In times of unavoidable digital revolution, some say that magazines are numbered. Their excess, or those made in the same way as they were in the 20th century, perhaps. Putting one more magazine in the world every 30 days requires, first of all, a lot of affection and responsibility with what you want to put on paper. Because once printed, there is no going back – the story is there, forever. Editing, printing and distributing a publication is very expensive. It consumes resources – material, energy, human – increasingly scarce.
These are heavy issues month by month by the Casa Vogue team. That, however, perseveres, because it believes in this platform as one of the inventions of humanity with the greatest potential to inspire, to fill the eyes, to spread knowledge, to instigate dialogue, to awaken in the reader’s mind desires for action and change, of personal evolution and collective. Diving into the archives of Casa Vogue, which now turns 43, to select, among thousands of works – houses, buildings, furniture, objects, gardens, art – that we have already published, one hundred ideas that deserve eternity, was as exhausting a task as it was stimulating. We chose to divide them into four blocks that summarize what we always look for in every project: protagonist colors, sublime character, local roots and memories. All in all, the result is one word: originality. Because what is original, prevails. It remains. Immortalize yourself.
White walls are the norm, the consensus expected in most of our homes. But why stick to the standard, when challenging it can be so much more rewarding? Very few elements have the capacity to transform a space as absolutely as a total chromatic renovation.
Combining furniture signed by unquestionable masters of international design under a palette of vibrant contrasts is one of the specialties of the Milanese duo DimoreStudio. In the living room of this apartment, which they decorated in Paris, in front of the window with Jim Thompson fabric curtains and under the duo’s pendant, Ours Polaire sofa, by Jean Royère, coffee table by Gio Ponti, armchair by Martino Gamper and floor lamp by Angelo Lelli, all about an Iranian kilim – old, of course.
In their tenth participation in the Milanese FuoriSalone, in 2015, Britt Moran and Emiliano Salci, from DimoreStudio, surprised those who visited their gallery apartment, in Brera, with a décor anchored in vintage, although totally contemporary. The contrasts are a resource used with mastery by the duo, as in this environment with walls painted in an aseptic, almost hospital tone, and an exuberant carpet developed by the duo for the French Braquenié. Together, they form the perfect base to receive the table and lamp, also of his own, which exhibit geometries and the opulence of gold, another mark of the work of these talented designers.
The irreverent forms of that decade broke paradigms: dialogue between colors and architecture, aesthetics inherited from the Memphis group and a combination of non-minimalist furniture and graphic elements are mixed in this room. In the foreground, Cardinal bank, at Firma Casa. In the background, from the left: Tridzio drawer (1984/2017), design Fulvio Nanni, reissued by Dpot; Verus sofa, Breton’s Reinaldo Lourenço collection; floor lamp Parliament (1963), by Le Corbusier, by Nemo, at Novo Ambiente; coffee table Lupion, from Artefacto Beach & Country. Poltrona Beijo (1980), by Maurício Klabin, at Novo Ambiente; Durée wall clock (2017), Paola Abiko design for Cremme. On the wall, paints Prairie (green), Pumpkin (yellow) and Grapefruit (orange); and, on the floor, Trovoada paint, all from Suvinil.
In the middle of the Tiergarten, in Berlin, the apartment in a building signed by Walter Gropius in the 1950s, with the help of Marlene Dietrich, has its great symbol of freedom in the modernist palette. Framed by the yellow of the dining room, the kitchen explodes in bright red. The chromatic brightness of the property, however, does not overshadow the emphasis given to the functionality of the planned furniture.