It's all about mixing things up and creating something that has real meaning, both for us and for the person who wears it. We like to mix the rough and the smooth, the beautiful and the menacing. It was a natural curiosity as children that has still not stopped.
We both like a balance between these elements; our collections always try to mix elements, so whether skulls and flowers, or solid and negative space, we try to create contrast. We experimented with garments but decided jewellery suited us because it was less disposable. I think a lot of people assume I am a goth, but I actually really love florals. Someone who appreciates design, detail and is looking for something that they can wear for the rest of their lives. I studied film at NYU and spent a while working with [the painter] Francesco Clemente. Young fashion-aware customers with tighter budgets, as well as a mature, luxury-focused clientele who appreciate the high quality of Italian manufacturing. I studied literature and philosophy before my Fashion BA at the Marangoni Institute.
Questo dualismo si riflette nell'immagine generale dell'edificio, che appare composto da due corpi di fabbrica, uno alto e sottile e uno basso, collegati da balconi sospesi che ricordano la casa Rustici in corso Sempione.
Quest'immagine è però illusoria: nella realtà l'edificio è composto da un unico corpo di fabbrica, con una pianta molto articolata che attraverso le zone d'ombra create dagli arretramenti delle masse dà l'impressione di corpi semplici fra loro separati.
I have always had an interest in natural forms and shapes. I like that so many different types of people relate to and wear my work. I think that the way they work has helped open up who is able to enjoy fashion, not limiting it to only those able to make it to the high-end shops in the capital. I studied a BA in contemporary jewellery design at the Sir John Cass school of art and design.
By Ryan Cracknell | Hobby Editor The 2016 Topps Star Wars Masterwork checklist takes the Force to the high-end for a second time.
When the line debuted in 2015, it marked the first truly premium release for the franchise.
Nel suo carattere ambiguo, l'edificio sembra rappresentare il destino dell'architettura razionalista nella seconda metà degli anni trenta: ormai isolata dal dibattito ufficiale sulla costruzione della città, viene relegata alla risoluzione di problemi formali, sempre più sganciati dalle necessità funzionali This page is based on a Wikipedia article written by contributors (read/edit).
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