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A respectable new entry for this season, Phaedo Studios, a brand of Chinese origin, whose name is inspired by a Plato work, Phaedo (in ancient Greek Φαίδων, Phàidō).

Fascinated by the sound and the protagonists of the famous Platonic dialogue, the young designer Zhuzhu, baptizes his own experience characterizing it immediately with a cultured and sophisticated aura, confirmed by the extraordinary care with which he presents his collections. Graduated from SiChuan Fine Arts Institution and then trained at the London Central Saint Martins College of Art and Design, Zhuzhu continued his studies at the Royal Academy of Fine Arts in Antwerp, Belgium and in 2014 in Hangzhou, China, founded Phaedo Studios. A path of cultural internalization that is enriched and intensified by the relationships with representatives of the world of art, design and fashion, areas that the young designer does not separate, developing them instead as coordinates of his own artistic dimension. In 2017 he is in fact a guest of the Triennale di Milano where he encounters the artist and collector Axel Vervoordt with whom he will develop an assiduously collaborations cultivated by that wabi-sabi spirit that unites the two personalities.

In the very accurate stands of the Parisian showroom the silk, with a suggestive abundance of tones and shapes, is the protagonist and around this precious fiber a story takes shape, a story that concentrates on what is observed and that goes far beyond here and now. The astonishment, in the face of the enthralling nuances expressed by the hanging garments, starts a soft narrative that reveals the long and complex experiments in painting the fabrics.

The process is natural, hand-made in tanks containing: fruit, seaweed, earth, coffee. The color density is given by exposure to the sun which usually lasts 2 months. The more the garments are exposed to the sun the greater is the intensity of the color, therefore they are tinged, then left to dry and then tinged again and left in the sun, until the desired note is reached.

For this reason each garment is unique and can vary with use, changing shades when in contact with the skin and the air.

The fabrics are confusing, the cotton looks like silk, the silk seems leather, the burned paper gives a chromatic continuum that, like on a musical score, harmonizes the whole collection, highly crafted and strongly characterized by sartorial knowledge of ancient Chinese tradition.

Phaedo’s poetics finds breath in the silhouettes, an alternation of empty and full, of weights and lengths that expands and amplifies a femininity which is solemn and ethereal, resolute and diaphanous, in a stunning and poignant flow, between East and West, furrowing unexplored territories that, probably, are still emerging thanks to cultural influences and completely new and globalized visual syntheses.

 

As always, an opportunity to appreciate the discovery is to accompany you into his show-room in Paris…

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Always present in the history of the Maison, the Issey Miyake Resort, once called Fête, is presented much in advance compared to the concerning season. Included in fact in the pre-collections calendar, the line breaks that canonical waiting period between the end of one season and the beginning of another, animating the store life with suggestive promises about the time to come.

Projected on the imminent Spring/Summer Collection, the new arrivals are carrying the creative inspirations of the artistic director Yoshiyuki Miyamae, specifically fascinated by the work of the American artist Georgia O’Keeffe during her stay in New Mexico.

Georgia-O'-Keefee

Georgia O’Keeffe, From the Lake No.1, 1924, Oil on canvas, Nathan Emory Coffin

Collection of the Des Moines Arts Center

The prints, laid out on the complex diagonal folds of the tulip shaped dresses, on the circular tops or on the vertical wavy ones of the dubbed shirts, are real pictorial samples, evocations of the abstract landscape paintings of the American painter. In the elaboration offered by the Maison, the color follows with extreme complicity the soft and harmonious textile texture of the non-deformable polyester, which was spun in vaguely floral shapes or in solid color lines with the visual simplicity of a freshly rippled sea. The constant textile experiments, hallmark of the Japanese company, are also expressed in the particular cotton denim, where the processing, typical of jeans, is transformed into continuous solid color canvas, without intermediary stitching.

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Even for a smaller collection like Resort, Issey Miyake challenges the inattentive look, invites it to linger, to follow the waves obtained from the steam processes of the exclusive textile technologies, to translate the lightness of shapes and colors into amazement and wonder for garments with an innate vocation to be incomparable companions of travel!

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As always, an opportunity to appreciate the discovery is to accompany you into his show-room in Paris…

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Find online the Issey Miyake Resort Collection

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daniela-gregis-christmas-window

If only the Christmas holidays would be an occasion to offer not so obvious gifts, with redounded shapes and brands, but rather unique ones, for their material, for their creative ingenuity or thought intensity, a reason to take a look over our online catalogue or visit our store in via Santa Lucia in Padua, one could find…

Starting with Suzusan‘s cashmere, a young Japanese who already is the creator of splendid knitted accessories for Yohji Yamamoto, with his scarves, polka dot blankets and the knitwear, all colored with the ancient shibori technique, he surprises us with the usage of unusual colors on an usually so classic fibber.

suzusan-knitwear-fw-2018suzusan-blanquet-fw-2018We can continue with the bags in light and smooth colored and treated leather, from time to time, with paper, metal or rubber effect of the Dutch Frrry

frrry-bag-fw-2018frrry-bag-fw.2018-1Or with the Italian knitwear of F-cashmere, the historical producer of excellence cashmere, reversible and with suggestive nuances, or Very Busy, also reversible and with unusual colours in the background.

F-Cashmere-fw-2018very-busy-scarves-fw-2018Or with the hard to find fragrance of Comme des Garçons perfumes, reserved for the few boutiques that have the prestigious Japanese brand.

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The comfortable hats of the Japanese Chisaki, made in One Size only and with warm fabrics, never irritating, with shapes that can easily be modelled.

chisaki-fw-2018-hatsDepending on its receiver, the thought and the research can be lost among coats, padded coats, jackets or shirts of famous brands such as Issey MiyakeComme des Garçons or the very warm and poetic oversized sweaters of Junya Watanabe; to venture into the fabrics worked by the wisdom of Daniela Gregis, be amazed by the textile decorations of Renli Su, find yourself in the more discreet world of Casey Casey or in the somewhat androgynous modernity of Forme d’Expression… without boring you, the only thing to be done is to dive and look among the many photos and the wide range.

Comme-des-Garçons-Nike-shoesjunya-watanabe-fw-2018Everything, as you know by now, will be wrapped by the personal and irreproducible packages made ad hoc by the extraordinary hands of Heart Box and her students…ivo-milan-heart-boxivo-milan-heart-box-2ivo-milan-heart-box-3ivo-milan-heart-box-4ivo-milan-heart-box-5We leave you by involving you in a very short video, where Christmas becomes abstract and moment of free creativity in our boutique in via Santa LuciaPadua.

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At the acme of summer, the first winter arrivals distract us from the high temperatures and from the phlegmatic calm of the semi-deserted cities.

In the store we can taste the new season that day by day takes shape around the choices made six months ago, during the Milan and Paris orders.

There’s no need to be distracted though, because the news will be really exciting: authors like Marc Le BihanRenli Su and many other surprises, unprecedented poetics that will integrate the already available assortment, projecting us onto truly prolific, cultured and ingenious global modernity.

While waiting a quick look at the new arrivals, from Daniela Gregis to Boboutic, the 132. 5 by Issey Miyake, the nuno felt of Cri-S and the Trippen shoes…


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Photo by Pascal Maucuit

Photo by Pascal Maucuit

On a rainy Saturday morning in Paris, with the town still sleeping, we run to the venue hosting the parade of Junya Watanabe: the faculty of pharmacology at Rue de l’Observatoire, exactly at the opposite end of the metro stop to which we have to go in the evening also for Comme des Garçons.

The rain, the time and the hurry to look for the fastest way to reach our destination do not favor the good humor, until, once into the mighty faculty salon, we are not awakened by a loud rock. The rhythm spurs for attention, the fierce gait of the models drags the present into an inevitable, and personal, reflection on fashion, on its utility or emptiness, and above all, it generates a real, widespread and more than ever palpable perception of uncontrollable enthusiasm.

Junya Watanabe Fall/Winter 2017-2018

As if the world suddenly recapture each potential, the possible silhouettes projected on Junya Watanabe‘s future Fall/Winter incite that desire for change that is the vulnus itself of fashion and the radicalism with which the Japanese designer staggers it is thrilling.

Faithful to his own ‘cyber’ vision of contemporaneity, Watanabe assembles materials with his typical origami form, which on this occasion we can recognize in the circle: calf hair, black leather, leopard spots, all strictly in synthetic leather, studs and pailletes re-compose patch-works of cultures and epochs of costume history of the most experimental forms. Excess is the guiding thread of deformed decorative elements, which not only outline unusual aesthetics, but also become part of and modify the human physical structure. Caps like sculptures, multicolored textile wigs, lacking any romantic poetics and built to defend any hypothetical attack, tunics that amplify the circularity of the chakras, coats shaped around the feminine figure with asymmetrical spheres, possible ultra-modern armors against the advancement of the creative nothing.

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

But the excess is finally cleaned, made accessible in the showroom choices, revealing how far it can go and how it can be traced back to the hectic daily life but still it remains a visionary exercise of pure and extraordinary contemporary textile art.

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