From 15 to 21 April 2024, Moncler transforms the Milano Centrale railway station into a spectacular creative hub. The station will turn into one of the world’s largest galleries with an immersive exhibition titled An Invitation To Dream.
“Dreams are what have been moving myself and Moncler forward since day one, because we never stop dreaming about what is possible, and how we can inspire and be inspired by others around the world. Always aiming to not only do new, but to do better,” says Moncler chairman and CEO Remo Ruffini.
Curated by Jefferson Hack, the theme of the exhibition heeds closely to the brand’s values. An Invitation To Dream is filmed and photographed by Jack Davison, and features a lineup of visionaries that are the cultural leaders of today. They include Daniel Arsham, Dr. Deepak Chopra, Isamaya Ffrench, Laila Gohar, Jeremy O. Harris, Francesca Hayward, Julianknxx, Ruth Rogers, Ruffini, Rina Sawayama, Sumayya Vally, and Zaya.
“The curated community represent some of the finest creative visionaries across culture who dare to dream for us. They are today’s reality-shapers and they were invited to participate as their work carries with it new hopes and possibilities. It’s the deeply transformative aspects in their work and practice that makes them essential artists of our time and essential for us to bring into this project,” Hack explains.
Without a doubt, the station is one of the city’s busiest travel hubs. But not only that, it also represents the pivotal moment for those daring enough to pursue their dreams. Billboards and screen-based advertising sites featuring imageries and quotations from the artists stand amidst the station's bustling environment. These large-scale text pieces and slow-motion portraits serve as powerful yet silent invocations. An Invitation To Dream celebrates those who embody passion and belief.
Arsham tells us more as he reflects on the concept of dreams and manifestation, and how it might help him in his creative processes. From childhood inspirations to the subconscious realms where ideas germinate, Arsham's narrative offers a glimpse into the inner workings of a visionary artist.
ESQUIRE SINGAPORE: Do you consider yourself a dreamer? Are you a dreamer?
DANIEL ARSHAM: Yeah, I believe in the power of manifestation. When I was younger, I didn't fully grasp this concept or its reality, but looking back, I see how I've manifested many opportunities in my life. For instance, when I applied to Cooper Union, I wasn't accepted initially, but I kept pushing for it until it happened. Similarly, working with Merce Cunningham was a dream I actively pursued.
ESQ: You have a lot of notebooks and that you sketch a lot. It's interesting how dreams often start in the mind before taking tangible form. How do you document your process of manifesting ideas? Do your dreams directly influence your work?
DA: There's that 5- to 10-minute period right before you fall asleep where you're kind of in between sleeping, lucid dreaming, where you're partially in control of the vision that you're having in your dream and part of it's taken over by your subconscious. And you can’t differentiate what’s real and what’s imaginary. I often find inspiration in that liminal state right before sleep. There are moments, especially during air travel, where I enter a state between wakefulness and sleep, and ideas emerge. I rely heavily on note-taking and sketching to capture these fleeting thoughts.
ESQ: It's interesting how much our subconsciousness can help recontextualise the conscious mind in a way it can be a freer space. You know, you have an idea, you sketch, you look at ideas, but then when you're in that kind of dream world, you're able to kind of rethink things, or things are presented to you without bias.
DA: Yeah. Ironically, I sometimes do this thing to document an idea where I'll text it to myself. I woke up the other morning from a dream and saw this text I wrote to myself and it said, "Have you ever woken up out of a beautiful dream 30 minutes before your alarm, and you really just want to get back into that dream? Make your life feel like that."
ESQ: Creative flow and dreaming share similarities in their meditative nature. Do you experience a flow state while creating?
DA: Yeah. My studio practice feels like capturing an existing idea rather than inventing one. The idea behind it has already passed. So it's about capturing an idea rather than implementing it. I don't know how exactly to say this, but when I'm painting, It's almost as if the idea is kind of already there and I'm just finding it. Does that make sense?
ESQ: So are you able to kind of paint and not think about what you’re doing? How would you describe that, that feeling of being in a flow state?
DA: I've been making paintings now for 30 years, and I've gotten into a process that almost feels, I wouldn’t say mechanical, but it's very regimented. I know exactly where all of my paint is, the types of brushes that I like to use, and I've refined all of that, even down to the point where I only use a specific kind of paint now.
ESQ: It's interesting because I think that that kind of discipline and rigour is akin to a meditation practice where you're doing something very mundane, but you're doing it very precisely, over and over again, like raking the Japanese garden in your big installation.
DA: Yeah.
ESQ: It does something to the mind. It does something to the creative mind, that practice...
DA: That's why we call it studio practice, because you're constantly trying things out. You're still learning and there's routines that get built up within that that I think are productive, actually, even if they feel like you're doing the same thing over and over again. But, you become better at those things through that kind of practice.
ESQ: Has there ever been a kind of an epiphany moment in that studio practice where you've just done a left turn or you’re shaking things up and thought, okay, I'm going to re orientate what I'm doing here?
DA: I often find it really difficult to trace the origin of particular ideas in my work because they flow from one another. They're kind of iterative. And, I recently started this new series of paintings that are these kinds of split face paintings. We were talking about them earlier and somebody was asking, where did the idea originate from and I can't even remember.
ESQ: So very much like a dream it's fragmentary, right? You know, it could come from the past and could come from, a moment in history or another life and it could also be a premonition of the future, something that you're projecting or wanting to manifest?
DA: Right.
ESQ: I think by saying I don't know where my ideas come from, I start to question whether they are from me or are they from another kind of source in a way that I'm channelling. Have you thought much about that? Where does inspiration come from in general for you?
DA: I think every artist is a product of the era they live in. It is the artist’s job to interpret and reveal new potential things within that reality that often go unseen or overlooked. Oftentimes when I create a work that has a big impact, it feels as though it already existed in the world, waiting to be expressed. This sense of inherent presence gives the work a significant impact and a sense of purpose fulfilled.
ESQ: There's definitely recurring symbols and motifs in your work. Are there recurring symbols and motifs in your dream world?
DA: Oh, I have tons of recurring dreams. One of them that's very strange that I can remember going all the way back to high school is, being in a kind of empty landscape with a single tree and there are these cylinders floating in the air and as I go to grab them, they shrink down into a pencil and then just disappear. Then I often have dreams where I'm in my childhood home where I kind of relive my childhood memories.
ESQ: And how does that make you feel?
DA: It's a beautiful thing to go back to your childhood. And, I could probably draw a very accurate floor plan of it even today. I haven't been in that house in over 30 years, but I know it very well. Space has a way of influencing our psychology that I think imprints a lot in childhood.
ESQ: In what way?
DA: I think your childhood bedroom or the space that you spend a lot of time in as a child imprints on you differently than the way an apartment in your 30s might. There's just a different character about it.
ESQ: I'm just imagining younger you in your childhood home, dreaming of what you might be in the future. What were some of the things that you were looking out for that gave you a sense of inspiration or confidence about taking the path of being an artist?
DA: I grew up in a really suburban neighbourhood where all the houses are literally identical with the same floor plan. They might do a mirror image where the house is in reverse of itself. I started getting into photography around age 10 or 11 when my grandfather gifted me a camera. One of my early artistic endeavours was a series of photos capturing the doors of these houses. Even though the houses were the same, the doors ended up being different. The paint of the door. Some people put a flower pot outside their door, or a cross, or something that gave that sameness a unique character. This experience sparked my recognition of an artist's ability to capture the distinctive aspects of everyday life that others may overlook.
ESQ: It's amazing because I can imagine you sort of looking through the frame and then it altering your sense of reality and perspective on the world. I'm really interested in this idea of how you think about reality and perspective. Obviously, our dream world allows us to play with one of those concepts because it is nonlinear, experimental. It's an unreal world. In some cultures, they would say the real world is an illusion and the dream world is the world. But obviously when you're making art and your artworks are also about world building and creating alternate worlds for yourself to inhabit, I wonder if this idea of reality shaping is something that interests you in your work.
DA: Yeah, I think for most people, they accept reality at face value and they accept the limitations of that. Right?
ESQ: The literal physics.
DA: It's not just about the physics; it's about where we're born, the options presented to us, and what we believe we're capable of achieving. For me, the essence of creating art goes beyond a career; it's about realising the potential to bring my visions to life authentically. It can be unsettling to recognise that much of what we perceive as reality are human constructs. Somebody made them, you know. I have my two young sons, Casper and Phoenix, and I often emphasise to them that behind every design decision lies the possibility for change. There's a lot of potential in realising that reality is malleable.
ESQ: So your motivation is about looking at the world and seeing how you can improve on it or change it. Or is it more about seeking some kind of answers to unrealised questions?
DA: Yeah, I think making art is more about trying to find the answer to something, but actually it's really revealing more questions in some ways.
ESQ: That's super interesting. I like that we talked a lot about childhood and your children as well. I think also part of it seems to me that you are always open to change and new possibilities. You said earlier, always learning is also a little bit about staying in a childlike state?
DA: Yeah. Children have this unique ability to perceive things differently.
ESQ: How do you maintain that sense of freshness and openness to new experiences? What are some of your techniques?
DA: I try to relive my own childhood through my sons. This is a bad example, but they've been wanting to get these go karts. Obviously, cars are a big part of my life, so I got them these really fast gas go karts that are probably not even legal today. I have a paved area behind my garage and you can fully drift these things. They kept telling me ‘you're going too fast’ and I was like ‘I got it under control!’ And eventually, like a child, I pushed it over the limit and fully flipped the thing, tore up my arm and knee, and it was funny. Casper, who's the older one, said ‘you know, I told you not to do that.’
ESQ: How have you showcased "pushing the limits" in your work?
DA: As an artist, we often engage in series, and the public often perceives artwork through repetition. It's like pages of a book that you're putting together, but knowing when the book is finished and how it progresses to the next chapter or book is a constant consideration. I often have too many ideas that I'm always waiting to realise. I don't know if that really answers the question. But yeah, I always have too many things on my list to make, too many ideas.
ESQ: Was there an experience, an artwork that's made such an incredible impression on you, the kind of impression you hope your work would have on the public when they encounter it?
DA: Right around the time that I was shooting those photographs, when I was 10, 11, 12, there was a hurricane in Florida that completely destroyed the childhood home that I grew up in. The house was reconstructed back in exactly the way that it had been before, except obviously, the wallpaper was different. The tiles on the floor were different. The furniture was different. But it was the exact same space. It also gave me the experience of seeing how architecture was put together. The structure, the electrical lines, the plumbing, the drywall, the paint. Understanding that, yeah, somebody thought about that, somebody made that, it was a considered idea. I think that really had a major impact on the way that I think about everything. Something being destroyed, something being reconstructed. The use of different materials for different possibilities and its manifested in my work in so many different ways.
ESQ: That's a great story. Last question, what’s an unrealised dream or ambition for you?
DA: Ummm.. an unrealised dream? Film is certainly something that I've played with in the past and I think never really realised in its full potential. Made some short films. But I think at this phase in my life, I keep coming back to the most interesting things that constantly draws me back. I have made a big return to painting after almost a decade. It's become not only a part of my art practice, but also a significant aspect of my daily life in the studio.
We know the movie is helmed by Oscar-winning director Bong Joon-ho (of Parasite, Snowpiercer, The Host; you know this, we won't elaborate). Which is pretty damn exciting, given its futuristic, off-kilter plot. Unfortunately, we also know its release date has been pushed back to from the end of this month to early 2025. So until we see Robert Pattinson as clones, you now have some time to catch up on the book it was based on (Mickey7, in this case, by Edward Ashton).
For those who have already done that, here are five other science fiction novels to consider putting on your reading list.
Stephen King called it “old-school creepy" and "a five-star horror novel”, so what more convincing do you need? More on the thriller side than horror, the book follows a group of scientists recruited to investigate the sudden appearance of a mountain in the middle of the Pacific Ocean. It cleverly sets the scene from an outsider's point of view before diving into the heart of the action. And yes, plays with the trope of time.
You'll like it if you like: Arrival, Prometheus
Okay, we kinda cheated with this one. It already has an upcoming adaptation featuring Ryan Gosling. Not surprising considering Weir's other novel starring Matt Damon. Still, the personable first-person tone makes a breezy read for an otherwise extensive storyline of waking up amnesiac in space and befriending a bizzare alien.
You'll like it if you like: The Martian (duh), Edge of Tomorrow
Not to be confused with Demolition Man, this first Hugo Awards winner is vintage sci-fi at its peak. Published well over 70 years ago, the world-building of a society where mind-readers (or peepers) exist effortlessly takes you in with easy pacing. And its demonstration of telepathy on a text medium is surely experimental for its day.
You'll like it if you like: In the Shadow of the Moon, Minority Report
The book rolls out in proses translated from Danish. The witness accounts come from a crew of six-thousand, human and otherwise, written as part of workplace commission of sorts. As they find themselves attached to the strange objects the ship takes on, it's a simultaneously peculiar yet haunting way to experience a distant memory of earth.
You'll like it if you like: Solaris, Moon
Laying thick on the suspense, this plot (also adapted in a film with Saoirse Ronan and Paul Mescal) by author of I'm Thinking of Ending Things has a similar deeper exploration of human psyche and relationships. Great if you prefer a quietly unnerving read than loud action and adventure.
You'll like it if you like: Annihilation, Under the Skin
We now are familiar with Jacob Elordi as the man who's been seen on the streets with a number of luxury "it" bags. From his pretty impressive Bottega Veneta collection—the Cassette and the Andiamo—to Pharrell's newest iteration of the Louis Vuitton Speedy and even a Chanel bag, Elordi has been making a strong case for bags being essentially genderless.
The man undoubtedly has style and plenty of it.
But aside from his penchant for fresh-off-the-runway bags, Elordi has been slowly expanding his acting repertoire since appearing on Netflix rom-com Kissing Booth (and its two sequels). The actor has a couple of projects releasing in theatres this year with his biggest role to date arguably in Priscilla.
Just how big? Elordi plays the incomparable Elvis Presley—only recently portrayed by Austin Butler.
Priscilla is based on Priscilla Presley's 1985 memoir Elvis and Me. Written, directed and produced by Sofia Coppola, the film focuses on Priscilla and her relationship with Elvis up till his death. Based on the trailer and critics' reviews, it looks to be a contender during next year's film award season.
To help Elordi get into character, Valentino crafted two custom looks for the film. While Elvis may be iconic with his onstage persona and style, the film's more autobiographical perspective meant that a more varied representation of Elvis as a whole was needed. Valentino creative director Pierpaolo Piccioli and Coppola worked together in creating two bespoke looks that truly capture Elvis' insistence on coordinated looks for himself.
The two looks comprise of a three-piece mohair suit in blue as well as a navy camp-collar shirt paired with a pair of black trousers. And inside every piece, a hand-sewn "Valentino for Jacob Elordi" tag highlights the bespoke nature.
Considering that Piccioli is becoming a master at crafting modern menswear while still referencing familiar silhouettes and design tropes, this collaboration exemplifies his capabilities beyond what he's shown on the runway. It's a skill to recreate era-specific fashion while still making them relatable to audiences, and judging by the stills alone, Elordi makes for one stylishly accurate Elvis.
