We Sent A Stone Island Nut To Interview Massimo Osti’s Son
Stone Island is a type of rare manufacturers that conjures up absurd levels of devotion in its prospects. Like Supreme, Nike and Jordan, guys are blissful to throw their whole financial institution accounts on the Italian label simply to add that one *essential* piece to their already large collections. The model conjures up such loopy loyalty in people because it affords a singular combination of a rich, vibrant history and next-degree innovation. Stone Island (or “Stoney” as it’s affectionately identified in the UK) uses insane fabrics that make its garments change color, glow at the hours of darkness or seem like they’ve been worn for decades.
The architect of Stone Island’s iconic place in menswear was Massimo Osti. The Italian designer revolutionized the style industry from the ’80s onwards, and was utilizing innovative strategies to create excessive-efficiency menswear 30 years earlier than anyone ever stated the word “athleisure.” Osti’s work attracts obsessive followers who fetishize his creations in all their types: whether or not it’s for Stone Island, C.P. Firm, Left Hand Productions or the extremely-rare World Vast Net label.
Osti sadly handed away in 2005, forsaking a vast archive of groundbreaking garments, designs and fabrics. Massimo’s son, Lorenzo, has carried on his father’s work — he’s now the advertising and marketing director for C.P. Firm — and lately took part of his family archive to coincide with the relaunch of the Concepts From Massimo Osti book, in partnership with the Jacket Required tradeshow. The 432-web page archive is a should-have for Osti followers, and is jam-packed with sketches, pictures and ramblings on the design legend’s work.
Highsnobiety was given the unique opportunity to talk with Lorenzo, and relatively than do a easy Skype call or e mail interview, we bought our favorite Stone Island mega-fan, Ollie Evans, to head down as a substitute. Ollie runs Too Scorching Restricted, a London-based archive of vintage bangers that sells archival Stone Island, C.P Company and other Osti-affiliated labels, alongside treasures from the likes of Burberry, Moschino and Prada. He is a subsequent-degree Osti fan, and also contributed to our in-depth history of Stone Island.
What was it like rising up in Bologna?
It was very exciting, I’ve been very fortunate, the place was very active from a cultural point of view, and we had been in the midst of all of that. My father was already fairly profitable and all our mates had been musicians and artists. Our home was an open home — not kidding, at dinner time people would ring us and say “is there one thing to eat here?” So every day from Monday – Sunday there were 10 people at dwelling.
As a small baby I remember I by no means wished to go to sleep — it was very thrilling. I’ve been very fortunate with everything that happened to my father and his work and for being in that setting at that time. It was very stimulating.
Did you spend a variety of time in your father’s studio as a baby?
Solely after he moved to a studio close to our home. For the primary 10-15 years of his career he was working the place the company was primarily based in Ravarino, where the manufacturing unit is. He founded C.P. Company and what’s now referred to as Sportswear Company [the manufacturers of fashionable Stone Island] in Ravarino. He was going there on a regular basis earlier than I woke up and coming back when I was asleep.
I used to see him one or two days every week, but after that, when he was drained with his life, he moved back to the workplace close to our home [Massimo left C.P. Company and Stone Island in 1995]. I used to spend full days there enjoying with the Xerox copier and fabrics, it was tremendous enjoyable.
What was the artistic process like there?
From a creative standpoint he was just about by himself, but I at all times remember folks operating round him bringing him things — do this, try this.
Did you are taking you’re taking a variety of samples for yourself?
It was a playground for me. When i used to go to the company in Ravarino I used to be normally supplied with a big plastic bag and that i may take no matter I needed. It was like working to the store and taking whatever you want without paying, “oh this I’ll take in blue, yellow,” and of course it was a little bit of a waste generally. I used to be 10 years previous! I remember going again with luggage stuffed with garments that I couldn’t even carry up.
How did your father’s background as a graphic designer have an effect on his approach to vogue?
His profession in vogue started from a graphic design perspective. He was asked to design some T-shirts for a brand referred to as Anna Gobbo. It was extraordinarily successful, they offered very nicely, in order that they made one other collection and another. Then he started experimenting with garment dying on the T-shirts as a result of he didn’t prefer it when the print was standing out a lot — he thought “let’s start to dye this.” Then from the T-shirt to the shirt, to the pants — and every thing was born.
Graphics remained very influential for his entire career as a result of he was used to being a communication individual. He was used to taking care of all of the communication of the brand by himself. All of the catalogues had been made at the studio, all the graphic design was made here, all the pieces underneath his direct management. He was creating the garments, but at the identical time he was overseeing all the communication, catalogues and advertising.
Your father’s garment technologies and innovations revolutionized the business. Which one do you suppose had probably the most impact?
I think it’s the garment dying. I don’t need to say invention, he didn’t actually invent it, garment dying has existed endlessly. If you have an previous garment and you want to cover a spot, you dye over it. But he made it a scientific industrial process and brought it to a degree that had not been attainable to think about before: dying leather-based, multiple materials and all of this stuff.
His different fabric inventions like Raso Ray (polyurethane-coated cotton) and Tinto Capo (the dying method) are good, and vital, but they didn’t have this huge affect that garment dying had. Garment dying really changed the look of the garment, from stiff and out-of-the-box to worn-in and informal. It actually created this contemporary sportswear look, and of course everybody else adopted it.
Again on the Massimo Osti Archive exhibition this morning.
A put up shared by Too Sizzling (@toohotlimited) on Jan 27, 2017 at 3:41am PST
Navy expertise and design have been huge influences on your father’s work, where did this curiosity stem from?
He wished to check military and workwear because every part is there for a reason, every ingredient has a operate, there isn’t a aesthetic stuff, no decoration. He additionally said he wished to review the fabric of army garments as a result of they don’t have problems with price range, they don’t have the problem that the garment can’t value more than a specific Stone Island Cotton Sweater Collar Collection Blue Black amount. They just go for the highest performing thing they’ll discover, so he stated that it was the perfect inspiration for him.
From there he began sending people to go and buy vintage army and workwear clothes — first it was my mom, then he had someone devoted to that. They used to come to London two or thrice a year to go to previous markets, buy every part they found fascinating and ship it again to Bologna to the archive.
How did the archive get to the purpose we’re at at present?
At a sure level of his life he was ready to go away the business. He didn’t want to design anymore and he determined to sell the whole archive to Mr. David Chu, the proprietor of Nautica, but then he didn’t actually stop. At that stage the archive was 38-39,000 items — big, a lot! It was a problem for us to handle, we had 25 industrial containers parked outside and it was almost not possible to go through issues one-by-one. It was a bit overwhelming so he determined to get rid of everything.
As a family we have now a group of actually key garments at house, so my fake stone island jacket father started bringing these once more to the studio. He wanted one thing to work on for his small projects, so he began to collect once more. After that he labored for Levi’s (Industrial Clothing Division), he made the WWW (World Vast Net) mission, the Superga undertaking. So he went back to buying some old vintage navy stuff as a result of that stuff was missing, so we rebuilt the archive, he went on doing that and now we have now roughly 5,000 garments.
I think the heart of the archive just isn’t the garments. The garments are good, however the Rivetti family and Sportswear Firm have a a lot, much larger archive than us. C.P. Company’s archive is way bigger than our archive, however we even have an enormous fabric archive of samples — more than 55,000 sample pieces of fabric.
Also we have now the paper archive. We stored all my father’s designs, all of the Xerox copies, it’s all categorized. You will see this in the e book, it’s probably the most attention-grabbing half as a result of the garments are nice however everyone else owns them.
You’ve just printed a second edition of the Ideas From Massimo Osti book. How did you go about collating all that archive materials into one ebook?
It virtually value my mother a nervous breakdown! I’m kidding but she made it, she made most of the trouble. It took four years, because when my father passed away, actually nothing was categorized. He handed and we went into the studio, every part was left as it was the day earlier than — we had to go through the whole lot paper by paper. “This is bullshit, this is sweet.” Then my mom out of all this began to create a story.
We decided how we could discuss what my father did — so many, many issues. We drew three predominant blocks, inside one is the history of the brands, the opposite one is the fabric improvements, another half is the best way he reinterpreted the basic menswear shapes. Then there is a side a part of off-work or collateral projects that my father was very active with; he was designing some furnishings, he was performing some politics.
Massimo Osti portrait signed by Lorenzo Osti taking satisfaction of place in the studio today.
A submit shared by Too Hot (@toohotlimited) on Jan 31, 2017 at 2:05am PST
There was a latest resurgence of interest in your father’s work, thanks partially to the Stone Island x Supreme collabs which reimagined his original designs. What has it been wish to see a new era discover his work?
I don’t see it that method. Possibly you’re right, but I don’t see my father’s hand a lot in that. I believe it’s been a really interesting move as a result of it’s allowed Stone Island to essentially speak to a different audience and they have been extraordinarily successful doing that, so I believe it’s a good operation.
There has additionally been a current explosion in curiosity in vintage items designed by your father. What is it wish to see his original work again in the spotlight?
Very exciting and shocking, as a result of I perceive that the individuals who noticed the primary era of the model remained in love with it, but seeing new generations captivated with it has been a surprise for us. From one facet there was all this revamp of the ’80s and at the same time, at least in Italy, there was a resurgence of authenticity and individuality. Most likely people see more of this within the Osti merchandise from that period. More authenticity, and the opportunity of gathering vintage things which are actually totally different from the remainder of the group.
Your father’s brands have all the time appealed to youth subcultures, Paninaro in Italy, Casuals in the UK and now an American streetwear audience. What’s it about his work that appeals to these teams?
We knew about Paninari because it was a very mainstream phenomenon within the ’80s and we had been selling a lot thanks to them. It was not like this for the terrace informal tradition. I by no means had a conversation with my father about it, and I’m fairly positive he didn’t find out about it; he knew the brand was liked within the UK however nothing more. My father was not even English speaking, and it was not as easy as it is in the present day with the web to get that close to the top consumer.
I found all of this once i started to promote the archive, because I had by no means labored with my father immediately. I really avoided that, we had a brief experience — one 12 months in production — but I really ran away, it’s terrible to work with dad and mom, don’t do it! [laughs]
When my father passed away I had to take care of some his business, and i discovered this UK subculture — people had been writing, wanting to visit the archive, to pay homage. I started relationships with a few of them and found all about it, and it’s been amazing. Honestly it has been the engine for us to do the book and all of this.
After we saw there have been individuals who were so truly, deeply keen about our father, we actually felt touched. In Italy it is not like that: regular folks know nothing. Now we have all this treasure here, there are people who really love this, so we thought let’s do something about it, and all this started.
What’s it about your father’s work that inspires such devotion in folks?
I don’t know, this is mostly a phenomenon. I have no reply to that. Why the Paninari adopted us is a thriller. My father could not be additional away from that kind of tradition! It was a total mainstream tradition, about adopting brands with out thinking and everybody dressing the same. From the casuals I had a feeling it was really a passion about Stone Island, they felt the authenticity and the eagerness that my father put into every little thing he was doing. In some way they received this, they might establish with it.
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