Today we are constantly witnessing projects in which the contamination between the universes of art and the car is increasingly a key factor.

Porsche 930 Turbo and\ Daniel Arsham

Today we are constantly witnessing projects in which the contamination between the universes of art and the car is increasingly a key factor. This is the case of the 1986 Porsche 930 Turbo reinterpreted by Daniel Arsham, a multifaceted American artist with a real passion for the Stuttgart house. Daniel says that since childhood he loved to draw everything that was shoes, cameras and … Porsche!

This is not the first time that the artist collaborates with the German OEM: last April he presented his first work of art: a 911 transformed into a monolithic sculpture on a 1:1 scale eroded in several parts of the bodywork, destined to enrich his Future Relic strand which also includes a reproduction of the NY metro card, several Pokemon and the Brillo Box of Warholiana memory.

This time it’s Porsche’s glorious racing heritage to inspire him, this year we celebrate the 50th anniversary of the first victory at Le Mans.

In 930A, Arsham envisioned the Porsche racing team of the future, drawing inspiration in design from Dick Barbour’s 935 K3 that raced Le Mans 1980, with inspiration from other cars of the same era.

Every detail tells a piece of the artist’s Porsche past, who, in order to succeed in its intent, has assigned to several experts a part of the project, starting from the lines of the livery, hand painted by David Gwyther aka Death Spray Custom (Dsc), a hymn to the 70-80s racing aesthetic, coherently resumed in the style of the applied logos that clearly have nothing to do with the 70-80s decade, but are the partners with whom Arsham has worked until today. An original way to celebrate the artist’s career and to thank those who have contributed over the years to his rise.

The rims are a tribute to the ones of the Porsche Rsr; designed and made especially by Matt Crooke of Fifteen 52 and embellished with the monogram of Arsham Studio.

The coolest thing in the interior are the materials, but the layout does not change. In the cockpit the contrasts between ivory and navy blue leather in the door panels work very well, also on the instrument panel steering wheel, always by Dsc. And that’s not all, because Arsham is not only concerned with aesthetics, but also with a series of technical improvements in terms of engine and transmission (completely modified) thanks to the know-how of our mate Ted Gushue of Type7.

The 930A is surely one of the most successful contemporary car-artistic declinations, as Porsche is not only a car factory, but a group of engineers, creatives, designers animated by a passion for innovation and progress, without forgetting the aesthetic side.

Mercedes Classe G e Virgil Abloh 

We are not leaving Stuttgart for one of the most awaited collaborations of 2020: the one between Mercedes and Virgil Abloh that gave birth to a one off on a G-Class basis that, as it was easy to predict, made a lot of discussion: praised by the very young followers of the Rockford designer, blamed by purists.

The presentation of Project Geländewagen, which took place entirely digitally, represents the perfect fusion of fashion, art and automotive culture. The clean exterior lines immediately bring out the silhouette of the car.

The bodywork has been deliberately expanded and the trim has been lowered to celebrate and almost accentuate the car’s volumes and some of its imperfections in a caricatured way, making it an unparalleled icon.

The welds are clearly visible and are almost emphasized, the oversized tires, just see the spare wheel on the rear. The interior is a eulogy to minimalism, algid, hyper-technological with obvious references to the racing universe.  The dashboard has been eliminated and the instrument panel remains analog, creating a nice contrast with the futuristic mood of the interior.

We were talking about elements from the world of racing: in a blaze of white stand out the turquoise of the rollcage and the fluorescent red of the details on the instrument panel and the five-point seat belts. Ah, the small fire extinguisher, positioned between the two front seats is the icing on the cake.

With Project Geländewagen, Abloh and Gorden Wagener, Mercedes-Benz’s Chief Design Officer, intend to overturn the current perception of luxury. The result of the fusion of two diametrically opposed design philosophies is a middle ground between the present and the future, which finds its common denominator in the G-Class.

The output, whether you like it or not, is a very personal and contemporary interpretation of the glorious German SUV. What do you think about it?

Maserati Quattroporte Trofeo UNICA

Unica is the cluster of FuoriSerie that interprets the trends of the moment. The creative concept has born thanks to the work of the Centro Stile Maserati e Garage Italia, based on the idea of a pure color containing all colours within it, and the result is a rainbow effect. It is achieved by combining pure white with a rainbow mica which reflects the entire colour spectrum depending on the angle from which it is viewed. In reflected light, a monogram of the word NOW can be seen within the paintwork, with a part of the Maserati Trident substituting for the letter W. NOW urges us to live in the moment, and celebrates the positive spirit of a fresh start, which for Maserati also includes this new customisation programme for its cars. Inside the cabin, the colour scheme is divided between a white part and a part in a turquoise shade, Artificial Intelligence Aqua, Colour of the Year 2021. The NOW monograms project beams of light through the windows, creating shadows that lengthen or shorten depending on the time of day and underlining the message of a moment to be embraced and lived intensely. The rainbow effect also recurs inside the cabin, in the roof lining, which resembles a multicoloured cloud. Another distinctive feature is the Italian flag added to the Trident on the steering wheel.The wheels also introduce a positive, contrasting colour effect with an unusual, pastel two-tone finish in white and Living Coral, the colour detail also used on the brake calipers and highlights.

The look is completed by the steering wheel in Alcantara and turquoise leather Frau with NOW laser monogram, the dashboard and the tunnel with glossy blue mirror finish, Alcantara trunk and long pile carpets, Alcantara  cieling with holographic print and Alcantara pillars always white but with no print.

Ok that’s all, tell us which is your favorite one!

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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.
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Da qui l’idea di creare una piattaforma che sia il centro della nostra creatività… ma anche della vostra.

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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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SOLOMOSTRY

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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.

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ABOUT

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.

SANGI

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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.

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