ANNO: 1971

I receive a photo on whatsapp.

Let’s open it: it’s a beautiful GT of the MG, a car that has made many people dreaming of, especially Americans, it’s one of the best-selling British sports cars of all time, clearly derived from the open version, but masterfully redesigned by Pininfarina. The result is an incomparable mix of formal elegance, sportiness and the aesthetics of a practical car. That is the real Italian (design) Job!

But back to the customer’s request!

He tells me that the car has been in the family for 39 years, it was repainted in 1990, but the interior is absolutely flawless. In fact it has never been retouched, I find everything very well preserved, even in terms of dust and sediment stains!

The request sounds loud and clear. “Marcello can you freshen up?  The answer is just as confident: “Of course, I can!”.

 I love to work on preserved cars that haven’t been messed up with a superficial repainting or upholstery work with lopsided seams. It’s a great opportunity to get in touch with the history and…with the originality! Those who say that the time machine does not exist are mistaken!

So here we are, the appointment is fixed. The car arrives on a day of impenetrable fog, the halogen headlights in the distance look like the flashlights of an explorer on the heath of Gallarate street, but its sporty rumble came first.

What a charm, suddenly I feel catapulted on the set of “The Crown” during the scene of a hunting party between snobs.

I let her sit in the warmth, in the safe harbour of Haute Detailing, then I start my inspection.

The bodywork, despite the repainting in the ‘90s, highlights all its age and austerity in terms of construction. “Sorry, we are English!”

The mission of this Detailing is to restore the interior and remove some stains on the bodywork.

Day 1

Positioned the car, I open the doors, sit in the driver’s seat and start an inspection with LED light, the car is very lived but very fascinating, has a vintage flavor that only the British can have.

It is a triumph of leather throughout the cockpit, from the seats to the cabinet (panels and part of the dashboard).

Stains of all kinds, from fat to mud, a real sample of life and beautiful travel, I lllove it!

The solution is not immediate, I must reflect, meanwhile I continue the inspection of the other parts. The carpet attracts my attention: pointing the LED under the seats, the years can be seen and felt even with the nose. Well, I will start with you. I lift the seats, remove the carpets and start the suction: blower to free the dashboard from debris and dust, compressor for the lower parts, seats, pedal compartment, trunk; everything is sucked in several times, the work will last almost three hours, an absolute record!

At the end of the work the car starts to change its smell.

Now it’s the turn of the carpets and the interior carpet: quickly aspirated and immediately attach the extractor, which sprays lukewarm water and immediately reabsorbs it by taking away the dirt.

The ingredients are lukewarm water and no detergent, given the age of the carpet and the vague faded green color I’m afraid that a chemical surfactant is too aggressive and further fades the upholstery. So I put only a little bit of ox gall in the water, an excellent natural stain remover.

Even the washing takes more than three hours and the day is practically over, I put the tools back and leave the car doors open to let the carpet dry well.

Day 2

It’s early in the morning, I drink my coffee and check the carpet, it is perfectly dried thanks to the air ventilation of the studio: I take a Japanese brush and I comb it in its direction, beautiful and impeccable!

Now it’s time for the leather, I analyze it with a big lens and immediately notice a certain shine on the seats, which is typical of old leathers, especially if they have been unintentionally treated with silicone or paraffin-based cleaners (the famous Nivea cream, deleterious). Another problem found is that of the stains spread throughout the tunnel and the armrest and panels.

Unfortunately, the classic brush and natural foam cleaning is not very effective. I do not give up, so I try to dab each stain before soapy with a damp and warm microfiber before applying the detergent. It seems to work, but unfortunately this method is very time consuming.

The rest of the day is dedicated to actual Detailing,

That is, the meticulous cleaning of every small component, from air vents to various buttons and levers.

It’s 21.00, time to disconnect.

Day 3

The interior has been brought back to an aesthetic level of absolute beauty, now it’s time to dedicate to the outside: the customer’s request is not the classic polishing, but simply a topical intervention to remove the stains spread on the hood.

I wash the car with an enzymatic detergent and two large super absorbent microfibers, while doing the work I realize that the paint job redone in the 90s has some cracks, especially in the sides of the bodywork and under the doors where rust starts to bloom. Caution is a must. Cars of a certain age are fragile creatures, they should never be put under the brushes, nor should they be washed with a pressure washer (just thinking about it gives me a shiver down my spine).

I spatulate the chrome doors and bumpers and put the car in the polishing chamber. I immediately see that it is a direct polish. Such a fragile paint often fights with heavy and very vibrating polishers, so I choose to remove the stains with a smaller polisher.

Well, polishing and spotting done, I pass a light waxing with liquid wax and voila!

I conclude with the glasses, which I clean rigorously with a product free of ammonia and various dedicated microfibers, a quick polishing to the most highlighted chrome and the car is ready.

I take a few steps back to observe the whole work done, the car looks cured and shinier but not a chemical or americanizing polish made of violent silicones and black rubber shiny as pitch. Here there is no room for waxes with the smell of black cherry, this is an English Detailing that tastes of Barbour and fox hunting, made of prudence, tradition and a lot of manual skill, so God save the MG!

That’s all Folks!

XOXO Marci     



Nel linguaggio informatico, un hub (letteralmente fulcro, elemento centrale) non è altro che un concentratore, un dispositivo che funge da nodo di smistamento di una rete di comunicazione dati organizzata. Insomma, si tratta di una scatoletta in grado di connettere più computer tra loro creando così una rete.
Garage Italia Hub nasce proprio con l’intenzione di creare una rete sempre più ampia per condividere con voi nuove idee, progetti e contenuti digitali.
Da qui l’idea di creare una piattaforma che sia il centro della nostra creatività… ma anche della vostra.








Share on facebook
Share on reddit
Share on linkedin
Share on pinterest
Share on whatsapp
Share on telegram
Share on email
Share on twitter


Share on facebook
Share on reddit
Share on linkedin
Share on pinterest
Share on whatsapp
Share on telegram
Share on email
Share on twitter


Share on facebook
Share on linkedin
Share on whatsapp


garage italia

Davide Perella. I was born in 1991 in Cagliari and I have always had a great passion for the world of fashion and digital. I spent hours and hours creating Power Point presentations on Photoshop and after graduation I decided to move to Florence to study graphics and visual communication.

After finishing my studies and a short break in New York, I moved to Milan where I had the opportunity to work and collaborate with brands such as Moschino, Nike, Neil Barrett and Alberta Ferretti.

How would you define your style?

My style is definitely influenced by streetwear and high fashion. I like to mix different elements to create new products often with a touch of irony.

What is customization for you?

Transferring your vision of style on an object or a garment to make it unique through your personal imprint.

Transferring your vision of style on an object...

What inspired you to customize the Jumpsuit?

My passion for Nike and the swoosh is definitely the protagonist of this customization, but I wanted to create a slogan to strengthen the design even more, what if not “Fuck 2020”, an expression that I am sure will agree with a large percentage of people.

How did you come up with it?

After digitizing the idea and placing all the embroidery on the suit, I just sent it to a small embroidery shop in Sardinia that, under my strict supervision, faithfully recreated my virtual prototype.

How did your healthy obsession with the Swoosh come about? What is the added value of this logo compared to others?

It all started in college when my professor asked me to draw the iconic logo on the blackboard. In 2017 I had the opportunity to collaborate with Nike for the first time, I created installations inside the NikeLab in Milan and videos that “bombarded” the windows with images. The added value? I find that its silhouette lends itself very much to graphics, especially for its immediate recognizability.

In the last two years we have witnessed a real boom in collaborations between luxury fashion houses and streetwear brands. What is the most successful example of contamination in your opinion? And the one you would like to see?

I think one of the most successful collaborations this year and one that created the most hype was between Dior and Jordan. The Air Jordan 1 with the iconic monogram was and still is the 2020 object of desire for many sneakerheads.

I’m a shoe fanatic but also an accessory fanatic, bags are becoming a must-have even among men, I’d love to see bags in a streetwear key, I think we can still do a lot.

Dreaming doesn’t cost anything, they say it’s good for you. A brand for which you would like to be creative director.

Obviously Nike, but I won’t deny that my dream is to create my own brand.

garage italia



garage italia

Solomostry graduated in Graphic design in 2012. He lives and works in Milan.

Solomostry is a multifaceted artist – ranging from screen-printing to muralism, from painting to installation – and it is precisely because of his eclectic essence that around 2007 – meeting some people of the milanese techno/clubbing scene – he moved away from graffiti and shaped new subjects, his subjects: the Monsters.

Solomostry’s research is characterized by a broken compositional line that continues to compose expressive geometric entities, revealing violent emotions. They are monstrous masks interpreters of impressions, trepidation, anxiety, excesses, present in everyday life. The marked outline builds and destroys at the same time. The hard lines tear the surface and mark spaces in which bright and flat colors play out, now typical of Solomostry.

Solomostry is represented in Italy by Lunetta 11 gallery, in Switzerland by Kolly gallery and in Paris by Cohle gallery.

He has collaborated with several brands both Italian and foreign, dealing with different media and his works are visible in different parts of the world.

How would you define your style?

I have always tried to express my feelings in a pure and appropriate way to the environment in which I put them.

The main element of exploration of my work is the line and its impact, in order to catch the attention of the viewer.

The line, in graffiti is what allows you to build a tag, that is your name, your identity.

The line that builds the tag is the skeleton of your graffiti, the skeleton of what you show the world, of what you put on the street.

For this reason the research must be based on impact, they must be able to see you from far away. In the streets there are a lot of distractions, but you have to stand out on all of them, or you can’t do it.

To succeed in all this I am always looking for new techniques and materials to experiment with.

The line that builds the tag is the skeleton of your graffiti, the skeleton of what you show the world, of what you put on the street.

What is customization for you?

La personalizzazione per me è il distinguersi dalla massa ed essere unico.
Questa ricerca di unicità si riflette sulle capsule che vado a creare in limited edition, customizzando qualunque tipo di media mi si presenta davanti.
Rapportarmi con materiali diversi è una continua sfida a creare qualcosa di nuovo ed unico.

How much do you love Milan and what does it have more than other cities?

Milan is my hometown, I’ve lived in other cities in the past, like Barcelona and Berlin, and I’ve been to many others for work, but Milan always calls me back. Milan is my friends and my affections and even more is my neighborhood, which I am very proud of and which I try to make it better with my small contribution.

What inspired you to customize the Jumpsuit?

We worked with 4 hands on this project, because in SOLOMOSTRY, there is a team behind the artist that believes and supports every project, from installations, to customizations up to the limited editions that we release.

So I would say that the main inspiration was belonging to a group, to be part of the same flag and we hope that who will wear this garment will feel part of what we do every day.

How did you make it?

It was made completely by hand in silk-screen printing.

Is there a technique that you particularly prefer among those you use in your work?

Solomostry production is divided into many areas, from painting on canvas, to installation with different materials, to screen printing for custom clothing, and lately ceramics.

In painting I prefer tools that allow me to have a stroke of impact, such as brushes, sprays, but my favorite is still the gardening sprayer pressure loaded with paint.

Screen printing is another technique that I love a lot, because it allows me to replicate in series the graphics on different materials such as fabric, paper, wood and everything I can print.

In the last two years I started to use ceramics again and at the moment it’s the technique that intrigues me the most, because I don’t have total control yet, so it always presents me with new problems, which once solved generate great satisfaction.

Tell us about the genesis of a Monster.

In the beginning the subjects of my works were Monsters, at least I called them that,

were entities that took possession of our inner self and encouraged us to do things we were afraid of.

They were powerful and unstoppable, impacting, pure feelings that represented the soul of those who feel young and rebellious.

They were all different, but all united towards a single goal, giving the viewer an unknown strength that made him feel invincible and ready to face what awaited him from his path.

Growing up, time puts us in front of a variety of situations, which lead us to deal with our feelings in a more contained and systematic way, and we build ourselves an armor made of various emotions, to be ready in every situation not to let people understand what are our real feelings.

Where do you dream of seeing your Monsters exposed one day?

I am satisfied with the path I have taken so far, I have already taken the monsters to different parts of the world so, instead of taking them somewhere, I hope that my monsters will continue to take me further and further.

garage italia



In computer language, a hub (literally fulcrum, central element) is nothing more than a concentrator, a device that acts as a sorting node for an organized data communication network. In short, it is a box that can connect multiple computers to each other thus creating a network.
Garage Italia Hub was born with the intention of creating an ever wider network to share with you new ideas, projects and digital content.
Hence the idea of creating a platform that is the center of our creativity … but also yours.


garage italia

I am Pietro, but my friends call me SANGI, like the neighborhood in Milan where I was born and raised. A meeting place with friends and a constant source of inspiration for my aesthetic research, which starts from daily functionality.    

The sneakers and the focus on innovation in footwear design, open the doors to a wider world, a fashion industry that is constantly evolving and adapting to new needs.

How would you define your style?

Aesthetics and functionality. Design tells through shapes, proportions, materials and colors the human tendency to find practical and effective solutions.

What is customization for you?

The opportunity to transform an object according to your vision and taste. Customization is about being able to give an object, whatever it is, an added value that fully represents your style. Customizing does not mean to distort, but to leave a mark, your mark.

Customizing does not mean to distort, but to leave a mark, your mark.

How much do you love Milan and what does it have more than other cities?

I am in love with my city! Starting from the contrast of past and future that you see in the alternation of historic buildings and modern skyscrapers, which form a present full of realities and people who make creativity the strongest point of a city that never stops.

What inspired you for the customization of the Jumpsuit?

The Jumpsuit was born as workwear and then became a fashionable garment to wear on any occasion. Taking it back to its origins, I worked to make it the ideal garment for the designer of 2020. Tradition and innovation coexist to enhance manual practices and support them with technology. We can all be designers with a pencil or a click.

How did you make it?

I made the Jumpsuit in my garage, which I set up as a workshop. There I have the sewing machine and all the tools to work on my projects. In recent years I have accumulated several components to make shoes and clothing. The restrictions of the last period and lack of further resources, made me use fabrics and materials that I already had, giving them a new life.

We know that sneakers are your forte. When was this passion born?

My passion for sneakers was born when I was in middle school. I felt in love with a Jordan, of course! From there I went deeper and deeper, looking for the most iconic, particular and revolutionary models.

With my Instagram page I wanted to share my POV on this world: by showing my research through a digital archive I had the opportunity to interface with different insiders.

Which one is your favourite among those you already have and the one you would like to have one day?

My absolute favorite sneaker is the Reebok – Instapump Fury, which contains everything I look for in a shoe. A model that after more than 30 years is still a real innovative shape. I own several of them, but the one I’m most proud of is the collaboration with Pyer Moss, Experiment 4 Fury Trail, crazy. One shoe in particular that impressed me and that I would like to get my hands on is the Porter x Takashi Murakami – BS 06R T.Z.

What was it like working on such a different garment like the Jumpsuit?

I have always been interested, passionate, and I study fashion design. I happen to work on both footwear and clothing projects! Starting from the shoes, my eyes go up and are interested in everything we wear.

garage italia



garage italia

Ignorance1 work revolves around the graphic styles that characterised the rave music scene during the 80s and 90s. Modern graphic elements are combined to classic patterns and styles so the pieces keep a vintage mood while getting a unique contemporary twist.

The word ‘ACID’ is quite recurrent in many of the pieces. This particular word gets inserted in different artistic contexts and explored based on the different meanings it can have in those contexts. Acid is a flavour, a music current, a journey, an emotional state. “Not sad but not happy, JUST ACID” is a quote that appears on some of the works and it’s just one example of using the concept to define a particular emotional context with a touch of irony.

How would you define your style?

Not sad, not happy, just acid.

What is customization for you?

Personalization for me, although it may seem trivial, is to make anything personal.

In my case I enjoy doing it in a fairly “freestyle” way, treating the object or the garment as if it was a blank piece of paper.

Not sad, not happy,
just acid.

How much do you love Milan and what does it have more than other cities?

For years I had a constant relationship with Milan made of love and hate, but at the end of the day I can only be extremely grateful for the many opportunities it offers from a creative and professional point of view. One characteristic that only Milan has is that, after so many years, is still full of hidden places that you need to discovered.

What inspired you to customize the Jumpsuit?

To customize the Jumpsuit I just mixed my style with the raw and naked workwear flavour of the mechanical workshops.

How did you make it?

First of all I used spray and markers to customize the patches: some of them are totally customized on the back and some others on the front. Then I worked directly on the Jumpsuit fabric, spreading sentences and messages around the garment’s surface.

The logo rip-offs borrowed from the racing world are among your favorite subjects: Shell, Agip, Michelin and Pirelli to name a few. Do you have a passion for the automotive universe or are you simply fascinated by the graphic part of those brands?

The old workshops have always been a great inspiration for me.

With my father, a great car enthusiast, I visited a lot of them since I was a child and I was struck by all that microcosm of vintage plates, calendars and merchandising of automotive brands.

Last year, during one of my exhibitions, I had the chance to make one of my rip-offs on a real steel plate.

Even today I am still fascinated by the graphics of this sector and it seems incredible the way they are so suitable to be stretched and reworked.

Tell us how one of these rip-offs was born

The first rip off in the motor world was Michelin’s Bibendum, which I added a second sad head next to his classic smiling one. It was an experiment like many others, but it was immediately very appreciated. From there I started using my claim “not sad not happy just acid”.

The rest of the rip-offs instead are usually born looking at the “official” reference, trying to understand how my graphic codes and concepts that I use can be fitted, often everything happens in a very spontaneous and natural way.

garage italia



garage italia

APJP was born in 2018 from an idea of Alberto Panocchi and Joelle Pomioli, respectively buyer and fashion designer.

Everything started from an episode, when Alberto’s favorite pants were ruined after a laundry gone wrong. Joelle had the brilliant idea to make an artwork in bleach and the result was crazy. From there we put the basis of the APJP project, that is basically to give a new life to a garment that had already done its normal course of “first hand”.

Constantly experimenting with different techniques, APJP develops a series of washes and paints that immediately become very recognizable and appreciated. The soul of the project emerges immediately, which wants to give a second life to the garments re-using products and materials, in order to save new productions and consequently reduce

How would you define your style?

The style of our project is unique, inspired by old workwear garments.

We like to call it “project” and not Brand because we see it more as an art form, something really felt and never forced, without guidelines, trends or limits of any kind.

APJP’s first time was during Milano Design Week, in a courtyard in Brera, surrounded by the love of many friends and visitors.

It was a very intense live painting performance, intimate but at the same time very spontaneous and natural.

Since then collaborations with big brands such as Puma, Ac Milan and Converse have started.

Creativity, making a normcore thing wild and crazy.