![]() ![]() To this motif I added an “abstract bestiary” and watercoloured flowers. The line contains decorations that are circular or triangular – the triangle is based on a drawing by Josef Hoffmann – and creates a very controlled and rhythmic pattern overall. I began from a geometric element that is simple and perfect, for me: a line designed by Koloman Moser in 1902. I wanted to avoid a reading of the Backhausen archive that was too historical or “dusty”. What was your approach with respect to archive research and how does it play out in a contemporary language? In Vienna, some of these motifs are widespread as upholstery. You’ve worked with the tourism board in tribute of the one-hundredth anniversary of Viennese Modernism by re-proposing Wiener Werkstätte textiles, which have always been manufactured by Backhausen. In your latest collection, we find your hometown, Vienna. Caccia Dominioni is part of this world from Milan that I encountered and embraced with great interest. ![]() When you move, you have to be curious about your new city. I immediately fell in love with the building and the idea of taking part in such an all-Milanese story. She was the one who told me about a vacant studio in this building. I later met his granddaughter, the photographer Valentina Angeloni. Since I’m from Vienna, where that kind of middle-class house can be found in early twentieth-century constructions, this aesthetic was new and fascinating for me. Fate allowed me to encounter many families from Milan who live in places he designed in the 1960s and 1970s. Upon arriving in Milan, I immediately came across and loved the work of Caccia Dominioni: from the Esselunga supermarkets to the doorknobs, from furnishings to the facades of some of his buildings. Was this a conscious decision to bring your base to an architectural landmark related to this city. We’re in Milan, in Piazza Sant’Ambrogio, in a building designed by Luigi Caccia Dominioni, the long-standing location of your studio. “The most beautiful thing about this work is the opportunity to tell new stories,” said Arbesser, “and just seeing a new print is enough to still feel touched.Let’s start with your atelier. Another was created using a large piece of white cardboard treated with liters of colored watercolor paint. Graphic and painterly elements were prominent, from prints created with spray cans and strips of tape (later removed to create aesthetic effects) to those developed from textures found in the team's photo albums with a fake patchwork effect. “Everyone should embrace that precious mindset of not caring about what others think.”ĭresses, shirts and linear skirts looked easy to wear but were complex in thought, designed for those who want to feel like protagonists in the clothes they inhabit. “Nothing beats the joy of being able to express yourself freely,” he said. His work is a search for joy and lightness through the eyes of an adult who is fearful of losing touch with his inner child. “Using just what’s available is more a matter of intuition than reflection,” said Arbesser. ![]() Spring was shown on inanimate objects, transformed and rethought as hangers or mannequins. With a Dadaist approach, his collection became a complementary element within Spazio Meta-a vast warehouse in Milan, filled with used pieces of window displays, sets from past fashion shows and a startup operating in the field of temporary installations. Arthur Arbesser’s presentation was a conversation between clothes and the space they occupy, both real and metaphysical.
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