16 posts tagged "Renzo Rosso"
It’s been a year since Alexandre Mattiussi, the founder and designer of burgeoning menswear brand Ami, took home the €250,000 ANDAM prize. As he prepares to pass on his crown and sash—and to show his Spring ’15 menswear collection in Paris—Mattiussi reflects on a fruitful year that included a new Paris store, his first runway show, and a revamped website. Here, the designer speaks with Style.com about his forthcoming collection, the importance of accessibility, and his little red cap.
It’s been a year since your ANDAM win. How are you feeling now?
Before ANDAM, I thought, Maybe we could win, and we did. When I do something, it’s a thousand percent, whether it’s creative or commercial. Winning the ANDAM is like winning the César. Since then, I’ve had lots of requests for advice, and I always say, “The point is to see your clothes worn.” If I were a baker, my attitude would be the same—I’d want people to line up for my cake, and it would not cost $15,000.
Renzo Rosso, who’s mentoring you post-ANDAM, said that he sees a lot of himself in you.
We share a birthday—September 15—and a lucky number, so there must be something to it. He’s helped us a lot with gaining international visibility, and he brought us cred.
So what did you do with the money?
I got a total makeover and liposuction, can’t you tell? We moved offices. I hired my intern. We redid the website and launched e-commerce. We hired a PR for the U.S. market. We held a fashion show in January; our second one is Saturday. Now I have more time to think about how I will create the wardrobe I’ve always wanted to, with a little more spice. We feel like we’re building. Three weeks ago we opened a new boutique at 22 Rue de Grenelle on the Left Bank. We’re looking at London for 2015, and New York, of course.
What’s changed for you personally?
My personal life changed. I quit smoking. People start recognizing you—I feel like a singer or something. They see me riding my scooter around town and yell, “Ami!” I love that people love the brand. They recognize my red bonnet—it’s not a gimmick, I’ve been wearing one since I was a kid. My father just unearthed a picture of me at age 8 wearing one. It’s like we’re creating this little character—people are coming to expect it. I was in Tokyo recently, and all these young people were asking me where that bonnet was, so I had to go back to the hotel and get it.
What’s different about the new boutique compared with the original one on the Boulevard Beaumarchais?
I love the Left Bank. My mother worked in a shop there for a while. I love the energy of that neighborhood. The idea was a tailor’s shop, a neighborhood place, with a coffee bar in back. I wanted it to be chic but easy. And a photographer friend, Nicolas Wagner, is putting up a rogues’ gallery of friends wearing a red bonnet.
What should we expect from your show this Saturday?
We’re doing it at this very French high school, the Lycée Carnot. I wanted to stage a little youthquake, starting in the cradle of amitié [friendship]. That means a lot of color—yellow, red, blue, green—oversize coats, technical fabrics. But there will always be a navy jacket and a camel coat at Ami. We’re also doing more accessories, like backpacks and sneakers. I just want it to be fun, joyful, and no beards.
Why did you gravitate toward this youthful theme?
When I was in fashion school, people were less invested in their personal style—we couldn’t be, we had no money. Today, I notice that even the students are really styled and there are always super-interesting things going on in the street. When you look at young people, you realize that they are seriously cool. That said, my mother thinks I dress like a teenager—she’s shocked that I don’t wear socks with my sneakers.
This question’s been following you since Ami opened: What about women’s clothes?
I like keeping Ami for men, although women do buy our clothes. When I sketch, it’s always [a] masculine [silhouette], even if it’s on a feminine form. I love dressing women in menswear—Caroline de Maigret walked for us in January wearing a men’s suit. I say without pretense that I love what Hedi Slimane did with Dior Homme for Parisian youth. Also, I just finished working for Bally on a women’s collection that will be available next season—they gave me carte blanche, and I really had fun with it. I have one other collaboration coming up. But we’ve registered Ami(e), and I am thinking about a capsule of iconic men’s pieces for women. No dresses. But I’m 33. I have time!
What’s your creative process?
I don’t really have creative hang-ups—I can sketch out a collection at the dinner table with friends. You have to know yourself. When I first worked at Givenchy men’s with Riccardo [Tisci], we did pink lace Bermudas for Spring 2005. But I realized I couldn’t do that, and that’s why I would have made a lousy assistant. Later on, I realized that I did not want to design things that I could not afford myself. Fashion is dangerous that way. There’s an imbalance between dreaming up a dress that costs a bomb and the real world.
So what is your ambition?
I have an ego. But being a star or going on vacation with celebrities or whatever is not the goal. If it happens naturally, great. But I know who I am and what my reality is. C’est ça la vie [That's what life's all about].
“Diesel is all about rebels,” insisted Nicola Formichetti, the brand’s artistic director and arguably one of the biggest rebels on the block. In fact, he may be second only to Renzo Rosso, Diesel’s founder, who gave Formichetti near-free reign of the house’s image when he hired the designer, stylist, and Internet whiz last year. If you think we’re exaggerating, just have a look at the Tokyo bondage party the pair threw to celebrate the label’s accessories collection last fall. Or consider the fact that Formichetti told us he’s holding his debut Diesel runway show on April 3 (that is, after fashion month) in Venice, just an hour east of the company’s Breganze, Italy, headquarters. “I wanted to do something away from fashion week, and to create our own rules,” Formichetti asserted. “It’s going to be an experience—way different from a fashion show. And it’s going to be really digital—but that’s no surprise.”
Never one for downtime, Formichetti is releasing a new leather-centric #Diesel Tribute capsule ahead of the Venice show. And the twenty-piece clothing and accessories range—a follow-up to November’s denim capsule of the same name—embodies the designer’s iconoclastic outlook. “We are elegant rebels, modern-day rebels, and I think leather sums that up,” said Formichetti of the collection. A nod to Diesel’s archive, the outing comprises a zip-front body-con leather dress; a stud-embellished vest; jeans; tees; and jersey denim bombers, pants, and intimates that ooze all the toughness of leather but offer a little more comfort. The centerpieces, however, are a hand-stitched patchwork leather bomber and matching pants. “I didn’t want to do something super-trendy, and we can’t make it very cheap,” said Formichetti of the collection, which is priced between $120 for a T-shirt and $3,800 for those patched-up pants. “You know, fast fashion is cool and inexpensive, but after a couple of months, it falls apart. I wanted to do something more timeless, something that will last and remain in your wardrobe.”
#Diesel Tribute Leather debuts exclusively here in a campaign by Nick Knight, which he shot entirely on his iPhone. “It was all about apps and doing everything instantly on set,” said Formichetti, who famously launched his reign at Diesel with a robust social media initiative. As for the cast, Formichetti tapped the same breed of staunch individual that he has featured in previous advertising efforts. (His first accessories campaign was fronted by stripper-turned-rapper Brooke Candy, and Diesel’s recent We Are Connected ads starred Jillian Mercado—a striking 26-year-old blogger with muscular dystrophy—and her wheelchair.) “They’re people we found on Tumblr—some friends, friends of friends, models, you know, a good mix,” said Formichetti when quizzed on his fresh faces. “Pulling these unsung heroes is [important], and I think it’s so cool that Diesel’s brave enough to support them because, you know, the fashion world is crazy.”
As for the forthcoming Fall ’14 collection, Formichetti hinted that it’s going to be a blend of the house’s signature denim and leather, but on steroids. “I’m doing an über version of my last two capsules for the show,” he said over the yelping of his two dogs, Tank and Bambi. The pups had just gotten back from a trip to L.A., where they were, as Formichetti put it, “retreating for the winter.” Once the barking stopped, he added, “Fall is all about going back to the basics—something that you would want to wear every day. But, of course, it’s me, so you’re going to get a bit of fantasy there, too.”
The #Diesel Tribute Leather Collection will be available at Diesel stores worldwide from February 1.
The impressive second-quarter results posted recently by the Yoox Group, Italy’s e-commerce giant, was further proof that the future of high fashion lies online. But can CEO Federico Marchetti (left) work the same magic with fine art? It has been on his mind since he launched Yoox fourteen years ago. “I’ve always had the notion of the one-stop shop, with a mixture of modern and vintage, clothes and furniture,” he says. “The art component is the one that closes the circle.”
Marchetti tested the waters last October with Damien Hirst, Grayson Perry, and the first-ever edition by Italy’s top Pop artist Francesco Vezzoli. “He did it to help earthquake relief in Emilia-Romagna, where I’m from,” explains Marchetti. “We did an edition of 399 priced at 399 euros, dollars, or pounds.” Yoox is now providing corporate sponsorship for Vezzoli’s Trinity, a series of three exhibitions in three cities, the first in Rome now until November 24, the second opening at New York’s MoMA PS1 in the fall, and the third at the Museum of Contemporary Art in L.A. in early winter.
But any multimillion-dollar business can cough up sponsorship dollars. It was Padiglione Crepaccio (below), the much humbler Yoox initiative during the opening days of the Venice Biennale, which cast a more interesting light on Marchetti’s intentions in the art world. Curator Caroline Corbetta assembled work by ten Venetian artists under 30—the sort of creative types who are usually overlooked when the Biennale’s grand caravan rolls into town every two years—and exhibited the result in the house where three of them live. (A very nice piece of old Venice it was, too, calculated to make starving artists everywhere else in the world utterly puce with envy.) The twist was that the exhibition preview was online. “Like Saatchi, but in reverse,” says Marchetti. “Everyone else got to see it online before the art-world elite got there.” Which didn’t stop heavy hitters like Vezzoli, Diesel’s Renzo Rosso, and cherished art-world provocateur Maurizio Cattelan (a patron saint to young Italian artists) from showing up in person at the opening.
With his Acne jeans and his Lobb shoes, Marchetti is almost correct when he describes himself as the Yoox customer. And he was setting a good example by shopping for art at Padiglione Crepaccio. (In keeping with the initiative, it was only possible to buy the pieces on the iPads provided, even if you were standing right in front of the art and the artist). Right now, Marchetti is picturing art on Yoox as “something like a TV talent show, 99 percent talent, 1 percent the special X factor.” But going forward, he imagines people picking up “a pair of jeans and a painting” when they visit the site. “It’s part of the plan to make yoox.com a playful lifestyle,” he adds. “But playful in a serious way. It’s not the Amazon approach. We’re serious about collaboration.” Serious enough, in fact, to partner with the legendary photo agency Magnum—its first venture into e-commerce—and Hirst’s publishing company, Other Criteria.
But when Marchetti insists, “Surprise is the beauty of Yoox,” I flip back to the young artists in Venice, in particular a painter called Thomas Braida. With talent like his in the equation, people are going to be picking up way more than one painting with their pair of jeans.