, and his The Life and Death of Marina Abramovic debuted in Manchester last year. To add yet another level of scrutiny to the process, Wilson invited photographer Tim Hailand to photograph a day in the creation of the piece, now published as One Day in the Life of Robert Wilson’s The Life and Death of Marina Abramovic. The piece had grown to include an original score, performed by musician Antony of Antony and the Johnsons, and starred Abramović herself along with Antony and Willem Dafoe. Last night, Abramović’s longtime friend Ennio Capasa of Costume National hosted a party for the book and introduced a related film installation by Giada Colagrande. To celebrate the occasions, spoke with Abramović about the process.

Tell me a little bit about the creation of The Life and Death of Marina Abramovic. How did you and Bob Wilson come together? Had you collaborated in the past? How did you work together?
I met Bob Wilson for the first time in 1971 in Belgrade. At that moment, I didn’t meet him personally but saw his play. It left a very strong impression on me. During the late seventies, I met him personally and we became friends. For me, Bob Wilson invented a new language of theater, introducing a new sense of time, and this is very connected to my work. When I was having the idea of making The Life and Death of Marina Abramovic, I asked him to direct it. He was the only person I had in mind. Working together was an exercise in giving up control. I gave him all of my material and just became a tool for him to work with.

And Antony?
Antony, I met six years ago when I saw him sing at Rufus Wainwright’s Carnegie Hall Christmas concert. It was a mesmerizing experience, and he was the only person I wanted to create the new music for this piece.

Were there moments from your own life that you particularly wanted to revisit for the performance? Any that you considered but chose not to?
No, it was all Bob’s choice and all his editing.

How does fashion play a role in your performances?
Fashion plays a big part of my private life, not at all in my performance. I don’t use designer clothes for my work—I make them myself, or they’re just very simple. In my private life it’s different.

I’ve heard that you recently purchased a house in New York with Riccardo Tisci. Is this correct? Will you both be spending more time in the city? Will you be collaborating at any point in the future?
I don’t want to speak about Riccardo’s plans without his permission, but he is a close friend, and we have already collaborated on a piece together in Visionaire, called “The Contract.” I think we will continue to inspire one another creatively far into the future.

Photo: Courtesy of Tim Hailand, One Day in the Life of Robert Wilson’s The Life and Death of Marina Abramovic, 2012

C’N'C Takes It To The Masses With Rock Royalty, Coke


“Fashion has gotten stale,” C’N'C’s Ennio Capasa informed us last night. “I wanted to zing things up so I thought I’d bring it to the people. ” For Capasa, this meant live national TV coverage, and “us,” the fashion folk on a grandstand behind a catwalk facing a crowd of 10,000 in Milan’s Piazza Duomo. We recovered from the initial shock of the spectacle just in time to be swept through a medley of Britain’s Got Talent-type performances capped off with a ramshackle troupe of airborne, flame-throwing wizards and a short set from the Killers. Then came the runway show with a frizzed-up selection of, as the press notes called them, “the children of yesterday’s rock stars” in the form of Pixie Geldof, Tali Lennox, and Daisy Lowe. (The lattermost disavowed to us her “wild child” status, claiming to be headed straight to her hotel room post-show to catch up on her Buffy the Vampire Slayer DVDs.)

Following that was the charity auction: Coca-Cola Light’s “Tribute to Fashion,” where giant coke bottles hit the catwalk. No, we haven’t segued into a Fellini-esque blog post dream sequence. The various bottles were designed by Italy’s major labels: Alberta Ferretti, Blumarine, Etro, Fendi, Marni, Missoni, Moschino, and Versace. Camps from all of the above were there to show their support. At any rate, though a bit goofy to say the least, the auction turned out to be a success. A total of €100,000 was raised for victims of the earthquake in Abruzzo.