I like to travel routes unknown, not for snobbery or thirst for distinguish myself, but simply because i like to follow my thought and my instict in the wake of curiosity.

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Cecil Beaton’s costumes for La Traviata Metropolitan Opera House, 1966

Cecil Beaton’s costumes for La Traviata Metropolitan Opera House, 1966

Sir Cecil Beaton (1904-1980) was best known as a photographer. Beaton also worked as an illustrator, a diarist, and designer for stage and film. He won three Oscars for costume and art direction for the film version of My Fair Lady (1965) and for Gigi (1958).
La Traviata is an opera in three acts with music by Giuseppe Verdi. The producer for the Metropolitan Opera House was Alfred Lunt and was the first production for the opening season of the new Metropolitan Opera House. Cecil Beaton’s designs were praised by the critics for catching the decadence and luxury of the mid-19th century Parisian scene.

Cecil Beaton created glorious gowns for the opening season of the Metropolitan Opera Company’s 1966 La Traviata at Lincoln Center-dressed in the reds and golds of the Met.

For the costumes, Beaton said “I wanted the colours to have a gold light-dark but sparkling, scintillating.” Karinska made the gowns and headresses-scouring about for old laces, jet, tinsel, ribbons to get the effect -a look of-lushness-a heaviness indicative of 1860 that Beaton desired. Alfred Lunt’s stage sets were designed by Beaton as well.

“I have the worst ear for criticism; even when I have created a stage set I like,
I always hear the woman in the back of the dress circle who says she doesn’t like blue. “
Cecil Beaton

Cecil Beaton - Marina Berenson for Vogue september 1966

Cecil Beaton – Marina Berenson for Vogue september 1966

Cecil arrived in New York City in 1928, having achieved early success in his homeland.Trans-Atlantic connections resulted in his near-instant introduction to New York City’s elite, including Elsie de Wolfe and Edna Woolman Chase, the editor of Vogue magazine at the time. What followed is the stuff of legend: a remarkably agile career which spanned fifty years and as many visionary works in which Beaton brought his rarefied vision to bear on fashion photography, illustration and caricature, portraiture (in drawings and photographs), and set and costume design for stage and film.
Cecil Beaton’s stratospheric ambition was nurtured and sustained by mid-20th–century New York, where his career was able to maintain a feverishly high pitch. Society figures, media giants, impresarios, celebrities, actors, artists, writers, and the merely famous passed in front of his camera in an endless parade of glamour and style. The pages of Condé Nast publications—most notably, Vogue magazine—showcased his elaborately staged photo shoots, in which his eye for opulence and drama animated such sitters as Fred (and his wife, Adele) Astaire, Maria Callas, Greta Garbo, Martha Graham, Audrey Hepburn, Katharine Hepburn, and the woman who would become the ultimate 20th-century icon: Marilyn Monroe. He enlivened his photographs with sets in which he borrowed liberally and extravagantly from European art forms, incorporating formal elements of modern (and classical) painting and sculpture into his work, and bringing elements of such major aesthetic movements as impressionism, surrealism, and others into the homes of magazine readers nationwide.

His extraordinary stage sets and costumes for Broadway, the Metropolitan Opera, and the New York City Ballet were masterful evocations of “place” in the extreme.


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AUTUMN IS COMING: FOTO/INDUSTRIA 2015! Are you ready for 14 incredible and compelling exhibitions of photography? Where? In BOLOGNA!

AUTUMN IS COMING: FOTO/INDUSTRIA 2015! Are you ready for 14 incredible and compelling exhibitions of photography? Where? In BOLOGNA!

Fourteen exhibitions in 12 locations and cultural landmarks of the city

Opening to the public: 3 October 2015 by MAST- BOLOGNA.

LC_land (3)

© David La Chapelle Land Scape

The theme of the second edition of FOTO/INDUSTRIA 2015 Biennale in Bologna, is focussed on the world of work in all its aspects and in particular on the industrial production chain from conception to recycling.
The Biennale, promoted by the MAST Foundation in collaboration with the Bologna Municipality under the artistic direction of François Hébel, includes 14 exhibitions that will be held during the month of October in eleven historical buildings in the city centre and at MAST.
FOTO/INDUSTRIA presents at MAST, under the direction of Urs Stahel, the finalists and winner of the fourth edition of the GD4PhotoArt competition, created to promote the work of young photographers on the subjects of industry, society, and territory and the Savina Palmieri Collection of industrial photography books.

I advice you and my favourites are:

DAVID LA CHAPELLE, New York, USA, LAND SCAPE : Pinacoteca Nazionale Via Belle Arti, 56

Famed fashion photographer turned artist David LaChapelle presents new works dealing with oil’s negative impact. He is known internationally for his exceptional talent in combining a unique hyper-realistic aesthetic with profound social messages. The famed photographer presents two new series of works: “Refineries” and “Gas Stations.” As their titles suggest, these projects deal with the petroleum industry, depicting the points of gasoline’s production and consumption, respectively.

EDWARD BURTINSKY, Toronto, Canada, MANUFACTURED LANDSCAPE, Palazzo Pepoli Campogrande, Via Castiglione , 7

Burtinsky (2)

© Edward Burtynsky

Nature transformed through industry is a predominant theme in my work. I set course to intersect with a contemporary view of the great ages of man; from stone, to minerals, oil, transportation, silicon, and so on. To make these ideas visible I search for subjects that are rich in detail and scale yet open in their meaning. Recycling yards, mine tailings, quarries and refineries are all places that are outside of our normal experience, yet we partake of their output on a daily basis.

These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times.” Edward Burtynsky

HEIN GORNY, Berlin, Germany, NEW OBJECTIVITY AND INDUSTRY PRODUCTS AND IMAGE DESIGN 1920s-1930s IN GERMANY Exhibition co-produced by Collection Regard and Foto/Industria 2015, Genus Bononiae, Museo della Storia di Bologna, Via Castiglione, 8

© Hein Gorny, Berlin, Collection Regard

© Hein Gorny, Berlin, Collection Regard

In the 1930s Hein Gorny was a respected and successful commercial photographer. His joyful image of a woman throwing her child into the air, and poised to catch it, was used in a major advertising campaign for the German National Railway. But when the Reichsbahn discovered that the woman in the photo was a Jew – as well as Gorny’s wife – he was accused of ridiculing the railway. He was told to divorce the woman if he wished to continue as their photographer. When he refused all commissions from German companies and institutions stopped. He had to make a living by taking portraits of horses and dogs.

For years Gorny and Byers’ photographs were considered lost, until they were discovered and published by the Berlin-based Collection Regard. Marc Barbey, a Parisian economist, collector and owner of both gallery and imprint, works to rediscover once-renowned photographers and photo artists who have since faded from memory. He considers Berlin the perfect city for his collection

GIANNI BERENGO GARDIN, Milan, Italy MAN, WORK, MACHINE, Fondazione del Monte, Palazzo Paltroni, Via delle Donzelle, 2

LUCA CAMPIGOTTO, Milan, Italy THE POETRY OF THE GIANTS, Spazio Carbonesi, Via de’ Carbonesi, 11


© Campigotto

© Campigotto

List of other exhibitions:

Neal Slavin, New York, USA GROUP PORTRAITS, Spazio Carbonesi ,Via de’ Carbonesi, 11

O. Winston Link, New York, USA, NORFOLK AND WESTERN RAILWAYS, Fondazione Cassa di Risparmio in Bologna, Casa Saraceni, Via Farini, 15

Kathy Ryan, New York, USA OFFICE ROMANCE, Museo Internazionale e Biblioteca della Musica di Bologna, Strada Maggiore, 34

Hong Hao, Beijing, China “MY THINGS”, “BOTTOM” MAMbo, Museo d’Arte Moderna di Bologna, Via Don Minzoni, 14

Jason Sangik Noh, Seoul, South Korea, BIOGRAPHY OF CANCER, Villa delle Rose, Via Saragozza, 228/230

Léon Gimpel, Paris, France, ILLUMINATIONS, An exhibition proposed by Société française de photographie, Museo di Palazzo Poggi, Via Zamboni, 33

Marc Roig Blesa, Netherlands/Spain – Raphaël Dallaporta, France – Madhuban Mitra and Manas Bhattacharya, India –

Óscar Monzón, Spain GD4PHOTOART COMPETITION FINALISTS, MAST.Gallery, Via Speranza, 42

MAST.Gallery , Via Speranza, 42

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CHANEL and a FRENCH FILM “A COMMON THREAD,” allow you to discover the behind the scenes of HAUTE COUTURE.

“The couturier is the architect and we [embroiderers] are the decorators” – François Lesage


CHANEL Spring-Summer 2015 Haute Couture Collection

Those who follow my blog you know that I am a passionate fan and addicted to the world of fashion, but not for his side shallow but I’m always careful to the aesthetic and artistic of this world.

Also because visually the most interesting things in terms of creative direction, scenography are inspired by fashion and not the opposite.

I consider fashion like ART. For this when I can I try to collaborate with this industry for creating scenography for fashion show. I’ve already talked about incredible set design and haute coutire collection that every year THE KAISER Mr. Karl Lagerfeld has created with his genius.haute-couture-ateliers

The work behind Haute Couture is something extraordinary and unimaginable. This year another time with the last show Karl has amazed me.There are currently 5 or 6 major embroidery ateliers in Paris. At the end of World War II their number stood at 40.
To save them from becoming extinct, Chanel and Dior have been acquiring ateliers since the 1980s.
Apart from unveiling the behind-the-scenes of haute couture, the relationships between the couturier (designer), the artisan and the client is the focus on this work. “The couturier is the architect and we are the decorators,” said the late embroiderer François Lesage. What he didn’t say is that the process only really starts with the client. Samples are shown to her for approval and may be altered according to her wishes. Once she’s given the green light, the garment is made, partly in the ateliers and partly in the main fashion house.
broderies-vermontThen it occurred to me a beautiful film which tells the story of a girl whose job is precisely the EMBROIDERER: A COMMON THREAD, (French Title : BRODEUSES).

This is the first feature film directed by Éléonore Faucher, who co-wrote the screenplay with Gaëlle Macé. It was shown at the 2004 Cannes Film Festival and was selected by the Film Society of Lincoln Center and the Museum of Modern Art for inclusion in the 2005 edition of New Directors/New Films.

In Eleonore Faucher’s film, A COMMON THREAD, Lola Naymark plays Claire, a 17-year-old farmer’s daughter whose greatest passion is embroidery.
This film touched me with eerie dream sequences, the film casts a strange spell that’s enhanced by the rhythmic, almost sensual depiction of the painstaking art of embroidery.

1Claire has left her father’s farm and lives in a small studio in town; she works in the local supermarket, but spends all her time designing her intricate patterns. She has a problem, though. She’s pregnant. Claire’s best friend, Lucile, has moved away from the town, but she returns briefly to see her brother, Guillaume, Thomas Laroppe, who is recovering from a motorcycle accident in which his best friend was killed.



Common Thread film (2006)

Through this connection, Claire meets the dead man’s mother, Madame Melikian, Ariane Ascaride, who designs magnificent embroideries for the smart shops in Paris.

This very simple story is imbued with a delicate intimacy thanks to the subtle treatment by director Faucher. A bond forms between these two women.

The film is extremely beautiful, not just in its images of the wonderful embroidery these women create, but in the faces of the characters, particularly the very expressive Lola Naymark.
I hope I have intrigued you on this topic and I show you some pictures from this film and a making of about latest chanel fashion show a few days ago.

See the making of the Spring-Summer 2015 Haute Couture collection and film Trailer.



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From GERMAN to EMILIA LAND: EMIL OTTO HOPPE’ “UNVEILING SECRET”. WORLD PREMIERE of Industrial landscape’s photos by Emil Otto Hoppé at the MAST BOLOGNA.

From GERMAN to EMILIA LAND: EMIL OTTO HOPPE’ “UNVEILING SECRET”. WORLD PREMIERE of Industrial landscape’s photos by Emil Otto Hoppé at the MAST BOLOGNA.

Mast gallery “ Emil Otto Hoppé il segreto svelato/unveiling a secret”,
21 january – 3 may 2015, Bologna (Italy), free enter.

To picture the rhythm and design of very ordinary, everyday things, which ninety-nine persons out of every hundred are probably passing every hour of every day without noticing them, because they are so familiar with them that they would consider it a sheer waste of time to give them a second glance. It is one of the chief delights of photography that it creates a spirit of adventure and sharpens the powers of observation. So many people miss the significance of little things and are therefore robbed of a fundamental key to beauty”. -E.O. Hoppe’

Skeleton of Graf Zeppelin, Friedrichshafen, 1928.

Skeleton of Graf Zeppelin, Friedrichshafen, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

I’ m so proud to talk about this philanthropic emilian foundation that is excellence in the cultural world and offers some of the most interesting exhibitions of photography.

After exhibiting the David Lynch photographs, the FONDAZIONE MAST (Arts, Experience, Technology) is opening a new exhibition in its Gallery, curated by Urs Stahel, and dedicated to EMIL Otto Hoppé (1878-1972), with over 200 works on industry and labour, taken between 1912 and 1937.
Like his contemporaries Alfred Stieglitz, Edward Steichen, Walker Evans, August Sander, and Edward Weston,
Hoppé was one of the most important photographers of his era, also famous for his landscape and travel images.

In the twenties and thirties, after having consolidated his reputation as a topographic and portrait photographer depicting famous European artists, scientists and politicians like George Bernard Shaw, Ezra Pound, T.S. Eliot, Rudyard Kipling, George V, Vita Sackville-West, Filippo Tommaso Marinetti, and Albert Einstein, E. O. Hoppé set off on his travels to capture the romance and grandeur of industrial sites around the world.

During his explorations – in Germany, Great Britain, the United States, India, Australia, New Zealand and other countries – he photographed the futuristic industrial landscape, seeing its gargantuan machinery as both technology and art. Hoppé was acutely aware of how contemporary industrial technology was heralding the world into a new era where the very nature of work and production would profoundly change.

Emil Otto Hoppé: Unveiling a secret presents for the first time his iconic images of the second industrial revolution and brings Hoppé’s work to the attention of the public.

Camell Laird's Yards, The Midlands, c.1926.

Camell Laird’s Yards, The Midlands, c.1926.© The E.O. Hoppé Estate|Curatorial Assistance, Inc

This work had remained hidden for a long time in the London photographic archives which had purchased fifty years of works from the artist himself at the end of his long and prestigious career.
Hoppé’s industrial photography on show, in the area dedicated to “side events”, MAST will exhibit the rich variety of subject matter in the artist’s repertoire with a series of digital projections of other themes from celebrity portraits to nudes and from human typologies to landscapes.

Emil Otto Hoppé was born on April 14th 1878 in Munich, where he received his initial schooling and drawing lessons from the watercolorist, Hans von Bartels (1856-1913).
In 1897, after two years compulsory service in the Army, Hoppé followed his father into banking but he also travelled to Paris and Vienna to study painting and portrait photography. In 1900 Hoppé moved to London to work at the Deutsche Bank and Lombards and in 1903 met British photographer John Cimon Warburg (1867-1931) who demonstrated the artistic possibilities of photography to him.
Inspired by Warburg he acquired his first camera, a Goertz-Anschutz model, and the same year was admitted as a member of the Royal Photographic Society where, over the next four years, he regularly exhibited his amateur photographic works. In this same year Hoppé was also associated with The Linked Ring Brotherhood with fellow members, Alvin Langdon Coburn (1882-1966), Henry Peach Robinson (1830-1901) and George Davidson (1854-1930), who played an important role in international art photography, maintaining close ties with continental and American groups including the Vienna Camera Club and the Photo-Secession, New York.

Modern Gasometer, Fulham, London 1925.

Modern Gasometer, Fulham, London 1925.© The E.O. Hoppé Estate|Curatorial Assistance, Inc

Hoppé also contributed reviews, illustrations and photographs to various established magazines of the time including ‘The Bookman’ and around 1917 he became one of the founding members of ‘The Plough’ theatre club in London, a group who specialised in producing plays that had previously not been performed in Britain where Hoppé designed some of the stage sets. By this time Hoppé was one of the most sought after portrait photographers of the time and is reported to have made over 600 portraits during one year. In 1922, a highlight of Hoppé’s career was a large one-man exhibition consisting of 221 prints at the Goupil Gallery, London, for which he was widely celebrated. Prior to this, in 1918 Hoppé made his first visit to New York where he photographed modernist cityscapes and made portraits of “street types.”

In 1921 Hoppé returned to New York to open a studio on West 57th Street and was celebrated that year by a major exhibition of his work at the famous Wannamaker Gallery and with the publication of his “The Book of Beautiful Woman.”

The publicity garnered by Hoppé at this time made him more famous in the United States and elsewhere than the one we now point to as the champion of photographic art, Alfred Stieglitz.From this time on, and using London as his base, Hoppé travelled to many different countries throughout the world for the purpose of making a comprehensive photographic portrait of each as the subject of his many photographically illustrated books that he published over the next decades.

Sydney Harbour Bridge from the North Side, Australia, 1930

Sydney Harbour Bridge from the North Side, Australia, 1930, © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Many of Hoppé’s titles were made for the Orbis Terrarum series of books that were beautifully printed in the gravure process. Countries photographed by Hoppé include Romania, North America, Cuba, Jamaica, the West Indies, United Kingdom, Germany, India, Ceylon, Australia, New Zealand, Indonesia, Singapore, Malaya, Africa, Bavaria, Poland, and Czechoslovakia.

His subjects in each country include the natural and man-made landscape and people. A favourite subject of Hoppé is large-scale industrial machinery found in factories, shipyards and steel mills where he is less interested in the subject’s function as he is in its artistic potential for abstraction. In this sense Hoppé’s photographs of the 1920s anticipate the work of Bernd (1931-2007) , Hilla (1934- ) and Albert Renger-Patzsch (1897-1966).

In the late 1920’s whilst travelling, Hoppé continued with some photographic work in Germany for the UFA studios (Universum Film AG ) which included photographs of Fritz Lang, Conrad Veidt, Victor McLaglen, Brigitte Helm, Mona Maris, Erich Pommer, Lilian Harvey and many more, as well as production stills of Marlene Dietrich and Anna May Wong.

Then thanks to MAST you will have the opportunity to discover this enormous artist, although unknown to date.

View from the Delaware Bridge, Wilmington, 1926

View from the Delaware Bridge, Wilmington, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Industrial Docks on the Thames.

Industrial Docks on the Thames, © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Hosch Steelworks, 1928.

Hosch Steelworks, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Power Station, Sydney Harbour, 1930

Power Station, Sydney Harbour, 1930 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Girl and lamp post Frankfurt am Main, 1928.

Girl and lamp post Frankfurt am Main, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Ford Factory, Detroit, Michigan2, 1926.

Ford Factory, Detroit, Michigan2, 1926. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Ford Factory, Detroit, Michigan, 1926

Ford Factory, Detroit, Michigan, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Crane on London Docks, London

Crane on London Docks, London © The E.O. Hoppé Estate|Curatorial Assistance, Inc


Rotary Kilns Under Construction in the Boiler © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Delaware Bridge, Philadelphia, Pennsylvania, USA, 1926

Delaware Bridge, Philadelphia, Pennsylvania, USA, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc




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MASTER OF SET DESIGN: KEN ADAM “BERLINER” CINEMA SUPERSTAR! Ken and his strange relationship with Stanley Kubrick! Berlinare 2015 is coming , Don’t Miss This Great Opportunity to discover an unbelievable artist.

MASTER OF SET DESIGN: KEN ADAM “BERLINER” CINEMA SUPERSTAR! Ken and his strange relationship with Stanley Kubrick

Berlinare 2015 is coming , Don’t Miss This Great Opportunity to discover an unbelievable artist.


11 December 2014 – 17 May 2015:
Bigger Than Life. Ken Adam’s Film Design

Deutsche Kinemathek – Museum für Film und Fernsehen
Potsdamer Straße 2
10785 Berlin

ken adam

Thunderball (1965), James Bond

Set design is one of the most complicated elements in film. Basically, it’s meant to serve the story and not call attention to itself, while still adding to the mood of the film.
Berlinale is coming and Don’t Miss This Great Opportunity to discover a Berliner Cinema Superstar: Sir Kenneth Adam the most influential film production designer of the last half of the twentieth century.

6Born to a wealthy Jewish family in Berlin in 1921 ( his birth name was Klaus Adam), Adam had a privileged childhood but fled to London 1934 when the Nazis cracked down on Jewish businesses, including his father’s firm. After studying architecture, he served as a fighter pilot for the British during World War II, then wangled a job as a junior draftsman on the otherwise forgettable 1947 film, “This Was A Woman.” Adam worked his way up the ranks to become a production designer, a role that didn’t exist until 1938 when William Cameron Menzies was given the title on “Gone with the Wind.” It was still so peripheral that Adam’s name was misspelled in the credits of “Around the World in Eighty Days” (1956), the first film where he felt he made a creative impact.

He most famous for ‘Dr Strangelove’ and the James Bond films of the 60’s & 70’s. He is also one of only two German nationals who flew for the RAF in World War II.


Thunderball Set (1965)

In London, Adam flew for the RAF – the first German fighter pilot to do so – and he claims that this experience, fraught with action and danger, played a huge role in his design work, particularly the Bond films. Although he still lives in London, Adam has never forgotten his Berlin roots.

There is no doubt that Adam was influenced by the Bauhaus and German Expressionism and the architects who he admired most are Mies Van Der Rohe, Mendelsohn, Gropius and Le Corbusier, and also, in some way, Frank Lloyd Wright .

You only Live Twice (GB, US 1967, Lewis Gilbert)

You only Live Twice (GB, US 1967, Lewis Gilbert) Villains get the best apartments: Blofeld’s Volcano Lair for “You Only Live Twice”. © Ken Adam Archive/Deutsche Kinemathek)

The mastermind behind seven of the first eleven Bond films, including Dr. No, Adam has been lauded as one of the world’s greatest production designers. First recognized during the filming of Around the World in Eighty Days, he has managed to cultivate a rapt following in one of the cinema’s most underappreciated professions, and with it a reputation for grandly expressionistic sets, such as the war room in Dr. Strangelove and Blofeld’s volcanic headquarters in You Only Live Twice.

By the early 70s, Ken’s imagination had made him Hollywood’s most celebrated production designer, and in 1975 he got another call from Mr Kubrick who was preparing to come out of hiding after the fallout from Clockwork Orange. He wanted re-tell Barry Lyndon, Thackeray’s candle lit ode to the regency period. Ken reluctantly agreed. He had happily passed on the opportunity to work on 2001: A Space Odyssey.

barry lindon

Barry Lindon set – Stanley Kubrick

Adam said: “Stanley had got very nasty menacing letters from people threatening his life, so when we were preparing for Barry he wouldn’t move out of his house for 5 or 6 months. I said ‘how can you make a film on location when you don’t go out?’ So he employed an army of young photographers to take pictures of stately homes. But you couldn’t say anything about his paranoia to anyone otherwise he would be on the phone the next day. He controlled everything you said in the press and on set.”

Physically exhausted, Ken had a nervous breakdown, and Kubrick fired everyone on set for six weeks to re-think the film’s strategy.


Dr. Strangelove, Stanley Kubrick

“It wasn’t normal pressure, I can cope with normal pressure,” he says, with a gutsy laugh. “I had to go into a clinic. Stanley was more worried than I was, but I was beyond worrying really. He rang everyday but wasn’t able to talk to me because my psychiatrist wanted to cut this umbilical chord between us. Which he never managed to do actually. When I finally came back to this house, he rang up and asked me if I wanted to direct a scene over in Germany. The moment I heard that I was back in the clinic. Crazy.”

ken adam

The Spy Who Loved Me (GB, US 1977, Lewis Gilbert)

“Kubrick had seen Dr. No and loved it,” Ken says, tugging back a lungful of cigar smoke. “He asked if I would be interested in doing a picture for him. I went to see him and he had a lot of charm and curiosity, but I felt he was also very naïve. Little did I know that there was this gigantic computer like brain functioning all the time!”

He sketched out an idea for the film’s centrepiece – a split-level war room. Kubrick liked it at first but scrapped it after wondering what he would do with the second level. Ken then drew an imposing triangular design, with the director standing behind him commenting on every stroke.

ken adam

The Madness of King George (GB, US 1994, Nicholas Hytner)

“We were too close. It was like a marriage. He was unbelievably possessive and very difficult to work with because he knew every other part of filmmaking, but not design. He was suspicious and I had to intellectually justify every line I drew. That can be so destroying to deal with day after day.”

In 1966, he returned to the city to work on the film Funeral in Berlin and 2001 for collaborating on Taking Sides by Istvan Szabo ; and in 2012, he donated his entire life’s work of over 5000 objects (including nearly 4000 sketches of his film sets) to the Deutsche Kinemathek. This donation forms the basis of the new exhibition.

He also worked on film as Addams family and The Madness of King George.

Don’t Miss This Great Opportunity to discover a great artist.

Confidential source Kubrick-Adam : “TIM NOAKES 2008 “


ken adam

Ken Adam, photo: Andreas-Michael Velten, 2014

Design study for the Liparus Super-Tanker in “The Spy Who Loved Me”. (GB/F 1977, directed by Lewis Gilbert; image © Ken Adam Archive/Deutsche Kinemathek)

ken adam

Chitty Chitty Bang Bang (GB, US 1968, Ken Hughes) image © Ken Adam Archive/Deutsche Kinemathek)


Funeral in Berlin (1966), Still from the movie Funeral in Berlin Martin-Gropius-Bau and the old Prussian Landtag (Abgeordnetenhaus today).The wall run between them.


Funeral in Berlin (1966)

ken adam

Around the world in 80 days set (1956)

ken adam

The Willard Whyte House for “Diamonds Are Forever”. (GB/USA 1971; image © Ken Adam Archive/Deutsche Kinemathek)

ken adam

Funeral in Berlin (1966), aus vaterland-Here in the British movie ‘Funeral in Berlin’ (1966) the Haus Vaterland (on the right) is on East-Berlin territory. In 1971 it came to the West in exchange.

Picture 21

Addams Family (1973)

ken adam

The Zero Gravity Space for “Moonraker” a. (GB/F 1979; image © Ken Adam Archive/Deutsche Kinemathek)

Goldfinger (GB, US 1964, Guy Hamilton)

Goldfinger sketch (GB, US 1964, Guy Hamilton)

ken adam

Ken Adam


Taking Sides, István Szabó, (2001), Berlin set


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“The sites have memory. They remember everything. The memory is etched in stone. It is deeper than the deepest waters. It is like the sand of the dunes, which is constantly changing. “ WIM WENDERS

This time I have the pleasure to welcome an interesting article and discussion by Zuleika Munizza, responsible of BERLINO EXPLORER, about INDUSTRIAL ARCHEOLOGY.

It’s an argument that touches me personally because from the photographic and architectural standpoint is often a source of inspiration for my work. Just because these places transmit texture and surface memories of people who have lived.

Zuleika said: “What is industrial archeology and because in Germany there is great attention and interest in dell’Industriekultur, literally Corporate Culture?

The industrial archeology was born as a branch of classical archeology at the time of termination of the phase of the industrialization process in Europe, explores and examines all the evidence related to this process since its origins, which are identified at the end of ‘700 , before the industrial revolution.

As discipline of study, I.A. born in the first half of the fifties in England, for deepening the knowledge of the history of past and present production, taking into analyzing the archaeological traces generated in the places, where these processes beginning from the second half of the eighteenth century, phase just before the Industrial Revolution, to the present day.
Certainly a different way of reading the city and its changes, It’s performing paths of industrial archeology, to get to explore interesting areas which survive in old factories; then last time the city is reclaiming these places, to promote activities permanent or temporary, cultural and not.2012-12-30 14.32.28

The Industrial Archeology, as well as architecture, are a perfect way to read the hidden traces of history.

Berlin is full of wonderful architectural industrial volumes , but despite their productive function often become reason for specialized architects to represent, through the majesty of the design and the attention to detail, the importance of the historical moment.

hese fascinating structures, are now like giants who wake up in the middle of a city and are changing dramatically the urbanistic situation, especially in Berlin, as well as in all cities with a significant past production, then you can see contemporary skyline near these volumes of the past.

In Germany the Gründerzeit, the stage of economic development of the nineteenth century (the second industrial revolution) corresponds to that historical period in Central Europe, during which the bourgeoisie acquires the role of cultural guide, assigning new tasks to aesthetics, especially in the field of architecture and all manual arts, which leads to the development of an eclectic art forms already existing.

In Berlin, in the heart of the city, the production leaves in the urban structure the signs of the passage of a flourishing economy that, for historical reasons well known to us (for example World Wars) stopped abruptly.

The activities take up again after the official division of the country and the process reconverts; in different cities of the German Democratic Republic, as in Leipzig for example, after the reconstruction of the early post-war years, we can see the rebirth and revival its productive capacity.

2012-12-28 13.06.24Process in East Berlin will be slower than in other parts of East Germany; the reconstruction of the city, burned to the ground for almost 85% of its totality, is the obvious priority; rebuild homes and fabric of the city, are the starting points for the revival.
The pride of the industrial productivity during the Democratic Republic is Leipzig, with the fall of the Berlin Wall and the collapse of utopia community, then collapses beneath the weight of almost total ddisposal of its factories, now mostly abandoned.

Here in Leipzig, as in all industrial cities, the working-class community is very active in the trade unions in defending the rights of workers, and even more so during the communist regime.

From these movements born Friedlichen Revolution, the peaceful revolution of autumn ’89, (the famous “protests fo Monday”), decisive events that herald the final failure of the DDR (founded by another, ironically, officially Oct. 7 ’49) .”

Then BERLINO EXPLORER has began the discovery of Leipzig area. I am very happy to deal  this topic on my blog and I hope very soon to come back to talk about. Stay Tuned!

Info and Contact:

Zuleika Munizza

Frankfurter Allee 5
10247 Berlin

telefono: | email:

2012-12-29 13.36.33

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Vogue 1949

I’m often surprised how many young students of sets and costume design do not know some historical masters of the scenography.
So I want to create a section on my blog about the masters of the past. Then I start with the incredible Lila De Nobili and her fantastic history and career.

Lila de Nobili (1916–2002) was a celebrated Italian fashion illustrator,and later stageand costume designer. She was noted for her work atVogue magazine, designing covers which are now classic pieces of fashion history.
Lila de Nobili was born at Lugano, Switzerland, on September 3 1916, to an Italian father and a Hungarian mother. Lila never went to school; instead she concentrated on drawing and painting.

She moved to Paris, in the 1930s she began designing clothes for French Haute Couture fashion houses.

She was well known on numerous European theatre and operatic stages in the 1950s and 1960s for her romantic settings and famous for working with Franco Zeffireli and Luchino Visconti at the Teatro alla Scala.


Lila De Nobili – Violetta Costume for Maria Callas

In the 1950s, De Nobili started working with theatre and film director Luchino Visconti, and in1955 began creating the costumes for La Traviata at La Scala Opera House, Milan, with the renowned Maria Callas as Violetta. This work has been inspiraton for Catherine Martin and the costume for Nicole Kidman in Moulin Rouge.

Impressive was her pictorial trait, her illustrations reminiscent of paintings by Boldini and some impressionst painter.

In Britain, she won renown for six Shakespeare productions for the young Peter Hall at Stratford-on-Avon between 1957 and 1962.
She went on to work for Laurence Olivier at the National Theatre on Congreve’s Love for Love (1965); her sets were used again for a revival 20 years later.
She also worked at Covent Garden and Glyndebourne; dressed Maria Callas in La Traviata (1955), and designed costumes in Paris for Edith Piaf and Ingrid Bergman.


Vogue _ 1946

Lila de Nobili also worked with Hall on Twelfth Night (1958) and The Two Gentlemen of Verona (1960). She dressed Audrey Hepburn for Gigi on Broadway and contributed to a number of Visconti productions.
In her final years, Lila de Nobili (died aged 85) became something of a recluse in Paris surrounded only by his cats. But she spent much of her time teaching painting to underprivileged children. She never married.

Lila De Nobili, costumes de cigarières pour Carmen de Bizet, 1959

Lila De Nobili, costumes de cigarières pour Carmen de Bizet, 1959

Lila De Nobili, costumes d’enfants et de soldats pour Carmen de Bizet, 1959

Lila De Nobili, costumes des enfants et de soldats pour Carmen de Bizet, 1959


Maria Callas – Costume by Lila De Nobili for Traviata