Studiopretzel founder Emiliano Laszlo. Image by Marco Annunziata.

Is consumerism killing craftmanship? How much longer will quality clothing exist? Fashion these days often forces industry insiders to forgo words such as quality and craftmanship in the name of survival, as defined by profit margins and output. In Florence, however, Studiopretzel is bucking the trend, offering an exceptional collection of handcrafted shirts and t-shirts devoted to unique details and construction. Here, the studio’s founder, Emiliano Laszlo, tells us about his admirable mission.

Elisa Lusso: You started at a communication/advertising agency; how did you end up designing and producing shirts?

Emiliano Laszlo: Actually Studiopretzel was born almost at the same time, like an advertising agency and fashion brand. The first idea was to develop a collective of people operating in fashion, photography and everything around “being cool.” However, it was something already being done, and I was unsatisfied with the result. But I thought the logo was too nice to not to be used for something more… So out of nowhere I found myself literally producing clothes, with no experience at all—just my own taste, combining my favorite colors with comfortable fabrics. Then it came to me: I wanted to start a fashion brand with a strong foundation in handcraftmanship.

Elisa: How much has living in Tuscany influenced your world vision?

Emiliano: Someone could probably think about the art culture here and how great it is to grow up in a place like this. Maybe it’s true. I am really fortunate in that here I was able to find some of the best craftsmanship.

Elisa: What did you study?

Emiliano: I studied theater direction, video making and black-and-white photography.

Elisa: What does the pretzel loop symbolize to you?

Emiliano: Since the very beginning, the pretzel means just what it is: a hug, a wound, a funny moment…

Elisa: The pieces you produce are based on attention to detail. How do you choose fabrics and materials?

Emiliano: When I was a kid, my parents used to give me their old shirts and t-shirts because I didn’t want to use anything new. I like used clothes or those already worn by somebody. I was looking for the softness of what I was wearing. I guess that is why I now choose only muslin or super-soft cotton for the collection.

Elisa: How many details go into a garment?

Emiliano: Even just one gives it importance, but you have to ensure that the details provide some personality.

Elisa: How do you choose the material for the buttons—do you have any criterion?

Emiliano: Well, I’m used to doing some research. I was excited by the allover Japanese prints. They’re so elegant and so smart and I felt the need to use them somehow.

Elisa: What does Japan represent to you? What do you learn from Japanese people?

Emiliano: I have a very close relationship with Japan. I went there years ago and the trip changed me. There were different people, religions, food, trees, languages, respect and relationships. It is like going to another planet. I was there alone, surrounded by new urges, with Japanese friends, musicians, painters, actors… I lived their lifestyle completely. I started to think about the world as they do, in a more Shintoistic way. It was like a rebirth.

Elisa: Your line is handcrafted and made in Italy, so the basic production cost must be high—or at least higher than that of a big distributor. How do you compete with the mainstream market?

Emiliano: I didn’t choose higher standards to make a comparison. The Studiopretzel collections are limited because I want to choose fabrics at the end of stocks. This is how I work; I want to make it unique and exclusive.

Elisa: What’s next?

Emiliano: I’m creating a new menswear suit. It’s an hybrid between a double-breasted suit and a Yukata [a traditional Japanese summer kimono]. That means you can be elegant and comfortable in summer without being wrapped up in a classic suit.

Elisa: You often say that Studiopretzel is more a lifestyle devoted to beauty than a communications agency. How do you define beauty?

Emiliano: “Beauty” is the most pointless word used in this decade. You know why? Because people cannot recognize it anymore.

Ferragamo. Images by Paolo Simi. Text by Elisa Lusso.

65% of the human body is made up of water.
4/5 of our planet is covered in water but only 3% of it is drinkable, and in the majority of cases it is inaccessible.
Every day, 4,000 children die from water-born illnesses.

For these reasons and more, Giorgio Armani opted to join Green Cross International in supporting UNICEF’s Tap Water Project, electing two of Armani’s signature fragrances, Acqua di Giò and Acqua di Gioia, as conduits for change. For each bottle of perfume that is purchased, 100 liters of water will be donated to communities in need.

Additionally, by clicking on the Acqua for Life Facebook page, participants can invite friends to participate in the campaign and create their own online communities. Each new member will add ten liters of drinking water to the cause just by joining.

Click “Read More” for additional images.

Ferragamo

Acqua for Life

Images by Paolo Simi. Video by Silvia Bergomi. Text by Elisa Lusso.

Jil Sander’s bold volumes and tactile textiles recall open skies, skis and clean cuts (both on the slopes and in the altier). Meanwhile, DSquared2 heads back to the Old West, where circled specs, bucket hats and even dreadlocks reigned. Finally, Dossier contributing editor Silvia Bergomi ends the day playing DJ at the Levi’s Curve ID event.

Backstage at DSquared2

Click “Read More” for video and additional images.

Jil Sander

DSquared2

Levi’s

Silvia Bergomi

Images by Paolo Simi. Text by Elisa Lusso. Video by Silvia Bergomi.

Evolving her penchant for the ’70s—which also dominated January’s menswear collection—Frida Giannini introduced classic Gucci glamor with a dandy twist. Androgynous wide-brimmed hats floated over vibrant furs, introducing a daring women who asserts her sexuality with subtly seductive knee-length skirts, flares and masculine accents.

Click “Read More” for additional images and video.

Images by Paolo Simi. Text by Elisa Lusso.

Perhaps it’s Matvey Lykov’s professional empathy that gives the male model’s directorial debut, Enchanted, its divinely haunting depth. Pairing the esoteric tunes of A.R. Rahman with clothing by Francesco Scognamiglio, styled by Morgan Hamanda Ruiz, the result is spiritual…almost holy. This sacred aura results—at least partly—from an unexpected source: fish. As Matevy and Morgan explain, fish are pagan symbols of female fertility while water emblemizes the flow of the Divine Mother. Therefore, all water creatures embody aspects of fertility and the power of the female deity. Let’s just say, it’s always a matter of creation.

Directed by Matvey Lykov
Styling by Morgan Hamada Ruiz
Cameraman: Joe Dahl
Hair by Marco Braca and Teiji Utsumi
Makeup by Martina Luisetti using MACPro and Agata Peyrot
Models: Audrey Favardin, Andrea Lausevic and Cassandre Smith at Elite Model Management London
Lisa Bommerson, Claire Granlund, Vick Sirotyuk at Elite Model Management Milan
Production by Tamanna Jahan
Makeup Assistant by Amaranta Bea

Click “Read More” for additional behind the shoot images.

Andrea

Audrey

The director, Matvey

Vick

Images by Paolo Simi. Text by Elisa Lusso.

Though the sublime delicacy of Paris’ much-loved macaroons seduces you with its perfection at first bite, I find that the city is best enjoyed bit by bit… Wandering the capital’s grand avenues and sitting at its cafés are among my favorite occupations, and my standard stops include Café de Flore to mingle, Colette to shop, Ladurée for the sublime pastries and the Restaurant Dave for aperitifs and dinner. Oh, and in between I managed to make it to the week’s many fashion shows, presentations and events. Coming from a—perhaps conservative—Italian point of view, the Parisian take on menswear was far more experimental and risky than that of Milan. But, taken in pieces, it was suitably refined.

Click “Read More” for additional images.

Anthon at Ford Models and Gen at Elite Model Management. Images by Paolo Simi. Text by Elisa Lusso.

During the first two days of the Gucci casting, I have to admit that I felt a bit overwhelmed by the inundation of beauty at its most pure. Upon entering the office, I found a wall of boys. Resisting the urge to jump into it, I ended up staring at the floor—it was just too much to take in at once.

Once the models were selected (this time around the request was for blondes) and the fittings began, I had a chance to chat with the boys and share a cigarette on the balcony. It was a pleasant surprise; there were no Derek Zoolanders in this group. One of the them is already a photographer, another an architect and then there’s the actor… It’s a shame most people only see them as models.

The only uncomfortable moment came when I handed out the g-strings that were to be worn during the show. Why do I have to be in charge of this? The looks I received were more telling and eloquent than any words I might come up with to describe their reactions, but it’s safe to say they weren’t pleased.

The result after a week of castings? A successful show and a drive through the Austrian Alps with a new friend.
Now…it’s time for Paris.

Tim Boat at Elite Model Management

Click “Read More” for additional images.

Ryan at I Love Models Management

From left: Nikoa at D Men; Henry at 2morrow Model Management.

Tomas at D Men

From left: Duco at Tony Jones Model Management and Lenz at I Love Models Management; Gen at Elite Model Management and Duco.

Images by Samantha Casolari

Zana Bayne gives new meaning to the term hybrid. Rather than oscillating between electricity and gasoline, she alternates between designing inventive leather harnesses for her eponymous brand and photographing and styling for Lurve Magazine, applying the creative skills and hands-on crafts she garnered at the San Francisco Art Institute, where she earned a BA in “New Genres.” On the other hand, she’s a compulsive email checker and self-made businesswoman. These seemingly contrary sides meet on Zana’s renowned blog Garbage Dress and her recently launched online shop. As for her fuel? She sticks to chocolate.

Elisa Lusso: What are your main activities, from the time you get up until the time you go to sleep?

Zana Bayne: I’m up at seven, work on orders, run to the post office, blog about something, work on samples, watch Netflix, sleep.

Elisa: What is the “day-to-day” struggle of a designer?

Zana: I would say it would be keeping up with the pace of the industry. There is a certain amount of pressure to produce from season to season. Right now my biggest struggle is keeping all of my receipts and documents organized!

Elisa: What type of imagery influences your work? What types of books did you read during your teenage years?

Zana: I like to think about accenting different body parts, such as the shoulders, clavicle, back, legs… I reference different aspects of clothing and how straps can interact with a collar or protrude out from a neckline. Instead of specific imagery—with the exception of my pentagram piece—I think more about lines and shapes. When I was young, I was enraptured with books by Francesca Lia Block. At 17, a boyfriend introduced me to Georges Bataille’s Story of the Eye and I have held on to it ever since.

Elisa: Your accessories are both wearable on skin and over clothing. Which do you prefer?

Zana: For the most part, I prefer them over clothing. I like the idea that I can take a basic jacket or a minimal dress and completely change its impact or silhouette through the application of a harness.

Elisa: Can you imagine your life without leather?

Zana: No matter the material, I will always be making something with my hands.

Elisa: How did you come up with Garbage Dress? Where did the name come from?

Zana: I had been posting photos of outfits on LiveJournal fashion communities for several years before I began to notice the trend of separate style blogs, like Camille of Childhood Flames who started hers a few months prior to mine. Garbage Dress was born in June of 2008. The name is a little riff on my preferred aesthetic for clothing: black, shiny and oversized—like a garbage bag.

Elisa: How important are high heels to your looks?

Zana: High heels are a personal choice, and certainly not necessary for everyone. I know women who are just as fierce in combat boots or sandals. I honestly can’t wear super-flat shoes because it hurts my feet. At the same time I do think that a tall shoe finishes off a silhouette elegantly. Besides, I like to pretend that I’m taller than 5’6″!

Elisa: When do flat shoes get their turn?

Zana: I have a beautiful pair of patent leather Bottega Veneta oxfords that I used to wear every day… For those, I will sacrifice height.

Elisa: Day or night, which is your favorite time to work?

Zana: No matter how much I push myself, I have always been an early riser. I much prefer working with natural light.

Elisa: Are you an insomniac?

Zana: I’m a fake insomniac. As much as I try to work while it’s light out, when the hours of the day start running out, I will stay up as long as I have to in order to get the job done. I’ve been known to pull a Red Bull-fueled all-nighter from time to time.

Elisa: How would you describe your attitude towards life?

Zana: I’m a positive realist.

Elisa: Try to be honest; when you meet somebody for the first time, where does your eye go—fashionably speaking?

Zana: I like to take in the full silhouette, but I especially notice how the person is carrying themselves. Confidence is a very important aspect to having a good look.

Elisa: What does your house look like? What about your neighborhood?

Zana: Right now I live in a little one-bedroom in East Williamsburg. It’s a predominately Dominican neighborhood. [It’s] close enough to several subway lines but far enough away from the Bedford [Avenue] circus, so I can go about my daily life with a certain degree of privacy. I use the majority of my apartment space for my leatherwork. I’m not much of a cook, so I don’t even have a kitchen table.

Elisa: Select from the below and then explain your choice: Ann Demeulemeester or Maison Martin Margiela?

Zana: Ann, for the luxurious materials, brooding aesthetic and having completely evil shoes that are actually comfortable.

Elisa: Jil Sander or Prada?

Zana: Jil, for the clean geometry and wicked accessories.

Elisa: H&M or Zara?

Zana: Zara, for the fabulous trousers and quality of clothing.

Elisa: New York or Paris?

Zana: New York, for the fast pace and strong design community. I don’t speak any French, besides “crème brulée” and “Comme des Garçons.”

Elisa: Sunglasses or shoes?

Zana: Boots.

Elisa: Summer or winter?

Zana: Winter; I hate hot weather.

From Left: A look from On And On; the designer, Silvia Di Grazia. Images by Paolo Simi. Text by Elisa Lusso.

To succeed in the fashion industry these days means mastering not only the creative process but also production, distribution, marketing…pretty much every piece of the puzzle. Luckily, grit, persistence and bravery—along with to a hefty dose of creativity—are among designer Silvia Di Grazia’s key attributes. So as we watch Milan’s big names send their Spring 2011 looks down the catwalk, we had a chat with this young Italian designer about the obstacles she’s encountered and why she’s decided to go on. And on.

Elisa Lusso: When did you decide to start On And On, and what’s it all about?

Silvia Di Grazia: I started studying Fashion Design at Polimoda in Florence with a major in knitwear, and from that time dreamed of launching my own line. In the beginning my designs were a little bit more “street.” I remember that while everybody else was using lace and doing some kind of “haute couture” drawings, I just wanted to design a sweatshirt! I was always looking for simple fabrics and everyday looks.

Elisa: What was your inspiration at that time?

Silvia: Probably my main inspiration was music. I used to attend a lot of hip hop concerts and this naturally came into my designs. For my Spring 2010 collection, I was inspired by Alejandro Jodorowsky after reading his book La Via del Tarot. The collection has some tarot characters in the graphics and tailoring details, like inserts or designs that recall the shape of the moon.

Elisa: Have you ever gone to a tarot card reading?

Silvia: (Laughs) I’m actually used to this kind of thing… This friend of my mom’s, Giovanna, reads tarot cards and I often go there to ask how my love or work will go. She gave me a precious deck of tarot cards as a gift, from which I’ve been able to understand the recurrent symbolism.

Elisa: So what was your Fall 2010 collection about?

Silvia: Since the fixed bikes phenomenon is quite popular in Italy now, I’ve been enjoying riding bikes—particularly the old ones. I live in a small city in Tuscany called Lucca, where you can easily go everywhere by bike [so] this collection was inspired by bicycles.

Elisa: How do you translate that into a design concept?

Silvia: I was looking at the wheels and the spokes but also at the professional riders’ garments, from the past and now. Then I tried to translate these shapes into the cuts and seams. For example, bikers need to have a double collar to protect themselves from the wind [but] they also sweat, so the collars can be worn both ways. Otherwise, you can have a jacket with the pockets in the back to carry a water bottle. Leggings are sewn to replicate the muscle lines…

Elisa: You’re only 28, but you’ve managed to start your own company and are on your third collection, which is impressive. How did the business part begin?

Silvia: In 2008, I entered a local competition to win funding for young entrepreneurs, and [I got] the money to start my business. But that money wasn’t enough to cover all the production costs…

Elisa: What is the most difficult part of the process?

Silvia: I design and produce On And On all on my own, except for the tailoring part, which is done by Italian dressmakers who [work from] my samples. The process of translating ideas into sketches comes naturally to me. Afterward, to select the textiles, produce the samples, balance the costs, and determine the pricing [while] still respecting my initial ideas… It’s actually really complicated! And, well, you also have to think about the merchandising potential of your products.

The most stressful side of this business is taking care of finances and tracking every sale and invoice. On the other side, I have plenty of amazing friends who are helping me with their individual creativity, providing visual graphics, written content, photoshoots for the catalog, etc. This balances the stressful part because it means I’m not the only one who believes in the project.

Elisa: Let’s go to the core of the brand; what does On And On mean?

Silvia: The first idea was about creating an innovative clothing line, but still a classic one—a garment that can stay in your wardrobe for more than one season; it just goes on and on. It reflects a simple style, which you can wear with many other pieces, but its details, tailoring and cut still provide a very personal accent. On And On is also a lucky charm born from music. You know when you get obsessed with a song and cannot help putting it on and on? This feeling came to my mind when I started developing the first collection. Now it [relates] to the ongoing flow of inspirations. The first [collection] was about dance, the second about tarot cards, the third about bikes… I love to take clues from my surroundings, my passions, my background and my friends: all my loves.

Elisa: You and your look are all about music; what song do you put on to get up in the morning?

Silvia: She’s a Maniac by Michael Sembello.

Elisa: And while you’re working?

Silvia: On and On by Dam Funk.

Elisa: When you want to dance?

Silvia: Keep on Jumpin’ by Musique.

Yves Saint Laurent video and all images by Ari Marcopoulos

I had the pleasure of meeting Ari Marcopoulos when he was in Milan. The next day, he asked if he made a good impression on me. Well, of course he did. The most surprising part of the aperitivo/chat with Ari—and his smart assistant Camilla—was learning how he became a photographer, not to mention a successful one. In the early years, with no money in his pockets to buy and develop film, he cleverly developed a method to do it all himself. He would buy meters and meters of uncut film, rolling it afterward inside the camera and…voilà. He only needed to learn to develop it. He did this too, and he still brings two analog cameras with him wherever he goes. My second favorite part was the video featured above: His work for the recent Yves Saint Laurent men’s fashion show. The house’s designer Stefano Pilati contacted Ari personally after seeing one of his exhibitions. Throughout our time together, Ari kept recounting that fashion is grabbing him. And well, his work is quite snatching…

Elisa Lusso: Your first name, Aristos, means “best” in ancient Greek. What are you the best at?

Ari Marcopoulos: Rapping, I got some serious gangsta skillz.

Elisa: Your father is Greek while your mother is Dutch. You were born in Holland and now you’re based in Northern California, near San Francisco; to which do you owe the most?

Ari: My mom.

Elisa: You had a pretty enviable starting point in your photography career, since you began next to Warhol and then assisted Irving Penn. At which point is the scene more important than the technical skill?

Ari: Technique is good to know, but vision is more important.

Elisa: What Warhol was representing about consumism and re-production has not only effectively happened but is now evolving and turning into a multiplication and massive copy of information and images. How much do you think the Internet era will affect our visual culture?

Ari: The Internet allows for instant visual reference. It is a cool tool for communication. I guess we’re going to see more and more pixels.

Elisa: You also run your own blog. Do you think that blogging is somehow our individual communication channel?

Ari: The blog is too much work. I pretend I am digital, but I think I’m analog.

Elisa: What will be the evolution of the press in regard to the Internet? Will there will be any…?

Ari: Every piece of information will eventually be on the Internet. Soon they’re will be no need for the press as we know it.

Elisa: In which ways is communication growing in our era? How much is social networking changing our minds?

Ari: Our minds are melting into the Internet, becoming like a hive mind. We should avoid that and stay individuals.

Elisa: You’ve been shooting so many actors, artists, musicians, skaters, snowboarders, family, friends and so on… Which one has been the most confident?

Ari: Terje Håkonsen, such a good snowboarder.

Elisa: The most camera-shy?

Ari: Charlie Ray. He is just shy—and also camera shy.

Elisa: The funniest?

Ari: Cairo and Ethan, because they are funny.

Elisa: The one you absolutely want to hang out with?

Ari: Camilla, because she is smart and has a sense of humor.

Camilla

Elisa: The one you’d go on holiday with?

Ari: John Travolta, because it would be super weird.

Elisa: The most elegant?

Ari: Diana Dondoe. I don’t know why—I mean she is elegant

Elisa: The most attractive?

Ari: Mmmmmmm… I don’t want to say.

Elisa: The most seductive

Ari: Also a secret…

Elisa: You also love to document reality, such as your family and friends and the underground cultures you belong to. How do you achieve the emotional tension we experience looking at your photos?

Romy

Ari: I am interested in people and they can feel it, so they just let me do my thing…

Elisa: How does getting into the intimate lives of people help you get the right shot?

Ari: It is good when people are comfortable with you so the camera does not become an obstacle.

Elisa: I really enjoyed the Claremont video [for Adam Kimmel]. What do speed and risk represent to you?

Ari: Speed and risk make you feel alive.

Elisa: Kids has been such a teenage cultural “manifesto” for many of us. Can you describe how it was following that extremely edgy youth lifestyle? Which aspects [of the film] do you think differ from youth’s attitude nowadays?

Ari: There are differences, but teenage cultural is pretty much the same as it used to be. It is a time in life where you challenge everything. Of course there are some style differences…

Elisa: What did you learn most from having experienced the hip hop downtown culture during the ’80s?

Ari: That fat laces are dope—black Pumas with red stripes with fat red laces!

Elisa: You’ve been involved in a project documenting the earthquake in L’Aquila, here in Italy. Since the very beginning this natural occurrence has been a political issue, as it involved many different financial interests. Did you see that when you were there? What has been the most shocking thing for you?

Ari: The most shocking thing is the amount of destruction. Then the other is, I guess, that people are starting to make a business out of other people’s misery

Elisa: A final few questions… What do you like most about Italy?

Ari: The people.

Elisa: What’s your favorite food?

Ari: Chocolate.

Elisa: What do you like most about California?

Ari: That you can surf and snowboard in one state.

Elisa: Ari cannot live without…

Ari: His girlfriend.

America

Bad

Left: Statue; Right, Cairo

Zipper

Ethan

Barry

Dictation

Morphosis