HUBLOT
BIG BANG
MILLENNIAL PINK

AR

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AUGMENTED REALITY

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Discover the new Big Bang Millennial Pink by exploring it down to the smallest detail: enlarge it or make it smaller as you wish, turn it or change its position. 

A new way of seeing things, reality and therefore ourselves.

Intriguing and undefinable, Millennial Pink takes its place today as a pink which is not in the exclusive realm of women, nor that of men, but truly a symbol of a completely new generation. This special hue marks a seismic shift which will change the status quo: established traditional values are being reconsidered through a lens of positivity.

Pink – this pink – expresses a gentle, inclusive and confident approach to life. A fresh, young vision, full of substance, which redefines style.

Its 42-mm case sets the tone: made from modern, lightweight aluminium, a unisex and monochrome material, anodised, satin-finished and through-tinted millennial pink. This technical feat has been made possible thanks to research undertaken by Hublot’s engineers. This highly specific colour is obtained by anodisation, a process which both protects and decorates a part, and which has the advantage of giving the case and its components the desired pastel shade combined with remarkable resistance to scratches and impacts. Its proportions ensure it sits perfectly on any wrist. Gender Neutral.

Creating new codes for traditional luxury, the Hublot Big Bang Millennial Pink produced in collaboration with Garage Italia will only be available in a very exclusive limited edition of 200 pieces

Flower

For some, it is powder pink or pastel, for others a subtle blend of beige and salmon, apricot and grapefruit. For us it's just Millennial Pink.

BigBang Millennial Pink 2
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DATA SHEET

REFERENZA

441.UP.7320.NR.GIT20
Limited to 200 pieces

CASSA

Alluminio anodizzato satinato e lucido Millennial Pink

Diameter: 42mm
Thickness: 14.50mm
Water resistance: 10 ATM (100m)

MOVIMENTO

HUB1280

FONDELLO

Titanio satinato _ Incisione “LIMITED EDITION”

CINTURINO E FIBBIA

Cinturino in Velcro Millennial Pink con cuciture Millennial Pink

Cinturino in caucciù Millennial Pink

LUNETTA

Alluminio anodizzato satinato e lucido Millennial Pink

PREZZO

20.700 €

ABOUT

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.

CONTACT

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DAVIDE PERELLA

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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.

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PATRICK EDUARDO

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Patrick Eduardo was born on August 23, 1991 in Lipa City, Philippines. During his childhood he moved with his family to Italy. He starts his studies in Milan and with the support of music and drawing he soon develops his creative side. He graduated in Graphic Design and completed his studies at the University of Rotterdam in the Faculty of Modern Interior Architecture. In parallel with his university studies, Patrick got to know and explore the ancient world of calligraphy applied to the new artistic movement that was emerging in Holland: “Calligraffiti”. The experimental phase ends with his return to Italy, where he realizes that calligraphy can be productive for his career and evolves the concept of writing into art. This becomes more and more a constant to be linked to other artistic aspects such as the contrast between colors and materials; the combination of gold and black gives his works the maximum decorative aspiration, making them usable in various European countries such as France, Germany and Russia to the Middle East, allowing him to collaborate with various brands and artists around the world.

How would you define your style?

My style is based on modern calligraphy that over the years has become more and more to an abstract composed of signs inspired by Arabic, Cyrillic and Japanese.

What is personalization for you?

Personalization for me is a method of communication with a strong impact, elevating an object of common use to a true artistic expression. Sometimes it is also a challenge, it makes you understand if with the simplest idea you can distinguish your style from that of another.

...elevating an object of common use to a true artistic expression.

What inspired you to customize the Jumpsuit?

I was inspired by my canvases, I wanted to give my imprint by seeing the jumpsuit as if it were a blank canvas without following the sinuosity of the garment. I like clean cuts and contrasts and that’s why the jumpsuit is cut in half leaving on the other side the simplicity of the garment itself.

How did you make it?

I used a black acrylic color for the black base and the gold details are composed of solvents and enamels that I have coined over the years as my personal gold.

What is your background and how has it influenced your art?

I graduated in Modern Interior Architecture in Rotterdam, a city that made me discover a new artistic movement called Calligraffiti. During those years of study the whole scene was born, and studying calligraphy even at school it immediately became my real passion.

Are you experimenting with other forms of calligraphy or do you intend to carry on this line that is currently your trademark?

From my point of view, art is born to continue to grow and evolve. So yes, I will always try to evolve my style with each passing day, always keeping calligraphy as a point of reference.

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NICOLETTA SARACCO

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I’m thirty years old, I’m from Civitanova Marche, and I’ve been living in Milan for eleven years.

After Classical High School, when I was 19, I moved to Milan to attend the three-year course of Fashion Design at Istituto Marangoni and, after a master at Creative Academy in Design and Applied Arts, I started my working path within the fashion world, in Chloè, as a shoes designer.

On June 10, 2019, at the age of 29, my life is turned upside down by a diagnosis:

Metastatic breast cancer.

Since that day, I decided to leave the fashion world to focus on myself.

This new life has led me to create a project, with the name of NI.ART.GALLERY, which has become my new job. I tell my story and raise funds for the IEO Foundation (European Institute of Oncology) where I am currently being treated.

How would you define your style?

The adjective I would associate with my style is “colorful”.

Color is the medium and the message I want to get across: the joy of living.

In fact, as I say behind my creations, “there is nothing more beautiful than living in color.”

What does personalization mean to you?

In my opinion, the concept of customization reflects the process of making a garment unique.

With the term AD-PERSONAM, then “only for one person”, is expressed precisely the idea of uniqueness of something customized to the person.

...the concept of customization reflects the process of making a garment unique

What inspired you to customize the jumpsuit?

I wanted to customize the jumpsuit with the symbol of my project, the Virgin Mary.

I went to embroider the jumpsuit to bring together, in a metaphorical way, the universe of NI.ART with the workwear soul of Garage Italia.

How did you realize it?

The making-of was developed in two phases: the embroidery of the madonnas and the NI.ART.GALLERY logo on the back. The application of thermoadhesive rhinestones on the collar and to finish the embroidered patch.

Tell us your story and how Ni.Art.Gallery was born.

June 10, 2019 is the day I was notified of my breast cancer diagnosis.

A shock.

That day will remain indelible for the rest of my life.

I remember spending the next two days crying non-stop, not understanding anything of what was happening, with only one constant thought: the fear of dying. A fear I had to learn to live with.

This is because the word ‘tumor’ is instinctively associated with death.

The first thing I did was to cut my hair.

Hair represented another problem, as it was a symbol of femininity.

At 29, with a cancer diagnosis and then chemo to go, I ran to the hairdresser to cut it short, with the only request being to donate my hair to make wigs for someone in the same situation as me.

Suddenly I found myself spending my days between tests, pet scans, CT scans, visits, therapies, and even lung surgery.

From the world of fashion, my new reality was, and is, the IEO (European Institute of Oncology) where I am currently undergoing treatment.

A year after the diagnosis, in the midst of treatment, I found myself painting.

By pure chance, during the first lockdown, I decided to buy an easel, canvases and acrylics to keep me busy.

One painting was followed by another, then another and another. I could see that my friends liked them, so I thought it would be nice to connect it to my story and talk about it at the IEO.

It all came about by pure chance.

The name NI.ART.GALLERY, where NI stands for Nicoletta, was decided together with my friends.

I opened the Instagram page and, through the help and participation of everyone, everything started.

In two days I had sold fifteen paintings.

All so unexpected but at the same time excited to do something useful to myself and others.

The symbol-emblem of my project is a Madonna, purposely without a face, so that everyone can associate it with what they think is most suitable.

NI.ART.GALLERY today has become a registered trademark and has a website, www.niartgallery.com, where you can buy sweatshirts and t-shirts embroidered with my logo, and the painting as well, of course.

Has painting always been up your alley or have you suddenly discovered a talent?

Perhaps I’ve rediscovered my true passion for painting now!

I used to paint when I was little, but I haven’t done it for many years, maybe fifteen.

I’ve always drawn, even for work, but painting had been something left on the sidelines.

The techniques I use are various, acrylic only, acrylic pour and markers, on canvas.

I must say that for me it is a way to relax myself, while I paint I totally lose the perception of time and reality.

With your project you are doing an important work of awareness towards the theme of prevention. What do you feel like advising your peers?

My purpose, and dream, is to get through my project a message of energy, positivity and awareness of the theme of prevention.

I believe that today young people are poorly informed about certain diseases in general, particularly breast cancer.

It’s a very important issue because it can affect any woman at any age.

At 29 years old, I had never had a breast ultrasound, I didn’t know what a needle biopsy or a PET scan consisted of.

My intent is to tell my life experience so that young people like me can feel the importance of prevention rather than cure.

Life is so beautiful that we must take advantage of it and live it always in all its facets. And it is also thanks to prevention if today it’s possible to smile at life.

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TETI

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Matteo Piccolo aka Teti, was born in Milan in 1987, and it is here that he keeps working hard.

He is a self-taught artist, and begins to experiment its art during work breaks, and without realizing it he meticulously transports his repetitive actions of an alienating work on canvas, or on any other support in front of him. Spinning the roller, abstract or geometric lines come out, depending on who is looking at them; he calls them Axonometry and they will become a constant presence in his works. This art of improvisation leads him to create new artistic series made of different materials and supports, as different are the collaborations and exhibitions that involve him since 2009. His mantra is always the same: Work Hard, Always Smile.

How would you define your style?

Industrial repetitive.

What is customization for you?

Giving new character, inventing and giving space to new ideas.

Giving new character, inventing and giving space to new ideas.

What inspired you to customize the Jumpsuit?

How I usually dress when I’m working. I did the same thing I did 10 years ago with my first full body jumpsuit: cut it in two. Definitely more comfortable.

How did you make it?

I split it into two parts, turning it into a pant and a work shirt, and then completely discolored the two parts to a light orange. Using brown pigment I spot colored it to give a mixed used dirty effect.

I added fabric to the “shirt”, but did not color it.

I made 3d printed buttons with the Garage Italia logo and applied them.

On a pocket I sewed by hand the writing TETI as they did in the Navy to avoid swapping uniforms after washing.

Last but not least, I screen printed my axonometry in different colors all over the garment.

Is this the first time you’ve worked on a garment?

Yes, it hadn’t happened to me yet, but it was a lot of fun, I got to express my art on a different surface.

What are your favorite techniques and the surfaces that give you the most satisfaction?

To create my works, which have a simple graphic sign, all I need is a 5 cm roll of film and white or black paint, but above all a lot of space. I love rough surfaces, where the color enters inside the spaces of the cracks.

On your social networks we see that you often seek dialogue with your fan base? How important is it for you to stimulate this type of interaction? 

I consider social media as megaphones to get your messages to as many people as possible, my works have different meanings depending on who is looking at them, I try very much to dialogue with the people who follow me because feeling what they see is part of the creative cycle of the work.

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YURISATA

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Yuri Sata. I was born in 1989. I am a designer, writer and a tattoo artist.

I have been drawing all my life long, I started when I was 4 or 5 years old and I have never stopped until today, when besides being a passion it has also become my job. The interest and openness towards the world of tattooing dates back to the period of adolescence, after my graffiti period.

Since 2016 I am the co-founder of SATATTTVISION, my tattoo studio in Via Tadino 3, in Porta Venezia district. Actually it is not just a tattoo studio, it is a place where the various contaminations given by the interests of each member of the team constantly bring new life to the creativity of the crew.

How would you define your style?

I can tell you that I have a thing for letters…I always try to evolve them in something different and create new ones, trying not to be boring. Sometimes I’m driven to do a certain kind of things rather than others, but I think it’s something that happens to anyone who creates, no matter what they are creating.

What is customization for you?

The word itself says it, giving character to something. In my opinion there can be many ways to customize an item, but there are two variables to consider that are crucial in my opinion: on commission or free work? From here then different paths open up.

Giving character to something

What inspired you to customize the Jumpsuit?

Preamble: when I was a kid I used to customize scooters’ body for many friends in my neighborhood.

In this case, given the deep connection that the garment has with the world of motors, I immediately came to mind the pilot overalls, covered with those super cool sponsor patches, crossed by words from head to toe, numbers, etc..

How did you make it?

Paint, brushes and bumbuléta (spray-can in Milanese). I’d love if you want to leave this part.

And we leave it as you wrote.

Tell us about the transition from graffiti to tattoos, two worlds not so far apart when you think about it.

Well, it wasn’t a real choice, it was a natural and I would say physiological transition… The curiosity was great right from the start, so I started asking myself a lot of questions about how they were realized and I went deeper into the subject.

Seeing a lot of writers, same age or older, who were tattooed and some of them were also tattoo artists, let’s say that the spring has been triggered.

It has to be said that the one and only tattoo I’ve ever had under my eyes since I can remember is that of my father, a super true tattoo all rickety with his and my mother’s initials! SBAM (moment of exaltation mixed pride).

Had you already had the opportunity to work on a garment? What other surfaces have you imprinted your lettering on in the past and which one did you like to work on the most?

Yes, over the years I have had the opportunity to work on various supports and garments: denim, raincoats, helmets, motorcycles, scooters, walls, shutters, workshop interiors, etc. … I must say that each surface in its own way made me enjoy myself, because I had to adapt my work in the moment to what I had in front of me.

What is the meaning of the symbols on the Jumpsuit? You can tell us.

None!

I’m joking, actually they are letters and numbers made with an alphabet that I created thanks to the various contaminations of my artistic path until today.

Specifically on the front part of the jumpsuit near the chest there are a G and an I for Garage Italia, on the pockets instead we find an M and an I (Milan).

On the back at the height of the calves there is a 20 that stands for the current year, which read in reverse becomes 02 (the dialling code of Milan, Ladies and Gentlemen). Coincidences? I don’t think so.

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RIFFBLAST

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RIFFBLAST  is an Italian artist, born in Bologna, Italy.

My journey in art began in early childhood, raised in the countryside by a stimulating and creative family that has supported me since I started painting and creating wood carvings.

At the age of 17 I started collaborating with skate and surfing companies to create board graphics. This world introduced me to the true love of hardcore punk subculture that has influenced my way of seeing art for years.

After a short but intense experience in the fashion world that helped me to develop commercial knowledge, in 2015 I decided without any certification or security to go back to painting and creating art.

My approach to the art world has not been academic, as for anyone who approaches this profession, I am still facing a slow path thanks to events and social media that is making me grow day by bay.

For a couple of years I have been collaborating with various galleries around the world, from Italy to the United States, actively participating in solo and group exhibitions.

How would you define your style?

I don’t have a precise or defined style, let’s say I do what I like.

After a couple of years spent trying to make art according to other people’s taste, I decided that the easiest and most effective way is to do exactly what I feel at the moment.

What is customization for you?

It’s a lifestyle, personalization can also be a tattoo or the way you eat pizza, it’s not a concept necessarily related to something in particular.

Customization is "a lifestyle".

What inspired you to customize the Jumpsuit?

I wanted to mix the flavor of the old studded leather jacket of the ‘70s / ‘80s with the traditional oriental tattoo culture.

How did you make it?

Using various techniques, from screen printing to painting with bleach.

What are your favorite subjects and the techniques you prefer?

I have been collecting old religious chromolithographs for years and with those bright pastel colors, they are my favorite subjects compared to a white canvas.

Painting with acrylic colors, although it is the most “banal” way to paint, is my favorite, lately I’m experimenting a lot with wood, creating real sculptures that come out of the frames.

And why the Saints? Is there a particular reason?

It was really accidental to combine my art with the sacred one. Certain movements or the positions in which the figures are portrayed trigger the idea of portraying them in ways that the original artist would never have imagined (of course, it was another era, you might say). I like to think that in a world where everything was still to be written and created, someone had already thought that in the future there would be a Riffblast that would blast his paintings.

How difficult is it to be RIFFBLAST? Or rather, how difficult is it to always go a bit further without ever crossing the thin line of provocation?

We live in a world where everything or almost everything is now cleared through customs, being Riffblast today is almost more fun than difficult, there have been years when I was attacked hard for my work, but I have always motivated my choices with intelligent answers that have calmed people down; where unfortunately they don’t get it, you can still claim that art is free.

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GIADA MONTOMOLI

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Giada Montomoli,

born in 1986, is a multifaceted visual artist of Colombian and Italian origin. She works on her projects for individuals or companies in her studio YeyaeFont in the Acquabella district of Milan, she holds a workshop at the European Institute of Design – where she teaches an alternative method of concept research. She prefers the use of fabric as a tool of communication, synthesizing what she sees in symbols. The style is direct and honest, strongly linked to her origins, her passion for cultural anthropology and sexuality.

Some of her most important projects are Something blue, Arpilleras and Macro pieces.