Nel 2008, cbm Italia sostiene e promuove l’iniziativa 100 anni X 100 testimonial X 100 progetti. Tante personaggi importanti provenienti dal mondo dello spettacolo, dello sport, della cultura e dell’imprenditoria italiana presteranno la loro immagine a supporto dei 100 progetti per aiutare cbm a comunicarli e a raccogliere così i fondi necessari a sostenerli. Tanti sono gli ambasciatori di cbm che hanno deciso di prestare la loro immagine. Tra gli altri Elio Fiorucci.
Il noto stilista ha scelto di essere il testimonial dei progetti di cbm in Myanmar (ex Birmania), paese duramente colpito dall’uragano Nargis, dove cbm supporta un progetto oculistico di eccellenza.
Elio Fiorucci ha deciso di vestire i 100 anni di cbm nella lotta alla cecità realizzando una T shirt Braille ispirata al celebre film di Charlie Chaplin “Luci della città”.
t-shirt ” Love is Possible” by Elio Fiorucci.
Acquiring this t-shirt you contribute to help cbm Italy onlus an association not profit that it is taken care of the problem of the blindness in the world. All the proceeds will come entire devolven at association.
Elio Fiorucci has chosen a Charlie Chaplin’s subject: the characters of City Lights.
City Lights is a 1931 American silent comedy film written, directed by, and starring Charlie Chaplin
The plot concerns Chaplin’s Tramp, broke and homeless, meeting a poor blind girl (Virginia Cherrill) selling flowers on the streets and falling in love with her. The blind girl mistakes him for a millionaire and, because he doesn’t want to disappoint her, he keeps up the charade…
“ 8. Camp is a vision of the world in terms of style — but a particular kind of style. It is the love of the exaggerated, the “off,” of things-being-what-they-are-not. The best example is in Art Nouveau, the most typical and fully developed Camp style. Art Nouveau objects, typically, convert one thing into something else: the lighting fixtures in the form of flowering plants, the living room which is really a grotto. A remarkable example: the Paris Métro entrances designed by Hector Guimard in the late 1890s in the shape of cast-iron orchid stalks. ”
Notes on Camp, Susan Sontag, 1964
George Barbier (1882 – 1932) was one of the great French illustrators of the early 20th century. Born in Nantes France on October 10, 1882, Barbier was 29 years old when he mounted his first exhibition in 1911 and was subsequently swept to the forefront of his profession with commissions to design theatre and ballet costumes, to illustrate books, and to produce haute couture fashion illustrations. For the next 20 years Barbier led a group from the Ecole des Beaux Arts who were nicknamed by Vogue as “The Knights of the Bracelet” – a tribute to their fashionable and flamboyant mannerisms and style of dress. Included in this élite circle were Bernard Boutet de Monvel and Pierre Brissaud (both of whom were his first cousins), Paul Iribe, Georges Lepape, and Charles Martin. During his career Barbier also turned his hand to jewellery, glass and wallpaper design, wrote essays and many articles for the prestigious Gazette du bon ton. In the mid 1920s he worked with Erté to design sets and costumes for the Folies Bergère and in 1929 he wrote the introduction for Erté’s acclaimed exhibition and achieved mainstream popularity through his regular appearances in L’Illustration magazine. Barbier died in 1932 at the very pinnacle of his success.
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol (May 11, 1904 – January 23, 1989) was a Spanish Catalan surrealist painter born in Figueres.
Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in 1931. Dalí’s expansive artistic repertoire includes film, sculpture, and photography in collaboration with a range of artists in a variety of mediums.
Dalí attributed his “love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes”to a self-styled “Arab lineage,” claiming that his ancestors were descended from the Moors.
Widely considered to be greatly imaginative, Dalí had an affinity for partaking in unusual behavior to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his eccentric manner sometimes drew more public attention than his artwork.
Dalí, a colorful and imposing presence in his ever-present long cape, walking stick, haughty expression, and upturned waxed mustache, was famous for having said that “every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí.” The entertainer Cher and her husband Sonny Bono, when young, came to a party at Dalí’s expensive residence in New York’s Plaza Hotel and were startled when Cher sat down on an oddly shaped sexual vibrator left in an easy chair.
When interviewed by Mike Wallace on his 60 Minutes television show, Dalí kept referring to himself in the third person, and told the startled Mr. Wallace matter-of-factly that “Dalí is immortal and will not die.” During another television appearance, on the Tonight Show, Dalí carried with him a leather rhinoceros and refused to sit upon anything else.
One of Dalí’s most unorthodox artistic creations may have been an entire person. At a French nightclub in 1965, Dalí met Amanda Lear, a fashion model then known as Peki D’Oslo.
Lear became his protégé and muse, writing about their affair in the authorized biography My Life With Dalí (1986). Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her successful transition from modeling to the music world, advising her on self-presentation and helping spin mysterious stories about her origin as she took the disco-art scene by storm. According to Lear, she and Dalí were united in a “spiritual marriage” on a deserted mountaintop. Referred to as Dalí’s “Frankenstein,” some believe Lear’s name is a pun on the French “L’Amant Dalí,” or Lover of Dalí. Lear took the place of an earlier muse, Ultra Violet (Isabelle Collin Dufresne), who had left Dalí’s side to join The Factory of Andy Warhol.
Late in his career, Dalí did not confine himself to painting, but experimented with many unusual or novel media and processes: he made bulletist works and was among the first artists to employ holography in an artistic manner. Several of his works incorporate optical illusions. In his later years, young artists such as Andy Warhol proclaimed Dalí an important influence on pop art.
The creator of Q-i Clubbing (Brescia), Fura (Brescia) and many other discos, an artist who’s never dealt with Camp style, but twice..
1992/2008 CREMA (CR)
“Lo Zang è il mio laboratorio permanente, dove sperimento in scala reale quello che mi gira per la testa. In quindici anni l’ho rifatto quindici volte, sempre a costi bassissimi, e ogni anno è nuovo, dirompente, all’avanguardia. Devo ringraziare mio fratello Pietro, che pazientemente mi permette ogni anno di intervenire con le mie idee.”
“The Zang is my permanent laboratory, where I try out on a full scale whatever comes into my head. In fifteen years I have redone
it fifteen times, always at very low cost, and every year it’s new, breath-taking, on the cutting edge. For this I have to thank
my brother Pietro, who patiently allows me to experiment with
my ideas every year.”
( from www.bepperiboli.com )
1993 JESOLO (Venezia)
A Jesolo, nella centralissima piazza Mazzini, il progetto possiede tre elementi fortissimi. La porta-vagina, realizzata in gommapiuma e sky rosso, a membrane, è illuminata con neon rossi. Il banco bar, in vetroresina, avvolge il locale con gli enormi ditoni che, sollevandosi in verticale, diventano anche elementi luce; nel mezzo del banco bar una grande margherita simboleggia l’oggetto sessuale. Le pareti sono ricoperte con tappezzeria (realizzata per l’occasione) dai colori pop molto decisi, con il disegno di un maialino ripetuto per duemiladuecento volte.
Located at Jesolo, in the city’s central Piazza Mazzini, the project possesses three very strong elements. The vagina-shaped door is made of foam rubber and red fake leather membranes, and it is illuminated with red neon lights. The bar counter, in fibreglass, wraps the place with its enormous fingers that, rising vertically, turn into lighting elements; a large daisy in the middle of the bar symbolizes the sexual object. The walls are covered with (specially made) wallpaper in very strong Pop colours, with a piglet repeated two thousand two hundred times as the pattern.