Why Anselm Kiefer’s majestic concrete towers backdropped Tod’s newest runway present
Tod’s inventive director Walter Chiapponi tells Wallpaper* the story behind his S/S 2023 assortment, introduced amid Anselm Kiefer’s monumental The Seven Heavenly Palaces at Milan’s Pirelli Hangar Bicocca
‘I’ve at all times had this sturdy hyperlink to the world of artwork, even earlier than vogue,’ says Tod’s inventive director Walter Chiapponi, who initially studied the self-discipline earlier than shifting to design (and is a stalwart of Milanese vogue, with roles at Gucci, Miu Miu and Bottega Veneta earlier than becoming a member of Tod’s in 2019). An avid collector – significantly of latest images – he owns works by Wolfgang Tillmans, Nan Goldin, and Larry Clark, whereas Keith Haring and Jean-Michel Basquiat had been the impetus behind a latest avenue art-inspired assortment of equipment.
Tod’s S/S 2023 at Milan’s Pirelli Hangar Bicocca
It was an altogether extra monumental art work that supplied the backdrop for the designer’s S/S 2023 assortment, proven in Milan this previous weekend (it was his second runway present since previous to the pandemic, and his fourth full assortment for the home). Going down within the huge most important corridor of the Pirelli Hangar Bicocca – a former manufacturing plant for the Italian tiremakers, now a recent artwork establishment – Anselm Kiefer’s everlasting set up, The Seven Heavenly Palaces (2004), loomed over the runway. Comprising seven towers in concrete and lead, showing as if comprised of sliced aside and stacked up delivery containers, it explores the themes which have run all through the German artist’s output – spirituality, reminiscence, civilisation.
‘Ruins are a starting. They aren’t some kind of degree zero,’ stated Kiefer of the work on the time. ‘The towers in Pirelli Hangar Bicocca appear to have collapsed in on themselves, however their precarious scenario, their nullity in addition to our nullity makes us imagine in our individuality.’
Chiapponi says he selected the area for its feeling of ‘poetic and philosophical reflection’, imagining the present as a ‘symbolic path, amongst these very excessive towers, the place the tough materials of the unbalancing, not completely aligned concrete blocks is in distinction with the clear, straight, exact, and really mild traces of the clothes’. (Kiefer initially discovered inspiration for the work in historical Hebrew texts charting a non secular journey in direction of God.)
‘I just like the area’s immensity, its prominence, and the truth that there are not any obstacles, however solely a big open – however nonetheless closed – area. I particularly love that there are not any factors of sunshine, which makes every thing extra mysterious and melancholic.’
Opened by Carla Bruni and closed by Naomi Campbell, the gathering noticed archetypal womenswear – ‘important items and iconic clothes’ – filtered via the designer’s sensual, Nineteen Nineties-inflected lens, with a specific concentrate on leather-based (light-weight and tender to the contact, the designer stated he ‘handled it like a cloth’). ‘[It is] ethereal and grandiose,’ he says, a mirrored image of the area’s personal majestic proportions. ‘Every thing is dramatic, however in good steadiness.’ §