Volta co-founder Giacomo Piazza. Images by Claudia Zalla

The Italian-based Volta Footwear defines its handiwork as a hybrid between a sneaker and a casual shoe, which does actually describe them quite well. But it doesn’t quite do these “instant classics” justice. Delving deeper, Volta is the unlikely consequence of the melding of four minds, now three: Giacomo Piazza, a former medical student; Matteo Mendiola, a photographer of architecture; and Tommaso Bosco, an entrepreneur.

It is possible that Volta’s seemingly seamless success is the result of its founders’ outsider status in an insider industry—or, likely, it’s just the shoes’ easy, yet stylish nature. Whatever the case, since its launch in 2007 Volta has easily navigated, first, the Italian and then international market. And now comes a women’s collection. As I have already purchased a “Special Fur” toffee pair, I can truly attest to the shoes’ comfort. Giacomo, meanwhile, was happy to tell me a bit more about the process leading up to their creation.

Elisa Lusso: Where does the name “Volta” come from?

Giacomo Piazza : We were looking for a name that sounds Italian (since we are proudly so), easy to spell in all languages and linked in some way to the act of walking. That was quite a challenge, but luckily Tommaso is a genius with names… So that’s how Volta came to be.

Elisa: Describe the Volta process of creation, who makes what?

Giacomo: I’ve always started with fabrics or some personal need, something like, “I would like to have a pair of shoes like that…” So, in general, I made the shoes for myself… But with the Fall 2012 collection, I began working in a different way—a more mature way, let’s say. I was inspired by a trip I took to California last year, especially from the time I spent in San Francisco. I’ve mixed it with the memories of my early high school years, when I was so involved on studying American literature from the ’50s and especially the Beat [Generation]. I did a lot of research around the style of that magical period, and the “Subterraneans Collection” was the result. Since I’ve started with this new method, I work much more closely with my other partner, Matteo, who is the art director of the company. It’s interesting to combine my approach, which is very product-oriented, with his background, which is very arty.

Elisa: How is it working so closely with your good friends? What are the pros and cons?

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Giacomo: Oh, that’s a good one… Pros: Dialect. We all come from the same region, so we can speak to each other in our dialect. We decide everything more or less like a family and we always try to do what’s best for the company, not for ourselves. We always help each other, especially during the hard times. And last but not least, we just have a lot of fun. Cons: It’s stressful, like being part of a family. You can’t really be independent. We started as a group of four and now we’re three, so you can imagine that was a though year, trying to handle the growth of the company as one of the founders left. Other cons… We are competitive friends with big egos who simultaneously need to respect each other’s different roles and positions.

Elisa: What makes Volta so special?

Giacomo: I’m not sure… I’m kind of animist, meaning I think that everything is a product of the environment in which it’s designed and produced.So I think that Volta is special for all the reasons that I just named: the people working with us, suppliers developing the shoes with us, the workers in the factory who hand-make Volta…

Elisa: There’s a story I heard about Volta…that you guys found a pair of shoes in a second-hand market and re-made them. Is this true?

Giacomo: I wish it was. It would have been much, much easier…but unfortunately this is not the case. Actually, I had thought about producing the shoes since I met the guys and when we decided to found the Twentyfourseven showroom, it was natural to produce Volta as well. None of us had a background in footwear, so we had to learn everything about making shoes. It’s been a difficult and long process. Since the beginning, the shoes have changed so much and they are constantly in evolution. For example, this season they are constructed in a completely different way, with different lasts, etc. The coolest thing is that they look the same, but better! It is such a huge improvement in quality and fit. I think this is the most important thing we have ever done together.

Elisa: How important are shoes to a “look”?

Giacomo: Shoes are essential. Any outfit could be elevated or destroyed by shoes. They’re the base element.

Elisa: When you meet somebody do you immediately look at his or her shoes?

Giacomo: Of course. I stare at people, actually.

Elisa: What were you doing before producing shoes?

Giacomo: We are a group of outsiders. Sometimes I think that we were an army of goofy pirates when we started. I studied medicine, but luckily for the healthcare system I quit in time. Matteo was photographer of architecture, and Tommy was an entrepreneur in Costa Rica.

Elisa: How does fashion PR influence fashion?

Giacomo: I think that the question should be: How does fashion PR influence the entire world? Now, if you want to promote a cookie or a screwdriver, you must communicate in a fashion way, which is really sad and cheesy sometimes.

Elisa: In your opinion, who are the influential players in fashion today?

Giacomo: Brands like Prada, Givenchy, Lanvin, Louis Vuitton, Hermès or Céline are influencing the entire fashion system through the power of branding, linking their names to “must-have” and iconic products, creating art projects, great virals products, etc., etc. Thinking smaller, I really like what Proenza Schouler, Christopher Kane and Opening Ceremony are doing in various aspects of the business. If I were to still think of fashion as a sort of art and not just a business, I think that Rodarte is damn great.

Elisa: How is technology changing our approach to fashion?

Giacomo: Technology made and is making everything much easier and faster. That said, I think that we are going a bit overboard with the tech thing. Sometimes I wish we could be more analogic, but I would never be the one thinking that technology is bad. I’m not worried at all about it. I have faith in the entropy principle; the right approach to technology will come at one point.

Elisa: Do you think that video is more powerful than photography?

Giacomo: I don’t think so. If you have nothing to say, you can use any media to communicate that and the result will just be white noise. Nowadays people feel more lonely because there are too many stupid things around that we shouldn’t look at or listen to.

Elisa: What if you were born in the medieval era, who would you have been?

Giacomo: A blacksmith. I love the English word. In Italian is fabbro, which is definitely less charming.

Elisa: What are you looking forward to in the next month?

Giacomo: Showing my very first female collection, launching the samples for the Spring/Summer 2013 collection, traveling to Asia on business.

Elisa: What were you doing an hour ago?

Giacomo: I was at the Anteprima tradeshow buying fantastic Italian leather for the new collection. I’m really proud of my country sometimes.

Elisa: Are you happy with where you are in life?

Giacomo: I’m really happy. I love what I do and the people who are sharing this adventure with me.

Elisa: A quick way to make money?

Giacomo: Drug dealing or high-class prostitution. Ciao!

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.

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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

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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.

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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

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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.

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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

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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.