Marni Signs Licensing Agreement With Staff International

MILAN — Marni is tightening its relationship with Renzo Rosso’s OTB, which in 2012 acquired a majority stake in the Milanese brand designed by creative director Consuelo Castiglioni. Marni and Staff International, the manufacturing arm of OTB, have signed a licensing agreement for the production and worldwide distribution of Marni’s men’s collections, including ready-to-wear, accessories, footwear and small leather goods. The collaboration is to start with the spring 2016 collection. “We strongly believe in the potential of our men’s line which has been well appreciated in the next few seasons,” said Marni group chief executive officer Gianni Castiglioni. “In order to boost our expansion and reach ambitious goals, we decided to team up with a dynamic and modern partner, which is part of the OTB family.” “I’m sure that the combination of Consuelo Castiglioni’s sophisticated vision and Staff international’s know-how will give life to a unique product,” said Staff International ceo Ubaldo Minelli. “For Staff, this new collaboration represents a prestigious project and marks the entrance of a new important partner in our brand portfolio.” Staff International already produces and distributes the collections of a range of international labels, including MM6 Maison Margiela, Vivienne Westwood Red Label, Dsquared2, Marc Jacobs Men and Just Cavalli.

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Whitney Museum Inaugurates New Location

After months of anticipation, the art world finally got a long, hard look at the new Whitney Museum, and it was proud. A murderer’s row of artists, including Jasper Johns, Cindy Sherman, Chuck Close, Mark di Suvero and Fred Wilson came out Monday night to inaugurate the museum’s new era in the Meatpacking District. Like most people, they began on the eighth floor, with its spectacular views of Manhattan, and slowly made their way down, beaming as they went floor-to-floor, taking in a sprawling overview of the museum’s permanent collection, including some of their own work. It was an overwhelming experience for even the most jaded of connoisseurs. “It’s pretty exciting,” Laurie Simmons said. She had fond memories of the Breuer Building on the Upper East Side. “I can’t help it. I went to my first Whitney Biennial when I first came to New York in 1975,” she said. “I remember what I was wearing. It was the most exciting night of my life.” But the sheer sensory overload of the opening night, of the Renzo Piano building itself, was difficult to shake. “This is amazing. This is going to be a real force,” she continued. For the artists, collectors and philanthropists in attendance, picking a

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