To mark the release of the new 2 Moncler 1952 Fall/Winter '21 collection, the designer SergioZambon tells us where he finds his best ideas.
“My mother is Croatian and my father is Italian,” says Sergio Zambon, “So, everything for me is about mixture.” Indeed, blending distant influences is central to the Egypt-born, Italy-based designer’s work: during stints as the head of menswear at Acne Studios, Fendi, and Max Mara, Zambon made a name for himself by introducing bursts of color and striking silhouettes into his collections.
ZAMBON: I used to work at Fendi and I collaborated with a lot of people. When I started the first collection with Moncler, I began by collaborating with graphic artists and brands. Two seasons ago, I came up with the idea of collaborating with a city every Fall/Winter. I did the first season with Los Angeles, and for this season I chose Tokyo. I knew And Wander for a long time and I really like their sense of minimal, stylish streetwear and outerwear. It’s very detailed in an understated way.
ZAMBON: I really like working with colors. I was born in Egypt and grew up in different countries, so I absorbed the sense of color from different places. I started with the classic sporty colors of the ‘80s and reworked them. It’s a very strong part of my work. I’m not afraid of using color.ZAMBON: We don’t wear many colors as much as we wear black, blue, navy, army green, or khaki. I think colors, especially in the post-pandemic, give us a sense of joy, playfulness, and cheerfulness.
ZAMBON: I completely love these things. You can look and you can transform something in details or accessories.ZAMBON: It’s kind of a Margiela way of thinking. I love to use public transportation. When I am in a city, whether it’s Lisbon or Copenhagen, I immediately want to go near the subway and look at people. Are there some places that are your favorites?
RUBINSTEIN: A few years ago, friends of mine were moving from New York to L.A. Somebody claimed it was easier to be an artist there, so I kept asking people, “What does that mean?” I’m not really an artist. I don’t paint, I’m not really a photographer, I don’t drive. When I was working at Levis in San Francisco, everything was tomorrow. “We’ll get to it tomorrow.” In New York, it’s now. I couldn’t understand this “tomorrow, tomorrow, tomorrow.
RUBINSTEIN: Another thing that I think is interesting about the last couple of years, is that New York used to be so black, but now you see all these colors, patterns, and tie-dye. All of a sudden, I started seeing yellow and pink coats. It’s so good to breathe fresh energy in New York. It’s a nice change to see summer colors in the winter.
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