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Costume National
Costume National
C
o
Costume National is the fruit of the infl uence of Japan on Italy, of the Japanese bath of
purifi cation, of the bustle of the Italian street.
Behind Costume National is Ennio Capasa, a graduate of Milan’s Accademia di Belle Arti
di Brera, who, after completing his studies, was off ered the unparalleled opportunity of
traveling to Japan to work with Yohji Yamamoto, with whom he collaborated for three
years.
Returning to Italy, he founded the brand Costume National along with his brother Carlo,
who had previously worked as an advisor to Dawn Melo at Gucci. Ennio borrowed the
name from a French book of uniforms given to him by Carlo.
eir fi rst collection appeared in Italy in the mid-80s, clearly not the ideal moment for the
blend of rounded femininity and Japanese refi nement Ennio had absorbed so well in Japan
and was now proposing: a woman free of angles and straight lines, one with more realistic
and attractive contours who defi ed the aesthetic canons of the day. is led to Ennio’s de-
cision to step out onto the international stage and make a name for himself. In 1983, he
presented a line of shoes, followed by leather accessories, bags and lingerie in 2000, his fi rst
line of perfume in 2002 and his fi rst eyewear collection in 2003.
Costume National represents the combination of experience and know-how with which
Ennio develops his talent, embodied in genuine, recognizable work that stands out among
the whirlpool of images and visual identities of contemporary society.
© Settimio Benedusi
160
Costume National
On the fi rst page, a design from the Fall/
Winter 2007–2008 collection in which
Capasa unites diff erent worlds—uniforms
and dresses—and which represents only the
beginning of Costume National. On these
pages, images from the Spring/Summer
2007 collection.
© Sofía Sánchez & Mauro Mongiello (Katy Barker Agency)/model: Julia Stegner
161
Costume National
© Sofía Sánchez & Mauro Mongiello (Katy Barker Agency)/model: Julia Dunstall
162
Costume National
- What inspires you?
An inexhaustible source of inspiration is the Italian cinema of the 60s and the 70s. e aesthetics were absolutely per-
fect. And, of course, rock and roll and punk music. And modern art in general.
- What is your dream as a designer?
I would love not being forced by deadlines, but that is a utopian dream, regardless of the business you are in. I would be
happy if I could believe in the next generation, but they seem to have no dreams, no interest any more. Today, Italian
fashion is blocked. ere are no healthy exchanges in fashion houses. I really hope young, creative people will be more
daring and audacious.
- What has been the most important achievement of your career?
Being able to remain independent even when fashion was the center of big groups’ business and fi nancial strategies. It
allows me to go on being creative with no limitations or pressure.
- How important are trends?
Trends are always important, but fashion has become more versatile. Nowadays, everybody is free to express their own
personality through the way they dress. Being trendy is not what counts the most anymore; it is much more important
to be true to your own style.
- Fashion has always refl ected a certain era. What does fashion refl ect in the twenty-fi rst century?
Today’s fashion points towards the respect of the body. e silhouettes are closer to the body, leaner, gentler in a way.
Soft curves are allowed, there is more room for genuine femininity. Conceptual fashion is over, momentum is not on
the brand any more but on the individual. e new luxury means precious natural materials; fabrics that allow the
body to move, cuts and shapes that combines freedom and sophistication. at’s really what my work has been about
since the very beginning.
- What book would you recommend to every fashion designer?
The Picture of Dorian Gray.
Costume National
Via Mario Fusetti, 12
20143 Milan
Italy
www.costumenational.com
163
Costume National
© Sofía Sánchez & Mauro Mongiello (Katy Barker Agency)/model: Julia Dunstall
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