Louis Vuitton’s New Objets Nomades

A look at Patricia Urquiola, the Campana Brothers and Raw Edges’ designs for a collection of objects inspired by travel

Now in its fifth year, Louis Vuitton’s Objets Nomades has seen some of the design world’s best and brightest interpret ideas about travel through an evolving collection of homewares, from a swing to a foldable stool. The project has been an ongoing opportunity for the French fashion house to partner with design talent from around the world, including Spanish architect and designer Patricia Urquiola, London studio Raw Edges and, most recently, India Mahdavi and Tokujin Yoshioka. Designers are given free rein, resulting in pieces as outlandish as the Campana Brothers’ cloud-like Bomboca sofa, but an emphasis on leatherwork and craftsmanship nods to Louis Vuitton’s heritage throughout. With the addition of 10 new designs, the collection now totals 25 objects imagined by 13 collaborators. 

Louis Vuitton’s Objets Nomades is at Palazzo Bocconi, Corso Venezia 48, Milan until April 9

 

          

An Inspiration: Sunnei

PORT speaks to the creative duo behind Italian label Sunnei to learn about the inspiration behind their SS17 collection

Duomo di Milano, courtesy of Sunnei

“Lately we have been extremely inspired by tourism in Italy. Living in Milan, we are constantly subjected to hordes of tourists flooding the streets of the city centre in order to take pictures of the amazing architecture and decorative elements that sit around the main square. We often take a walk in Corso Vittorio Emanuele, which is the Main Street of Milan, where all the high street shops can be found, because we are obsessed by the crazy amount of different nationality people flagging their selfie stick frantically in the air in order to capture the moment in front of the Duomo.”

“It’s a really funny and weird scene. It’s like a really amazing photoshoot is going on at all hours. There are even some guys offering to take your picture and print it on the spot. That’s next level in our eyes. Nobody cares about their surroundings during the time their picture is being taken, and that is just magical to us.”

www.sunnei.it

An Inspiration: Missoni SS17

PORT meets Angela Missoni to discuss the inspiration behind Missoni’s SS17 collection

Courtesy of Angela Missoni
Courtesy of Angela Missoni

Missoni Men’s SS17 collection is the narrative link between ancient Mayan civilizations and present-day Guatemala, which is still deeply rooted in tradition. Drawing inspiration from the radiant and sacred quetzal bird, this collection takes flight, taking elements from Guatemala’s diverse and vibrant landscapes, the potent hues of their indigenous wildlife and their renowned hand-woven fabrics, dramatic and explosive colours, iconic and graphic patterns, visual and tactile textures and stunning metallic hand embroideries.

Courtesy of Angela Missoni
Courtesy of Angela Missoni

“Missoni’s artisanal and innovative spirit is in ascent as this season’s impressive knitwear reveals its own mythic tales with a gentle, Missoni nod to the colorful Guatemalan vaquero.”

www.missoni.com

So Far, So Goude: A Body of Work

In a rare interview, Jean-Paul Goude, the multi-talented graphic artist and photographer who ‘broke the internet’, discusses his new collaborative exhibition with Tod’s in Milan

It’s almost the norm for an artist to stick to a single medium after they’ve mastered it. One reason for doing so could be to avoid spreading themselves too thin, and diluting their talent across various artistic formats. But, for 75-year-old French artist Jean-Paul Goude, this was never the case. The multifaceted Parisian began his career at Esquire magazine in the 1960s, where he became art director. Since then, the Frenchman has worked as a photographer, filmmaker, graphic designer and illustrator across television, fashion, publishing, fine art and performance. In 1989, Goude was given the honour to art direct France’s bicentennial parade, which marked 200 years since the end of the French Revolution.

Goude’s body of work stretches back over four decades and, to celebrate that achievement, Padiglione d’Arte Contemporanea in Milan is hosting a retrospective exhibition of the artist’s oeuvre, in collaboration with Italian shoe and leather brand Tod’s. The show includes a number of Goude’s sketches, which he draws out before embarking on every single project, as well as other images and photographs produced during his 40-year career, including his powerful and sexually charged images Grace Jones – his muse – and the notorious image of Kim Kardashian that supposedly ‘broke the internet’. Here, we catch up with Goude to discuss his upcoming retrospective.

Naomi Campbell, Knysna, 2009. Image courtesy of Jean-Paul Goude
Naomi Campbell, Knysna, 2009. Image courtesy of Jean-Paul Goude

You have been described as an artist, illustrator, photographer and a filmmaker. How do you prefer to define yourself?

I am a graphic artist. That’s what I am and that’s why I use film, photography and drawings.

Your work is renowned for the careful handmade process it requires. How would you describe the creative journey that brings your images to life?

I try to find an idea first, then I transform that idea into a drawing because I am obsessed by proportions. The drawing can be developed into a script or into a film. Generally, this is what I do also with photography: the pictures are the result of my graphic mentality. You start with a white page and you imagine what you want to put on the page and then develop the idea. A real photographer, instead, is there to capture an extraordinary moment and that is different – that is not my mentality at all. I start from the style and this is why I do all my drawings first. What is interesting is that all of these images go together quite well; my childhood fantasies are still the same at the end of my life as they were at the beginning.

Can you tell us a little bit more about this collaboration with Tod’s on So Far So Goude?

This is my first time in Milan and it is wonderful. I was delighted to be invited, it is a great compliment. The exhibition collects a range of my sketches, drawings, photographs and films done between Paris and New York. We looked back in time and tried to determine the roots of my work.

How did the women you met in your life influence you and is there a special meaning in the title of this exhibition?

I didn’t meet many women. I really fell in love maybe three or four times in my life and obviously these women became the subjects of my pictures and films. The title refers to the expression, and this is what happens with me. It means the story is not finished yet: I am still alive and I am still producing. So far, everything is really good.

So Far, So Goude runs at the Padiglione d’Arte Contemporanea in Milan until 19 June

De Padova: Redesign for Living

PORT travels to Milan to experience the new Piero Lissoni-designed showroom of 60-year-old furniture brand De Padova

When its showroom on one of Milan’s most prestigious streets, corso Venezia, became unsustainable, the iconic Italian furniture company De Padova was determined to turn the need to relocate into a strength. After 50 years on the old site, the brand that first introduced Scandinavian minimalist design to Italy decided to exchange its vast, double-heighted display windows on a busy street corner, for a discrete, intimate setting at the end of a quiet road. It’s a move that signals a real change for the 60-year-old company, which survived turbulent times following the recent financial crisis.

Earlier this year, De Padova merged with Italian kitchen and bathroom brand Boffi, but, as Roberto Gavazzi, CEO of Boffi says, it was not a merger driven completely by a need to save the company. “I had been courting De Padova for some time,” he tells me, “and was convinced that the union of our two companies would create something extraordinary.”

DePadova_showroom_10

The new showroom is, arguably, the antithesis of the previous store. The old 2000sqm space that the brand moved to in 1965, before the street had gained its reputation, no longer reflected how people engaged with the brand. Despite the large street front, two thirds of people who visited the store entered from the courtyard behind. Now hidden at the end of an unassuming cul-de-sac called via Santa Cecilia, the De Padova showroom – identifiable only by small sign – reflects the way that the company has come to be patronised by loyal, informed and curious customers.

“I am relieved now not to be in corso Venezia,” explains Luca de Padova, the director and son of founders Fernando and Maddelena. “It had become a nightmare. We now have the chance to try and convey a contemporary message.”

De Padova is a paradox – it is part of a quintessentially Italian design culture and yet is defined by its international scope. Curiously, its origins lie in an impulsive change of holiday plans. One year, Fernando and Maddalena were sitting in their car in the cathedral square in Milan with trunks packed for a two-week holiday on the Italian coast. But, inspired by the Scandinavian furniture she had discovered at the Milan Trienniale, Maddalena suggested they go north instead, to Copenhagen. The clothes they had packed were little use in the Nordic summer, but the furniture they discovered there inspired a lifelong passion for international design. The bookcase, table and sofa the couple shipped back became their first collection, and the first pieces of Scandinavian furniture in Italy.

“It was a revolution and also a risk, but there was such a deep desire for change in those years,” says Maddalena. “The urge to wipe out the past, the war, to have fun. And so homes, the way people lived, also changed.”

DePadova_showroom_02

It seems that throughout De Padova’s history a worldly passion has always been present – one that is driven by an eclectic style and Maddalena’s ‘instinctive aesthetic sense’, as she once described it when speaking to Didi Gnocchi in 2005. It’s this personality that celebrated Italian architect and designer Piero Lissoni has attempted to channel in his vision for the new showroom. Lissoni, who acts as creative director of both De Padova and Boffi, took inspiration from the first De Padova showroom that Maddalena established in via Montenapoleone in the 1950s.

“I had invented those shop windows as if they were the rooms in a house, seeking connections between things, suggesting a way to combine furniture, carpets and fabrics,” Maddalena says of the innovative displays squeezed into the original showroom – an element that Lissoni was anxious to continue in the new store at via Santa Cecilia.

At the new site, a converted car ramp leads to a sunken, glass-walled courtyard, at once acknowledging the vast shop fronts of corso Venezia and at the same time the intimate domestic setting that defines the brand. Inside, the store is split over two levels that Lissoni has divided into convincing domestic areas. Despite the airy, high-ceilinged space, the store has the feeling of an open-plan house; each room is different yet works together as a whole.

DePadova_showroom_03

This coherency, as Luca tells me, is a key theme at De Padova. The brand’s collection is so eclectic, both in terms of its origin and the styles, that I wonder what the criterion could be when selecting new pieces.

“This year it may be Scandinavian design or Japanese minimalism and next year it may be something completely different,” explains Luca, “but it will always go together.”

One the first floor, a long table covered with books provides inspiration for customers with images from throughout De Padova’s history and material samples from De Padova’s ‘partners’. The use of partners is an innovative and original aspect of the showroom. The brand’s furniture is not only contextualised in different domestic settings with Boffi’s wardrobes, bathrooms and kitchens, but also with various elements sourced from the brand’s affiliates. In what De Padova terms ‘a 360° consulting service’, the store showcases some of the its favourite rugs, ceramics, lighting, and even art from other companies that shares De Padova’s design ethos including Flos.

DePadova_showroom_18

Maddalena’s De Padova was once a small company. For her it was all about collecting together the best furniture and she never indicated an interest in expanding abroad. But, as Luca observes, that is not so feasible in today’s world.

The new showroom is helping to reiterate De Padova’s contemporary position, and one Lissoni hopes can be emulated as De Padova and Boffi expand internationally in the coming years. Though as much as it signals a new era for De Padova, the new showroom also preserves the style and reputation of the company which, as Luca tells me, is vital. “The Milanese will always come and see what De Padova is doing,” he says. “I think people like De Padova because we keep our own identity.”

Daily Doodle: Pal Zileri SS16

Creative director Mauro Ravizza Krieger introduces the ‘Avant-Craft’ at Pal Zileri’s Milan SS16 presentation, showing a modern version of Italian ‘sprezzatura’

Illustration Clara Lacy

Spotlight: Canali SS16

Canali’s creative director Andrea Pompilio highlights a classic men’s staple: the single-breasted jacket

There are a few pieces every man’s wardrobe should contain – fashion journalists like to call them staples, everyone else says basics. Whatever word you choose, these are the garments you need: brogues, white t-shirt, blue button-down Oxford shirt, raw denim jeans… and a casual single-breasted jacket.

The difference between one that you can pick up on the high street and the one we saw at the Canali show in Milan, is the choice of fabrics and the overall quality. Good design is a luxury, and Canali’s creative director Andrea Pompilio knows all about that. Here, he explains what makes his jacket so special.

“One of the key pieces for this season – this single-breasted jacket – is crafted from an exclusive blend of silk, linen and wool. A refined and unusual garment that’s perfect for summer evenings, its clean lines conceal an array of stylistic innovations. “The rear of the jacket features a martingale and box pleat, the use of an elegant peak lapel, which highlights the skill of the Canali tailors, and two generously sized bellow patch pockets that add a distinctive touch.”