Not to sound like your mom or anything, but you don’t want to get caught outside without a cute winter coat when the temperature drops!

To make sure you stay warm and look cool, here are the best Fontana‘s coats you’d love to have.

Winter coats are the staple in any wardrobe, and this season we’ve been overwhelmed with choice.

From red to tartan, from blue royal to camel.
Winter coats are looking seriously good this season and we’re actually looking forward to the temperature dropping so we can cosy up in everything from pastel pinks to statement faux fur.

Fontana Couture is the renowned Italian fashion house, synonymous with luxury and quality, which since 1928 has represented the ingenious craftsmanship and excellence of Italian Tailoring in Lady Style.

The new clothing line borrowed from the fashion house, historically located in Via Della Spiga in Milan, its cutting perfection, the elegance of its models and its attention to details, all of which make Fontana 2.0 the symbol of prêt-à-porter elegance.


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Attention to details and quality raw materials are the main characteristics of a product of excellence. All Made In Italia® products are handmade in the best Italian artisan centres, carefully selected and checked by our staff.
That’s why we’re always certain to offer our customers a flawless product. With Made In Italia® you’re always in good hands!


Do you need a logo to be fashionable? At Made In Italia® we don’t think so. We believe that the elegance of the shapes and the perfection of the models convey more than any logo.
Made In Italia® products are for people who can give quality the right value and don’t need labels.



Italy is the country of fashion. Anywhere in Italy the culture and the habit of creating top-quality and stylish products allow the small excellence manufacturing activities to grow.
Made In Italia® selects the best realities and, thanks to the online distribution, makes them sell their products in the world at the right price.



Bottega Veneta’s Maier keeps it classic

MILAN – Superlatives don’t work with Tomas Maier, a designer of discretion, just like his collections for Bottega Veneta.

And yet one is tempted is to gush over his latest menswear collection presented Sunday morning, the second day of the four-day preview showings for next winter. The streamlined look of the collection fits in with the general message coming off the current Milan runway to keep things classic. Subtle details are what make all the difference.

In his show notes, the designer said he wants “no fuss, no gimmicks, but a richness that reflects the world we all work in.”

The basic silhouette is a tailored suit cut close to the body in either single-, double-breasted, or three-piece styles. However, the jacket might have a skinny lapel, or no lapel, and the buttoning could be asymmetric while the buttons themselves might be covered in fabric. Sporty outerwear becomes sophisticated when fashioned in suiting fabrics, and worn with vests and dress shirts. A simple grey flannel suit is spiffed up by a patterned shirt and tie.

Maier’s latest detail twist is to reinvent classic suiting fabrics, by creating new tweeds, woven in cotton or wool and incorporated in the fabric. These new wool prints are all designed by the Bottega Veneta team. Materials in the collection include lightweight flannel, cashmere and worsted wool, as well as super supple leather.

The warm winter palette compensates the rigour of the styles: plum, soft green and muted bronze, along with deep greys and blues, and all season black.

The preferred shoe is the classic loafer. Here too detail makes the difference, combining leather, suede and crocodile, while still keeping the look casual. Patterned and printed socks liven up the footwear.

Next winter’s bag is bulky, but business like, a sort of leather corporate carpet bag.

Bottega Veneta’s Maier keeps it classic with distinguishing detail for men next winter – Times Colonist

Matteo Thun: The Index Book | Architecture

There are no vanity editorials in ‘Matteo Thun: The Index Book‘. No ego boosting essays. And no statements on the Italian architect‘s long term impact on the world of design. Just six sets of indexes that allow you to access his work six different ways: alphabetically, typologically, topographically, chronologically, by client name and finally, according to visuals that correspond to each user friendly list.

Much like a helpful inventory of ingredients in the back of a cookbook, Thun’s book brings a scientific organisational approach to his vast body of work, creating along the way a new lexicon for speaking about it. What results is 30 years worth of projects, ‘from coffee cups to restaurants, from mountain resorts to wristwatches, from saucepans to solitary villas’, neatly condensed into a singular, handy user’s guide.

Our Milan editor-at-large, JJ Martin, caught up with the designer to hear more about his reinvention of the classic monograph.

The lists are sensible and original. Why did you decide to organise the material in this way?
The idea started because we were getting daily requests from people asking what the studio did. At a certain point my wife said, ‘you really need to create something that functions like a phone book.’ And here we are. It’s the fastest way to find the ‘who’, ‘what’, ‘where’ and ‘why’ about our work.

You left out texts on your creative inspiration or mission. Why is that?
That was on purpose. The majority of books on architects and designers are done by creatives, for creatives. This book, on the other hand, doesn’t speak to creatives, but rather to business people, CEOs, decisions-makers and whoever wants a service from this company.

What will non-creatives glean from the lists?
There are different index criteria so you can see what was done in 1982, what was done in Switzerland, what was done for private homes, for hotels, for spas – all the categories of my work, really. The introduction by Hans Ulrich Obrist is just two pages, a sort of ‘back to the roots’ that talks about Sotsass, my teachers and my beginnings. And basta. No, self celebration at all.

I’m finding myself in unchartered territory with an architect not in possession of a big ego…
No, it’s the opposite!  I want to avoid speaking subjectively about my work. There’s too much ‘fried air’ in design and architecture today. I’m more interested in the idea of ‘nachschlagewerk’. It’s a German word – better than ‘dictionary’  or ‘phonebook’ – which means you open the right page to know what’s going on.

And once you’re inside the meat of the book with all of the images?
When you look through it you’ll notice there’s a huge linguistic discontinuity. Because if I build in Abu Dabai, it’s just completely different than if I build in the periphery of Milan or in Switzerland. So this means that every project needs to be started from zero and each time you need to create a new language. This fits in with my concept of Zero Design.

Is this your first book?
I did two others in the 1990s, then I decided to never do a book again because they were self-gratifying and showing your muscles isn’t part of my character.  But this is different; this I like.

Matteo Thun: The Index Book | Architecture | Wallpaper* Magazine: design, architecture, fashion, art

German publisher Hatje Cantz has released 'Matteo Thun: The Index Book', a comprehensive retrospective of the Italian architect and designer's practice

German publisher Hatje Cantz has released ‘Matteo Thun: The Index Book’, a comprehensive retrospective of the Italian architect and designer’s practice

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