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MASSIMOBORGIA, BORGIAS, SIGNORBORGIA and CASABORGIA are trademarks by CIRCO ROSSO.
all rights are reserved. CIRCOROSSO srl, galleria del corso 2. 20121 milano, italy. VAT 02662940598. powered by INTERNET IDEE copyright © 2024 info@massimoborgia.it / info@massimoborgia.com
privacy policy
massimo leopoldo borgia. from 1974 he studied in italy, and since 1977, in england, carefully planned to achieve a particular research project in industrial design and costume design. in 1979 he meets fashion in milan. he has designed created and produced in the world of textiles, clothes, shoes, accessories, bags, sunglasses, perfumes, for the fashion system, as well for theater and dance; in the world of design, he has designed furniture, hotel rooms, light and objects for home and hotel industry. food design and format to the food chain in comfort food. he was an assistant, consultant and then senior designer for all the best design and fashion brands known worldwide. he has traveled and lived in all the fashion capitals. specialist in start-ups and brand extensions, deep knowledge of the italian districts and the filiera/chain of madeinitaly. crossover, free spirit, has combined the fashion design in style, pure detail and revenues. consultant for institutional organizations for the china, the indian and the brazilian markets. researcher of new rules of application to diffuse develop and implementing the philosophy of being italic in furniture, fashion, food and art. determined in teaching to transfer the knowledge of fashion design and industrial design. commitment in educational for several e-learning university. author, director and film maker in audio visual documentaries for fashion, design, educational and social campaigns.
1958. born.
’70
1974. art college. Rome / 1975. summer course, meets biba's. London. meets greece . / 1976. summer course. Cambridge,
1976. riverside studios arts center, set and costume design. London / 1977. meets punk. buys first suit ysl. London /
1977. dj sombrero, high street ken. London / 1978. meets mara at san lorenzo. London / 1978. metts studio 54 NY. start universities. Rome / 1979. meets fashion. Milan
’80
1980. military service / 1981. parnaso theater. Rome / 1981. princess clotilde, verri, babras, giuni russo. Milan /
1982. foschini. Cape Town / 1983. belfe. montanelli, hecther. Massa / 1984. nilor fashion. Rome / 1985. graduate univeristy. Rome
1986. dance festival. Rome / 1987. found MASSIMOBORGIA / 1988. blooming sports and jeans. s.b.Tronto / 1989. mp italy. Rome
‘90
1990. pitti uomo, massimoborgia. Florence / 1991. bora position. Athens / 1992. ciaoantenna e bravo tv. Athens
1993. artist. Lisbon / 1994. ad man, enrico coveri. Florence / 1995. ad man enrico coveri. Milan / 1995. english national ballet. London 1995. baleciaga accessory. Paris / 1996. ted lapidus, europe. Paris / 1997. creative director ted lapidus, usa. New York
1997. ted lapidus, south america. Baires / 1998. creative director ted lapidus jap. Tokio / 1999. creative director bsb. Athens
‘00
2000. elle greece, fashion editor. Athens / 2000. creative director isotta fraschini. Milan / 2001. ad for the foundation if. Milan / 2002. creation bicycle industry bianchi. Milan / 2003. consulting industry groups, mantero, oneoff. Milan /
2004. monumental exhibition sophia vari. Rome / 2004. look for athens mayor, athens olympicsgame. Athens / 2005. aqua di portofino. Milan / 2006. restaurant club, cibus. Athens / 2006. ied, menswear and accessories. Rome / 2007. table lamp italamp. Padova / 2007. ied, fashion design course, accessories, shoes. Rome / 2008. reid and taylor. Munbai / 2009. ied, fashion accessories. Rome / 2009. shoes: roland, valli, malandrino, capucci, gigli, schon, prada. Naples / 2009. isetan shoes, gigli, testoni, schon, ruffo. Tokio / 2009. modonutti chair r. gigl ihome. Udine / 2009. romeo gigli, mithia. Milan / 2009. romeo gigli. Milan / 2009. academy of fashion and costume. Rome / 2010. romeo gigli. Milan / 2010. kent publisher, be spoke. Milan / 2011. travel bag, boscolo travel. Rome 2011. found eduna, web university. Rome / 2011. ludex the erotism company. Parma / 2011. baldinini. Bologna / 2011. borsalino. Milan / 2012. rbcollection hotel. Rome / 2012 . borsalino. Milan / 2012. eduna master univesità of tor vergata. Rome / 2013. master interior yacht design. Florianopolis, brazil / 2013. sjb shoes. San Paolo Brazil / 2013. èitalia consultant. Milan / 2013. ludex, myludex and ludexone. Rome / 2013. oneuna sports brand. Parma / 2014. armode, e learning. Brazil / 2014. franchise comfort food, chef niko sinisgalli. Rome / 2014. marble design. hcmc, Vietnam / 2014. giogiak communications. Miami / 2015. eduna. Vietnam / 2015. probios, video directing, expo. Milan / 2015. fashion documentary. Roma /2016. fimar. Brasil/ 2016 mellishoe, youna, fashion, food, design consulting. Iran / 2017. fashion consultingIran. Argentine/Brasiluniversitycourse. architectureconsulting. Milan. governmentconsultingPA, Internet idee, Rome. / medicalhealthproject, Brasil, Argentina, Vietnam. / eduna, Iran. / 2018. Rome, IAC university, design and fashion courses./ Teheran, OCC coursesand master. /Buenos Aires, Argentina. MAE design week.
the culture of PROJECT as narration.
as way of being to express and living.
i have attended many worlds, when fashion was the language of the elite, cultural and not. superimposed on many people, many women, many men, most elegant, few with their personal style. this taught me that the style proposal will be correct if presented only as an indication, a suggestion to be included in its personal narration and will be useful only if it is perceived and interpreted for the construction of a personal imaginary unique history.
be strict and disciplined has allowed me that the passion for fashion has came into my life quietly, overlaying a series of clues that i was collecting through my personal and professional training, experience after experience. the common denominator, the attraction of beauty, good manners and the mathematical rigor of kouros, "those who are standing even if divided into two parts” . fashion, after all, is a unique instrument to express a individual freedom. democratic indeed. but fashion is also a cultural device, quite complex to be handled with great care. the parties emerged are represented with many the occupied cells by a market pluriform, at the saturation limit. the recurring idea that "fashion is the stuff of women and homosexuals” not only offends us all, but denies respect for millions of skilled workforce who contribute with their innate creativity, the intuition of beauty that becomes manufactured, the completion of the only chain in the world can be to make people dream unconditionally, known under the simple name of madeinitaly.
at university i have studied history of art, then in london set design, then i worked as a window dresser, i added the costumes and finally i reached the study of industrial design. things so learned and subsequently proved to crucial and complementary to my career as a fashion designer. the art educates at beautiful and to the proportions, the set design must host in a precise limit your creativity concept, set up shop windows requires you to fill space with balance and follow the perimeters of the garments to better emphasize their lines, with the costumes, i learned how to organize a history, how to write with color, shapes and fabrics, how to render visionary, to trap the beauty within the square confines of the outfits. industrial design has designed it
with fashion was not love at first sight. we had taken the measurements in ny in the most popular ateliers that time the studio. deputy space designated for definition for actors, supporting actors and also extras in the new creative worlds, from art to film to music and obviously fashion. following the first week end in fire island, i returned to costume design. the one, chose which shrieking candidates lined up outside could cross the threshold. the studio kill off plans for any future disco movies. enough already. this mess full of unintentionally was in fashion as the paradigm of fashion itself, 77-79. ''this is not a club time,'' studio 54's was a state of mind formed by the vietnam war, watergate and other events that people wanted to forget, a mood that made the late 1970's perfect for all-night partying. the 1980's, people were concerned about unknown syndrome, and were in a mood to stay home. the other shareholders of the studio told me about his project, “the lifestyle hotel ", an evolution of the mega hotels in vogue in those years. a small spaces top of the range, furnished with a style theme, with a strong and unique identity, to provide selected customers personalized service. then they became the boutique hotel. also this step is stratified, and after many years came back to see me.
in milan i entered directly in the the good charmed circle. does not snap the spark. london offered me a creative work in south africa, improbable as fascinating. love comes from unexpected places. i madly fell in love with fashion in cape town. i'd met her at the factory. back in italy the districts became my school, since there are no then equivalent courses. italy beyond the privilege to be born, taught me how to transform a creative concept into a industrial project. france has taught me the world of license, and how to extend a brand. to london i must also give the sense of respect and innovation esearch, to dare.
so, snob for education as fashion, after many years of laps around the same concept, they became a fashion coordinator, or extender brand if you prefer.
beneath the design aspects of a zero collection, represents the formulation of a hypothesis interpretation of a particular historical period of the society, the art, culture in general which is forcibly provisional, being surpassed to every next presentation. is therefore a vision "relative", not absolute. the project of 'style office, has a particular "measure" of the time, in fact the semi-annual.
creative director is, by definition, those who designed the collection, but there is a tendency to appoint driving a brand or group, a fashion designer or fashion coordinator, a figure less defined, with a wider and more flexible vision, which allows the brand and the company which produces it, to loosen the large market pressures, and be functional in the project. a continuous flow between the marketing area, the media, the stylist but especially with the new generations of customers, using a contemporary language.
the realization of the collection will become a thesaurus entirely understandable only by placing it in a certain time as the projection of a set of facts, which rotate on its edges. it can not express themselves if separated from the historical context in which it was designed. the relevance of the research, what you see and observe, at what is moving around in an increasingly differentiated allows the project, which must march with harmony and mathematical sequence, a contrary motion, a continuous crossbreeding of opposing ideas, a formula perfect assembly, imperfect of competent, and incompetent perfect. a complex harmony, a set of many elements, of many decisions and things that, however, were not chosen at all. thus there is no the collection "definitive", but only an infinite sequence of collections, even today 14/20 each semester. collections following formulations somewhat repetitive. operating through the old systems of grouping based on a theme, in a historical perspective, aesthetic or alternative, which ultimately leads to mastery graft continuous innovation. the fashion coordinator then becomes indispensable figure. filters the narration and history in the way the outside world observes the brand, which speaks to the viewer. temporary guardian, knows the image, the past, the dream that would like to express. on its setting depends the fate of the brand and their own success. it depends on how much and how will create experiences, not advertising. how will be able to communicate in a totally different way. anyone who has more than thirty years has seen the world from new and speed perspectives, that already create an interaction between brands and people and will be more and more. a storytelling that involves, which is distinguished by a number of strong affirmations or paradigms that are likely to be refuted, denied and challenged. fashion is assumed multicultural, then the boundaries are not suited thereto. it can also be a very popular tool that thrives implement progressive change of forms and images, whose transformations are rare. nobody wants to be the one who did not understand. fashion becomes dangerous when it becomes in a protocol. everyone aim innovate, constantly, strongly about their identity and history, people dress to correspond to to match an imaginary and who dressing on online correspondence , in a vision that every time it happens, give to theoretical research to the project survival and gasoline. what is true today is that fashion allows the easy steps to do other things, from art, to movies, to food, to everything that you can dress up a brand. for this reason the fashion coordinator are often given the task of producing an event or exposure outside the territory, where the koine fashion, hard to define if you are not participating in the rituals, conveys values and alloy positively those who are listening in this or that product, service, brand. the enterprise is not easy, but it must be attempted. take a global view, a perspective from above aerial, working on diversity, knowledge systems, the experience, the chronological sequence. generations, although there may be confused and merge, nomads or travelers camped, one together with the other. a group that distributes its forces because of individual identity, respects and enhances working by analogy or contrast, for the presence or absence, for physical or immaterial, for seriousness or irony, smallness or greatness, for expansion or contraction suited to his needs of communication and expression. the project as one unit full time.
FUTURE, i believe is the second word to keep in mind after project. next to all those who are forward by definition, and who ask how do you make fashion? i reply, study! i firmly believe, and making it sure i am, that passing your knowledge to young people is a moral imperative. not with the dogmatism of the wise, of those which have always the truth in their pockets, but with sincerity of those who simply want to share their multifaceted knowledge. always i recommend not to be nostalgic, i'm interested in the sense of history, not the costume. never looking back even to get a running start, it is useless. i really care about everything. i'm omnivorous and this of course close to the sensitivity of fashion. fashion is 'general, the style is' individual. fashion and 'what you're offered, the style' that you choose. at the end of this course, i have always taken an energy not only "italian", but coming "from italy international support given to the design language. style, however, is much more: construction, narration, so d 'be. it is certain for those who makes the profession of fashion, but also applies to ordinary mortals. the clothes are beautiful carriers, signs, windows of parallel worlds. reality, moreover, is always the product of the imagination.
for the third word i have to say thanks to nives, who gave me the concept of LOVE, for all and for all, by showing it each day. she taught me pretty much everything, as in a recipe starting from the base of cooking. then the sauce you will do as you like, but the lesson is the same: be yourself all the way, without compromise, without fears. have the courage to defend your ideas and to change them. not looking at anyone, especially not to imitate anyone. respects all. starts and finish one thing and make it to the best of your ability. take good care your body. listen to others, keeping intact your point of view. and live every day. regarding the style i do not know if i have one jet, certainly she has it.
thank you
la cultura del PROGETTO come narrazione.
ho frequentato molto mondo, quando la moda era la lingua delle élite, culturali e non, molte persone, molte donne, molto uomini, molti eleganti, pochi con uno stile. questo mi ha insegnato che la proposta di stile sarà corretta solo se presentata come una indicazione, un suggerimento da inserire nella propria personale narrazione e diverrà utile solo se interpretata per la costruzione di un immaginario unico e personale.
essere severo e disciplinato ha permesso che la passione per la moda entrasse nella mia vita con calma, sovrapponendo una serie di indizi che andavo raccogliendo nel percorso formativo umano e professionale, esperienza dopo esperienza. il comune denominatore, l’attrazione della bellezza, l’educazione e il rigore matematico dei kuros, “quelli che anche se divisi a metà stanno comunque in piedi”. la moda, del resto, è uno strumento unico. di espressione individuale di libertà.
anche molto democratico.
ma la moda è anche un dispositivo culturale complesso, da maneggiare con molta cura. le parti emerse si rappresentano con molte caselle occupate da un mercato pluriforme, al limite della saturazione. l’idea ricorrente che “la moda sia roba da donne e omosessuali” che non solo ci offende tutti, ma nega il rispetto ad milioni di maestranze qualificate che contribuiscono con la loro innata creatività al completamento dell’unica filiera al mondo in grado di essere di far sognare incondizionatamente tutti, conosciuta con il semplice nome di madeinitaly.
all'università ho studiato la storia dell’arte, poi a londra la scenografia, poi ho lavorato come vetrinista, ho aggiunto i costumi ed infine ho studiato il design industriale. le cose cosi apprese e in sequenza si sono rivelate fondamentali e complementari per il mio percorso di fashion designer. l’arte educa al bello ed alle proporzioni, la scena ospita dentro un limite preciso il tuo concetto di creatività, allestire vetrine ti costringe a riempire spazi con equilibrio e seguire i perimetri dei capi per meglio enfatizzare le linee, con i costumi , ho appreso come organizzare una storia, come scriverla con il colore le forme e i tessuti, come renderla visionaria, ad intrappolare la bellezza nei confini squadrati di un capo/outfit . il design industriale ha progettato il tutto.
con la moda non è stato un colpo di fulmine. ci eravamo presi le misure a ny nel più famoso atelier di quegli anni lo studio. lo spazio deputato per definizione per attori, comprimari e comparse dei nuovi mondi creativi, dall’arte al cinema alla musica e ovviamente alla moda. dopo il primo week end a fire island tornai a disegnare costumi. the one sceglieva quale candidato in fila poteva varcare la soglia. lo studio farà fuori tutti i piani per le future discoteche. già dato, già fatto. questo caos completamente involontario, fu di moda come il paradigma della moda stessa, dal 77 al 79. '' questo non è più il momento del club”, lo studio 54 è stato uno stato d'animo della fine degli anni 70 , perfetto per innescare la festa di tutti. il sogno americano spezzato della guerra del vietnam, il watergate e altri eventi che la gente voleva dimenticare. poi, negli 80, la preoccupazione per la sindrome sconosciuta, cominciò a tenere la gente a casa. uno dei due soci dello studio mi racconto un suo progetto, ” i lifestyle hotel”, una evoluzione dei mega hotel in voga in quegli anni. piccoli spazi, alto di gamma arredati con uno stile a tema, con una forte e particolare identità, per fornire a clienti selezionati servizi personalizzati . divennero poi i boutique hotel. anche questo passaggio si è stratificato e dopi molti anni è tornato a trovarmi quando ho progettato interni di hotel. a milano entrai direttamente nel salotto buono, ma non ci fu la scintilla. da londra mi offrirono un lavoro da creativo in sudafrica improbabile quanto affascinante. love comes from unexpected places. in cape town mi innamorai della moda. l’avrei incontrata in fabbrica. tornato in italia i distretti furono la mia scuola, non essendoci allora spazi equivalenti. l’italia oltre il privilegio di esserci nato, mi ha insegnato a trasformare un concetto creativo in un progetto industriale. la francia mi ha insegnato la licenza e come estendere un brand. a londra devo anche il rispetto, l'innovazione la ricerca, l'osare.
cosi, snob per formazione come la moda, dopo anni intorno ad uno stesso concetto, sono divenuto fashion coordinator, o extender brand, che dir si voglia.
sotto l’aspetto progettuale una collezione zero rappresenta la formulazione di una ipotesi una interpretazione di un preciso periodo storico della società, dell’arte, della cultura in generale che è forzatamente provvisorio, essendo superato ad ogni presentazione. è quindi una visione "relativa", non assoluta. il progetto dell’ ufficio stile, ha una particolare "misura" del tempo, appunto la semestralità. il direttore creativo è per definizione chi disegna la collezione, c’è però la tendenza a nominare alla guida di un brand o gruppo, un fashion designer o fashion coordinator, una figura meno definita, con una visione più ampia e flessibile, che permette al marchio e all’azienda che lo produce, di allentare le grandi pressioni del mercato, ed essere funzionale al progetto.
un flusso continuo tra l’area marketing, i media, gli stylist ma soprattutto con le nuove generazioni di clienti, usando un linguaggio contemporaneo.
FUTURO, credo sia le seconda parola da tenere a mente dopo, progetto. a tutti quelli che sono Avanti per definizione, e che domandano Come si fa la moda? Rispondo, studia ! sono fermamente convinto, e facendolo ne ho certezza, che passare le proprie conoscenze ai giovani sia un imperativo morale. non con il dogmatismo del saggio, di quelli che hanno sempre la verità in tasca, ma con la schiettezza di chi, semplicemente, vuol condividere il proprio multiforme sapere. raccomando sempre di non essere nostalgici, mi interessa il senso della storia, non il costume. mai guardarsi indietro nemmeno per prendere la rincorsa, è inutile. mi interessa davvero tutto. sono onnivoro e per questo naturalmente vicino alla sensibilità della moda. la moda e' generale, quanto lo stile e' individuale. la moda e' quella che ti viene offerta, lo stile e' quel che scegli. alla fine di questa corsa, ho assunto sempre come un’energia non solo "italiana", ma proveniente "dall’italia il contributo internazionale dato al linguaggio del design. lo stile, però, è molto altro: costruzione, narrazione, modo d'essere. lo è certo per chi della moda ne fa professione, ma è valido anche per i comuni mortali. gli abiti sono splendidi vettori, segni, finestre su mondi paralleli. la realtà, del resto, è sempre il prodotto dell'immaginazione.
per la terza parola devo dire grazie alla nives, che mi ha trasferito il concetto di AMORE, per tutti e per tutto, vivendolo ogni giorno. mi ha insegnato praticamente tutto, come in una ricetta si fa partendo dalla base di cottura. poi la salsa la fai come vuoi, ma la base e sempre quella, lezione è la stessa: sii te stesso fino in fondo, senza compromessi, senza paure. abbi il coraggio di difendere le tue idee e di cambiarle. non guardare nessuno, soprattutto non imitare nessuno. rispetta tutto. inizia e finisci una cosa e falla al massimo delle tue capacità. cura il corpo. ascolta gli altri, mantenendo intatto il tuo punto di vista. e vivi tutti i giorni.
in merito allo stile non so se ne ho uno, di certo, lei si.
grazie.
“In Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance”.
“In Italia per trent'anni sotto i Borgia hanno avuto guerra, terrore, assassini e un bagno di sangue, ma hanno prodotto Michelangelo, Leonardo da Vinci e il Rinascimento”.
F. Gilbert
By: The Third Man.
Da: Il terzo uomo.
1949 Festival di Cannes, Palma d'Oro
1951 Premio Oscar, Miglior fotografia