Giampiero Vagliano and Stefano Rovoletto were Moncler’s president and brand manager from 1995 to 2000, and in the span of few years managed to bring the brand’s positioning and image back to the forefront.
Five years after leaving the brand’s guidance the two managers decided to start a new adventure by establishing the brand Duvetica: ‘Duvet’ (the French for down) and ‘etica’ (for ethics), its two basic values.
In few years’ time the Veneto-based firm has become one of the leading brands in the Japanese market for the production of duvet jackets with over 1,200 stores, a growth that has been equalled by Duvetica’s success in the European and international market.
In little more than a year Duvetica has managed to propose four single brand items thanks to the opening of the Milan-based store at the end of 2011 designed by the architect Radao Ando.

Last Autumn-Winter season Junya Watanabe chose Duvetica for his season collaboration of the collection Junya Watanabe Man. Duvetica contributed its skills to the making of the models and production under the artistic guidance of the Japanese designer who was entrusted with the choice of the fabrics.
The extremely lightened goose down micro lining was used to make a number of symbolic items that explicitly draw on the oriental influences that characterise the spirit of the brand. Two jackets and a hooded sleeveless vest come in four colours ( sand, army green, black and night blue). Applied in matching colours, the pockets are the distinguishing detail of the capsule collection with their metal zipper and buttoned flaps.
Three items that are in perfect harmony with the inspiration of the whole Junya Watanabe Man 2012 Spring-Summer collection, entirely focused on the utility wear of the Anglo-American country world.

The above models are available at Commes des Garçons-Junya Watanabe Man stores for the 2012 Spring-Summer season.

duvetica.it

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A range of styles that merge past, present and future starting from the medieval mood of Alexander McQueen all the way to the spatial inspiration of Hussein Chalayan.
Hussein Chalayan, Puma’s creative director, shows his futuristic vision in a mix of winter classics.
Men’s and women’s Allvar Mid sneakers draw on the deconstructed look of spacemen’s footwear and are proposed in an urban version through the choice of primary matter colours reminiscent of the earth. The jackets, like the Space Performance Jacket, are created on the model of NASA ones in technical waterproof breathable fabrics, with heat sealed seams and ‘laser cut’ details to move in an urban environment under any weather condition. Also WN Space Crash Windbreaker, Puma’s classic women’s windproof vest, is given a spatial reinterpretation, enhanced by original multicoloured printed patterns. Accessories mix futuristic materials and processing without neglecting practicality, like the multifunction pochette bag UM Palm, used both as a document and an I-pad holder.
The sombre medieval atmospheres, the burnished metals of suits of armour and the fabrics of banners and tapestries are the source of inspiration for the colours and materials of the Puma sneakers line by Alexander McQueen. A daring, revolutionary collection represented at best by the model Joust: sneakers which are as wraparound as a suit of armour thanks to the stitching that supports the heel and the patella fastening on the ankle. The model comes in three versions: in pony skin with leather insertions and matching colours, polished silver leather and black nappa leather. Joustesse Mid is the version created for women. It draws inspiration from the model Joust, but is more feminine and made precious by insertions in pony skin on the front and by the pony fur applied to the ankle.

puma.com

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The new IL BISONTE Fall Winter 2012 – 2013 Collection draws inspiration from Il Bisonte‘s origins: the shapes and style of the 1960s and 1970s.
The stylistic research points on hides enriched with new treatments, washed nubuk in smoke grey and tobacco hues, shiny washed cowhide in light caramel and slate grey, sparkly buffalo leather in milk chocolate and Indian mustard and marbled canvas in Sahara, canyon, jeans and black denim colours.
Even the details stand out: visible smart zips and adjustable side draw leather strings, important handles and closures, exclusive gorgeous rings in die-cast brass with a handcrafted texture and handmade finished.
Very representative of the style of this collection is the large tote bag, with adjustable handles and several pockets. Perfect size for a tablet or iPad, the model is produced in cowhide leather, vintage cowhide leather and nabuk.

ilbisonte.com

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“Ideas from Massimo Osti” is a 412-page monograph published by Damiani, the outcome of four years’ work to celebrate one of the most famous protagonists of Italian fashion, the father of Sportswear and such brands as Stone Island, C. P. Company and Left Hand. His renowned, innovative items can be considered the basic structural elements of many collections of our days, proposed by styles that range from high street fashion to high fashion.
According to Ashley Heath, the editor of Arena Homme+ and The Face, Massimo Osti has been an all-pervading influence on men’s fashion since the Nineties.
We are indebted to the Bologna-born designer, active from the Seventies to the first decade of the third Millennium, for the invention of the garment dyeing technique, of rubberised satin and countless fabrics still in use after thirty years. Massimo Osti collected something like 35,000 pieces during his career, and 5,000 of them are still preserved in his archive.
The monograph contains 175 items and 200 accessories specially re-photographed for the book, besides the stylist’s annotations, dyeing trials, fabric samples and unpublished interviews. The contributions included range from those of his collaborators, Carlo Grazia (his right hand man) and Adriano Caccia of ITS Artea (his main partner in the development of new fabric treatments) to those of fashion designers like Paul Harvey (Stone Island 1995-2005), Sir Paul Smith, Paolo Zegna, François Girbaud and Moreno Ferrari (C.P. Company 1995-2000).
Not only does “Ideas from Massimo Osti” widely and clearly illustrate the stylist and his textile inventions, it also emphasises the unquestionable capacity of this Italian pioneer to influence generations of designers with his visionary power.

ISBN: 8862082355

ideasfrom.massimoosti.com

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On the occasion of Pitti Immagine Uomo n. 82 held in the premises of Stazione Leopolda, Stone Island celebrated its thirtieth anniversary in collaboration with Pitti Discovery Foundation.
Concluded on July 1st, the exhibition was inaugurated on June 19th and illustrated the themes of excellence of Carlo Rivetti’s brand from its very start to our days.
Devised by Simon Foxton and Nick Griffiths, the exhibition layout was developed around the brand’s three iconic items and illustrated past, present and future.
The picture volume “ Stone Island ‘982-‘012” was presented to the public during the inaugural ceremony to illustrate the brand’s first thirty years, characterised by textile research and innovation.
The aim of Sportswear Company’s President and Ceo, Rivetti, was not only to celebrate Stone Island’s thirtieth anniversary, but also to address the Firm’s clientele with his customary language and consistency. Rather than a chronological sequel of collections, the exhibition was a review of the technological treatments and experiments on fabrics that led the brand to success.
Like all people from Biella, Rivetti grew up among textiles, but the Stone Island adventure started thanks to the creative genius and the unconventional frame of mind of Massimo Osti.
Osti created Stone Island first collection by using a special fabric treated with resin, Tela Stella, used for truck tarpaulins: seven jackets in six different two-colour models. The great innovative potential of the project led to immediate success, and a year later Carlo Rivetti decided to personally take part in the project.
Unlike other brands, Stone Island managed from the very start to address its clientele with a suitable language.
Those were the days of the “paninari”, when the first generation of consumers really interested in fashion and products was born.
Season after season consumers could get a product made in Italy thanks to state-of-the-art textile technology. The firm was established at Ravarino, a few kilometres from Maranello, and like Ferrari, started to export products whose excellence was matchless. Over the years the Firm has developed a strong, consistent identity perfectly mirrored in the Stone Island brand boldly displayed on the unmistakable badge.
Like the members of a club, Carlo Rivetti says, Stone’s clients have the same feeling of belonging and when they meet they recognise one another. The feeling has never died down, indeed it has strengthened, unlike what has happened to other firms’ products. To wear Stone Island items means to be part of a community, so large that it has recently totalled over 100,000 followers in Facebook.
Yet Stone Island has not faced the challenge to conquer their clients and renew them in time only through innovation; indeed, clients have become aware of the quality of Stone Island items, have recognised their value and decided to hold to them.

“Our clients belong to a sort of club, when they meet in the street they recognise one another”. Carlo Rivetti.

stoneisland.com

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Descente, world leader in ski technical clothing, and Yono, a Japanese designer whose credo is ‘primal futurism’, have created ‘Dual-ism Project’.
Descente’s philosophy is based on the merging of technology and design in innovative, extra light products.
Dual-ism Project consists of two lines of jackets labelled DESCENTE and Yono by DESCENTE, focused on the theme “Urban Mobility”.
The employment of kevlar fabrics, high-density waterproof cotton, ‘Mizusawa Down’ Descente’s registered brand, the use of removable linings enables wearers to have three garments in one and attests their sophisticated technology and the top quality of Japanese materials.
These ergonomic models can be used in any weather. What they have in common is the theme of the traveller who lives in the city but can set out on a journey at any moment with the item he is wearing.
The line Descente consists of more technical-looking items of clothing in two or three-layer synthetic materials whose performances are the same if not superior to ski clothing and are waterproof, breathable, light and thermal.
Yono by DESCENTE, instead, employs only natural materials, wool and cotton; the line’s strong point consists in the merging of trendy elements with the best techniques and sport-related performances. The items are suitable both for urban and outdoor use.
Their aim is to dress men in any situation. In fact Dual-ism Project’s mission is well expressed by the formula “From Street to Extreme”, which involves the creation of clothing that can be worn in any context and last in time, the merging of the ordinary and the extreme, the extra-ordinary, through the power of the sportswear style.
Since it was founded in 1935, DESCENTE has searched for comfort, durability and functionality in creations whose innovative forms and structures can meet the demands of sportive people. Yono, instead, has always carried out research on innovative materials, has merged the textile production of Japanese masters with fabrics realised with special dyeing techniques and created a design concept that gives its beautiful, practical garments a precise identity.
Dual-ism Project stems from the connection of sportswear manufacture with avant-garde design, two complementary elements that have in common the outdoor style.

dual-ism.com

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Detroit is a tough, demanding, hard working city that leaves little room for feelings, chilled by the very low temperatures. In this algid atmosphere, however, there is a heart that throbs more than others with warmth, creativity, ingeniousness and love for his own country, the heart of Tyree Guyton. He witnessed the golden days of Detroit, the days of the Motown and the economic boom brought about by such motor industries as Ford, Chrysler, Dodge. After the fifties, though, the increase in unemployment and crime led to the city’s degradation and Guyton decided to give life to Heidelberg Project in Heidelberg Street to foster the district’s new birth through art. Guyton, like Tim Burke, Moses, Kate Moss and many others, recovers the ruins of old buildings, disused objects, thrash in general, cars’ parts, iron and wood bits to create works of art which he displays in the street, as if in a huge museum in the open air.
Guyton created the ideal context for Parajumpers. Located at Segusino (Treviso), the Italian firm chose this creative place to enhance its unique, complete jackets. Created to be functional, practical and wraparound, the items are realised in strong nylon fabric with a removable padded lining, a fur-rimmed hood and a collar that can be closed with a hook. Warm and comfortable, the jackets are provided with several pockets in the front part, and are the ideal garment to carry objects and utensils for one’s works of art.
What Parajumpers and HP’s artists have in common is their mission. Guyton, in fact, wishes to give a future to the people involved in the project by using art. Taking its cue from the motto of 210 Rescue Squadron men, tough, brave Alaskans committed to save other people’s lives, Parajumpers says “May other people live!”, and, as far as HP is concerned, may they live and create freely.

parajumpers.it

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Since Dover Street Market Ginza was inaugurated there has been a little bit of London in Tokyo, the first result of the project aimed at giving international renown to the homonymous department store in the City established by Rei Kawakubo in 2004.
This six-storey 1,300-square-metre space is an important step towards a redefinition of the c in the Japanese capital starting from the choice of its location: DSM Ginza lies in the western wing of Ginza Komatsu, the historic department store established in 1946, today transformed into an avant-garde space. Its philosophy coincides with the idea of ‘beautiful chaos’ already experimented in London: no separation between luxury and street-wear brands, between men’s and women’s fashion, a mixture of special collections by great designers and up-and-coming brands interspersed with art and design installations, with the resulting abolition of the distinction between gallery and shop. The outcome is a department store that has abolished conventionality and perfectly mirrors the soul of its creator.
Particularly interesting is the area devoted to Louis Vuitton, and, among others, to Lanvin, Azzedine Alaia, Celine, Salvatore Ferragamo besides the whole range of Comme des Garçons lines. Rei Kawakubo offered a rich display of Japanese brands to promote her country’s designers and give the DSM concept the Ginza style. Specially noteworthy are the installations created by the Canadian studio Patkau Architects and by Michael Howells, a former collaborator of Comme des Garçons, and the sculptures by the Kyoto artist Kohei Nawa, the only Japanese interior designer involved by Rei Kawakubo, whose task was to lessen the impact of the flights of steps at the centre of each floor. Nawa performed his task brilliantly with White Pulse, the main feature of DSM Ginza, with its thin white shafts soaring high like arrows, an impulse of energy that flows on high from below, floor after floor.
doverstreetmarket.com

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In November 1886 a kimono store was opened at Kanda, Tokyo. It was Iseya Tanji Kimoro store. With a 12-foot-wide frontage, the store started its activity with only two employees. Who would have ever foreseen at the time that this tiny kimono store would later become the world renowned fashion store known as Isetan? The ever growing activity of Isetan is due to the far-sighted philosophy of one of its founders, Mr Tanji Kosuge. As fashion was changing from the traditional kimono-based style to the western modern style, Isetan Department Store opened at Shinjiuku, Tokyo, in September 1933. For nearly 80 years the store has been an important benchmark in the Japanese fashion scene.
Away from train stations and from Nihonbashi and Ginza, the centre of Tokyo in those days, the store’s location was anything but strategic. However, Isetan got round the problem by constantly proposing ever new systems and items. In 1960 they began to introduce overseas fashion, and in 1968 they opened the first store in Asia specialised in men’s fashion. In 1994, when Isetan were the very image of fashion and at the peak of their popularity, they announced a new company ideology. The company slogan was “Everyday is new. Isetan for fashion”, and “Fashion is a crystallisation of art and science. Especially colours and sizes”. Here ‘art’ stands for individual taste, and ‘science’ is meant as an instrument to logically explain art to other people. Once customers are led to share ‘art’ and ‘science’, the inevitable result is their total satisfaction, a theory that has worked not only for sales staff but also for the selection of items.
In the same year the company’s new philosophy led to the creation of a new free space called “Kaiho-ku” in the heart of the store’s ground floor, aimed at introducing designers’ new collections every season, an initiative that has proved shocking for the fashion scene.
In 1996 the “Re-Style” corner was started to meet the demands of the women’s fashion market, and coincided with a major renewal of the ladies’ floor. Furthermore, Isetan are planning a new renewal starting from June 2012, and at the grand opening in spring 2013 they will also open the world’s best Fashion Museum.
Isetan’s aim is to be the world’s finest fashion store, the target of their incessant activity. Perhaps they are bound to stay at the top for ever.
isetan.co.jp

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Mug Magazine deals with the history of fashion, focusing on the evolution of the craft and industry from which it stems. It is a showcase that proposes traditional and up-and-coming items, experimental and well-established articles, trends that look to the future and enhance the value of fashion.
Although Mug’s activity is often focussed on realities outside the domain of Italian fashion, it is all the more valuable since it isn’t influenced by mass culture and can equitably investigate simple and complex projects according to their historical importance and originality potential.
The Magazine’s endless travels, discoveries and documentation has led to its love for Japan, its language and culture, as Italy and Japan’s mutual admiration are rooted in their history and spirit of innovation.
Starting from this issue, Mug’s articles will appear in English and Japanese, two fascinating cosmopolitan languages which will no doubt become in the future the languages of fashion and design. Our choice was also due to our heartfelt sympathy for Japan after the tragic events of Fukushima; our solidarity and sorrow prompted Mug’s reflection and enquiry on contemporary Japanese art and its reactions to the catastrophe.
The novelties in the present issue of Mug are the token of a modernity and dynamism that look to the future while trying to improve its communicative potential for readers to enjoy.

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