They are the star products of make-up collections and summarize their spirit of interpretation. Exclusive jewels, objects of worship in limited editions. In this sequence of images we collected those unavailable makeup accessories from past collections in order to reiterate what as of today a sophisticated make-up can be a collectable item, it cannot stay too long in the proce-list and can not afford flights of fancy.
Photography ALBERTO PELLEGRINET Realization ALESSIO NESI.
Makeup Bracelet for Lips DIOR GOURMETTE // Look S-S 2006.
Pocket Beauty Case GIVENCHY // Look F-W 2008.
Your Lovely Palette Eye Shadows Duo Palette YVES SAINT LAURENT // End-Of-Year Event 2009.
Daisy MARC JACOBS // Limited Edition October-December 2009.
The perfume is art or not? Today the distinction has a great sense if compared to commercial perfumes. Take for example the graceful scents of Lorenzo Villoresi‘s fragrances: carthusian creations of harmonious arrangements put together with love for research for ancient influences and suggestions, often collected in distant countries. Reductive would be to call them just fragrances, it is more appropriate to use the word “piece of art”. Created in his Wunderkammer, a laboratory nestled on the top floor of an ancestral family home, overlooking the medieval development of Via de ‘Bardi and the most noble and ancient city of Florence. We are talking about the same building that will host the site of the world’s first interactive workshop dedicated to essences and perfumes which opening is scheduled for September 2011.
Lorenzo Villoresi con mouillettes
-When did you realise that you would become a perfumer?
I discovered the love for fragrances in 1981, during my first trip to the Middle East, particularly in markets and through sellers of essences and perfumes in Cairo. Since then, essences, spices and fragrances have become a passion, I have grown parallel to university studies in philosophy and ancient religions. I started to do a thousand experiments, studying every type of publication I could find on the subject of plants, essences, perfume and cosmetics, distillation, production of aromatic substances of all kinds and so on… The first designs were relatively simple, always characterized by the presence of natural materials at the center and the heart of the fragrance, sometimes single-minded (Vetiver, Patchouli, Sandalwood, etc..), sometimes fanciful but always characterized by the strong presence of special and precious essences.
– What value has for you the sense of smell?
We live in a society where visual and auditory aspects predominate and where both images and sounds tend to be aggressive and prevaricating. In the streets, in our cities, smells seem to be only those of the exhaust gases so we try not to notice them, we try to escape even if they tend to dominate. But if we concentrate with attention and curiosity, mentally isolating the noise around us, we discover that the city, like all things, has its secret perfume: trees that blooms in hidden gardens, the fragrance of bread fresh from the bakery, fruits on market stalls, rivers, plants, old books in libraries, the wood of antique furniture, the impalpable perfume of snow brought by the Tramontana wind, grocer’s spices, flavor of ice cream …. We are surrounded by delicious smells but often we are too distracted to notice. For me smells are another way of knowing the world and people around us. I also think that using perfumes, to wear them or to use them in our homes, is an important enhancement of our quality of life. Fragrances add a scent dimension to our experiences and add poetry to our everyday life. Fragrances, like music, are intangible and invisible but they make our deepest emotional chords vibrate and they make special even the banal routine of preparing to leave the house every morning.
– How was your sense of smell educated?
Our sense of smell has enormous potential to explore. But as in all things, it takes time, patience and passion.We must exercise our sense of smell to feel different smells and to store them, maybe by mental associations to something that smells very familiar, this can be done by taking notes, trying to imagine what other ingredients-odors may form a harmonious whole. It is necessary above all to get used to notice the smells, even the most subtle and light, the smell of paper, that of stones, the smell of morning dew. All things have an odor, but as we are bombarded by a welter of strong smells, harsh, artificial and unpleasant, we risk to lose the ability to perceive those most refined. Sharpen our sense of smell means first of all to sharpen our sensitivity and our perception.
– In your collections typical elements of traditional Tuscans elements stand out: What is your relationship with the world of perfumes and how do you deal with the relationship between color and material?
The elements of our traditional Tuscan collections are actually quite limited: you can find them in potpourri and in sachets flavored withm spices, in fragrances for the environment such as “Mediterranean” or “Iris” or in the use of certain materials like alabaster for the production of glasses for scented candles. These Tuscans elements have a limited relationship with the universe of fragrances in general. The relationship between color and material is a problem that we dont consider.
– You have travelled extensively. Different country, different fragrance … Can you draw a map of favorite olfactory notes in every continent you have been?
Not really, because if we talk about globally distributed fragrances, such as those of fashion brands, we talk about fragrances distributed in almost every countries and not the other way round.
– The olfactory registry is subject to sensitivity changes. How do you think olfactory aesthetic is oriented right now? How are the developments of the second decade just begun going to be?
During this period in furnishing as in fashion as in many other fields there is a general tendency to return to the classic, to sobriety, to the solidity of things that last. Even in scents, so I guess that fragrances with a more traditional and “reassuring” style, such as fresh flowers for the woman and citrus wood for men, will be rediscovered. However the traditional distinction between masculine and feminine fragrances is increasingly blurred and then the family of so-called unisex fragrances continue to be very successful. This are usually quite fresh fragrances which are easy to wear.
– At this time the smell is the sense most pampered by all the creative sectors. Do you think in the near future, perfumers will begin to collaborate with the major industries (automotive, marine, etc …)? They’re already doing it! The so-called olfactory marketing is becoming more widespread and large companies often ask to perfumers to create for them a kind of corporate fragrance with scents created just for them to spread them worldwide, in their showroom or in their flagship stores.
– A creative business tactic is to create intermediate collections, one-shot and capsules: the strategy of a continuous flow may also revolutionize the patterns of artistic perfumery?
I think that rather than to subvert them it would upset them: there cannot be creative and search for beauty in such a flood of perfume and the public is actually noticing it. Increasing numbers of women and men who stop using commercial perfumes, are turning to lesser-known brands, where you can still find the original flavors, different ingredients made with good quality and creativity that is the “artistic perfumery.” If we put ourselves in this industry to churn out pseudo-news every three months we have really lost sight of the idea.
– The craftsmanship is the link between tradition and innovation. Could it be the means to save the system from the crisis?
All companies, both industrial and craft, producing good products, usually survive crisis. For “good” I mean well done and with an aesthetic and material value very perceptible , made with quality ingredients, created with an artistic sense and love of beauty, products that can really improve the quality and not only the content of our lives.
– The Academy of parfums is the first world interactive workshop, dedicated to essences and perfumes. How did the project start, which the developments?
The project is an extension of our current activities with a series of enrichments. We have always had a cultural and informative vocation about the world of perfumery; our headquarter recently moved from 125 to about 1,500 square meters, it has a garden of herbs, an information center, a library, various collections of flavors, a shop, spaces for events, courses and seminars. All this to provide information and entertainment as well the opportunity to meet many different types of aromas. Should open in September 2011.
-You have created a real univers.Which elements would you add to this world?
I would like to but for now it is just a dream. Cultivating a few plants in the countryside around Florence, used for distillation and extraction, in order to create a complete cycle . A good part of the most important plants used for extraction in perfumery could easily be grown in Tuscany as well as some time ago there was not much difference between a rose from Liguria and one from the not distant Grasse.
Communication and messages, images and information, these are some characters in the process of expanding packages of beauty products. As an urban landscape, beauty products resemble more and more to architectures, in happy linguistic contaminations between volumetric compositions and lettering. Figures perceived in the immediate and in some cases even organic. Some of the most fampous designers of today, sign their name on expensive parfumes. Design in beauty plays a major role not only as far as advertising is concerned.
Photography ALBERTO PELLEGRINET. Realization ALESSIO NESI.
Eau de Toilette Essence NARCISO RODRIGUEZ design ROSS LOVEGROVE. Stick Yeux SEPHORA. Color-Palette FRED FERRUGIA. Anti-Aging Cream Concura DIEGO DALLA PALMA. Eye Gel Concura DIEGO DALLA PALMA. Even Better Clinical CLINIQUE. All About Eyes Serum CLINIQUE. Eau de Toilette SMILEY design ORA-ÏTO.
Rock of Frassinello is nestled below the slopes of the medieval town of Giuncarico right between Gavorrano and Ribolla, perched on a gentle hill overlooking the vast plains of farmland and farms. The company Fortress Frasinello comes from a small idea, linked to the development needs of Castellare di Castellina Chianti (a company for nearly thirty years owned by Paolo Panerai) and becomes a major project with the participation of Domaines Baron de Rothschild-Lafite that gives birth to the first major joint venture in wine between Italy and France.
The decision to raise Fortress Frassinello in the area between Gavorrano and Ribolla, in front of Giuncarico, derives from lands with the same characteristics of Chianti and Montalcino, but before in the presence of higher average temperatures and the possibility of having earlier maturations even of three or four weeks. A strategic point the one on the hill on both side of the old Aurelia, which forms a canyon in which the wind from the sea coming from the level between Grosseto and Castiglione della Pescaia passes thorigh: a steady breeze that takes away any moisture and moderates the climate in summer and winter .
The architectural project entrusted to the creative talents of Renzo Piano, emphasizes how a winery is a sort of factory and hence the decision to create the interiors of industrial materials such as exposed concrete, formwork finished with birch as it hences the choice of giving greater attention to areas reserved for production and also laying the barrique center, underground, so the wine has the ideal temperature and humidity. A huge open space with no support columns, while the production area, with the steel vats, follows two sides of the square, where during the harvest each vat is connected to a tube situated on the next level: a large square of 5,000 square meters formed by the roof of the barrique and its outer frame.
The 2500 small wine barrels are arranged around a staircase made of four sides around a focal point illuminated by a ray of sunlight as they were seeing an old theatrical performance. Above the heart of the cellar, a huge empty terrace with at its center a “pavilion” of clear glass, made of steel and transparent which defines the area of reception, with wine shop and wine tasting.
The labels now produced are four and take the approach of the great French Chateau: Poggio alla Guardia (15% Sangioveto, 45% Merlot and 40% Cabernet Sauvignon), wine entry that on its labels has no reference to the name of the company; Le Sughere di Frassinello (50% Sangioveto, 25% Cabernet Sauvignon and Merlot 25%) first wine of Rocca di Frassinello (60% Sangioveto, 20% Cabernet Sauvignon and Merlot 20%), top production. The latest born is Baffonero (100% Merlot) which name summarizes events related to Maremma, characterized of hunting, strong men, aggressive boars.
The cellar is a platform permanently accessible, from which to capture the distant landscape and forest, with its hard blue skies and clear air, of bitter and poignant beauty. A special place in the rest of the province which is called “laggiù“.
It is the nature the most important treit union in the workshop of the Florentine designer Roberto Bonfanti, creator of the skincare line Laboratori Hur, cosmetics made with fitoactive extracts of natural ingredients: vegetables, fruits, essential oils. The line made of “organic menu” for the skin, highlights the relationship between hydration and anti-aging prevention: a holistic approach to the individual and environmentally friendly essential packaging.
– What is your approach to the signs of age?
It is always a global, holistic approach, the person taken as a whole. Welfare, as well as the result obtained on a face clearly marked with lines, derives from a set of products targeted to individual actions.
– What are the basic steps of the male and female cosmetic ritual?
First the water as a beneficial primordial element: bath, sauna, turkish bath. The cleaners never too degreasers, along with peel, scrubs( both mechanical and chemical). Masks full of enzymes, fruit’s masks , masks without rinsing. Serum with low molecular weight, penetrating, rich in synergies that will help drainage and that really prolong hydration. A face cream suitable to the type of skin which needs to be treated, never too heavy, to be alternated frequently. A fresh and light toner.
– What are the criteria that have guided you in the development of your cosmetic line, in terms of products and packaging?
I happen to develop more cosmetic lines and each follows its own policy and specific path. For example, in one of the last, the male one, the criteria that drove me the most to the choice of the ingredients was convenience and pleasure, the product should be of immediate impact.
Simon Cosac, an original and spontaneous businesswoman, asked me a very feminine line, which combines all the complexities, contradictions and sensuality of that world. I prefer a packaging increasingly essential, trying to eliminate everything that is unnecessary and harmful to the environment.
– What are the advantages of your line?
Perhaps masks, peel, anti-aging treatments, body oils.
– The secret of your cosmetic line are a set of synergistic phyto extracts. What are their potential?
I seek for intact, natural and organic ingredients. The potentials of a substance are endless, they depend on combinations; its like in the kitchen where each dish has its ingredients, but every ingredient comes in many dishes. I find it important to formulate a new product using all the senses and also our Mediterranean cuisine helps me understand better, through taste, aroma and freshness of a substance.
– Do you belongs to a specific school of thought?
– Fitoceutical not a day goes by that we read of new goals achieved in the medical field thanks to plant’s staminals and also as far as the field of aesthetic medicine there is a lot of ferment goign on. Do you believe there will be a time in which methods based on these cells are available?
Probably in the future, right now best results are still obtained using a cosmetic which favours popular extractive systems.
-Which will be the future of cosmetic treatments defined as BIO?
There will certainly be a great increase in the use of organic products, especially those ones which are organic for real. On the contrary unfortunately, we often find commercial products defined as natural products, fake? Inside them theres a very little natural
– Summer time, sea and sunny beaches: which advice would you give in order to protect skin from environmental damage, from UV radiation and other environmental factors considered hazardous?
IIts fine a bit of sun exposure, but we do not have to exceed; sun is good if you do not exaggerate. Cool the skin after each hour of exposure with a shower, a dip in the sea or simply remaining in the shade. Appropriate sunscreen, medium or low, and general attention of course! Sun screen does not protect against damage induced by overheating. After each exposure a face-mask with fruit or vegetables, organic moisturizers, fresh creams and oils throughout the body.
– Which elements would you add to your cosmetic world?
Much more irony, lightness and truth. I wish my formulas were able, always better, to express the freshness of ingredients they are made of.