M

FEEL_THE_GARMENT_EMOTION
Each form is shaped by our BODIES and by our MEMORIES as well

Instagram:
Alice Tamburini with her fashion collections

“Oh Kitty! How nice it would be if we could only get through into Looking-Glass House!”

Louis Carrol

Alice Tamburini as an architect goes straight to the dress: the very first and authentic humans’ home. She engages in a dialogue with the fabric, with the patterns; she listens to what dresses have to say. Seeks for what they protect, and for what eagerly enthuses them. Alice never stops researching. She paints slabs and sheets with construction material and the colours of the dark night, the bright light, the red blood. She seeks new life for materials and fabrics, for jute, organdy, plaster. However, it is not recycling, rather, it is a true resurrection. A new life, a second opportunity. For the ancestors’ laces, for the precious collection of old buttons jealously kept. She finds the mythological Alcestis, and her endless love, and wants to create and donate her the most precious and delicate dresses, living fabrics and shapes that can tell us the princess’ journey to the deads’ world and back. Dresses that shine on today’s stage, shaped and sculpted to tell us the journey in which only a tireless heart can make return home, with more awareness then ever before, and the consciousness that shouts: I die for love.

A similar obsession is at work in the creations by Alice: the definitive covering and then undressing of the body, the ultimate dress kit. The bride’s necessity, that is salvation for the dead, firstling to heaven. Artist, architect, creator of “Architetture Tessili” (literally: Textile Architectures), Alice Tamburini grasps the myth – Alcesti’s evanescent cast set on fire – and uncovers it to the very bear bones, to the final word. Dresses up the myth then quickly scalps it. She works by corrosion, to dodge and discard the inessential and to elect the essential, and there she finds the original dress, the kit, crossing between flesh and empyrean, between nude and indecent. She does not belong to the non-contradictory neither to the trade-off principles, rather, she pursues obsession over the “logos”, where the obsession is a sort of blindness for/in the brightness. Finally, the dress kit is a reward: nothing but a precious shadow is left to the body.

 

 

 

Contacts:
at@alicetamburini.com
0039 351 71 66 896


Alice Tamburini Studio
via Calatafimi 9a
20121 Milan

“Oh Kitty! How nice it would be if we could only get through into Looking-Glass House!”

Louis Carrol

Alice Tamburini as an architect goes straight to the dress: the very first and authentic humans’ home. She engages in a dialogue with the fabric, with the patterns; she listens to what dresses have to say. Seeks for what they protect, and for what eagerly enthuses them. Alice never stops researching. She paints slabs and sheets with construction material and the colours of the dark night, the bright light, the red blood. She seeks new life for materials and fabrics, for jute, organdy, plaster. However, it is not recycling, rather, it is a true resurrection. A new life, a second opportunity. For the ancestors’ laces, for the precious collection of old buttons jealously kept. She finds the mythological Alcestis, and her endless love, and wants to create and donate her the most precious and delicate dresses, living fabrics and shapes that can tell us the princess’ journey to the deads’ world and back. Dresses that shine on today’s stage, shaped and sculpted to tell us the journey in which only a tireless heart can make return home, with more awareness then ever before, and the consciousness that shouts: I die for love.

A similar obsession is at work in the creations by Alice: the definitive covering and then undressing of the body, the ultimate dress kit. The bride’s necessity, that is salvation for the dead, firstling to heaven. Artist, architect, creator of “Architetture Tessili” (literally: Textile Architectures), Alice Tamburini grasps the myth – Alcesti’s evanescent cast set on fire – and uncovers it to the very bear bones, to the final word. Dresses up the myth then quickly scalps it. She works by corrosion, to dodge and discard the inessential and to elect the essential, and there she finds the original dress, the kit, crossing between flesh and empyrean, between nude and indecent. She does not belong to the non-contradictory neither to the trade-off principles, rather, she pursues obsession over the “logos”, where the obsession is a sort of blindness for/in the brightness. Finally, the dress kit is a reward: nothing but a precious shadow is left to the body.

Alice Tamburini with her fashion collections

 

Contacts:
at@alicetamburini.com
00393517166896


Alice Tamburini Studio
via Calatafimi 9a
20121 Milan

Sculpting project by Alice Tamburini springs out of her research on the human shape and figure. The body, whose shapes are echoed through the dress as one’s mold of the existence, is at the heart of the artistic project. The path is led by a language that empathizes with the contradictions of the contemporary lifestyle. Fabrics and textiles become the preferred material of choice, for their ability to absorb one’s soul.
The myth’s awesomeness feed the artistic research. The myth finds its actual consistency through textile structures that build a space/dress which is offering of a place, desire of a presence, gap between what exists and what doesn’t. A challenge to nothingness, sublimation of the human body.