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un-namable, ss, 2015, showroom

Click here to watch IVO MILAN at work at UN-NAMABLE showroom in Carpi.

Emerging reality, located in the famous textile district of Carpi, Italy, Un-Namable makes use of the precious local manufacturing heritage to realize a womenswear line easily integrable with the formal complexity of the most important exponents of the so-called Japanese school.

With an increasing interest and wealth of content, a timeless fashion idea is consolidating itself, freely accessible, without any aesthetic conditioning from the specialized press. A front that express itself particularly in the work of young designers, prepared by the richness of spurs, of contaminations and experiences offered by a contemporaneity definitely shortened by the speed of the informations.

So it’s inevitable to look for similarities and evocations in the Un-Namable clothing: Carpe Diem? Rick Owens? Koeun Park herself of Forme d’Expression could be the stylistic references of Eita Nakamura, the very young Italo-Japanese designer of the Emilian company. A particular attention in researching fabrics with a ‘worn’ appearance, not blended colours, just outlined geometrical shapes, basically opened, allows Un-Namable to place itself in the best international exhibition spaces.

A great balance between planning quality, textile offer and costs accessibility makes the new brand a perfect trait d’union between worlds usually reserved to a more elitish public and the need of representation of vanguards still not so much included and interpreted.

un-namable, handwriting, print, dress, ss, 2015

UN-NAMABLE cotton canvas calf-length dress with ‘handwriting’ effect printing, plain horizontal band at the hem, draped neck, sash in the same fabric, straight fit.

Trippen heavy-duty boot style ankle boot in cowhide leather, closure with strings and strap with outer side buckle, smooth leather on the heel and on the toe, the other parts in rough leather, removable cork insole, rubber sole.

un-namable, pea coat, ss 2015

UN-NAMABLE cotton plush pea coat with muslin lining , hood with cotton canvas printed lining, zip closure, two front welt small pockets, tuxedo effect longer back.

UN-NAMABLE treated linen canvas balloon trousers with inside out plush gussets, waistband at the belt, darts on the front, two vertical front pockets, one horizontal small pocket on the back.

UN-NAMABLE over sweater in mélange jersey sponge cloth, wide crew-neck, ¾ sleeves, stitching on the outside, over fit.

Shoe with classic “Trippen” wide sole, upper in cowhide leather with colour contrast edges and side holes with diagonal stripes “admiral rank” like, asymmetric closure with strings, rubber arch support.

un-namable, yuta, top, skirt, ss, 2015

UN-NAMABLE hip waistcoat in jute on the outside and cotton muslin on the inside, crew-neck, diagonal side opening.

UN-NAMABLE light cotton jersey vest with iridescent effect, wide crew-neck, wide arm hole, cut raw profiles, soft fit.

UN-NAMABLE washed cotton muslin calf-length skirt, converging pleating on the front, string belt loops, central zip closure on the back.

Trippen heavy-duty boot style ankle boot in cowhide leather, closure with strings and strap with outer side buckle, smooth leather on the heel and on the toe, the other parts in rough leather, removable cork insole, rubber sole.

un-namable, wiastcoat, trousers, ss, 2015

UN-NAMABLE linen waistcoat with sewn panels in canvas and rough gauze, ring neck with closed crossing descending till the hem.

UN-NAMABLE treated linen canvas balloon trousers with inside out plush gussets, waistband at the belt, darts on the front, two vertical front pockets, one horizontal small pocket on the back.

un-namable, white, dress, ss 2015

UN-NAMABLE doubled cotton canvas calf-length dress, crew-neck, sleeveless, side folded hem, diagonal seams on the bodice.

Shoe with classic “Trippen” wide sole, upper in cowhide leather with colour contrast edges and side holes with diagonal stripes “admiral rank” like, asymmetric closure with strings, rubber arch support.

un-namable, waistcoat, t-shirt, trousers, ss-2015

UN-NAMABLE washed linen long waistcoat, shawl neck, two vertical welt pockets on the sides, seams in contrasting faded colour.

UN-NAMABLE washed linen canvas baggy short trousers, waistband at the belt, two patch pockets on the back, diagonal and horizontal seams at the knee.

un-namable, dress, ss 2015

UN-NAMABLE heavy treated cotton canvas dress, flared line, cowl neck, sleeveless with wide armholes, 2 side vertical welt pocket, open holes at the hips.

Trippen heavy-duty boot style ankle boot in cowhide leather, closure with strings and strap with outer side buckle, smooth leather on the heel and on the toe, the other parts in rough leather, removable cork insole, rubber sole.

un-namable, top, ss 2015

UN-NAMABLE knitted cotton, polyester and polyamide top with ‘moth-eaten’ effect, crew-neck, sleeveless, a side longer than the other with irregular hem, wearable front/back.

UN-NAMABLE washed linen canvas baggy short trousers, waistband at the belt, two patch pockets on the back, diagonal and horizontal seams at the knee.

Shoe with classic “Trippen” wide sole, upper in cowhide leather with colour contrast edges and side holes with diagonal stripes “admiral rank” like, asymmetric closure with strings, rubber arch support.

un-namable, black, dress, ss 2015

UN-NAMABLE short cotton jersey dress, draped neck, flared sleeve, strap with zips.

Trippen heavy-duty boot style ankle boot in cowhide leather, closure with strings and strap with outer side buckle, smooth leather on the heel and on the toe, the other parts in rough leather, removable cork insole, rubber sole.

un-namable, apron, ss 15

UN-NAMABLE cotton canvas apron with black and white printing, double face: handwriting effect on the outside, landscape effect on the inside, strings closure.

UN-NAMABLE washed cotton muslin trousers, soft fit, two side vertical welt pockets, two horizontal welt small pockets on the back, dart on the front becoming a pleat-belt loop, zip and button closure.

Shoe with classic “Trippen” wide sole, upper in cowhide leather with colour contrast edges and side holes with diagonal stripes “admiral rank” like, asymmetric closure with strings, rubber arch support.

 

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This piece was thinked to be published in a kind of magazine such as ELLE UK, one of the best fashion magazine, where articles used to talk about fashion differently from the ordinary publications. It is a magazine that keeps an eye on the most innovative trends and on the most particulare personalities.

This piece could be relevant for the reader to see how in Italy the attention is not focused only on the Italian fashion that everybody knows, but it is possible to find “fashion researchers” that really believe that fashion is not only buisness but, first of all, a non-stop innovation-seeking.

The Radical Fashion Shop

by Francesca Ferlin

Outfit Y'S, shoes TRIPPEN, hat SCHA

Orlando Milan has always believed that, in order to dress someone’s body, you first have to dress his mind. This is one of the first things you should know when you visit his shop in Padua. IVO MILAN is located in the central Via Santa Lucia in a striking Romanesque house, currently the oldest civil standing building in town; even a quick first glance at the window reveals that this is no ordinary shop: dim lights illuminate a precious dress and suddenly it feels like being in a museum admiring a scuplture in a casket. The way that the windows are settled, the use of the lights, the mixture of the colours for the background, used to enhance the shapes and the shades of fabrics, are all clues that this is no mere fashion, as the attention is drawn to the art that springs from fashion.

T-shirt SACAI, boot TRIPPEN

In 1945 Ivo Milan, Orlando’s father, following his family tradition, opened his fabrics shop, manufactured clothes and named it after himself to distinguish it from his brothers’ businesses which bore the same family name. In 1967 Orlando joined the father’s company as a co-worker, and after his death, started the long work that made IVO MILAN the shop that is known nowadays. So this is supposed to be a traditional family-run business, where family values have gone from generation to generation and time seems to stand still. But Orlando Milan is not of this opinion: “Through these years we have always tried to maintain the values that my father taught me, the importance of the manufacture and the indispensable quality of the fabrics, but nowadays the guidelines of the shop are something new that I have built during this forty years of experience inside the fashion industry.”


Milan’s experience is a long path that has experimented various forms of fashion and arts, through
the first Versace and Armani collections at the end of the 70′s (IVO MILAN was one of the first shops in Italy that started to sell these brands) to Japanese fashion, which in the last twenty years has distinguished this retailer from the others. Key brands that make this shop unique in its kind are Yohji Yamamoto, Junya Watanabe, Issey Miyake, Rick Owens, Martin Margiela, Shu Moriyama, Jun Takhashi and Comme des Garçons, the brand that best embodies the philosophy of the shop. Rei Kawakubo is a fervid supporter of trying to know what “has never been seen before”, and this is the most important guideline that Mr Milan wants his shop to follow: nothing must be mass-produced and everything must be different from what one usually sees. This principle is applied to everything that concerns the shop, from its furniture to the selection process that goes on behind the displaying of clothes. In fact, the limited production and circulation of the labels sold in the shop exists alongside a specific principle which determines how to choose everything that will be sold. “This principle is one which takes into account the requirements of a very well-educated, niche Paduan clientele, whose taste has not been shaped by the influences of media and television, and whose interests lie in those very special purchases – in authentically creative ones, if not in ones with a strong artistic value” says the shop owner.

Dress COMME DES GARÇONS
So the customers have to be
open-minded and be endowed with a marked inclination for artistic values to understand IVO MILAN’s fashion. Radical Fashion, as Mr Milan used to call it. This name has been adopted after the Radical Fashion Exhibition at the Victoria & Albert Museum in 2002, where the designers that Orlando Milan loves the most and has chosen to sell, were displayed in a collective exhibition, from Yohji Yamamoto to Comme des Garçons. “This exhibition really reflects my idea of fashion and these designers are, to me, the real essence of this concept.” he states. They are “radical” in the full sense of the word: they are “revolutionary” and they are “rooted” in the art. They cut through ideas as well as fabric. Challenging established views, they have committed their lives to seeking ever more demanding expressions of “beauty”, with diverse and often provocative results”.

T-shirt vintage COMME DES GARÇONS
But which is his conception of beauty? Again, the inspiration comes from Japan: “The guideline that always has inspired me comes
from the Japanese concept of beauty, that is “the aesthetics of imperfection” (wabi-sabi). I am against the logic of homologation and of display of wealth that inspires great European fashion, especially in these last years. I prefer to give my customers the possibility to portray themselves through an “understatement styleor with an idea-dress that draws the attention to the originality and to the independent spirit of the person wearing it.”

Sweater OYUNA

Detail sweater OYUNA
For IVO MILAN, fashion is something far from the conventional concept that everybody is accustomed to. First and foremost,
fashion is research, is an exploration of the unknown. Here ideas come first, the most interesting part of a dress is not how it was made but why. What is it that lays behind the creation? How can a designer elaborate an idea and transform it into something that everybody can wear? These are only a few of the questions that Mr Milan wants customers to ask themselves as they wander around the shop. Because the most important thing is not to sell a dress but to make customers aware of what they are going to buy, something that stands over the trends, something that will rest forever as a unique work of art. And how is it possible to make the right choice, to find the piece that will fit perfectly and will be always with you? “Know yourself and let the dress be simply a continuation of your person”.

Hat SCHA

Shoes TRIPPEN

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After she finished the National Institute of Design and Technology at Ahmedabad, Aneet Arora started signing her own brand with the name Péro, that in Marwari, one of the languages of Rajasthan, means “to wear”.

Péro outfit

In producing her clothes and fabrics, Aneet moves from the steady belief that the new trends can be found amongst the colours, matches and style of local people, who are to be considered the actual trendsetters of modern time.

She believes that it is pointless to follow the change of fashion with the seasons; it’s much better to work out and be inspired by the rich natural world that surrounds us everyday.

In her case, the surrounding world is the very vast Indian subcontinent, an endless galaxy of cultures that have been living side by side for centuries, testing and exchanging incredible skills in terms of fabrics and colours.


Péro takes her inspiration from these ancient local traditions, and creates items that are extremely complex from a technical point of view, where colours and materials take their shape at the same time, being patiently knitted by the loom. Precious, high quality cotton and silk are used that give every piece a great value, whilst the handmade production  makes every item of clothing unique, far from any industrial series production. Péro

The patterns can be knitted by the loom or created using small handmade wooden stamps, and tiny details, such as buttons, reveal to be made of precious silver.

Detail Péro

Detail Péro
The large and comfortable lines show Aneet’s peculiar ability to integrate a clearly ethnic inspiration with modern, cosmopolitan elements, that are outlined by the frequent use of asymmetric patterns and light juxtapositions.

In this global era, Péro proposes unquestionably interesting and original clothes, but first of all represents an excellent example of refined contaminations that are not to be missed.

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Sacai
Despite having worked with Junya Watanabe and Rei Kawakubo for nearly a decade, Abe Chitose, the young designer of the Sacai brand, was able to distance himself from his illustrious masters and develop an original and personal interpretation of fashion and clothing.

Whilst the so-called Japanese school is more inclined to look at the artistic potential of clothing, Chitose brings it back to its original function of items that must adapt and be compatible with the various needs of everyday life. This absolutely concrete and practical dimension underlines the spaces and times of our social life and tries to find a solution for different circumstances. For this purpose, Chitose employs the classic formal schemes of ordinary, mainly Western clothing, but does not renounce the process of dividing it up and putting it back together, by applying the poetic delicacy that he acquired in his work environment.

In this original mixture of East and West, sheath dresses can be found, along with trench coats, blazers and also an explicit tribute to Chanel, that at the same time is a celebration of an eternal feminine, of an original elegance.

Without being trapped by boring and regular monotony, Sacai breaks the rhythm by introducing carefully chosen devices that systematically betray what our eyes were expecting: rough juxtapositions of fabrics; simple points of junctions between different prints and materials; unexpected gatherings or layers that are camouflaged by the apparent predictability of the forms.

In the delicate balance between innovation and repetition, what prevails is an impeccable, refined and essential female silhouette.

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