In 1904 Giacomo Puccini premiered Madame Butterfly, his vision of Japan reflected the complex and fascinating relationship and the western world. A relationship that developed and transformed into a thrilling dialogue. While Puccini ‘s masterpiece highlighted the colonial attitude of the earlier twentieth-century western world Pierpaolo Piccioli imagined a Japan in dialogue with Italian Renaissance, two worlds so far and so near at the same time, both devoted to the worship of harmony and details and yet so much fascinated with the other and the new.
Two cultures very close to each other but divided by that sacred architectural symbolic space called in Japanese “ma”. In the Italian language “ma” is a conjunction, it unifies while in Japanese it divides, separates. TKY by Pierpaolo Piccioli the ambiguity of these two terms. He works within the void and with the conjunction, bringing together in a two-way road the quality of Italian craftsmanship with that one of Japanese masters in different disciplines.
Also, TKY aims to embrace the conflicting and mesmerizing energy of contemporary Japan where an ageless culture of adolescence rides the past like a race bike through the present into the future. TKY highlights the idea that through utter differences and misunderstandings two different languages can create a third, even more, detailed and fascinating one. A visual language filled with experimentation and absolute perfection.
Valentino with TKY creates a fashion “toko no ma”, space, a niche which to seek respectfully its own “toko utsuri” harmony between the Italian creative power and the Japanese perfection.
TKY is a composition where the detail marries the whole. What Pierpaolo Piccioli wants is to allow Valentino’s legacy and language to be interpreted and performed by a Japanese eye. Its symbols and signature elements transformed and updated to contemporary Japanese culture while remaining deeply grounded into Valentino’s identity and tradition.