Since his first collection, Julian Zigerli has produced new collection videos for every season. In collaboration with new directors for each video, the idea is to use the video as a creative output to translate the concept and idea of a collection on a visual and more experimental level. Michael Patrick Perez created an abstract video with a solid base to it: experimental documentation. The video consists of organic movements and bleedings of pixels and colors to mimic both the clothing line and process itself. It puts the viewer into a state of mind, which is completely without any time and place focus.
Video by MICHAEL PATRICK PEREZ creative director: JULIAN ZIGERLI music: "EXIL (VIDEO MIX)" written and produced by LUKEM documentation camera: LAURENT BURST model: TIM GRUPP (viva) show camera: MARTIN MONK models: TOMAS (elite), SEBASTIAN (the special), KIERON (modelwerk), TIM & AARON & JASPER (viva), LIAM & DENNIS (kult), STEPA & HENOC (hore), MICHAEL & JULIAN (mega), EMIL & PHILLIP (m4) hair and makeup: LENA FLEISCHER, TIMO BLUM, GIANNI FORTE & DEBBY julianzigerli.commichaelpatrickperez.com katharinagrosse.com
Julian Zigerli, promising new upcoming designer born in Switzerland, has been selected by Mr. Giorgio Armani to show his Fall Winter 2014/15 Collection at the Armani/Teatro during next Milano Moda Uomo on January, Saturday 11th at 11.30 AM, pursuing the program of the Italian Maison of support for young creativity.
“Also for this season, I have decided to keep on supporting some of the most promising designers from all over the fashion world, maintaining a global view. Julian Zigerli will be the next designer to present his fashion show in the Armani/Teatro and I hope that my support will be a good omen for his career”, said Mr. Armani.
“This is huge. I am overwhelmed and speechless about this opportunity which Mr. Giorgio Armani is giving me. To be recognized and supported by one of the most influential and important person in the Fashion Industry worldwide, gives me the confidence and trust into my work and strengthens my believe that creativity is best when it comes from the heart”,stated Julian Zigerli.
Kerry Taylor Auctions House in London sold for £ 110.000 (£ 132.000 with premium) the “Zodiac” jacket from the Elsa Schiaparelli Astrology Winter 1938/39 collection.The midnight blue jacket is covered in a galaxy of shooting stars, planets and signs of the zodiac embroidered by the Paris based Maison Lesage.
The auction house has reported that the jacket was strongly battled among bidders and that it was one of the most beautiful couture item they have the privilege to handle. Maison Schiaparelli was acquired by the Della Valle Group in 2006. On September 30th, Marco Zanini was appointed Creative Director in charge of Haute Couture and prêt-à-couture collections. He will present his first Haute Couture collection in Paris in January 2014.
It was through Franck Glenisson and his wonderful photographs that I came across the name of Brigitte Dupas. Around two weeks ago, I shared with you an interview I did with Brigitte, featuring Franck's wonderful portrayal but it wasn't until this morning that I did actually meet her in person and decided to spend our day driving around in her sportscar and walking the gardens of Versailles.
Once again a stylistic tension pervades the work of Marco Grisolia. His calls his callection the "Blooming Edge" and its about contemporary silhouettes, melted in from mere minimalism - evokes echoes of the past.
Alma-Tadema, with his depictions of decadence and classicism -an escape from reality, engraving the sense of scenic composition and the romantic tone, while in the background stands the garden of the Hesperides with the inaccessible grace of its mythological inhabitants. Delicate necklaces and earrings, made by Alecci & Di Paola, bloom like Capodimonte flowers.
Marco Grisolia is a fashion designer and a fashion stylist. His creativity and his passion for art developed since childhood, allowed him to hone his aesthetic sensibility and his personal taste.
After graduating from Accademia di Belle Arti di Brera - where he specializes in painting - he works as a set designer and as a graphic consultant for a well-known record label.
The role of creative development assistant at Pal Zileri is decisive for his future in the fashion system. In fact in 2010 he debuts his first clothing line, COVHERlab, that allows him to stand out from fashion landscape. His creations appear on Italian and international magazines and blogs such as Vogue, Vanity Fair, Marie Claire, Glamour, Gioia, Rendez Vous de la Mode, Fashion Gone Rogue, Design Scene, Frizzi Frizzi and many others.
With the Spring Summer 2014 collection Marco continues his own evolving through the new independent label Marco Grisolia, in which the designer expresses his all-encompassing point of view.
The brand is characterized by a more tailored and exclusive approach, along with a selected distribution. Currently he also teaches fashion styling at Accademia di Costume e Moda and at IED in Rome.
After her participation to dOCUMENTA(13), Chiara Fumai -- winner of the Furla Prize 2013 -- opens her first solo show at A Palazzo Gallery that includes all the directions of her work: collage, photographies, video and performative installations will be on stage in the gallery spaces.
Critical text by Francesco Urbano Ragazzi
Hell is other people, of course. But we knew that already. Instead, it is harder to say exactly who are these elusive others that we speak about. Wouldn’t it be equally terrible to discover that they are our mask, or worst, our mirror? On the occasion of her solo exhibition in the rooms of A Palazzo Gallery - With Love from $inister - Chiara Fumai presents an army of numerous others by which she has been possessed from 2007 to today during performances, monologues and invectives.
The infinite alter egos that occupy the rooms of the gallery, it is evident, are always the same person: the artist. None of her faces is missing. There is Zalumma Agra, the mute Circassian beauty who performed in silence at the Barnum Circus and who, at dOCUMENTA (13) found again the words of Carla Lonzi and Rivolta Femminile (Female Revolt); the medium Eusapia Palladino, an illiterate maid from Puglia whose sessions were attended by with conviction- amongst others - Cesare Lombroso, the Nobel prizes Marie and Pierre Curie, Tsar Nicholas II of Russia; and again the terrorist guide who explains with symbolic language the hidden messages contained in the paintings of the Venetian Fondazione Querini Stampalia (Furla Prize 2013). There is even space for two men, one of whom is an absolute new entry: the baron Julius Evola, dadaist, occultist, chauvinist and Italian philosopher whose ideology is disrupted in a series of new collages, and the illusionist Harry Houdini, having converted to anarchic socialism after his encounter with the ghost of Rosa Luxemburg which took place at the summer residence of the Fiorucci Art Trust.
The list is long. The spirits who invade A Palazzo Gallery could form a small revolutionary band. It is unfortunate that none of them wear the same uniform. One asks what keeps them together, apart from a shared passion for the clothes of Ksenia Schnaider. If there was an attempt to give an apocryphal answer, one that was not approved by the artist, it could be searched in the direction of, perhaps, the most secular of meanings that the word $inister holds. In addition to evoking the idea of the sinister in its dual form- where the left-handed throw has devilish connotations- the term is synonymous with a bastard birth. The baton sinister is in fact a heraldic sign that decorates some family crests. An oblique line that, according to historians, indicates that branch of the descendants as originating from an illegitimate offspring: the occult branch, or rather, the obscured. The same obliqueness, the same bastard nature joins all the characters reunited in the exhibition: children who were not desired, unclassifiable and maybe even embarrassing. Luminous singularities of the history of humanity that break the line of descent of the fathers and their children like lightning in a clear sky. Even if speaking of the lesser children, we are not in front of losers. The circus phenomena and the mediums of Chiara Fumai have lived- and still live through she who adopted them- phantasmagorical lives: lives that, let us say it clearly, many of us dream of. They are all existences that are protagonists of a flaming ransom, possibly thanks to the surrealist power that they have to steer their own destiny through scams, spells and miracles, without perceiving any differences. Their drama is not defeat then: it is something else. Since these are unique heroes, eccentric subjects who escaped from history before even having entered it, they cannot present themselves neither as tragedy the first time, nor as farce the second: they have no possibility of having their stories told and they are forced to make a virtue of necessity, staggering always between the comical and the tragic. It must be due to this that in front of the exhibited works we are not sure whether we should laugh, cry or be scared to death, as if in front of a new feeling and therefore a new genre. We mentioned earlier, none of the artist’s faces is missing. Not one is missing and yet all are absent, including the body of the performer, which embodies all these identities with huge effort. But in this exhibition there is something more precious than the purity of being here. Each exhibited work equals a small key that reveals the tricks and sources that Chiara Fumai loves utilising. Her presence is hidden, that is true, but this is in order to reveal the other side of her practice: the landscape behind the star. Let’s take the collages, for example, that are preparatory sketches for a number of performances; or the gimmick, the circus performer’s apparatus that in this case are clearly visible in front of our eyes as well as the costumes and the set-designs. Enjoy this slice of truth that Chiara Fumai offers on herself and her career for as long as you can. While crossing the rooms of the gallery it is possible that you could soon encounter the skin of the artist enclosed in a case, abandoned like the skin of a snake that has already shed. It will be in that moment that you will realise that you are now alone in the room. The others are not there.