The Mother of Pearl in Milan
Text Carlo Mazzoni
In 2000 Armani/Casa was born: the softness of the volumes, a linear style, between wool and linen and word games. The colours inspired by the reflections of the water composed extended, monochromatic and shaded sofas, damasked walls in grey silk that then you blend in with the industrial concrete, ivory-worked wooden tables. The imaginary of a bourgeoisie which came back to rediscover itself as a polyglot one. Compared to Venice, Rome and Florence, the aesthetic codes in Milan had always, before then, suffered fascist architecture: all of a sudden the world recognised them as modern.
The Armani/Casa stores are specific to those districts dedicated to professionals – only in three cities shop windows open in the street: Milan, Paris – and London a few weeks ago, baptized by Cate Blanchett in place of the Queen. The detail is a mosaic of mother-of-pearl running along the edges, which contrasts with the fabric walls that, like the men’s jackets, touch all the shades of gold. The pink and green marbles blend with the grey, the orange, the acid and iridescent green, the blue ones of the runway show. In a fashion discourse based on materials, stones and different textures of fabric and marble, this reasoning on the mother-of-pearl dedicated to Armani can mark a synthesis.
Objects and furnishings were presented in an alphabet exercise. For each collection a letter: in 2006, the Traviata, Tristano and Tarquinio sofas, the Tchaikosky armchair and the Talete pouf. Then the Melrose tables and the Musa bookshelves appeared in sync – the E collection is the golden iron foil named Erika, by letter L there is the Larry bedside table and the Land bed. This year, in 2018, the letter N – the Net table, the Notte lamp, the Narciso vases. A few people have noticed a collector’s virtuosity.
Milan, Corso Venezia 14 – Italy
London, 37 Sloane Street – UK
Paris, 195 Boulevard Saint-Germain – France
Courtesy Press Office