THE #3 DESIGN
and how the House of Dior revived it 20 years later.
Talking about this particular setting makes me very proud: not so much for the style we chose but for what happened a long time later.
The creation of these interiors was entrusted to a craftsman named Azzo, and his staff, who had already created other important rooms.
The proposal he made us was exciting, very avant-garde in terms of concept, choice and combination of some materials.
So we accepted and commissioned, it was 1996.
More than words I will use the images to show the result because they are much more explanatory.
I will only say that a ceramic mosaic was made by hand on all the walls of the room, including the entrance stairs, the joints of which were painted with a fluorescent color which, with the abundant use of al wood lights, illuminated the whole room.
The crystals of the track, elevated and illuminated from below, were painted with a milky paint to make them opaque, and on each of the crystals thin red veins were drawn, the result of which, as a whole, looked like the structure of a muscular tissue composed of fibers red and which seemed, with the play of light, to be in motion and pulsate.
The result was surprising, the venue had something of a time capsule, it gave you the impression of being in a non-space full of indefinable geometries.
Undoubtedly an important setup, with its own specific weight and a lot of character that we kept intact for a couple of seasons, then we started modifying it to lighten its effect.
22 years later, in the presentation of the Spring/Summer 2018 collection, in the context of the Rodin museum, Dior shows his models in a practically identical environment.
The only difference is that his mosaic is made up of mirrors while ours was ceramic.
Again, I'll let the pictures do the talking.
In the next article, two other very special productions, one of which was filmed again in a highly prestigious location.