Made in Milan, 1990 dir. by Martin Scorsese
I came here from a provincial city.
Milan seemed very cold and big at first then suddenly it was welcoming, rich in unexpected beauty to discover day by day
The old buildings here are not imposing and opulent like the ones in Rome. But they have a discreet elegance that almost whispers
Milan is not a city on a grand scale, like Paris or London. But if you go beyond the narrow streets and past the house facades, you discover fantastic interiors. The small intricate gardens and intimate refined settings are reminiscent of something exclusive and private. Something from the past.
The beauty of the city is in harmony with my style of work, my way of lie, my way of seeing things. Milan has changed a lot since I first came here. But it hasn’t lost the atmosphere that can absorb and protect you while you work and play. Here, you can participate in the life of the city in whatever way is best for you. I have only a few hours in the day for myself because I’ve chosen work as my way of life. But Milan still allows me to feel that I am a part of the city and that the city is a part of me.
When I thought about my house I wanted it to have the same simple elegance the Milan possesses. But I also wanted to leave many details unfinished. Anything that’s rigidly defined, that’s perfect and unchangeable irritates me. It gives the feeling of something too well planned.
That’s a weakness of mine that affects both my life and work. I’m always thinking about adding something or taking something away. I’ve always insisted upon rigorous simplicity. I can’t stand exhibitionism.
I don’t own what you might call a ‘designer wardrobe’. I have blue jackets, blue pullovers and grey pants. In my mind, it’s like a uniform. You have to know yourself and your own body and your own personality to know how to dress. Maybe it’s because I dress for work that I can’t dress any other way. Sometimes, if I want to look elegant I’ll put on a striped tie.
Why blue? Because I think blue looks good on me.
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