&ldquo;Stone Island highlights the technological character of the fiber, we do the same with metal,&rdquo; says Nicol&ograve; Ornaghi of NM3.

There is a way of understanding fashion that goes beyond seasonal rhythms and outdated trends. And then there is Stone Island. In Milan, during the week when design becomes an urban manifesto, the brand from Ravarino chose the setting of Capsule Plaza, on Via Maiocchi, to reopen the chapter NO SEASONS, a project originally created by Massimo Osti which, between 1989 and 1994, disrupted the rhythms of the fashion system.
At the center of the project is a single outerwear archetype, a jacket that does not change in form but is developed in six textile variations: from Tela Resinata and Nylon Prismatico-TC, to Raso Gommato, David-TC, Crinkle Reps NY, and Panno. All dyed in a single, rigorous shade of color, lead. So that the material speaks more than style for its own sake.

For Milan Design Week, the brand created an installation curated by NM3, occupying the space of a disused swimming pool. It is here that the dialogue between garment and architecture becomes direct. The studio NM3, known for an aesthetic that elevates steel and geometric rigor into an art form, interpreted the brand&rsquo;s universe with surgical precision.
Defined like a ring, the stepped seating surrounds black metal structures, assembled &ldquo;dry&rdquo; to display the garments. At the center, four powder-coated steel seats, covered in the fabrics of the collection, invite a contemplative pause. But the gaze is drawn upward: a 4x8 meter LED wall is suspended like a technological ceiling. The video artwork by 700x100&reg; tells the journey of the garment, from the Ravarino headquarters to the urban context, amplifying reality through generative technologies that make the invisible visible: the density of the fiber, the breath of the resin, the ingenuity of the laboratory.
The experience would not be complete without its acoustic dimension, developed with the same attention given to a polymer. The return of the Friendly Pressure: Studio One sound system, designed by Shivas Howard Brown and Bosco Taylor, introduces Unity Horn technology. The result is a single, clear sound source, capable of enveloping the visitor in a rare emotional depth. The moment of synthesis came with the performance by James Blake.

Is this the first time you have collaborated with Stone Island? In what way did your design philosophies meet?
Yes, we have always been fans of the brand. It is an honor to work with an imaginary that is part of my family experience, I inherited Stone Island pieces from my father, and I consider them objects that maintain their technical aesthetic intact over time. And it is precisely here that our philosophies converge. Stone Island does extreme research on fabrics; we try to expose to the maximum the technological capabilities of metal construction. We use simple but rigorous technologies to elevate raw material into a finished product.
The installation seems like a manifesto of your language.
Exactly. The four benches and the eight display cases are the result of our way of thinking. For NO SEASONS we chose to work with an absolute black with an orange peel finish, a technical paint that is anti-scratch and anti-fire, which underlines the functional aspect. The six fabrics of the collection are not only on the garments, but also cover the seating, becoming a tactile dialogue that the public can experience and touch.
What common denominators did you identify with the brand&rsquo;s DNA during the development of the project?
The obsession with the performance of materials. Stone Island enhances the technological character of the fiber, we do the same with metal. And then there is a great mutual respect for construction rigor.

How did you spatially translate the concept of &ldquo;NO SEASONS&rdquo; inside a disused swimming pool?
The elements are arranged in a symmetrical way, without a decorative design, following the only possible logic: maximizing the functionality of the space to allow people to use it simultaneously. The display structures follow this philosophy as well, they are metal frameworks deliberately without glass to avoid reflections during the projection of the 700x100&reg; video and to enhance the three-dimensionality of the garment and the tactile perception.
Speaking of projections and atmosphere, what role does the sound system play in this architecture?
The installation is designed to be experienced from multiple perspectives. The sound, curated by Friendly Pressure, was calibrated to the video content. The two large speakers, reused for the occasion with a new metal cladding, create an ambient layer that surrounds the visitor whether they are on the steps or lying on the benches looking up at the projection.
Modularity is a central theme in your work. How is it expressed in this specific context?
Everything is modular. The eight display units are identical modules that can be closed with metal sheets or left open. The seating are variations of one of our daybeds resized for the pool space. This symmetrical repetition gives strength to the structure, while the fabric variations at the corners break a static quality that would otherwise be excessive.

The exhibition path seems to respond to different needs: display, talks, and performance. How did you design it?
The project exists on two levels. There is an outer ring that we used for the James Blake live performance and then there is the lower part of the pool. The brief from Stone Island was clear: integrate the spatial experience with the product and the cultural moments (talks and live). We worked to compress the height of the space through the large LED ceiling, which when at low brightness becomes almost transparent, creating an atmosphere that is both intimate and monumental.
You are a studio composed of three individuals. How does your internal creative process work?
We are very fast because we share the same aesthetic taste. Delfino mainly handles the visual identity and the brand image, while Francesco and I take care of the design and the technical development. There is an underlying coherence that allows us to find solutions immediately.
To conclude, what did you learn from Stone Island?
It was extremely interesting to challenge our metal construction with their fabrics in the world of upholstery. Each material reacts in a different way, the Panno was the most natural to work with because of its consistency, while technical nylons were a challenge in terms of tension and finishing management. We will see at the end of the week which of these resisted best to public wear, but it is all part of the durability test that is at the base of the NO SEASONS philosophy.

Stone Island Sound Presents: STUDIO ONE_Milan

Courtesy of Stone Island.

Stone Island’s ‘NO SEASONS’ Project with NM3 Builds a New Language Around Material

L'OFFICIEL PHILIPPINES APRIL 2026 - Rocio Zobel ₱600 

Stone Island’s ‘NO SEASONS’ Project with NM3 Builds a New Language Around Material

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