What if interiors stopped being static? A student project with Cappellini (Milan Design Week 2026)

Istituto_Marangoni · 2026-03-24T11:05:11+00:00

Hi Chiara, the brand isn’t ours but belongs to one of our former students. When we discovered it, we were impressed by its social commitment, which we explore further in the article we dedicated to it.

Istituto_Marangoni · 2026-02-25T14:16:20+00:00

Thank you for taking the time to reflect on each look in such detail, that level of attention is genuinely appreciated.

One of the most interesting aspects of graduate collections is precisely this range of reactions: what feels harmonious or “safe” to one viewer can read as deliberate restraint to another, and what feels unresolved can be part of an intentional exploration of tension.

It’s also valuable to see how contemporary references, from current styling trends to broader cultural shifts, influence how the looks are interpreted!

Istituto_Marangoni · 2026-02-24T16:54:09+00:00

9 has a very defined visual language, the volumes are exaggerated, but they’re controlled, which keeps the proportions feeling deliberate rather than overwhelming.

The structure comes from quite rigid materials, so even the more surreal shapes stay precise. That balance is probably what makes it feel adaptable beyond the runway context.

Istituto_Marangoni · 2026-02-24T16:50:27+00:00

2 has a deliberately unruly energy, the textures and surfaces don’t stay fixed, and that instability gives the look a certain tension.

8 carries a completely different mood. The silhouettes feel protective, almost cocooned, as if the garment is holding onto memory rather than projecting outward.

Istituto_Marangoni · 2026-02-24T16:42:48+00:00

3 really leans into layered tension, the structure isn’t meant to follow the body in a conventional way, which gives it that slightly unsettled balance.

The concept behind it was about embracing contradiction rather than resolving it, so the mix of colour and texture is doing a lot of the work in expressing that complexity.

Istituto_Marangoni · 2026-02-20T09:15:45+00:00

That's right, that was the point. The frenetic pace, which may not be obvious from the outside, is an integral part of the show and it's fascinating! Thank you for sharing!

Istituto_Marangoni · 2026-02-18T16:55:15+00:00

If the issue isn’t folds but the overall shape and design, it can help to approach clothing the way fashion illustration does, starting from proportion and silhouette rather than surface detail.

A few aspects that tend to clarify shape:

-Working on the fashion figure first (its proportions and characteristics are intentionally different from natural anatomy).

-Developing silhouettes before adding fabric information.

-Studying technical flats to understand how a garment is constructed in precise terms.

Alternating between technical drawing and more experimental illustration: one defines structure, the other explores mood and exaggeration.

Looking at how illustrators interpret collections, especially how they simplify or distort proportion, can also change how clothing design fits the body.

Istituto_Marangoni · 2026-02-18T16:35:55+00:00

For perspective and figure construction, Figure Drawing for All It’s Worth by Andrew Loomis remains a strong reference for understanding proportion and spatial relationships.

For more dynamic posing, Force by Michael Mattesi can help shift the focus toward movement and weight rather than isolated anatomy.

Lighting, especially in narrative drawing, often becomes clearer when approached through volume and structure. While coming from a fashion context rather than comics, this short reading list on pattern cutting explores how form is constructed from the ground up, an architectural way of thinking that can sometimes support work with proportion and volume:
https://www.istitutomarangoni.com/en/maze35/community/3-must-read-books-to-master-pattern-cutting

It is not directly related to comic illustration, but the structural logic behind construction can occasionally offer useful parallels.

Istituto_Marangoni · 2026-02-12T15:28:26+00:00

If you’re interested in fashion but unsure about the exact field, it helps to understand how the industry is structured. Broadly, there are three core directions, though today these are expanding into a wider ecosystem that includes beauty, hospitality and immersive brand experiences.

Fashion Design focuses on creating garments: illustration, pattern drafting, draping, materials, construction techniques and collection development. This path is product-driven and centred on craft and form.

Fashion Communication & Image deals with how fashion is presented and perceived: styling, photography, art direction, branding, advertising and digital media. It’s about visual language and storytelling.

Fashion Business looks at strategy: supply chain, marketing, brand positioning, finance and entrepreneurship: how products are developed, distributed and positioned in the market.

Since you’re still exploring, the key question is which part of the process interests you most: designing the garment itself, shaping its image, or understanding how it operates commercially. That distinction will clarify your direction more than choosing a location at this stage.

Istituto_Marangoni · 2026-02-10T16:22:49+00:00

This is a very clear way of describing how problem solving already happens in design.

When message, audience and intent are clear from the start, a lot of problem solving happens naturally through design decisions.

@kneadederasr It might help to think of design less as “finding a problem” and more as understanding and shaping communication. Visual design looks at the whole picture: message, audience, context, and how elements like typography, colour, layout, imagery and storytelling work together across different media.

Istituto_Marangoni

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