Control and precision; grace that is dry, assertive, with a hint of tension. An idea of graphic composition permeates the Marni collection for f/w 12/13: pure lines, decisive volumes. As if obeying to a precise layering plan, outfits have a constructivist feel with a sleek outlook and a tactile intensity. Shapes are off-kilter; color is used for its density and intensity as a design element; a restrained take on opulence and an accent on fur as punctuating texture subtly alters the balance. The result is firm, at once sober and twisted.

The silhouette is neat and precise, to-the-knee, with a dropped waist. There’s an idea of clothing as soft, architectural element. Exact capes create a firm halo around the body. Decoration turns into construction, playing with the weight of surfaces: rounded fur collars land on top of leather coats, or are worn in place of neckpieces; panels of mink and felted wool recreate the strictness of a man’s coat. An air of grace and rigor runs through: the neck is always covered; brocade tops worn with matching pants are both sumptuous and severe; stole jackets secured to the waist restrict and protect. Prints are used as an accent: a single outsized flower, papiro jacquards and brocades; fur is hand cut in intarsia to recreate tweed and piano stripes. Evening shapes are sculptural, rounded on the hips, highlighted by dense embroideries with a mechanical edge. Gold metal circles with applications and flowery rhinestone brooches run decoratively along the neckline; jewelry becomes an integral element of the garment.

The palette has notes of butter, crimson red, clear blue interspersed with touches of pink, blush, tan and broken with notes of black, tobacco and saffron. Fabrics have a compact hand: silk wool double-face, lurex jacquard, wool crepe. Exaggerated, oversized patent leather and snakeskin add weight and presence.

Accessories include kabuki soles in velvet with gold metal toe caps and lacquered platforms in velvet piped in gold. Bags have a geometric presence: rectangular styles with a curvilinear handle and a shoulder strap, small doctor bags with intarsia motifs, meshed leather bags on hard frames. Sunglasses are over and undersized.


Alessandro C. Busseni (Lecco, 1980), he is responsible for all aspects of communicationdeals with communication at 360°. In Over the years he has collaborated with Interaction Ivrea, Interactiondesign-Lab, Hearst Lifestyle Media, Leftloft, Domus Academy. As a small problems solver, he is in charge of is responsible for special projects for EdizioniZero. He holds courses and workshops at Naba, IED and Politecnico dithe Milan Polytechnic Milano. Since 2009 he has been teaching es design at the Design School of NABA.

Letter C, in his name, stands for “Cicciapalla”, the nickname by with which he signs his illustrations for magazines and publishing. His spare time is dedicated to performances and video installations.


The story of the doll began in 2008 when Consuelo finds her on a stall in New York. The doll arrived in Milan and immediately became an integral part/mascot/icon/model and muse of the collection Winter Edition which was about to born. From that day the doll is the main theme of all the Edition collections. Jumps from one product to another, becoming the image of a shirt or of a bag, a ceramic pin with a bathing suit and a bathing cap, a rag doll dressed in the clothes of the collection….

This issue of Anticamera is entirely dedicated to her.
The doll comes to life with stories told by 4 Italian illustrators and photographs taken by Marni_Lab for an issue that wants to make you smile.

At the end of this issue find listed all the products with the doll.





ANTICAMERA 3 ( the quarterly on-line Marni magazine )