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The first change of temperatures allows us to finally experience the autumn season even outside of the online dimension ‘catalogue‘ and of the daily spaces of the store.

Now you can place the garments within the colors and atmospheres of the period, imagining them in their potential and transversal recombinations. Our tutor Sari, on a Sunday in November, leads us into passionate mix and match where you can discover, from new perspectives, different items of the seasonal assortment.

The fantastic Italian cashmere F-Cashmere – i.e. Fissore, historic brand of the most noble yarn – with different color blocks and surprisingly soft hand, accompanies a wide, rustic skirt in English Donegal by Ricorrrobe, Anglo-Japanese new-entry. They close the ensemble: a knitted hat made of acrylic, nylon and mohair by Chisaki – directly from Japan – and one of the nap Lak leather bags of the cheerful South Tyrolean Maison, Zilla.

 

And one more, the interpretation of Noir – Kei Ninomiya collection, the most classic winter, eternal heavy knit with braids and Lapp workmanship in a piece of more feminine portability, thanks to a wide development of the sleeves, of a complex high neck/hood and ideal proportions for voluminous skirts, such as that in waxed cotton tartan always proposed by Ricorrrobe. A cool polar hat, all moldable and the revisitation of the typical historical aviator jacket, squeezed and resumed with daring tailoring seams, by Junya Watanabe, celebrate a coming winter of international evocative recognizability.

To close our appointment, a mix and match that mixes together a unique piece of the Nuno-felt designer by Emanuela Rovida, in organic merino wool and silk, handmade and fused with painterly skills from natural colors of shrubs and territorial plants, completely reversible and wearable front and back, seamless, combined with a skirt by Marc Le Bihan, from the refined fabric of gauze and boiled wool, worked together with three-dimensional bubbles. To cover the exceptional quality of the garments, a Forme d’Expression coat with a daily taste, comfortable, in a mélange jersey with a vibrant and intense blue, reverberated by the dazzling glitter of a metallic leather briefcase.

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How many times in the shop has an occasional and distracted adventurer started with this exclamation: “Oh, yes, Issey Miyake, the perfumes one!“.

An expression that, in all its naive purity, revealed the striking distance between our work as promoters and popularizers of the so-called Japanese school and the public actually reached in the city. Maybe it also happened simultaneously with one of the many windows focused on a futuristic garment by Issey Miyake. Each time, that sound confirms the long way still to go and the burning frustration of being misunderstood. Without triggering a competition between the world of perfumes and that of clothes, even those who are not in the trade know how much his story belonged to the latter, with perfume being a typical gadget of the most established designers.

Yet not in Padova.

Bringing Issey Miyake to the city 24 years ago, when the brand still did not have a generalized fame and his perfume did not yet exist, did not create status, but only circulated within evolved global niches. This meant an important acceleration towards complexity and an indisputable recognition to the shop. First of all, in order to present it, the space had to have the aesthetic ‘requisites’ compatible with the strict philosophy of the Maison, whose concern for the future, rather than sales and the diffusion of the brand, was aimed at the defense of its cultural prestige. The staff of the Parisian showroom came personally to make sure everything was set and then gave us the green light that the collaboration between Ivo Milan and the company could begin in 1998.

And it was immediatly a great love what would become a long adventure; a challenge on the edge of the most heated creative tension, interrupted only by the closure of the store in 2020 (at the time we could not imagine being able to reopen) and by the inevitable advance of other local competitors…

It is useless to dwell on the unmpteenth narrative around the work of Issey Miyake because there are more expert pens than us that have written and are writing about it. In our own small way, we have had more opportunities to present the brand in its different lines (Pleats Please, BaoBao, Issey Miyake-Fête, A-Poc, 132. 5, Cauliflower) and the satellite ones of the group (Haat, A-net with Final Home, Plantation and Zucca). Since we have worked with all of them for a long time, we wanted to put a particular focus on the one that bears his name, offering it in its most daring, free and joyful expressions. We believe that bringing witness to this propulsive collaboration is the least we can do to the many people who, spontaneously, in these days, have contacted us to thank us for allowing them the opportunity to be so close to the best of Issey Miyake.

An overview of photos, articles, videos (many on our youtube channel) about this long journey together, with all the gratitude to the poetry that it has brought to our work… Thank you!


 

 

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Daniela Gregis FW 2021-2022

It’s all hand finished!

That’s what said one of the more expert tailors of the city while caressing with great care the endless length of the rim to be adjusted, bottom part of a cashmere coat so soft to the touch that fully captured her skilled sensitivity.

 

Even if Marta is pretty used to our ‘never-seen items’, with some pride I’ll say her: ‘Yes, it’s a Daniela Gregis’ coat, she works like that!

 

Actually it’s not usual for the items of the designer from Bergamo to arrive to the tailor’s shop. Fit and proportions are so comfortable that they never need adjustments, and instead of removing even a single inch from her precious fabrics, it’s more usual to use the eyelets applied to the sides to fix a rim, and adjust the length with new creativity.

But that ice melange coat could not risk to be stepped on up and down the bridges in Venice, during the morning runs, or just put on the shoulder during the daily working routine of its lucky owner.

Daniela Gregis’ items have an amazing peculiarity: you can wear them, even considering their precious compositions, in everyday life.

When you’re in a hurry or when you’re fully distracted, they will never embarrass you! They’re interchangeable, they can be worn inside out, back to front or, for coats in general, even upside down. This is due to their construction which is designed from the very beginning, with patterns and fabrics, doubled or alternate, changing according to how they are worn. Thanks to all accurate and full finishing, Gregis’ clothes still keep a constant balance in all solutions, even the most unexpected.

Daniela Gregis FW 2021-2022

In an apparently joyful attitude, her last collection, called Tintinba – evocative onomatopoeic sound of fragile instruments which, when in contact, can change into elementary and casual melodies – the Gregis’ creations offer infinite hypotheses and chromatic proposals, in fabrics and shapes, not sketched at all.

 

Harmonies can be composed with a unique complicity between colour themes and its best material creation: velvet, cashmere, silk, cotton, gauze, and so on. Each fibre assumes a pictorial and expressive responsibility becoming the interpreter of dominant seasonal feelings: the indefinite blue of winter skies, hot tones of strong chestnuts, cold notes of future and desired seasonal frosts.

 

That awareness can be found in textures and woven outlines in different colours, in the hugs of indifferent movements of stiff velvet and calm cashmere gauze, in the wrinkles of washed fabrics, from houndstooth to tone-on-tone patterns, to flawless and wide melange coils, from definitive silk, grabbed to rounded stitching, until stretched wool.

Daniela Gregis FW 2021-2022

Daniela Gregis FW 2021-2022

Daniela Gregis FW 2021-2022

Daniela Gregis FW 2021-2022

Daniela Gregis FW 2021-2022

Daniela Gregis FW 2021-2022

A show that starts little by little, because the creation is slow and fatiguing, and the season – we all know it – is the longest one…

Daniela Gregis Full Fashion Show FW 2021-2022

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Boboutic was born in the year 2000 from the close collaboration between the designer Michel Bergamo and the architect and photographer Cristina Zamagni, today both professors of Fashion Design at the IUAV University of Venice.

From its headquarter in Florence the brand develops, starting from the idea of the yarn as an infinite line to be respected in its whole extension, a knitting that leaves out as much as possible the use of the scissors.

Inserted in this perfect frame the knitting becomes a surface with features similar to those of a fabric, more of a flat space rather than a three-dimensional one, upon which the creative mind of the two designers can be engaged in countless experiments and creative techniques. From the creation of the machinery to the production of the fabric everything is studies and achieved inside the Maison, starting from the hanks of:

-wool,
-yak,
-mohair,
-polyamide, etc.

intertwined as desired according to the project of the ongoing season.

From the barbed, to the tweed and pinstripe, from the outerwear, dubbed to increase its thermal properties, to the lurex raffia, a material designed for travel, very light and with a strong visual impact, we are always talking of knitting. Lines that are inspired by the most international daily life, with a discreet visual impact, because each garment is created, in its excellence, in a long-lasting perspective, that will not tire and that will fall in perfect balance on the daily bases.

The inters of Michel and Cristina towards other artistic disciplines has pushed Boboutic, through the years, towards important collaborations, among which:

-Fanny & Alexander,

-Kinkaleri,

-Marco Mazzoni,

-Jacopo Miliani,

-Davide Savorani e Zapruder filmmakersgroup, etc

involved, from time to time, in the realization of works testimonial of the philosophy of each collection.

 

Present, by now, in the most prestigious boutiques all over the world, the made in Italy by Boboutic lacks only a long waited issue, capable of spreading the know-how and experience gained through years of very intense experimentation, creating awareness among the audience otherwise unaware of the constructive complexity that lies behind every garment.

 

 

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marc-le-bihan-aw-2019-dress

When crossing the threshold of the 25th Henry Monnier rue, between Pigalle and Mont-Martre, a carpet of black sounding stones marks the sudden passage to another dimension.

There is no longer the Paris of the Marais and Fashion Week, there are no more runs in the subway, no longer the unprecedented modernity of electric scooters, but a relaxed, yet overwhelming, bohemien suggestion that takes over in Marc Le Bihan‘s and Jean François Mimilla boutique/showroom.

And there we have the furnishings, the tables full of bijoux, rings, necklaces, the lights, accomplices of strenuous plays of shadows that amplify the extremely wide range of the collection, displayed in order of color, fabric and shape. Everything mingles with the items of the historical archive of Marc Le Bihan, a designer who is closely tied to his creative path and who has remained coherent over time.

His work is carried out in constant continuity with the performances of the early years, starting from the nineties when he was fascinated by the language of the great Japanese designers and the first Margiela. We need a lot of attention to distinguish the novelties within the dense presentation, the catalog remains continuous, it expands from season to season and every new outfit can request to be completed with pieces from the archive.

The languid poetic silhouette that emphasizes and brings up the shoulders and hips, together with the recurrent tulle, a magnificent tribute to Degas’ sensual dancers, mixes with its opposite and becomes harsh, with raw cut finishes, with the presence of black, disassembled and reassembled on fabrics with a much stronger character, accentuated by the washes that wrinkles the initial composure. The research is concentrated on the cultural evocations of the early twentieth century, from tait shapes, to antiqued jacquard fabrics, to deliberately excessive lengths and drapes. Everything comes together to outline a femininity on the border between two souls, an elegant haute couture one and the other shabby, at the limit of decadence.

marc-le-bihan-aw-2019-skirt

marc-le-bihan-aw-2019-5-gilet

marc-le-bihan-aw-2019-6-jacket

marc-le-bihan-aw-2019-4-knitwear

marc-le-bihan-aw-2019-3-t-shirt

marc-le-bihan-aw-2019-1-jacket

marc-le-bihan-aw-2019-2-knitwear

The world of Marc Le Bihan is melancholy, it revives memories repressed by the speed of time and technological isolation, bringing back the intensity of an era still full of relationships and passionate conversations, accompanied by a good wine and the joie de vivre!

 

Come with us in the atmosphere of the Paris showroom as usual with our video…

 

Take a look online!

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