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.
In 2007, girls coming from the boardsports, decided to create fragrances that represent their way of life – fresh and lighter, environmentally friendly with a colourful, positive approach to lifestyle. An interview with the founder Carmela Fleury.
Why the relationship between boardsports and perfumes?
Before Les Ettes we all worked in the snowboard industry (snowboard magazines, snowboard brands, competing at contests, working at snowboard camps and snowboard shops, etc) and consequently we got influenced and inspired by the things that surrounded us. Since the snowboard industry was familiar and our backyard so-to-speak, it was a great and familiar place the Les Ettes seed. However we are open-minded and enjoy working with people outside of boardsports too.
Where are you taking the inspirations for your perfumes?
As a team, I think we draw inspiration all the time from the places we travel to and the people we meet. With the creation of Want-ette and Love-ette were looking for something fresh and light for young girls. Flore-ette is professional snowboarder Anne-Flore Marxer’s signature perfume- and she drew her inspiration from a surf trip to Tahiti (so she chose to use hints of the Tahitian flower: monoi). Sol-ette is the light fragrance to wear during the long summer days.
How would you describe your work?
It is never the same- it is always fun and exciting. Les Ettes is made up of a team of fun, young, creative and flexible individuals. We all multitask, and have flexible time schedules. We all work out of different places so thank goodness for Skype! Sure we don’t have the highest salaries but we have meaningful benefits that suit our individual lifestyles. One of the benefits is that we get to travel to great destinations, work with amazing people inside and outside of the company and it is a thrill to experience the organic growth of Les Ettes.
If your perfumes would be a woman, how would it be?
The great thing about scent is that the olfactory sensors really hit a special part of the emotional brain. A scent can help bring back the memory of someone dear, a special place or the feeling felt while being in love. Hopefully in 60 years time, Les Ettes will act as a time capsule item- smelling Les Ettes perfumes again will help remind women’s youth again.
Photography CRISTA LEONARD
But to answer your question- if we were to let our imagination run free, and the four perfumes would be a women- they’d have to be our beloved team riders. Love-ette conjures subtle and cosy wintery feel- so that’s why our Austrian team rider Lisa Filzmoser was a perfect match. Want-ette has a creative girl in a big city feel and that’s why we worked with the amazing photographer Crista Leonard in our latest campaign. Flore-ette is professional snowboarder Anne-Flore Marxer. Sol-ette is a girl who enjoys the hot summer days on the beach.
What are your future projects?
We just launched our next product called Juli-ette. It is a lightly tinted lipbalm designed by the extraordinary Juliet Elliott. Juliet was a professional snowboarder on the Burton Euro team at the same time as appearing three times on cover of Italian Vogue magazine. After traveling the world with her metal band and a stint as a session player in a pop group, she briefly settled at Warner Music. Now sponsored by Charge Bikes as a professional fixed gear rider, Juliet still finds time to run her own PR agency and do graphic design for both her own label and various street wear companies. Meeting girls like her is so inspirational.
On the occasion of Pitti Immagine Uomo 77th Edition, Florence, the Costume Gallery, Palazzo Pitti, will be the perfect location to celebrate the official launch of the book “Walter Albini and his times. All power to the imagination” (Collana Mode, Edizioni Fondazione Pitti Discovery, Marsilio Editori, pp225), on January 12th – 6/8 pm. The book is a Pitti Discovery Foundation project, edited and curated by Maria Luisa Frisa and Stefano Tonchi, who have been tracing Walter Albini’s work through pictures, videos and original materials from his years. It reconstructs a period that lived the establishment of fashion as basic element in representing contemporary society and culture and the definitive decline of the couture atelier with the rise of democratic fashion with the development of high quality series production. PROPRIETEXCLUSIVE realized an interview with the two book curators, who developed the central elements of Albini’s icon accomplishing a wide overview on his time, next to others international protagonists such as Halston, Karl Lagerfeld, Yves Saint Laurent and Ossie Clark.
P. How did the project of the book start?
F-T. The book focuses on the character of Walter Albini and acts like an exhibition: there are some original drawings, magazines pages from that period, photographs, Albini’s statements, besides some pictures of his clothes, here re-interpreted by a young stylist. These different kind of material, brought together in some uncommon ways and graphically treated, let a specific point of view come to surface: not a chronological paraphrase of the designer creative path, but an observation carried out over the decade by Walter Albini, that witnessed the establishment of fashion as a basic element in representing contemporary culture and the final overtaking of the ateliers for a prêt-à-porter overstatement.
P. Which was, in your opinion, Albini’s style formula?
F-T. In 1979 Albini commented on his spring-summer collection: “For me, each outfit tells a story, of love, of anger, of violence. Each one is a moment, a person, a place, and each has a role, like in a theater. To change clothes you have to change your attitude and spirit, and take on a new role. Every time, every season, every collection……”
P. Aesthetically speaking, how would you describe his work?
F-T. Style, pastiche, excess. These are the terms used by Stephen Gundle to define glamour, in his recent study committed to this phenomenon.
P. Which was his relationshisp with colours and how did he intend the relationship between color and matter?
F-T. He used to reconstruct his imagineries. Colors and matters where fuctional elements to draw the scenery, a place of his imagination which could go from the cinema of the 30s, to orient or decò.
P. How could you describe the relation he put between creativity and technology?
F-T. He was experimenting mostly on woven design: making imagery, in particular when he succeded in tranlsating textil patterns into silk prints. He’s more a graphic desginer rather than a fashion designer. Eclectic.
P. Albini’s creations were pretty fanciful, like an art multiple: prints, cuts, silhouette and inner decorations. Albini was… an artist, an artisan or an inventor?
F-T. A designer and a stylist, more than everything. An interpreter of fashion through his obsessions and his sensuality, coincidently nostalgic, pop and post-modern.
P. Which is the most striking thing of his work?
F-T. Some of his collections presented in Milan in art galleries. In particular the spring-summer collection 1977: a “non-collection” composed by outfits all born by assembling other items belonged to designer, journalists and photographers friends. No creation belonging to him. A method statement.
P. After he passed away in 1993, his style lesson kept living in the work of Krizia, Armani, Lagerfeld and more. Which one could be Albini’s proper style heir?
F-T. I would say none of them. And everybody. Albini’s intuitions are many, he tried to develop all of them. Who came after him preferred to concentrate in one direction, to become a brand.
P. Try to divide designers between innovators, who left a clear sign in social behaviour, and other ones who just copied good ideas as adaptors. Which one of these would fit Albini?
F-T. Maybe really “innovative” designers are the ones that know to be excellent “adaptors”. Fashion aims at taking possession of everything, it adopts specific functioning mechanisms that allow to move precisely in that direction. Albini was a master in swinging between innovation and recover, appropriation and interpretation, impulse towards sperimentation and retrò obsession. It’s the kind of characters we should focus on. And this is the attitude to transmit to new designers.
P. If Albini were a perfume, how would it be?
F-T. Old fashioned, with a pinch of acid.
P. Albini guess the total look relevance. What did this mean for the fashion industry?
F-T. The eighties. Brand extension e brand lifestyle, then the proliferation of accessories. And the consequent hard path to demolish, altough partially, the total look project in the following years. But this is a way that fashion, from his inside, was needed to take. To survive.
P. Which is the lesson of style that Walter left us?
F-T. “I’m interisted in giving method directions, both designing and using other’s thing. We must learn the freedom to dress ourselves out of any scheme. Consumerism produces objects, not styles. I look around, I choose, combine and suggest.”. In 1977 he said this. In its precision, it seems a sharp statement to foresee future fashion movements.
Walter Albini – Photography Gian Paolo Barbieri
Vogue Ottobre 1971
Vogue Ottobre 1972
Linea Italiana n°45 1974