ANWALLPAPERS

I have the need for superfluity by temperament and instinct. The aesthetic education of my spirit irresistibly drags me to the desire and purchase of beautiful things“. This quote explains how the Vate made of his mania of accumulation his raison d’etre and evidently not only his own. This aspect of practical and mental dannunzianism is dedicated to the cult of beauty. Love for beauty as a reason for being in a continuous contamination of art and life: this is the inspiration of ALESSIO NESI for the ANWALLPAPERS project, in a fertile superabundance of figurative and literary references which invade fabrics and silhouettes. Drawings by Nesi, who has been designing MARELLA scarves collections for years, are proper decorative ecosystems between Baroque and Dèco. His imaginary resumes, in a continuous dialogue, the major artistic trends of the early twentieth century revisiting them in a modern way. The emotional and irrational sphere is made visible through an extraordinary graphic vocabulary which transports the visions of symbolist poetry into shapes and colors. A luxurious summer imagery, a silent aquatic world, the vitality and virginity of nature, threatened by the modern world, melt with a primigenial and almost mythological feminine ideal. The idealized femininity of D’Annunzio heroines and the binomial myth-nature, are the main characters of ANWALLPAPERS, a Spring-Summer 2019 capsule that transports all aesthetic emotions of scarves on summer and light dresses, blouses, skirts and wide fluid twill trousers.

ANWALLPAERS scarf prints are an overabundance of figurative and literary references which invade textiles and silhouhettes inspired by heroines of D’Annunzio’s books. This print for instance is dedicated to Elena Muti, feminine charachter of the 1889 novel “Il Piacere”.

Photography LUCA SPREA

Scarf dedicated to Ermione main characterof “La Pioggia nel Pineto” from the collection of lyrics Alcyone published in 1903, with Art Decò decorations coming from Sala della Cheli al Vittoriale degli Italiani.

Still-Life EMMA TEMPESTArt Direction RICCARDO RUINI STUDIO

Scarf print dedicated to La Fornarina feminine charachter of the novel “Il Fuoco”, published in 1900 set in Venice.

Still-Life EMMA TEMPESTArt Direction RICCARDO RUINI STUDIO

Scarf print dedicated to Isabella Inghirami feminine charachter of the last Vate’s novel “Forse che sì Forse che no”, published in 1910 set in Mantova in Gonzaga’s palace between Baroque and Futurism.

Scarf print dedicated to Maria Ferres feminine charachter of the novel “Il Piacere”.

 

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TURQUERIE

“TURQUERIE” is a term used in western europe which from the sixteenth to the eighteenth century became fashionable as an imitation of the Ottoman Empire’s culture. During the Baroque period, the west showed a growing interest in the exotic and unknown culture of Turkey, at the time center of the Ottoman Empire. This fashion phenomenon became more popular through trade routes and increased diplomatic relations between Ottomans and other European nations, exemplified by the Franco-Ottoman alliance and by Persian embassy with Louis XIV in 1715. Ambassadors and traders often returned to their homeland telling of exotic places and bringing souvenirs of their adventures. This movement was often reflected in the art of the period. Music, painting, architecture and artifacts were often inspired by Ottoman styles and methods. The collection of animal prints for scarves and cushion created for Les Ottomans wiks to the trendy movement of that period with a palette of neon colors very very 80s.

 

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10 CHARACTERS FOR GUCCI

Gucci fashion shows are prefect operations, in which every look is not a set of clothes but a character with a precise character, inserted in an ad hoc environment. The more seasons pass the more fantasy fits into the mix, making it more extreme. Each element of the collection starting from accessories, helps to build a character that lives on its own. A set of elements captured from every where, taken from the history of fashion and custome, made to clash to express hidden energies. Gucci sunglasses 2018 Spring-Summer collection are a classic example. Eyemasks with futuristic shapes and 80s retro inspiration, rounded lines, rectangular cuts that play with contrasts of color, dark, smoky or transparent lenses. Worn by 10 historical figures borrowed from the world of music, Japanese manga, history and costume, make up this collection of 10 illustrated cameos: Simonetta Vespucci, Siouxsie Sioux, Madame Du Barry, Sarah Bernhardt, Nefertiti, Elizabeth I, Coco Chanel, Creamy Mami, Marchesa Luisa Casati, David Bowie. For each one of them, an own model; let yourself be inspired!

SIMONETTA VESPUCCI wears a square monochrome acetate mask with rectangular lenses. Leading detail: a red tear enriched with a bright Swarovski crystal set in the center.

SIUXSIE SIOUX wears asymmetric eyeglasses from the Resort 2018 collection.

MADAME DU BARRY, cat-eye wears sunglasses with Swarovski cristals.

SARAH BERNHARDT wears square sunglasses alone inspired by the shapes of the 60s. The oversized frame is embellished with hand-applied Swarovski stones.

ELIZABETH I, wears sunglasses “D-FRAME”.

NEFERTITI, wears unisex mask with a futuristic shape caracterized by a traingular oversize ciliary embellished by studs and hand applied Swarovski cristals.

COCO CHANEL, wears sunglasses “D-FRAME”.

CREAMY MAMI, cat-eye wears sunglasses with Swarovski cristals.

LA MARCHESA LUISA CASATI, wears GLITTER sunglasses.

DAVID BOWIE, wears squared sunglasses with vintage inspiration. Available in Shiny Black with Solid Grey lenses or in Shiny Ivory with Solid Grey lenses.

 

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MARELLA’S ZOO BY ALESSIO NESI

The successful series of Illustrated Postcards by MARELLA continues. Fall-Winter 2018 Scarf collection focuses on the animals of the African continent, mixing Art-Decò references and quotations. Just as Albini was already doing in the seventies, we can imagine tomorrow looking at yesterday.  A practice that is very widespread today in the meltin ‘pot of “everything goes with everything”, thinking of the new. In an interview published in WOMEN’S WEAR DAILY in 1983, Walter Albini explained: “I like the period from 1925 to 1935. Because I believe it was the decade in which all aspects of human existence were revolutionized. Classical examples the boyish haircut, the skirts that have shortened more and more, the elimination of corsets, F. Scott Fitzgerald and Zelda, Garbo and Dietrich, Bauhaus and the Art-Decò. Changes in music, dance, painting, architecture and lifestyle have been epochal and widespread to such an extent that even today we are living the results of those experiences“. How to deny his point of view. Actually observing the history of fashion from the times of Chanel to today, despite the succession of designers, styles and eras, the elements that make up the female silhouette have remained the same: jacket – shirt – skirt. This small collection of scarves are a tribute to the atmosphere, the quotes of style 25 that marked history of fashion in the seventies and gave birth toItalian prêt-à-porter thanks to the genius of Walter Albini who remains today not only an influencer but a true style originator.

FLAMINGOS pattern for scarves.

LEOPARD pattern for scarves.

SWALLOWS pattern for scarves.

PYTHONS pattern for scarves.

RHINOCEROS pattern for scarves.

 

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80 VOGLIA 80

While foreign newspapers from the New York Times to the Washington Post comment without going too much around in circle the last elections in Italy, highlighting the victory of populism, euroscepticism and the extreme right, I console myself watching New York, Milan and Paris fashion shows and selecting an anthology of images that made me think about the overpowering return of the 80’s excess. A fashion made of excessive and extravagant shapes, caused by a greater need for freedom and narcissistic gratifications. Geometric silhouettes, important shoulders, bright colors, punk mood, immersed in a general air of assertive grandeur. “Just on time!” I thought. Because against difficult days and uncertain times, broad shoulders and irreverence are needed and not only in Italy.

GUCCI Autumn Winter 2018 Collection Look N° 60 Milan Fashion Week. 

VERSACE Autumn Winter 2018 Collection Look N° 23 Milan Fashion Week. 

MARC JACOBS Autumn Winter 2018 Collection Look N° 14 NY Fashion Week. 

 

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ILLUSTRATED POSTCARDS MARELLA BY ALESSIO NESI

Scarves coming from Marella 2018 Spring-Summer Accessories collection tell a picture-postcard world: landscapes and animals that live in its different continents and decorations coming from the art spread on its territory, all between tradition and symbolism. An anthology of 5 souvenir scarves born thank to illustrated guides and ancient geographic maps which combine Japan with the Stork, India with the Tigers, China with the Snake, Africa with the Leopard, Italy with the Solitary Sparrow, legacy of an ancient literary memory. The collection is seen as an escape from contemporary conflicts in mythologies and speculations of a world on the edge of the surreal.

Thanks to all the staff: Paola Grassi, Lorena Guglielmi, Giulia Bagella, Sara Viola.

 Leopard / Africa – ILLUSTRATED POSTCARDS MARELLA by ALESSIO NESI Spring-Summer 2018.

 Snake / China – ILLUSTRATED POSTCARDS MARELLA by ALESSIO NESI Spring-Summer 2018.

 Stork / Japan – ILLUSTRATED POSTCARDS MARELLA by ALESSIO NESI Spring-Summer 2018.

Tigers / India – ILLUSTRATED POSTCARDS MARELLA by ALESSIO NESI Spring-Summer 2018.

Solitary Sparrow / Italy – ILLUSTRATED POSTCARDS MARELLA by ALESSIO NESI Spring-Summer 2018.

ILLUSTRATED POSTCARDS MARELLA by ALESSIO NESI Spring-Summer 2018. 

Illustration realised for the communication of MARELLA SS18 Accessories Collection by ALESSIO NESI

 

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