#daily pino

[daily-pino]

S2EP1 featuring Hermit and Weisz 🐰💙💛💝

[dailypino]

[daily-vocaloid-rock-metal]

Today's entry is サクラノタトゥー - Sakura Tattoo by PinocchioP and Hifumi featuring Hatsune Miku and Otomachi Una.

It is a rock song with traditional elements. The PV contains flashing lights so watch with caution

The PV was illustrated by Keiko

[emotionalsupportsoccerball]

Oh for the love of- *a cane yanks me offstage*

[wokeupwiththissong]

Let Them Talk - Geraldo Pino

[hushedpresence]

Hate how I can’t finish anything that isn’t a shitpost or meme. So here’s this thing I’ve been working on for two whole months, or rather, I’ve let it sit in my WIP folder for two months and occasionally messily sketch in a few lines before becoming completely overwhelmed and stopping for days. I’ve decided I need to finish at least one piece of my WIPs and I’ve set this one as a goal. It’s hard, man.

It’s Pino looking bored but then you walk into the room and he glances up at you and gives you a teeny tiny smile. He hasn't gotten his daily smooch or something from you yet, idk.

[ideas-on-paper]

Nothing lore-related for once, but can we just talk about the dialogue of the Cat and the Fox if you let them live?

I had never seen this before, as I just fought them in my first playthrough (XP greed is a brutal bitch). I expected there to be different dialogue, but I never thought it would be so heart-wrenching.

Like Lucio (aka the Cat) saying that he's just tired of the daily struggle to survive? Oof... that hit hard.

That he wants to try starting a new life with his sister in a different city is really heartwarming, though. (And a big relief, since leaving Krat is the only way for them to stay alive with the ending I'm going for.) I really hope that they'll be safe and happy together.

And if you spare Lucio, you even learn that Geppetto is alive a lot earlier!

As for the Fox, I was surprised that she actually apologizes to Pinocchio for exploiting him. It just feels wonderful, seeing her being genuine for once. She even tells Pinocchio her real name: Claudia.

You know, considering the Fox and the Cat are the overarching villains in the fairy tale, I never expected these two to grow on me so much. The found family vibes from them are just so wholesome.

Also, you can really tell how Claudia relates to Pinocchio's situation - she knows what it's like wanting to protect someone you're close to, so she helps Pino do the same for his father. (If only the familial affection was mutual...)

[littlebeelife]

Daily J2 Breakdown

Day 44

Dinner at Chef Pino's restaurant ♥

[dingle-dee]

Daily sktechy were-peppino and fake pino

[lovelacefc7723]

After watching the preview episode of the re-cap show, my first thought is actually a confirmation of something I believe for awhile now, and it's that in my opinion Tobin & Christen truly are in a different phase of their life now. They've changed, right in front of our eyes, they have built this whole other work reality that no longer NEEDS to be connected with the field, they are beyond. I'm not saying they're retiring tomorrow (even though I think they WILL do it very soon), I just feel they have found their dimension elsewhere. And it's deeply beautiful.

I noticed just how GOOD they are despite this being their first experience in this kind of projects. I remember Tobin's first videos for the company, about her art, and she didn't even look at the camera. Since becoming co-ceo, and maybe since stepping up after Pinoe's silent exit, she kinda found this new confidence. She joins events and promotional works by herself that before she would have attended only with Christen, or not attended at all.

Now she produces and hosts a show, and she's funny, charming, thoughtful, wonderfully loud when she laughs and freely honest when she speaks.

Even the choice of their first guest is pretty revealing. It actually tells how little we know about their lives and their relationships. That's why I usually talk about opinions and impressions, because that's all we have.

And exactly about my opinion about their new phase of their life, I think Ellis and Christen probably might have talked about things at some point. And not about her tactical choices but about her silence when Christen tried to expose Dames' toxic behaviour. It's not something you just ignore and sit together to joke, laugh and talk Football.

The interview was actually really brilliant and honest. I think Tobin took the lead because anyway she had a different relationship with Ellis but also it really seemed more her space, she has always had a complete vision of football, tactically and strategically. That's why it seemed she really talked Ellis' language. And it was deeply fascinating, curious and educative.

I'm not gonna deny that listening to Ellis actually talking about football and about her choices was truly interesting. Despite all her personal mistakes, I think she really knows her job, and she knows how to do it. I never heard Vlatko having such professional insights and I really admired him before, when I still had not realized he has no idea how to manage team and players and he doesn't really care about them either.

Ellis was pretty honest about her tactical decisions, I don't know if she would do exactly the same now, especially with Christen. But I still love how equally honest Christen was with her. The quote "I'd let you babysit my daughter but I don't think I'll play you in this game" is not really a joke and both of them know it. But it was a moment of Truth.

I think Ellis appreciated and appreciates Christen both as person and player, she made a choice, a debatable one, but still hers. And Christen faced her for it. But in the end I liked to see that she still considered her time playing for Ellis as a learning experience, it puts everything in perspective.

I always thought Christen was way much more than the sweet and zen person we often see. She did make a few interesting remarks to Ellis among the lines of jokes, she knows how to tease Tobin (probably her favourite pastime), she can be snarky and witty, and it's pretty awesome.

That's why I was in love with the blunt confrontation between Tobin & Christen. It was actually what I expected, Tobin always so free and direct, Christen so smart, witty and a little biting! The Daily Debate was just amazing but what I noticed is that every time Tobin talked, with Jill or simply telling something, she always included Christen in her moments, in her thoughts, her memories, her experiences, she looked at her, waited for her reaction.

The most technical part of the conversation was so intriguing for a football fan. I loved the Marginal Gain philosophy, it's the success in the details.

Also, about the USWNT, I think Tobin doesn't have much admiration for Vlatko, as coach and person. At one point she said something like "talking about chewing and spitting …" and she went on saying she and Christen wouldn't be at the World Cup, it says something.

In the end, I think they really nailed this first episode. I wanna see Christen take the lead in the next episodes and I can't wait for them!

[fashionbooksmilano]

Coppola e Toppo Fashion Jewels

Deanna Farneti Cera

photographs by Gian Paolo Barbieri, Henry Clark, Franco Rubartelli

Antique Coll.Club, Woodbridge 2009, 287 pages, 25x25,5cm, ISBN 978-1-85149-611-2

euro 50,00

email if you want to buy booksinprogressmilano@yahoo.it

This book is a recognition of the talent of Lyda Coppola, designer and owner of Coppola e Toppo, a costume Jewellery company which was active in Milan from 1948-1986

A true work of passion, this book lovingly charts the creative path of Italian jewelry designers Lyda Toppo and Bruno Coppola, famed for their intricate over the top designs of clustered beads. Sumptuous illustrations complement a well-researched and accessible text. The duo designed for Valentino, Dior, Balenciaga and Pucci and many more, and worn by countless Hollywood stars and on catwalks the world over. Deanna Farneti Cera first glimpsed the jewels of Coppola e Toppo in 1987 at an auction house in Milan. Instantly fascinated by their diversity, the evocative power of the colors, the wealth of shapes and motifs and the multitude of materials used, she soon developed an overwhelming passion for the stunning creations. This book, researched over the last twenty years, is the culmination of that passion and a reconstruction of the creative path of Coppola e Toppo, charting their inspiring partnership from their first appearance in VOGUE in 1948, through to Lyda's death in 1986. This book lovingly charts the creative path of Italian designers Lyda Toppo and Bruno Coppola, famed for their intricate and over-the-top creations designed for Valentino, Dior, Balenciaga, Pucci, and others, and worn by countless Hollywood stars and on catwalks worldwide. 

Questo volume è un omaggio al talento di Lyda Coppola in Toppo (Venezia, 1915 – Milano, 1986), la disegnatrice e fondatrice, insieme al fratello, della Coppola e Toppo, un’azienda di gioielli per la moda attiva a Milano dal 1948 al 1986. Sono proprio i complementi creati da Lyda – innanzitutto bijoux, ma anche borse, sciarpe, cinture, foulard – a dare il tocco finale a molte delle mises proposte dagli stilisti che hanno segnato la Haute Couture francese della fine degli anni Quaranta e dagli stilisti della moda boutique italiana degli anni Cinquanta, Sessanta e Settanta. All’inizio della carriera, Lyda Coppola, forse a causa delle sue origini – madre triestina, di origine ebraica, padre napoletano – caratterizza la sua produzione combinando, in modo inusuale, materiali tipicamente italiani provenienti da parti diverse della penisola, come le perle in vetro veneziano e il corallo di Torre del Greco. Subito dopo la fine della Seconda guerra mondiale, a partire dal 1948, i bijoux di Coppola e Toppo diventano famosi prima a Parigi (Elsa Schiaparelli, Jacques Fath, Edward Molyneaux, Robert Piquet, Pierre Balmain, Jeanne Lanvin, Nina Ricci, Cristobal Balenciaga, Jacques Heim sono i loro primi clienti) e poi negli Stati Uniti, dove – a cominciare dai primi anni Cinquanta e per almeno quindici anni – si riversa la maggior parte della loro produzione. La stampa, da «Vogue» Francia a «Vogue» America, e con i redazionali su «Harper’s Bazaar», «Women’sWear Daily», «The New York Times», «Herald Tribune» accompagna la presentazione nelle città americane più importanti delle due collezioni annuali di Coppola e Toppo, accrescendone il successo commerciale. Dai primi anni Cinquanta, Lyda Coppola crea i gioielli per Emilio Pucci e per la gran parte degli stilisti della moda italiana: Roberto Capucci, Germana Marucelli, Carosa, Biki, Sorelle Fontana, Pino Lancetti, Patrick de Barentzen, Federico Forquet, Enzo, Ken Scott, Valentino, Krizia. Il connubio dei bijoux Coppola e degli abiti firmati viene ripreso da straordinari servizi fotografici di Gian Paolo Barbieri (autore di oltre 40 scatti, qui riprodotti), Henry Clark, Franco Rubartelli, pubblicati sulle riviste di moda internazionali. La storia di Coppola e Toppo si dipana in contemporanea alla crescita e affermazione della moda italiana, passata da una condizione di artigianato nei primi anni Cinquanta a un’industria fiorente e conosciuta in tutto il mondo negli anni Ottanta come Made in Italy. Oggi i bijoux e i complementi di Coppola e Toppo rientrano nei collectibles più ambiti dai collezionisti di gioielli d’epoca.

18/01/24

[daily-pino]

S2EP5 🐰

[dailypino]

[longlistshort]

For Hugh Hayden’s current exhibition Hughmans at Lisson Gallery, his sculptures remain hidden behind bathroom stall doors. The well-crafted works vary in subject, size, and material, and cover a wide range of social issues. For more information on his thought process and some of the work, Hayden recently discussed the show with Art in America.

From the press release-

Following his solo exhibition in Los Angeles, Hugh Hayden continues his exploration of the prosthetics of power in a new series of works and site-specific installations created for the Lisson Gallery New York space. In Hughmans, Hayden reengages with the concept of the bathroom stall in order to investigate experiences of revelation, intimacy, desire, and sexuality – this time through the lens of the collective experience.

Known for his poignant metaphors and examinations of human existence, Hayden’s work transcends individual experience to probe the collective consciousness. Hughmans maintains his signature use of wood as a primary medium alongside bronze, resin, and silicone, amplifying the depth and texture of his narrative. At the heart of the exhibition lies an ambitious site-specific installation, unraveling the complexities of power dynamics in contemporary society. Hayden transforms mundane elements into profound symbols, inviting viewers to confront their own perceptions and assumptions of daily life.

In the gallery, visitors will find an arrangement of metal bathroom stalls, each concealing an artwork within. This unconventional setup challenges notions of privacy and intimacy, urging viewers to reconsider their relationship with public spaces. Two wooden sculptures embodying the fictional character Pinocchio will be exhibited. Ebanocchio (2024) and Nocecchio (2024) serve as contrasting counterparts, one crafted from ebony and the other from walnut. In the original fairytale, Pinocchio’s name was also derived from his physical, wooden origin, ‘Pino’ being the Italian term for pine. These works employ Hayden’s recurring conceptual gesture of wood and the intersection of materiality and identity. The artist recently unveiled another sculpture, Geppetto (2023), in his comprehensive exhibition, American Vernacular, at the Laumeier Sculpture Park. Named in reference to Pincocchio’s father, the work serves as an antecedent to the pieces showcased in New York. Like much of Hayden’s ouvre, the fantastical story of the marionette is often attributed as a metaphor for the human condition.

In another stall, the artist will present Harlem (2024), a new ensemble of cast iron melting pots and copper pans – works which serve as a metaphor for the creation of America through cultural diversity. These particular sculptures will depict both facial features and functional musical instruments. This iteration of melting pots, made using sand casting, synthesizes diasporic movement and the African origins of the US. Unlike past presentations of similar works which were hung from the wall and ceiling, these works will be suspended from a New York City subway-style handrail.

This exhibition closes 8/2/24.

[coffee-without-anesthetics]

just to clarify i am still extremely ill about pino i just talk about him less often because he;s been permanently installed in my psyche and spins microwave-style daily in the backyard of my brain. he;s my blorbo forever.

[orange-sunshines]

i wish we got to see more of pino, instead of her just being a plot point. gimme her listening to deku talking, her bristling when bakugo insults someone, give me her flying around bored i just want to see her more in daily interactions