MARNI collaborates with artist Romina Quiros for MARNI WINTER EDITION 2013 DENIM
The Argentinian artist, Romina Quiros, attracted Consuelo Castiglioni’s fascination with her attentiveness to environmental issues and her abstract and unique illustrations. In Quiros’ illustrations, her figures originate from black blots and organic forms with a ball in delicate pink, a motif that recurs in many of her drawings. Castiglioni has chosen 3 of Quiros’ subjects as part of the collaboration for the Marni Winter Edition 2013 Denim collection.
The printed designs are characterized on several pieces throughout the collections: on PVC shoppers with leather handles, I-Pad cases, cotton jersey t-shirts, cotton shirts and bijoux.
The Marni Winter Edition 2013 Denim collection is now available in all Marni boutiques and on marni.com >
The Italian fashion house Marni, led by designer Consuelo Castiglioni, is pleased to announce the launch of a new website, www.marnifragrance.com, which is dedicated to the fragrance. The Milanese studio, Rise:on, met with Carolina Castiglioni and Marni_Lab, the creative workshop of Marni, to develop the innovative concept.
FEDERICA ARADELLI was born in Piacenza in, 1985 … The snow was two feet high deep and they all everyone wore their moonboots…
Skipping (with a certain relief) Just skipping with ease the her dark years of growing- up years, we find her graduated she graduates in Fashion Design at the Milan Polytechnic Politecnico di Milano in December 2009 (haven’t seenthere had not been such a snowy winter since 1985). She then Thus she rediscovers her love for drawing, a natural anti-stress technique, and reveals expresses herself on the back of her graduation certificate, by spending a lot of money on 005/01/02 tip black pens. She signes with in 13 lines–just because! and why not?
SILVIA GHERRA (Milan, 1981), is an illustrator and graphic designer. After spending a few years studies studying and working in experience between Birmingham, London and Barcelona, she is now based in Milan. Her projects often include elements of printing, bookbinding and paper analog composition. Since 2006 she has been working works as a consultant and Art Director for several publishing houses, industrial and educational, often linked to art and culture.
Among Her customers include: Mondadori Publishing House, Condé Nast, la Repubblica–L’Espresso Publishing Group, Studiolabo, Johan & Levi Publisher, Museo Poldi Pezzoli in Milan, the Triennale Design Museum in Milan, Rottapharm– Madaus, Arengario, Serrone and the Villa Reale in Monza, Pinacoteca Giovanni e Marella Agnelli in Turin, and Tearose. She collaborates with the School of Design (part of the Politecnico di Milano Polytechnic) for workshops and consulting counseling.
Cristina Del Buono and Stefania Casacci are the founders of Dissociate, a design studio based in Milan.Dissociate was founded with multiple interests and intentions, but soon focused all the its energy on one major project: Sartoria Vico, a line of clothing designed for the body and manufactured created in ‘Made in Italy’ knitwear in Italy. Today Dissociate, as well as being the heart and brain of Sartoria Vico, forof which it creates the lines collections, takes care of the communicationmanages advertising and defines the boundaries and possibilities of evolution, it is also involved in external projects,: dress designing of dresses in all possible forms, communication and, illustration. The design culture of a project is the common ground where different and complementary personalities meet and compare.
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.