I, with a study on the ground floor and a home in the middle of the garden, conceived and furnished by Mario Bellini, and him on the third floor, to the left of the main entrance. In Via Corridoni, Milan. This was the case for years. The eighties and nineties. With Ken Scott, a genius comparable to Ottavio Missoni, Alessandro Mendini, Urano Palma, Franco Moschino, and the current absolute top performers, Dolce & Gabbana (whose names I learned in their nascent phase from Ferdinando Scianna), and I was forgetting Elio Fiorucci (who must be included). At first, just 'good morning', 'good evening', then 'hello', 'hello how are you', leading to an excellent acquaintance with his work, which in many ways ran parallel to that of Gimo Etro, who made colour a flamboyant feature, a triumph, still highly appreciated today, but a protagonist in the "Milano da bere" (Milan to drink) era, which, however, despite the stylists, the great architects, the super designers, did not have the urban and image allure that it has today, with a truly golden Quadrilatero d'Oro (Golden Quadrilateral) and a city life that has given a golden setting to the Pirelli Skyscraper and the unsurpassed Torre Velasca, with a Piazza Fontana still worn out and architectural voids that touched the Galleria, the meeting place of Libreria Bocca, Ristorante Savini, Biffi, and the incomparable Zucca rhubarb.
Via Corridoni, you brought us together for years, making me enthusiastic about things not suited to me, which are for total noir, but which I couldn't help but appreciate (and still appreciate them in others and with others) as a true apotheosis of polychromy, of woven or illusory patchwork. To Ken Scott we owe, his singular personality of taste and eccentricity, having defeated every bad habit of hoarding and having experimented and experimented, with fabrics and colours, stretched between his Milan and his soul's home, the *buen retiro* of Aix-en-Provence, the Roman Aquae Sestiae, making it a conceptual laboratory for clothes, bags, tablecloths, fabrics, which embody an *esprit* of eternal youth, as evidenced by the capsule collection, created by Gucci in 2021, highlighting his combinatorial American spirit, dripping, with the European, tonalistic one, imbued with pop art and abstract expressionism, but then intoxicated with Lombard and Milanese spirit, which always mixes avant-garde with tradition, going to unexplored places, bringing with him a complete vocabulary and imagery.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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