2016
DOLCE & GABBANA
AOYAMA
Once the luxury-market doors opened for
Curiosity, more projects followed, including
an unlikely alliance with Dolce & Gabbana.
‘When Domenico Dolce approached me, I
freaked out. My work is more minimalist
than decorative, and I don’t do baroque. His
reply? “Do your thing and I’ll do mine. Go to
the end of your art; I’ll meet you there.” That
sums up our collaboration.’
Dolce was familiar with Curiosity’s
Fendi store, but he hated it. Nicolas strug-
gled to comprehend the commission before
realizing that taste had nothing to do with it.
‘When people see my work they understand
it’s great for that particular client. Then they
start to wonder what I can do for them.’
In today’s age of e-commerce, brands
are considering the relevance of bricks-and-
mortar stores. Nicolas believes the corpo-
real world can learn a lot from its digital
counterpart. ‘When you open a website, you
control someone’s time and attention –
what they see and don’t see. Why can’t we
do that in a physical retail environment?’
Through a ballet of light at Dolce & Gabbana
Aoyama, merchandise appears and dissolves.
A customer might catch a glimpse of a dress
on a rack before it suddenly vanishes. Out
of the corner of the eye, another product
emerges from the darkness. The result is a
slow-paced sophisticated version of a web-
store pop-up. ‘You might not think you want
something until you see it.’ While admitting
that the design is ‘pure mind control’, Nico-
las says he wanted to make clear that D&G’s
DNA goes beyond the baroque.With his physical retail environment for
Dolce & Gabbana, Nicolas illustrates how
the corporeal world can learn from its digital
counterpart. The Frenchman’s ballet of light
directs the visitor’s attention in the same way
that e-commerce websites do.68 PORTRAITS