Monday, 5 August 2013
An extract from 'Style'
Chapter 1.
Trotsky's
Trotsky's
Reed walked down the steep concrete
stairs his black shiny Bass-Weejuns clip-clopping softly, a sound
that he enjoyed, the hard leather bottoms of his crisp penny loafers
on concrete, like the sizzle of streaky bacon on a Saturday morning
or the crack of the first can of lager on a Friday night after work.
These where the kinds of sounds that reminded him of his youth, his
days of over confident swagger and presence among his peers the
sounds that trickled over his ear lobes like Champagne over his first
Sixth Form girlfriends pert breasts. The sound rang through his ears
and brought a smile to his face, this in turn brought him to take off
his black suede gloves as he slowly descended the stairs and feel the
cold steel of his Smith and Wesson model 10 snub nose that snuggled
in his navy Duffle coat pocket and rest his left hand on the hard
wood handle.
The door to Trotsky’s was open, it
was a Tuesday night so no security. The bar had the air of a New York
cocktail lounge, dark oak walls, a long bar,with the suitable chrome
tall bar stools, chalk board drinks menu, numerous randomly scattered
tables with low black leather chairs around each. Trotsky was strewn
with the 'young generation' of artists, writers, musicians and those
of their ilk chatting themselves up to the nearest clone that would
listen, Reed recognised them all, some personally some as the same
low level scum who brushed past him everyday, they worked yes, but
they worked for fame trotting out the kind of modernist shit that
Reed once dreamed of doing before the accident.
The bar was shuffling with little lean
bargirls Reed swore he had slept with at least two of them or at
least had wanked to the thought of having done so. One of the girls,
a buxom red head - bottle or natural he could not attain with the dim
after Eight lighting, looked over to him. Reed was hunched which
didn't compliment his dapper appearance on the scene, well pressed
grey flannel slacks ran down to his ankles where his bright red socks
caught her eye, then straight up she raised her glance as he tapped
his foot to the vintage Southern bbq-soul the battered cd player by
the coffee machine was blurting out. She took in his slight frame
and followed the Six foot line of his body up past the pristine
Duffle coat and to his face slim, hard, no sign of stubble, a
slightly jewish nose but not all there, dark eyes, the darkest eyes,
and a healthy head of gelled brown hair - an English brown mousy if
you like turned Mediterranean by the hair product and swept to the
side not unlike some 1940's footballers barnet of choice, not shaved
and as neat as a soldiers and too much hollywood gable neither but
somewhere in between if you like. Reed looked up from his hunch and
caught her eye. He smiled at her and swept aside the stray hair, that
had dropped out of place in part from his cramped demeanour, to the
side of his forehead with his right hand.
The left Bass-Weejun continued to tap
on the floor, Reed looked away from the pale rose tinted red head and
found the fella he was looking for. Reed moved as if to go towards
him but the acquaintance a shorter man than reed with a smarmy grin
and a ruffled black crop moved towards him , he wasn't a man of great
likability in his look, neither was Reed but this guy moved as if the
floor was his cock and everyone moved with its motion, their dancing
feet, their roaring laughter and their pleasant interactions all
massaging his alcohol dampened, green tiled erection, Farrow as his
closest liked to refer to him as, shuffled his way through Trotsky’s
lively crowd knocking people clumsily with the drunken sway of his
manner, “Reed” he shouted. A few of the faceless numbers turned
towards the call. Reed started to recognise more of the faces and
gripped the Snub Nose tighter in his pocket slowly moving the trigger
finger into position, Farrow was now with in Three metres of Reed.
Reed looked over at the bar and smiled at the redhead again- oh he
wished he had just come for a drink and could smoother her with
metaphors, questions and eye contact, take her home, let her under
his covers, “Reed mate...”. Reed looked back at Farrow and in
time with the turn of his head pulled out the gun and shot as his
eyes reached his. The left side of Farrows forehead exploded and a
cascade of blood and flesh dropped in tangent with his pint of Lager
and at least four other cocktails of various descriptions from
several sides of the room, Farrow fell the to ground.
The sound of the gunshot that pierced
Reeds eardrums so suddenly was soon overcome by the rank sharp
screams that now rang around Trotsky, Reed turned away from them
quicker than the bullet carnage he had just created and walked
towards the door. Everyone scrambled to the aid of Farrow, and with
everyone thinking that at least someone else would stop him leaving,
no one did.
Reed closed the clear glass door behind
him, he turned to catch a glimpse of the red-haired beauty, she
downed a shot of Tequila. Reed walked up the stairs in his brown
shiny Bass-Weejuns and let the sound penetrate his thoughts once
again, he was leaving his mums house, the taste of toothpaste and
lager on his breath and the smell of Tommy on his neck, Town was his
oyster, the streets awash with girls, he reached the top of the
stairs, looked up and down the strip of bars, clubs and restaurants
and saw his lift arriving. On to the next.
The car pulled up a shiny black MG
Roadster not many left nowadays, Jimmy opened the door from the
inside, it only opened from the inside and let Reed in. Jimmy turned
the key in the ignition and off they drove down Old Turner street.
Reed looked straight ahead and scratched the back of his head slowly
and for what seemed like a couple of minutes. “Who you done tonight
then mate?”
asked Jimmy, Reed carried on looking
straight ahead stopped his scratching and answered wearily “sorry
mate what? I weren’t listening.” “Who you done?” “ah no one
you know, just an old bother”
“fair enough” Jimmy replied and
carried on driving. The pair stayed silent until they got to the Safe
house. They called it the safe house but it wasn’t really safe the
Police knew where go after any 'bother'.
Chapter 2
Ken
To get to the safe house Reed and Jimmy
had to go around the back of the brightly lit 24 hour smoothie bar
whereby in the car park and besides the numerous recycling bins in
which property’s were now required by law to have four, glass,
plastic, cardboard and food waste was the black door, number 17
buzzer B. Jimmy pressed the buzzer “hello” the black box
uttered. “ken” Jimmy replied and the door opened. They strolled
up the narrow stair case to Flat B, Reedy smelt the warming waft of
nicotine floating into his nostrils, since cigarettes were banned in
the square mile and most parts of the divided Britain it was always a
pleasure to know he was out of the overindulgent squalor of the
centre of the city and back east when he could breath in fresh
cigarette smoke again. They entered the door, and Reedy hung up his
coat and walked over to the red leather sofa by the window the
scratched wooden flooring creaking underfoot, the room was circled
with plush leather sofas with a knee high dark oak table in the
centre. The walls were adorned with several framed photos of the safe
houses saviour the last Mayor of London Ken Livingstone, since the
city was divided into five, east, west, north, south and the square
mile, London was now divided thusly between 4 mayors, the square mile
was police governed. During the 'dividing' Ken was imprisoned for his
strong stance against the change and the safe house was actually
funded by and previously owned by ken.
An extract from Down and out in London and Essex, The Battle
The Battle
One balmy Thursday evening in June we managed to get a big attendance to one of our wood battles, our boys were feeling overly confident after a few evenings of battering practise on a large oak tree.
A rumour had been circulating at school all day one of the village big boy bully's was going to at attendance and a hint of nervousness had started to creep into our ranks. But buoyed by Thomas's boasts that we would send him home weeping confidently marched to the woods using route 2 across the stream. No problems there as it hadn't properly rained for a few weeks so the stream was dry as a bone.
As we approached the woods the laughter of a few other lads could be heard. As predicted there was Alex the big mouthed self professed gangster of Great Leigh's. No sooner than he saw us he let out an almost incomprehensible 'Gays' and went off into a bout of uncontrollable laughter. Feeling a bit dejected and definitely with some pride flushed from us we dashed into the woods screaming come and get us. 5 of us in total we split into two groups, me and Thomas dashed deep into the heart of it whilst the other two flanked us keeping to the clear edge of the woods but within shouting distance. Within minutes we could hear the shouts of Alex and his cohorts closing us down. We jumped down a leafy ditch and kept low. Alex appeared to have broken from his pack of crony's and we heard his war cry within spitting distance “come on you gays”. Alex leaped down from above us into the ditch and clumped Thomas clean on the forehead with his stick. Tom let out what can only be described as a 8 year old girls scream which quite predictably sent Alex into fits of laughter, not one to hang around with a stick in my hand, I jumped heroically to Thomas's defence and swung my stick straight at Alex's face. Strangely he didn't make a peep, Alex just fell to the ground with nothing more than a dull thud, panicking I run over to him to see if he he was alright, Thomas still crying like a girl in the ditch. Alex was out cold, I wished he would just open his gob and scream ' gaylord' in my face but even after a few shakes I had no such luck. When your twelve there is only one reaction to a shock to the system and that's run from it. I grabbed Thomas and quite promptly scarpered to the nearest field dropping the tools of our misdemeanours to the ground as we fled.
An extract from 'Down and out in London and Essex 'Getting to 'The Woods'
Sandylay Wood, Great Leigh, Essex.
Around Great Leighs there were
several places for a young boy to go get his kicks, and with the
majority of the young generation being pre teen Great Leighs was a
relatively untarnished place for a kid to grow up, it was certainly not
an affluent place to live, its just the class difference was small,
small enough for family’s not to have envy for each others property,
everyones parents seemed to work hard and to just have enough, not
enough as the family on the edge of the village with the swimming people
but enough for the village not to harbour any need for more than one
policeman.
One such place was 'The Woods'.
The Woods so called for the area being densely populated with trees much
like a small forest and could only be accessed one of two ways.
- Over the barb wire and across the field next to the school that contained 'The Bull'
- Across the ditch, through a different field then across 'The Stream'.
At the age of 11 one isn’t so bothered with imaginative names for places rather what happens at those places. There was also an area we congregated to named 'The Tree' which was a huge fallen down Oak but the activities there were far more uninteresting than anything that went on in 'The Woods'.In regards to getting to 'The Woods', choice 1 was more or less out of the question because out running 'The Bull' was no goer. No one had ever been hurt by 'The Bull' and it was wise to keep that statistic a none fluctuating figure. So it was always choice 2 (unless 'The Bull' happened to not be around) that we would take. Going via 'The stream' was not a cop out by all means, the stream ran the length of the only accessible field from our side of the village to the woods, it was not a fast flowing brook and 90% of the year didn't even have much in the part of water running through it. It would have been more accurate of us to describe it as 'The Bog', it was really just a long stretch of really sinky mud. Many an intrepid traveller had lost a Reebok Classic in 'The Stream'. It takes a fair old jump to cross it and if you trip up, thats it your knee deep in muddy stream and coming home with crap caked tracky b's, a trip to Wimpy at the weekend with mum it does not make.
Monday, 16 July 2012
Danny Sangra & Kevin Soar
Video Portrait NO.1 (KEV SOAR)
Baxter Dury-Claire
Too Late Too Early
Jay Griffin- He's kind of invisible
Somewhere In the middle
Interview with Maurizo Amadei for Hector (Hostem Mag), July 2012
Delight In the Detail
2011 was a paradigm shift of a year. Changes in one’s lifestyle
were sought by many, changes in thinking by the
government were sought absolutely, changes in thinking
by the police were sought reluctantly, changes in thinking
for political leaders the world over were sought forcibly,
changes in thinking in the retail sector were sought optimistically
and changes in thinking in fashion were sought
obviously. As the world turns, grounded designer Maurizio
Amadei focuses on the little things.
The individual has had to learn to adapt to their social surroundings,
to accept changes more negative than not and the
world has felt the brunt of years of bad mistakes. 2011 wasn’t
anything new, changes like this must and do occur in society
more often than we think, it was only in the 1980s that those
old enough to remember experienced more or less the same
kind of developments and regressions in the economy, society
and world wide. Coming out of those dark times were the
indulgent 1990s where the yuppy went mainstream and everyone
could and would have a taste of the finer things in life.
This year we will still be reeling from the hangover, but the
taste of those that revelled and induced the need for thoughtful
alkaseltzer is still fresh and certainly won’t wear off for some
time to come. The retail sector was predicted to suffer over
the winter period but instead it flummoxed the Aristotles and
roared on, not with lion force but the roar still lingered. In
fashion it appears people are seeking the pieces that last, that
stand the test of time, throw-away seasonal items are being
advised against.
One would assume that a wallet effecting label such as ma+
would have to adapt to not feeling the brunt of change. But
Maurizo Amadei sticks to what he likes, the second skin many
like to refer to when describing his output, is paramount and
a second skin is what people now seek with their purchases.
Imagine a new lover, discovering the many contours of their
body, and over the coming weeks and months stumbling upon
hidden moles, birthmarks and scars, all the things that make
the skin a beautiful textile to admire. Maurizio is, of course,
famous for his leather work and perhaps this is also responsible
for the second skin connotations.
Kevin Soar [KS ]: I have read much about how your designs
are inspired by the human form, when did this idea start to
inspire you? Was it something you were interested in when
you began or a gradual appreciation?
Maurizio Amadei [ma+]: My interest in the human form g rew
since I was young. But I am also inspired by all kinds of forms,
whether it be geometric shapes or wildlife.
[KS ]: Are you interested in forms to seek an ideal? Do you
believe in the ‘ideal human form’ or should it be celebrated
in all its guises?
[ma+]: Much of the collection is quite fitted, so naturally I have
a certain form in mind if I want the pieces to be comfortable
to wear. But thankfully, there are all kinds of shapes out there
to keep life interesting and fresh. The A+V project we are doing
is as much about any kind of form as it is based on the custom
made to measure approach.
[KS ]: Do you have a perfect muse, past or present, that you
imagine pieces on to help design?
[ma+]: Not really, muses come and go. However, I have used the
same male fitting model for the last five years, since he was 16.
I like the idea of watching him grow with the collections. I only
see him when we are presenting a collection in Paris, so I need
to imagine how things will fit him whilst I’m developing them.
[KS ]: Is it important that to celebrate the human form you
must feel slightly detached from it? Surely like everyone
else you must see things on the news that make you detest
humanity sometimes?
[ma+]: Definitely. When it comes to news, I see mostly things that
make me very depressed, angry or disgusted… but I guess that’s
what sells news. Luckily, to reaffirm my notion of humanity,
I have family, friends, positive new encounters and very importantly,
humorous moments.
[KS ]: Many designers detach themselves from world events
to concentrate on their work. Where do you stand on
Europe’s current financial crisis and the political situation
in Italy? Do you ever worry about the future, whether in
business or personally?
[ma+]: I usually try to ignore politics in Italy because it is
so pathetic. But of late, shutting it off is almost impossible.
I feel more concerned for the future Italy. It does not really
matter where you are or where you come from – we are so
interconnected. The problems of today are increasingly shared
and can only be resolved with widening co-operation. But
I do feel a general optimism in that such a pressure point that
we are currently experiencing could bring strong changes,
which would be good…changes in structure, thinking, attitudes…
real progress.
[KS ]: Leather, many would a rgue, i s the material you a re
most famous for using. The material in garment form has
connotations with the rebel, and the hunter among others.
Which of these do you feel closer to in your personality?
[ma+]: Good question. Hard to pick one. I am motivated by the
traditional origins of leather use not wasting [anything] from a
hunt and I am attracted by the strong tough look of leather. If I
really had to choose, I would have to say the hunter aspect,
even though I don’t hunt.
[KS ]: With regard to your timeless work boots, did you design
and make them to withstand the stresses of day to day labouring
or as more of a peacock/expressive piece of footwear?
[ma+]: They’re both equally important. But knowing that something
is made to last, feeling and looking better with wear,
really deepens its aesthetic.
[KS ]: When did you first become fascinated by the craft and
beauty of leather?
[ma+]: When I left home to go and live in London I started to experiment
more with what I wore. I have always looked at what
we wear as a second skin and leather being one, it naturally
became a base for me to develop from.
[KS ]: Your style of constructing I would say is not very
European. Where does this almost Zen way of construction
come from?
[ma+]: I’m not really sure what European is? I take influences
from all kinds of things…obvious and not so obvious. I like the
idea of Zen, for example, it suits the way I ideally like to create.
But life is full of many intense moments…maybe this drives me
to find and make some tranquillity in making the pieces.
[KS ]: I know your textiles are largely sought in Japan; do
you also take inspiration from the East?
[ma+]: Yes, very much so. I try to go to Japan once a year for
the fabric and love to see firsthand how things work there and
understand their points of view.
[KS ]: I find your work is not defined by trends but it seems
the product of an artisan. Do you keep an eye on what
those on the streets of Rome or in fact any large fashionable
city are wearing and what other designers are doing,
or do your inspirations come purely from the imagination,
the psyche of an artist?
[ma+]: I’m actually not very often in the city, nor do I browse
the internet or read magazines. I guess I absorb things from my
teenage daughter, listening to music, a film, reading a book, a
conversation, being able to relax or even to argue...anything
really. I don’t really work through themes or stories. A lot of it
is problem solving, if you can really call them problems.
[KS ]: Do you have a specific piece in your back catalogue
that is close to your heart?
[ma+]: I like pulling things out that I have not worn for a long
time or especially things that I have forgotten about. I get quite
a nice sensation if I can relate to it on different levels, whether
it be reliving certain memories, revising how I made it or seeing
it with fresh eyes.
[KS ]: You must then take an interest in buildings and also
the shapes of the natural world. What places always give
the most joy and stimulation to your brain?
[ma+]: I really enjoy travelling and seeing all kinds of environments.
But I get the most joy from nature, in particularly the sea.
[KS ]: Once you c reate something, do you ever take more
and more away to see the very beauty of the bones of the
garment and work with that?
[ma+]: S ure, t his p rocess h elps t o e stablish a f oundation t o
explore and evolve in new directions. People sometimes say to
me that there is not enough change in the collection, but it’s a
little like quantum physics, there is a lot there if you are open
or wanting to see it.
[KS ]: I see your work as somewhere in the middle, a beautiful
cohesion between the wearer and the cloth. What type of
person would you say works seamlessly in ma+?
[ma+]: It’s open. There are people who are looking for something
from ma+, whether it is a way of construction, certain
details, a deepness to the fabric, a particular essence. There are
also people who have a chance meeting with a piece, leading
to a new found connection, we all like nice surprises.
www.maurizioamadei.com
Delight In the Detail
2011 was a paradigm shift of a year. Changes in one’s lifestyle
were sought by many, changes in thinking by the
government were sought absolutely, changes in thinking
by the police were sought reluctantly, changes in thinking
for political leaders the world over were sought forcibly,
changes in thinking in the retail sector were sought optimistically
and changes in thinking in fashion were sought
obviously. As the world turns, grounded designer Maurizio
Amadei focuses on the little things.
The individual has had to learn to adapt to their social surroundings,
to accept changes more negative than not and the
world has felt the brunt of years of bad mistakes. 2011 wasn’t
anything new, changes like this must and do occur in society
more often than we think, it was only in the 1980s that those
old enough to remember experienced more or less the same
kind of developments and regressions in the economy, society
and world wide. Coming out of those dark times were the
indulgent 1990s where the yuppy went mainstream and everyone
could and would have a taste of the finer things in life.
This year we will still be reeling from the hangover, but the
taste of those that revelled and induced the need for thoughtful
alkaseltzer is still fresh and certainly won’t wear off for some
time to come. The retail sector was predicted to suffer over
the winter period but instead it flummoxed the Aristotles and
roared on, not with lion force but the roar still lingered. In
fashion it appears people are seeking the pieces that last, that
stand the test of time, throw-away seasonal items are being
advised against.
One would assume that a wallet effecting label such as ma+
would have to adapt to not feeling the brunt of change. But
Maurizo Amadei sticks to what he likes, the second skin many
like to refer to when describing his output, is paramount and
a second skin is what people now seek with their purchases.
Imagine a new lover, discovering the many contours of their
body, and over the coming weeks and months stumbling upon
hidden moles, birthmarks and scars, all the things that make
the skin a beautiful textile to admire. Maurizio is, of course,
famous for his leather work and perhaps this is also responsible
for the second skin connotations.
Kevin Soar [KS ]: I have read much about how your designs
are inspired by the human form, when did this idea start to
inspire you? Was it something you were interested in when
you began or a gradual appreciation?
Maurizio Amadei [ma+]: My interest in the human form g rew
since I was young. But I am also inspired by all kinds of forms,
whether it be geometric shapes or wildlife.
[KS ]: Are you interested in forms to seek an ideal? Do you
believe in the ‘ideal human form’ or should it be celebrated
in all its guises?
[ma+]: Much of the collection is quite fitted, so naturally I have
a certain form in mind if I want the pieces to be comfortable
to wear. But thankfully, there are all kinds of shapes out there
to keep life interesting and fresh. The A+V project we are doing
is as much about any kind of form as it is based on the custom
made to measure approach.
[KS ]: Do you have a perfect muse, past or present, that you
imagine pieces on to help design?
[ma+]: Not really, muses come and go. However, I have used the
same male fitting model for the last five years, since he was 16.
I like the idea of watching him grow with the collections. I only
see him when we are presenting a collection in Paris, so I need
to imagine how things will fit him whilst I’m developing them.
[KS ]: Is it important that to celebrate the human form you
must feel slightly detached from it? Surely like everyone
else you must see things on the news that make you detest
humanity sometimes?
[ma+]: Definitely. When it comes to news, I see mostly things that
make me very depressed, angry or disgusted… but I guess that’s
what sells news. Luckily, to reaffirm my notion of humanity,
I have family, friends, positive new encounters and very importantly,
humorous moments.
[KS ]: Many designers detach themselves from world events
to concentrate on their work. Where do you stand on
Europe’s current financial crisis and the political situation
in Italy? Do you ever worry about the future, whether in
business or personally?
[ma+]: I usually try to ignore politics in Italy because it is
so pathetic. But of late, shutting it off is almost impossible.
I feel more concerned for the future Italy. It does not really
matter where you are or where you come from – we are so
interconnected. The problems of today are increasingly shared
and can only be resolved with widening co-operation. But
I do feel a general optimism in that such a pressure point that
we are currently experiencing could bring strong changes,
which would be good…changes in structure, thinking, attitudes…
real progress.
[KS ]: Leather, many would a rgue, i s the material you a re
most famous for using. The material in garment form has
connotations with the rebel, and the hunter among others.
Which of these do you feel closer to in your personality?
[ma+]: Good question. Hard to pick one. I am motivated by the
traditional origins of leather use not wasting [anything] from a
hunt and I am attracted by the strong tough look of leather. If I
really had to choose, I would have to say the hunter aspect,
even though I don’t hunt.
[KS ]: With regard to your timeless work boots, did you design
and make them to withstand the stresses of day to day labouring
or as more of a peacock/expressive piece of footwear?
[ma+]: They’re both equally important. But knowing that something
is made to last, feeling and looking better with wear,
really deepens its aesthetic.
[KS ]: When did you first become fascinated by the craft and
beauty of leather?
[ma+]: When I left home to go and live in London I started to experiment
more with what I wore. I have always looked at what
we wear as a second skin and leather being one, it naturally
became a base for me to develop from.
[KS ]: Your style of constructing I would say is not very
European. Where does this almost Zen way of construction
come from?
[ma+]: I’m not really sure what European is? I take influences
from all kinds of things…obvious and not so obvious. I like the
idea of Zen, for example, it suits the way I ideally like to create.
But life is full of many intense moments…maybe this drives me
to find and make some tranquillity in making the pieces.
[KS ]: I know your textiles are largely sought in Japan; do
you also take inspiration from the East?
[ma+]: Yes, very much so. I try to go to Japan once a year for
the fabric and love to see firsthand how things work there and
understand their points of view.
[KS ]: I find your work is not defined by trends but it seems
the product of an artisan. Do you keep an eye on what
those on the streets of Rome or in fact any large fashionable
city are wearing and what other designers are doing,
or do your inspirations come purely from the imagination,
the psyche of an artist?
[ma+]: I’m actually not very often in the city, nor do I browse
the internet or read magazines. I guess I absorb things from my
teenage daughter, listening to music, a film, reading a book, a
conversation, being able to relax or even to argue...anything
really. I don’t really work through themes or stories. A lot of it
is problem solving, if you can really call them problems.
[KS ]: Do you have a specific piece in your back catalogue
that is close to your heart?
[ma+]: I like pulling things out that I have not worn for a long
time or especially things that I have forgotten about. I get quite
a nice sensation if I can relate to it on different levels, whether
it be reliving certain memories, revising how I made it or seeing
it with fresh eyes.
[KS ]: You must then take an interest in buildings and also
the shapes of the natural world. What places always give
the most joy and stimulation to your brain?
[ma+]: I really enjoy travelling and seeing all kinds of environments.
But I get the most joy from nature, in particularly the sea.
[KS ]: Once you c reate something, do you ever take more
and more away to see the very beauty of the bones of the
garment and work with that?
[ma+]: S ure, t his p rocess h elps t o e stablish a f oundation t o
explore and evolve in new directions. People sometimes say to
me that there is not enough change in the collection, but it’s a
little like quantum physics, there is a lot there if you are open
or wanting to see it.
[KS ]: I see your work as somewhere in the middle, a beautiful
cohesion between the wearer and the cloth. What type of
person would you say works seamlessly in ma+?
[ma+]: It’s open. There are people who are looking for something
from ma+, whether it is a way of construction, certain
details, a deepness to the fabric, a particular essence. There are
also people who have a chance meeting with a piece, leading
to a new found connection, we all like nice surprises.
www.maurizioamadei.com
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