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About the AP

About the AP


Getting out of the door is the triggering moment for Alessia Pellarini. It is by no chance that, in her IG posts, she often snaps herself in a mirror strategically placed at the main entrance of the building where she lives. One can see Alessia radiant, one instant before, busy among busy humans, her public performance of dressing in life begins. Getting dressed in the morning is a process of play which involves trials and errors, unfolding the potential of garments and their juxtapositions. It is an act at once spontaneous and calculated. An act of passion that is revealed in the objects that make up and allow the dressing: items of clothing and accessories.

In the course of her adult life as a fashion designer and passionate dresser, Alessia Pellarini has collected over three thousand items: an extensive wardrobe she keeps using and expanding, and a far stretching archive she is now opening up to the public, both on and offline. Clothing is daily bread and butter for Alessia Pellarini, one way or the other. She designs items, she researches items, she wears items. The AP Archive is a recollection of all of this: it contains specimens of the collections designed for the houses Alessia has traversed in her noteworthy career – Prada, Chloè, Fendi – items she amassed in her research while working for such houses, and pieces she hoarded, simply, as a dedicated follower of fashion.

The perspective is utterly feminine in spirit: it fosters variety, with styles ranging from the delicate to the brooding, from the colorful to the somber, always with a womanly pragmatism at play. Even at the most flamboyant, in fact, what Alessia Pellarini bought is there because it was meant to be worn. One can savora proclivity for color and pattern, a lovefor dresses, yet a whole rack of deep blackquickly contradicts this first impression.Multiplicity is Alessia’s superpower: a decidedly womanly one.

The AP Archive is a living organism. New pieces are added as Alessia collects them and uses them while sharing the whole with a new public. Housed in a concisely theatrical space which, with its plush carpeting and satin curtains in a cosmetic shade of pink, resembles the inside of a jewel box, the AP Archive is meant to function, offline, as a creative hub where people can meet and share fuels. Here, Alessia will curate selections for design teams, researchers and scholars. The online service, meanwhile, will allow the public to rent items and wear them themselves.

By opening up her archive to such uses,
Alessia Pellarini ultimately gathers a community,
a kind of sorority in which the exchange of items
replaces the urge to buy, and the performance
of dressing is celebrated across different
personalities, further multiplying the multiplicity
upon which the project itself is based.
As a personal endeavor, the AP Archive is fluid,
and so is its pink space. Here everything
can be moved and reconfigured according
to the whims of the moment, creating a stage
in which clothes meant for the theater of life
find their own scene in their own play,
and so on and so forth.


Angelo Flaccavento