The art of matching. Selecting the proper accessories that matches your look seems easy, but even a little detail can ruin everything. To reduce the risks, respect the rule that want every accessory, from hat to socks, to be in pendant with the outfit; and no mistakes allowed even concerning the fabrics: there are also rules about matching different materials in the proper way. For example: don’t match cashmere with shearling, yes to shearling with tweed. Rather is better to opt for a complete change of fabric: nylon hat with camelhair coat. But personality is required, as well as for wearing red socks with a blue suit or sneakers with jeans: this is so obvious that the sneakers have to be really, really special. But if you have classic tastes, stay classic: blue with blue and denim only with desert boots.





The eclectic knight. “A Fornasetti item has the power of changing the vibration of any place. A room can be very beautiful, but also rooted in real life. Place a Fornasetti in there and the room acquires a completely different aspect”. This is how, in 2005, Philippe Starck described the dreamlike side of the masterpieces of Piero Fornasetti, (Milan, 1913/1988). His son Barnaba continues the research started by his father and contributes to the success of an artist that revolutionized the interior design concept; a “style changer”, Fornasetti, that “for a long time was ostracized. Far from the strict rules of modernist rationalism, bearer of a narrative and theatrical design that reached the highest peak of modernity, recovering at the same time the classical codes. Piero Fornasetti was put on the borders by a system that didn’t forgive his eclectism”: this is what Silvia Annicchiarico writes in the book Citazioni Pratiche, edited by Electa and curated by Barnaba Fornasetti. If Piero Fornasetti had been a director he would have been Fellini, if he had been a band, the Beatles, and if he had been a modern artist he would have been Damien Hirst. And if he had been a fashion designer?


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Degrees of separation. Rod Stewart’s shoes in this picture of 1965 with Long John Baldry (singer and guitarist of The British Blues) correspond with the short white socks of Marlon Brando in a portrait that has made history, with him crouched on a chair at Actors Studio. Yes, because if the “error” (or “horror”) comes from a remote past, and besides made by a celebrity, is cool; if it’s made by you, you are a chav. But fashion designers try to surprise us in many ways, with eccentric ideas on the borderline of good taste, so why does a guy today deserve to be called a person of bad taste? White socks are in fashion, for example. We must ask ourselves which is (and if there is) a degree of separation from good and bad. There are different kinds of fashion: conventional doesn’t admit mistakes, while fashion created on purpose, following our personality without worries and obligations, does. The history of Miuccia Prada menswear collections teaches us that oversights and imperfections are (or can be) a sign of personality that makes the difference. My advice: follow your instinct and, if you’re sure you can dare, do it. And if you dare, do it completely.



Marsupio, Prada, s/s 2018.

Una collezione celebrativa del divario/incontro tra realtà virtuale e realtà umana, reso attraverso l’uso dei fumetti, che si fanno linguaggio simbolico. “Sono disegnati a mano, umani, semplici e reali. Anche nel caso in cui contengano le fantasie peggiori, hanno un aspetto semplice…Sono piccoli frammenti di vita, che è ciò che si ottiene oggi dall’informazione, dai media: quindi sono sempre stata molto attratta da loro. Anche se non mi sono mai piaciuti.” Quindi, fumetti, realizzati dal collaboratore di lunga data James Jean e dall’artista belga Ollie Schrauwen decorano dal pavimento al soffitto la location dedicata alla sfilata, e fumetti decorano maglie, camicie e accessori, come il marsupio, il must-have di stagione. A cura di Angelica Pianarosa, Foto Michele Gastl. 
A collection that celebrates the gap/meeting between virtual reality and the reality of the human part, rendered through the use of comics, that become a symbolic language. “They are hand-drawn, human, simple and real. Even if they contain of course all the worst fantasy, they look simple…They are little fragments of life, which is what you get now from the information, the media: so I was more and more attracted by them. Even if I never liked them.” So, comics by longtime house collaborator James Jean and Belgian graphic artist Ollie Schrauwen decorate from floor to roof the location of the show, and comics decorate sweaters, shirts and accessories, like the fanny pack, the must-have of this season. Edited by Angelica Pianarosa, Ph. Michele Gastl.