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Winner of the 2023 edition of the prestigious CFDA/Vogue Fashion Fund – award dedicated to the new design generations, established to sustain the most promising talents of the international scene in order that, quoting Anne Wintour, can be seen and heard – German origins and one master at the Parson University of New York, by now her chosen city, Melitta Baumeister is the designer of the homonymous brand founded in 2013 in the Big Apple, claimed for the already defined and identifiable language, constantly swinging between two worlds in dialogue: fashion and sculpture.

Where the inspiration takes form from items and fabrics of ordinary use, without formal and decorative excess, Melitta misleads the collocation, floors, by introducing materials that serve as real plastic structures that modify the space around the body of whom is wearing them. Dresses, shirts and tops, change their nature of necessary elements to a metropolitan everyday routine, lived following comfort needs typically juvenile and dynamic, of rides by bicycle and morning runs, in real communicative occasions: the sponge inserts itself in the rigid cotton or polyester giving three-dimensional original geometries and moving the usual axis of the architectural prospective.

 

Waves, irregualar bubbles and circles become spatial elements that decorate the silhouette connecting it to the ether, in a movement that accompanies the regal stride changing the perception, insinuating cheerfulness, surprise and influencing the posture itself, thanks to forms with disorienting visual impact, authentically new.

 

Melitte sustains short production chains, everything is produced in New York, and the textile lab are seen and followed incessantly in a productive cycle open to facing challenges, solving criticalities. Some items are treated as continuous, becoming real icons of the brand, following an ethic against the obsolescence typical of the sector.

 

The designer also reveals frequent contamination with artistic avantgardes and aesthetic symbols of her generation, traceable in the bold sketched snakes prints, in monochromatic contrast grafic signs or in trompe l’oeil hand dyed, decisively pop.

 

Photo by Document Journal

 

A creative and handcrafted adventure, the one of Melitta Baumeister, already widely embraced by art galleries and independent boutique, destined to developments to observe with curious and open attention.


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We don’t have half-seasons anymore!

This popular saying has never been as real and true to its meaning. After two months of torrential rainfalls and winter temperatures, suddenly, summer is here.

During this period, it’s hard to choose what to wear, not to feel cold or suffer from the heat throughout the day. Incidentally, due to the difficulty of finding raw materials, the deliveries of the goods were delayed, which made the selection of the stores inconsistent and incoherent with the weights of the fabrics suitable during this season. Even making our catalog took a long time because we had to wait for the seasonal selection to arrive.

Now that we’ve finally finished this task, we can offer original combinations: the periodical Mix-and-Match, where we combine the garments on our catalog in fresh and alternative ways.

Here we are with Lucia, our model, outside of the static frame of our website, on the streets of Padua, near our store, combining garments and brands to discover new dimensions, chromatic palettes, and adaptability to contexts and formal or informal situations.

Noir Kei Ninomiya realized this skirt with the typical formal exuberance of the Japanese school. Its central theme is not the feminine silhouette but its narrative potential, which reveals multiple interpretations: from the pronounced femininity with the tapered gilet in washed linen and the fitted tube top in elastic silk froissé by Marc Le Bihan

… to a more relaxed everyday expression with the oversized sweater by Album di Famiglia

… or a sophisticated and uncommon ensemble with the sartorial jacket, hand finished, in linen and cotton gauze by Archivio JM Ribot.

With a different gaze, we can match this blueish gilet/shirt in washed linen by Forme d’Expression with this wide trousers in tubular knit made of linen and cotton by Archivio JM Ribot.

Ultimately we close this first June Mix and Match with a made-in-Italy outfit with this paint−like silk jacket printed bt the historic company Fissore, the neutral colors of the sage shirt by Album di Famiglia and the skirt made of a light linen, cashmere, and silk knit by Boboutic.

The bags are made in Italy by Amine and Numero 10, while the shoes are the Marisa’s by Trippen for Ivo Milan.

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Norwegian Rain overcoat waterproof shop online ivomilan

It’s Norway the homeland of a brand that, even in its name, reveals without surprises its undoubted roots: Norwegian Rain!

An unisex product, which in the apparent classicism of the forms combines basic features for both cold and rainy climates. The canvases, strictly made of recycled Japanese polyester, are simulating the typical texture of traditional materials, such as wool gabardine, and do not reveal highly sophisticated and modern properties, such as the inner diaphragm, which guarantees to each raincoat to be both breathable and waterproof. The sealed seams prevent the water from intruding into the fearsome joints, allowing a peaceful freedom, regardless the worst downpours.

It lies precisely in this discrete translation of the high-tech garment, usually characterized by colored zippers or improbable reflective graphics and relegated to the most technical sportswear sector, in an elegant outwear, the most fascinating aspect of this Norwegian reality.

Is the modernity of a northern European language sensitive to aesthetics, grateful to the Japanese formal knowledge which is easily traced in the ongoing article, the Raincho, a garment halfway between the cape and the development of the kimono. Contribute to the complexity of the calm lines, details such as generous interior pockets, with the purpose of sheltering the vulnerable accessories, from wallets to phones, adjustable caps in amplitude with composed webbing and buttons, small panels that can replace bulky scarves, concealed zip pockets, always useful to not soak the necessary and in case you want to give up the use of the bag.

Norwegian Rain faces the everyday life with real prospects, but also with an original determination to integrate with the most complex and creative proposals of the great contemporary designers!

Norwegian Rain overcoat waterproof shop online ivomilan

Wide Norwegian Rain waterproof coat with the shape of a cape in recycled polyester cloth, lined in viscose and polyester cloth

Hip-lenght A punto B sweater in cashmere cloth

Wide lined Comme des Garçons skirt in polyester matelassè with floral tapestry

Mascha ‘classic Trippen’ ankle boot in cowhide leather

Altalen hat in felt 100% lapin

Norwegian Rain overcoat waterproof shop online ivo milan

Knee-lenght Norwegian Rain waterproof coat in recycled cloth lined in viscose and polyester cloth

Long and wide Boboutic cardigan in polyamide and extra fine merinos wool cloth worked with irregular knots

Classic Comme des Garçons man shirt in cotton poplin

Classic Comme des Garçons – Comme des Garçons man trousers in wool gabardine, cupro lined

Dippy Trippen Shoe in smooth cowhide leather

Norwegian Rain overcoat waterproof shop online ivomilan

Knee-lenght Norwegian Rain waterproof coat in recycled polyester cloth, lined in viscose and polyester cloth

Zucca longuette dress in stretch, nylon and alpaca

Mascha ‘classic Trippen’ ankle boot in cowhide leather



 

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For several years now Rei Kawakubo, in Comme des Garçons art, has exclusively dedicated to clues, atmospheres and evocation her own representation of the ongoing collection. Emancipated of any kind of obligation towards the expectations of the global audience, the Japanese designer delights with her exhibitions that are closer to the art world rather than the sector of belonging.  The runway is not dedicated to garments but to textile provocations, architectonic structures that surround the sacrificed bodies of models lend to carry oversized sculptures, deliberately cumbersome and disproportionate compared to the available space.

Impossible not to ask yourself why or what is the plausible message content in this artistic drift. Maybe a self-granted freedom of expression, against the monotonous limits forced by the reality of the female body, or a subtle provocation versus a star-system hat becomes increasingly uncritical and exhibitionist. Certainly the dialog has not the purpose of selling. The pared garments are indeed extraordinary pieces of contemporary art that belong in museums or wealthy collectors. The runway show is an idea, a suggestion of the inspiring motif of the season which will be found later translated and much wearable in the development in the show-room. For Autumn/Winter 2016-2017 we witness then poetic collage of antique fabrics, floral tapestries that catapult the public in the XVIII century, the Age of Enlightenment, the rematch of reason over ignorance and superstition.

Rei Kawakubo, however, is not nostalgic and well-mannered, the collage is held together by metal snap buttons, by cuts and raw seams, diagonals that fragment the decorative harmony of time, implying elements defined by herself  as Punk, in the most provocative meaning of the term.

Synthetic leather, studs, constant asymmetries  and details that can be observed in the motives sewed on skirts, in the curvatures of the nodal points of the joints, reinforced as if they were textile armatures. And extensions, adjustable connecting rings, a flexibility in disassembling and reassembling, a continuously adjustable area in lengths and a delicate balance between order and disorder. It is not said that we can return to the original reconstruction, that many the alternatives are. Modernity and tradition, they also alternate in the processing, the ancient Japanese knowing collaborates with the most daring experimentations of the multi-layerd polyester cloth with rayon, cupro and cotton panels, in an encounter that observes how the material determinants and imposes the final shape of the piece, whether is a jacket, skirt or coat.

Needless to assume how Rei Kawakubo, in preparing an original and personal temporal syncretism, punk and Enlightenment, thinks of women determined to stay in their own time with the vigor and exuberance of who has a critical and imaginative independency

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In the middle of the new Fall season, it’s a pleasure to return and to guide you in the discovery of the collections that gives form to our seasonal catalog. Returning to the good practice of introducing the new arrivals, we are starting with a new entry, the Swiss-Italian designer:

Elisa Wild

In absolute world preview, her work is hosted inside of our two places of belonging: online and in the Padua shop.

Elisa Wild stands out not only in the textile production, she also involves us in a detailed narration of her work and in the path that led her to be make clothes. With her own words…

This adventure began, as is often the case, with a passion: a passion for textiles and the chance to work and shape them in the same way as sculpting a raw material. It was essential to make the materials and techniques in the project compatible, since every fabric responds to handling in a different way.

For many years, I have worked continuously on researching, studying and experimenting, in order to stimulate and inspire the design departments of the stars of the fashion world with sophisticated ways of working with textiles. But only now, with these dresses, has the dream that I have always harbored throughout my career come true: managing the entire creative, conceptual and technical process myself, right through to the finished product.

The project has therefore become a system in which the chosen fabric, the specific production methods and the entire process of constructing the object/garment merge to produce unusual, wearable effects. Finally, the ‘textile constructions’ for which we are known in the fashion world have become the dresses I have always dreamed of, as if the thoughts, ideas, whims and sketches in my myriad of notebooks found the right moment and means to take shape. Our workshop has left no stone unturned in researching and testing artisan techniques in its quest to achieve special effects with fabrics.

 

The BOLLE DRESS (bubble) owes its shape to a specific, extremely irregular hand-drawn design, which takes into account how the fabric will move as its form is reshaped by elastic. It is entirely handmade, and to a certain extent it is an empirical work… mass producing a process like this would certainly be a complex challenge to any manufacturer.

Those admiring the final garment may not appreciate how delicate the balance is between the effect produced by the shape of the dress and how it is made. This equilibrium stems from a careful study of the designs, proportions and procedures to create an item that epitomizes haute couture.

In the ORIGAMI DRESS, the concept underpinning the production — strips of fabric assembled three-dimensionally — and the cut of the garment were designed in parallel, and as a result the front of the dress is a compact modular system in which all parts are interconnected. In addition, the very dry and lightweight wool/linen canvas fabric chosen specifically for the dress can be doubled up, making it ideal for the origami-style folds. The resulting strength is an intrinsic part of the garment, within a simple yet sculptural shape.

For the NODI DRESS, a special design was created with a structure that runs vertically through the dress: a sort of comb with teeth made of small strips of fabric. Only when the sewing is done and everything is completely finished are these strips tied by hand, and the dress slowly takes shape, taking on its final appearance thanks to a spine of knots and bows that gather the fabric in at the sides. Truly a captivating design!”

A made in Italy learned, who knows to confront the most daring challenges of the great Japanese school, knowing, however, to defend and define its own creative authenticity.


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