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The freedom of movement is the paradigm successfully made concrete by “Studio Yoga”, the Adidas by Stella McCartney for Adidas Fall/Winter 2015 sportswear collection. A catchy aesthetics joins the comfort of creations as the graduated compression and seamless bodysuits, assuring balance and support for all of the yoga positions as well as the innovative technology Climalite®, helping to hold the posture. New technologies are also embodied in the parka Studio, enriching by a refined floral jacquard patterns inspired by the ready- to-wear collection Stella made and featuring Climastorm®, which makes highly antiperspirant, wind resistant this garnment and it’s great to wear during the variable Fall weather.

SPORTSWEAR, ELEGANZA & LIBERTÀ DI MOVIMENTO: “STUDIO YOGA” DI STELLA MCCARTNEY PER ADIDAS

Adidas by Stella McCartney Fall/Winter 2015

Adidas by Stella McCartney Fall/Winter 2015

La libertà di movimento è il paradigma felicemente concretizzato da “Studio Yoga”, la collezione di sportswear autunno/inverno 2015 di Adidas by Stella McCartney. Un’ accattivante estetica si unisce al comfort di creazioni quali il body a compressione e senza cuciture che garantisce stabilità e supporto per tutte le posizioni yoga come anche l’ innovativa tecnologia Climalite®, che aiuta a mantenere la posture. Nuove tecnologie sono racchiuse anche nel parka Studio, che si arricchisce di raffinati motivi jacquard floreali  ed ha quale protagonista Climastorm®, che rende questo capo altamente traspirante e resistente al vento, ideale da indossare durante il variabile clima autunnale.

Adidas by Stella McCartney Fall/Winter 2015

Adidas by Stella McCartney Fall/Winter 2015

 

Adidas by Stella McCartney Fall/Winter 2015

Adidas by Stella McCartney Fall/Winter 2015

 

Adidas by Stella McCartney Fall/Winter 2015

Adidas by Stella McCartney Fall/Winter 2015

 

Adidas by Stella McCartney Fall/Winter 2015

Adidas by Stella McCartney Fall/Winter 2015

 

Adidas by Stella McCartney Fall/Winter 2015

Adidas by Stella McCartney Fall/Winter 2015

 

www.adidas.it

 

 Vivienne Westwood 10th Season Made in Africa Bag x Ethical Fashion Initiative

Vivienne Westwood 10th Season Made in Africa Bag x Ethical Fashion Initiative, photo courtesy of ITC Ethical Fashion Initiative

 

The legendary British fashion designer Vivienne Westwood celebrates the successful continuation of the successful partnership with the Ethical Fashion Initiative( she started five years ago), a laudable project launched by the ITC (International Trade Centre an UN Agency working in the realm of ethical fashion to emancipate the Africa people from poverty through the work and its training) with a limited edition of Africa bags collection, made by artisans in Kenya. Over the past five years the involvement of the fashion designer has supported thousands of micro-producers from marginalized communities in these regions, developing their artisan skills and improving their financial prospects. This has promoted the growth of sustainable business instead of aid dependency. Craftsmanship and ideas on the move are impressed in the Africa bags that resonate with the activism of the queen of punk, are embodied in more the design, materials used  that raise questions on critical issues such as climate change and waste.

UNA COLORATA CELEBRAZIONE: LA DECIMA PARTNERSHIP DI VIVIENNE WESTWOOD CON L’ ITC

Vivienne Westwood x Ethical Fashion Initiative 10th Anniversary bag made in Kenya

Vivienne Westwood x Ethical Fashion Initiative 10th Anniversary bag made in Kenya, photo courtesy of ITC Ethical Fashion Initiative

La leggendaria fashion designer inglese Vivienne Westwood celebrate la felice prosecuzione della partnership con l’ Ethical Fashion Initiative (da lei avviata cinque anni fa), un lodevole progetto lanciato dall’ ITC (Centro del Commercio Internazionale Trade Centre un’ Agenzia dell’ ONU che opera nell’ ambito della moda ethical per emancipare le popolazioni dell’ Africa dalla povertà attraverso il lavoro e la sua formazione) con  una limited edition  della collezione di Africa bags, realizzate da artigiani in Kenya. Nell’ arco di cinque anni il coinvolgimento della stilista ha sostenuto migliaia di micro-produttori provenienti da comunità che vivono ai margini in queste regioni, consolidando il loro talento da artigiani e migliorando la loro situazione finanziaria. Ciò ha promosso la crescita di un’ impresa sostenibile, diversamente dalla dipendenza derivante dagli aiuti umanitari. Artigianalità e idee in movimento sono impresse nelle Africa bags che risuonano dell’ attivismo della regina del, racchiuse nel design e nei materiali usati che si interrogano su problematiche critiche quali il cambiamento climatico e i rifiuti.

The Kenya Ethical Fashion Iniatiative Artisans Theme, photo courtesy of Louis Sideri &  ITC

The Kenya Ethical Fashion Iniatiative Artisans Team, photo courtesy of Louis Sideri & ITC Ethical Fashion Initiative

 

Vivienne Westwood x Ethical Fashion Initiative 10th Anniversary bag made in Kenya, photo courtesy ITC Ethical Fashion Initiative

Vivienne Westwood x Ethical Fashion Initiative 10th Anniversary bag made in Kenya, an artisan working, photo courtesy ITC Ethical Fashion Initiative

 

Vivienne Westwood and Team visit Kenya with Ethical Fashion Initiative,  photo courtesy of ITC Ethical Fashion Initiative

Vivienne Westwood and Team visit Kenya with Ethical Fashion Initiative, photo courtesy of ITC Ethical Fashion Initiative

 

www.ethicalfashioninitiative.org

www.viviennewestwood.com

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

It has recently presented in Milan at Entrata libera, awesome concept store focused on the search in the realm of design, the collection of accessories made in co-branding by Carmina Campus and Vibram making concrete the categorical imperative “Save waste from waste”. An idea developed by Carmina Campus, brand of accessories, jewelry and furniture created by the bright, overwhelming pioneer fashion designer, farm businesswoman and social activist Ilaria Venturini Fendi and shared today with Vibram, renowned brand producing the rubber soles, which gave rise to a smashing collection of bags, made by re-using the rubber – more precisely, as Ilaria told me, the first rubber plate, resulting from the start of productive process and therefore it is useless -, thus taking away this material from the dump and turning into something wonderful. That evidences which can create without destroying, respecting the environment and earth which host us. It’ another way to see life, the world surrounding us, another way of thinking, working, creating, making and producing fashion, which emphasizes the idea of elegance as bringer of value and values. A healthy ethic is embodied in a vibrant aesthetics where it shines the approach of matter- and reminds me of work by Alberto Burri – and refinement. The many bags, as the nice rubber clutch bags are decorated by little, fun patterns made of rubber as well as other items, joining the rubber to other materials as leather and fur and are genuine passé-partout.

SALUBRI IDEE IN MOVIMENTO: IL LANCIO DELLA COLLEZIONE IN CO-BRANDING DI CARMINA CAMPUS & VIBRAM DA ENTRATA LIBERA

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

È stata presentata recentemente a Milano presso Entrata libera, fantastico concept store incentrato sulla ricerca nell’ ambito del design, la collezione di accessori realizzata in co-branding da Carmina Campus e Vibram che concretizza l’ imperativo categorico “Save waste from waste”(ovvero “Salva i rifiuti dai rifiuti”). Un’ idea consolidata da Carmina Campus, brand di accessori, gioielli e componenti di arredo creato dalla brillante, inarrestabile, pionieristica fashion designer, imprenditrice agricola e attivista nel sociale Ilaria Venturini Fendi e condivisa oggi con Vibram, rinomato marchio che produce suole di gomma, che ha dato vita a una formidabile collezione di borse, realizzate mediante il riuso della gomma – più precisamente, come Ilaria mi ha raccontato, la prima lastra di gomma, risultato dell’ inizio del processo produttivo e che pertanto è inutilizzabile -, sottraendo perciò questo materiale alla discarica e trasformandolo in qualcosa di meraviglioso. Ciò dimostra che si può creare senza distruggere, rispettando l’ ambiente e la terra che ci ospita. E’ un altro modo di vedere la vita, il mondo che ci circonda, un altro modo di pensare, lavorare, creare, fare e produrre moda che enfatizza l’ idea di eleganza come portatrice di valore e valori. Una salubre etica è racchiusa in una vibrante estetica in cui splende il sapiente approccio materico – che mi richiama alla mente l’ opera di Alberto Burri – e la raffinatezza. Le varie borse, le clutch di gomma sono decorate da piccoli divertenti motivi di gomma, come anche altri modelli che uniscono la gomma ad altri materiali quali pelle, pelliccia e sono autentici passé-partout.

Ilaria Venturini Fendi showing me an item ft. in the co-branding collection by Carmina Campus and Vibram, photo by N

Ilaria Venturini Fendi showing me an item ft. in the co-branding collection by Carmina Campus and Vibram, photo by N

 

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

Ilaria Venturini Fendi wearing  a bagle made of rubber elements, photo by N

Ilaria Venturini Fendi wearing a bagle made of rubber elements, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

Ilaria Venturini Fendi and Enea Roveda, photo by N

Ilaria Venturini Fendi and Enea Roveda, photo by N

 

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

The rubber by Vibram, turned into accessories, photo by N

The rubber by Vibram, turned into accessories, photo by N

 

Me, myself & I along with Stephan Hamel, photo by N

Me, myself & I along with Stephan Hamel, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

Me, myself and I along with Meo Fusciuni, photo by N

Me, myself and I along with Meo Fusciuni, photo by N

 

Carmina Campus, photo by N

Carmina Campus, photo by N

 

Carmina Campus, photo by N

Carmina Campus, photo by N

 

Me, myself and I along with Pietro Dottor, photo by N

Me, myself and I along with Pietro Dottor, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera and Alessandro Bocchingher, photo by N

The design showcase featuring in Entrata libera and Alessandro Bocchingher, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

Kissing moment featuring me, myself and I, Ilaria Venturini Fendi and Carlo Alberto, photo by N

Kissing moment featuring me, myself and I, Ilaria Venturini Fendi and Carlo Alberto, photo by N

 

 

www.carminacampus.com

Lines strategy, photo by N

Lines strategy, photo by N

It was recently held in Milan, at Palazzo Visconti, in via Lanzone 2, at the suggestive rooms of an apartment created by the celebrated architect Luigi Caccia Dominioni, the exhibition event “Lines strategy: group of creative families in an interior”, ideated by 5VIE ART+ DESIGN and Nunzia Garoffolo, included in the format of “Fashion at 5 Vie”, macro happening which took place in the 5 Vie district, featuring 15 eventi and trunk-shows, featuring in the calendar of Milan Fashion Week, sponsored by the National Chamber of Buyer and curated by Nunzia Garoffolo which featured the creativity made in Italy by Matteo Thiela, Giulia Marani, Move Cappelli, Olga Pong, Anna Porcu, Bea Bongiasca, SH-Jewels by Stephan Hamel, Mia D’ Arco, Susana Traça, Svetlana Schmidt and Arnoldo Battois. An experiential exhibition path, emphasized by the flair of set-designer Giovanni Ottonello – made by teaming with the Milan Istituto Europeo di Design (IED) – and the furniture created by Luigi Caccia Dominioni, made of presences and absences, lightness, present and past where the suggestions inspired by Visconti, film memories coming from the celebrated movie “Conversation piece” dialogued with the contemporary creativity.

"Bombyx" project by Matteo Thiela, photo by N

“Bombyx” project by Matteo Thiela, photo by N

 

Bombyx project by Matteo Thiela, photo by N

Bombyx project by Matteo Thiela, photo by N

 

Innovation and experimentation, a vibrant aesthetics embodying a healthy ethic, this is the “Bombyx” project by Matteo Thiela, visionary fashion designer who inspired by the silkworm, creating a cloth he patented – made by teaming with a group of homeless women – combining wool, silicon and other materials, some of them have a reflective effect, feature in a series of clothes, suits and long shirts, solemn and austere architectures that evidence his conceptual rigor and are shown in these days, during the Paris Fashion Week, in the windows of renowned concept-store L’ Eclaireur. Fashion meets art, as it is impressed in “Tetris”, the Fall/Winter 2016-2017 collection by Giulia Marani who collaborate with the bright artist Nicola Felice Torcoli, where the patterns impressed in the collage he made found a new context in the soft creations by Giulia, joining comfort, refinement, high-end materials, giving rise to genuine passé-partout.

Giulia Marani along with the works by Nicola Felice Torcoli, photo by N

Giulia Marani along with the works by Nicola Felice Torcoli, photo by N

Olga Pong, photo by N

Olga Pong, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

A detail ft. in the site-specific installation made by Olga Pong, photo by N

A detail ft. in the site-specific installation made by Olga Pong, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

Craftsmanship, timeless elegance and precious details talking about excellence are part of the hats by Move Roma, brand created by the milliner Massimiliano Amicucci. Poetry and lightness, paying homage to the nature and its little hosts, are the sign of Olga Pong, milliner, who made head accessories, jewelry and also a delicate site-specific installation by using wood, lace and hanger. Art, antique and design, old and modern, cameo becomes contemporary in the successful reinterpretation of Anna Porcu, Tuscany jewelry who uses antique cameos, as the ones presented during the exhibition event, coming from the mid-seventeenth century, blending gold, silver and hand carved leather. A smashing design along with high jewelry techniques makes concrete the Eastern and Western culture coming together. This is the sign of young and promising jewelry designer Bea Bongiasca which shines in the collection “No Rice No Life” she made where she questions on themes that are strictly connected to the human being, as the necessities, real needs of individual and consumption in a globalized society, an engaging tale under the sign of deepness, lightness and irony. Unusual materials combining precious gems to plastic, give rise to a brilliant reinterpretation of the gorgier concept – depicted by Van Dyck – by SH-JEWELS, brand created by Stephan Hamel in collaboration with Roberta Bini.

Move Roma, photo by N

Move Roma, photo by N

 

Anna Porcu, photo by N

Anna Porcu, photo by N

 

Anna Porcu, photo by N

Anna Porcu, photo by N

 

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

 

SH-Jewels, photo by N

SH-Jewels, photo by N

 

Mia D' Arco, photo by N

Mia D’ Arco, photo by N

 

Susana Traça, photo by N

Susana Traça, photo by N

 

Susana Traça, photo by N

Susana Traça, photo by N

 

Instead mysticism, the mandala concept is revisited in a pop way by Svetlana Schmidt, genius designer and artist who made collages of whose patterns are transposed in silk scarves and pillows made by Como manufacture. These creations will feature in the 2015 edition of Milanese contemporary art tradeshow MIART. A timeless luxury, precious details and a continuous search of shapes and volumes, combined to a fine craftsmanship are the paradigms of Arnoldo Battois, brand of bags created by Silvano Arnoldo and Massimiliano Battois. These have been the features of event which has opened on Friday 27th February 2015, has run through Sunday 1st March 2015 early afternoon and celebrated by the cocktail-party “Beyond the lines, 5 Vie” which was held the evening of 28th February 2015 featuring the DJ-set of renowned TV, radio persona and social activist Andrea Pellizzari. An interlude under the sign of concept and ideas on the move paying homage to made in Italy and its most vibrant signes talking about contemporary times and uniqueness, enriched by the mellow taste of vines by the wine house Antonutti.

Svetlana Schmidt, photo by N

Svetlana Schmidt, photo by N

 

Arnoldo Battois, photo by N

Arnoldo Battois, photo by N

 

 

LINES STRATEGY: GRUPPO DI FAMIGLIE CREATIVE IN UN INTERNO

 

Lines strategy, photo by N

Lines strategy, photo by N

Si è recentemente tenuto a Milano, a Palazzo Visconti, in via Lanzone 2, presso le suggestive stanze di un appartamento creato dal celebre architetto Luigi Caccia Dominioni, l’ evento espositivo “Lines strategy: gruppo di famiglie creative in un interno”, ideato da 5VIE ART+ DESIGN e da me – incluso nel format di “Fashion at 5 Vie”, macro happening che si è svolto nel distretto di 5 Vie, comprensivo di 15 eventi e presentazioni, inserito nel calendario della settimana della moda milanese -, patrocinato dalla Camera Buyer e da me curato di cui è stata protagonista la creatività made in Italy di Matteo Thiela, Giulia Marani, Move Cappelli, Olga Pong, Anna Porcu, Bea Bongiasca, SH-Jewels by Stephan Hamel, Mia D’ Arco, Susana Traça, Svetlana Schmidt e Arnoldo Battois. Un percorso espositivo esperienziale, enfatizzato dall’ estro del set-designer Giovanni Ottonello – realizzato mediante la gentile collaborazione dell’ Istituto Europeo di Design (IED) di Milano – e dagli arredi creati da Luigi Caccia Dominioni, fatto di presenze e assenze, levità, presente e passato in cui le suggestioni di viscontiana memoria, memorie filmiche tratte dalla celebre pellicola “Gruppo di famiglia in un interno” si univano alla creatività contemporanea.

Matteo Thiela, photo by N

“Bombyx” project by Matteo Thiela, photo by N

 

Innovazione e sperimentazione, un’ estetica vibrante che racchiude un’ etica salubre, questo è il progetto “Bombyx” di Matteo Thiela, visionario fashion designer che si è ispirato alla larva del baco da seta, creando un tessuto da lui brevettato – realizzato effettuando un tutoraggio a un gruppo di donne senza fissa dimora – che unisce lana, silicone e altri materiali alcuni dei quali hanno un effetto catarifrangente, protagonista una serie di abiti, completi e tuniche, architetture, solenni e austere che testimoniano il suo rigore concettuale e in questi giorni, durante la fashion week parigina, sono esposte nelle vetrine del rinomato concept-store L’ Eclaireur. La moda incontra l’ arte, come è impresso in “Tetris”, la collezione autunno/inverno 2016-2017 di Giulia Marani che si è avvalsa della collaborazione del brillante artista Nicola Felice Torcoli, in cui i motivi impressi nei suoi collage tridimensionali hanno trovato un nuovo contesto nelle morbide creazioni di Giulia che uniscono comfort, raffinatezza, alta qualità dei materiali, dando vita ad autentici passè-partout.

Matteo Thiela, photo by N

“Bombyx” project by Matteo Thiela, photo by N

 

Giulia Marani, photo by N

Giulia Marani, photo by N

 

Artigianalità, eleganza senza tempo e dettagli preziosi che parlano di eccellenza sono impressi nei cappelli di Move Roma, brand creato dal designer Massimiliano Amicucci. Poesia e levità, suggestioni esistenzialiste che rendono omaggio alla natura e ai suoi piccoli ospiti sono il segno di Olga Pong, designer di cappelli, cerchietti, gioielli che ha anche realizzato una delicata installazione site-specific avvalendosi di legno, pizzo e fil di ferro. Arte, antiquariato e design, antico e moderno, il cammeo diventa contemporaneo nella felice reinterpretazione di Anna Porcu, designer di gioielli toscana che si avvale di cammei antichi, come quelli presentati nell’ evento espositivo, risalenti alla metà dell’ Ottocento, che uniscono oro, argento e pelle intagliata a mano. Un formidabile design unitamente a tecniche di alta gioielleria concretizza l’ incontro tra la cultura orientale e occidentale. Questo, il segno della giovane e promettente designer di gioielli Bea Bongiasca che splende nella sua collezione “No Rice No Life” in cui si interroga su tematiche strettamente connesse all’ essere uomo, quali le esigenze, i reali bisogni dell’ individuo e il consumismo in una società globalizzata, un racconto avvincente all’ insegna di profondità, leggerezza e ironia. Materiali insoliti che uniscono gemme preziose a plastica, danno vita a una felice rivisitazione del concetto di gorgiera – immortalata nei dipinti di Van Dyck – di SH-JEWELS, brand creato da Stephan Hamel in collaborazione con Roberta Bini.

Mirroring: the hats by Move Roma, photo by N

Mirroring: the hats by Move Roma, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

Anna Porcu, photo by N

Anna Porcu, photo by N

 

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

 

Me, myself & I, Roberta Valentini, Nicola Paccagnella and Bruna Casella, photo by Anna Porcu

Me, myself & I, Roberta Valentini, Nicola Paccagnella and Bruna Casella, photo by Anna Porcu

 

SH-Jewels, photo by N

SH-Jewels, photo by N

Essenzialità, forme che incorporano il gusto e la cultura della tradizione e dell’ artigianalità italiana sono il leitmotiv di Mia D’arco, brand di gioielli che nasce nel 2013 dalla fusione tra lo spirito imprenditoriale dell’attore Luca Argentero con la sua casa di produzione Inside productions e la passione innata per la moda della moglie Myriam Catania e sua sorella Giulia. Una femminilità assertiva e cosmopolita, enfatizzata da un’ accattivante combinazione di segni e culture, è celebrata dalla designer di calzature Susana Traça, la quale ha presentato la “Running strike”, protagonista della collezione autunno/inverno 2015-2016 del marchio che porta il suo nome, una divertente reintepretazione della sneaker che unisce il calzino di camoscio al cavallino stampato unitamente ad altri raffinati materiali.

Mia D' Arco, photo by N

Mia D’ Arco, photo by N

 

Susana Traça, photo by N

Susana Traça, photo by N

Il misticismo, il concetto del mantra è invece rivisitato in chiave pop da Svetlana Schmidt, geniale designer e artista che ha realizzato collages i cui motivi sono stati trasposti su foulard e cuscini di seta di manifattura comasca. Tali creazioni saranno presenti all’ edizione del 2015 della fiera d’ arte contemporanea milanese MIART. Un lusso senza tempo, preziosi dettagli e una continua ricerca di forme e volumi abbinate a una fine artigianalità sono i paradigmi di Arnoldo Battois, marchio di borse creato da Silvano Arnoldo e Massimiliano Battois. Questi, i protagonisti dell’ evento, che si è aperto venerdì 27 febbraio 2015, è proseguito fino al primo pomeriggio di domenica 1 marzo 2015 ed è stato celebrato dal party “Beyond the lines, 5 Vie” tenuto in serata il 28 febbraio 2015 con il DJ set del noto personaggio televisivo, radiofonico e attivista nel sociale Andrea Pellizzari. Un interludio all’ insegna di concetti e idee in movimento che rendono omaggio al made in Italy ed ai suoi segni più vibranti che parlano di eccellenza, contemporaneità e unicità, arricchito dal suadente gusto dei vini della casa vinicola Antonutti.

Svetlana Schmidt, photo by N

Svetlana Schmidt, photo by N

 

Svetlana Schmidt, photo by N

Svetlana Schmidt, photo by N

 

Svetlana Schmidt, photo by N

Svetlana Schmidt, photo by N

 

Arnoldo Battois, photo by N

Arnoldo Battois, photo by N

 

Elisa Pervinca Bellini and the set-designer Giovanni Ottonello, photo by N

Elisa Pervinca Bellini and the set-designer Giovanni Ottonello, photo by N

 

Me, myself & I along with Stephan Hamel and Monica Re, photo by N

Me, myself & I along with Stephan Hamel and Monica Re, photo by Nicola Paccagnella

 

Me, myself & I along with Angelo Cruciani, photo by N

Me, myself & I along with Angelo Cruciani, photo by N

 

Me, myself & I along with Anna Porcu and Roberta Valentini, photo by N

Me, myself & I along with Anna Porcu and Roberta Valentini, photo by N

 

Me, myself & I along with Bea Bongiasca and Andreina Longhi, photo by N

Me, myself & I along with Bea Bongiasca and Andreina Longhi, photo by N

 

Me, myself & I along with Giovanni Ottonello, photo by N

Me, myself & I along with Giovanni Ottonello, photo by N

 

Lines strategy, photo by N

Lines strategy, photo by N

 

ZITA

God save Zita” is the event which was recently held in Rome to celebrate the 51st anniversary of the renowned concept store of Zita Fabiani. A joyful atmosphere was enriched by the olfactive suggestions by the bright alchemist and aromatorius Meo Fusciuni – telling about his journeys, experiences and memories through the parfume – where he presented the new scent, “Narcotico”, a hypnotic scent , giving rise to the Mystic cycle(. It’s all about a backwards journey to deal with the future, a song of the everyday life’s holiness is what the perfume embodies. Strong emotions, arising with a silent and deep dialogue with the inner self, emphasized by the notes of incense, benjamin along with the tonka sweetening the olfactive pyramid, including a smashing play of contrast made of patchouli and agar wood, vanilla and musk). Genuineness and healthy ideas on the move, the ones by Ilaria Venturini Fendi, pioneer fashion designer and social activist, creator of brand of accessories, jewelry and furniture Carmina Campus, promoting the culture of re-use, also featured in the event. Here it was presented the “Pictogram bags”, bags inspired by the pictogram designs (made of beverage can bottoms, leather sample swatches and leather leftovers, scraps of PVC, nylon fabrics or other waterproof materials) along with the “Space waste bags” (made of black rubbish bag, flawed technical materials or job lots, the base of aluminum cans, leather leftovers or leather sample swatches) by the brand. It was a nice interlude under the sign of lightness, fun and spontaneity which gave the chance to customers and enthusiasts to know and talk directly with the creators about the products they made, making closer two realms that are usually far away: the creativity and the consumption.

“GOD SAVE ZITA”: MEO FUSCIUNI & CARMINA CAMPUS FESTEGGIANO IL CONCEPT STORE DI ROMA ZITA FABIANI

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God save Zita” è l’ evento che si è recentemente tenuto a Roma  per festeggiare il 51° anniversario del rinomato concept store di Zita Fabiani. Una gioiosa atmosfera, arricchita dalle suggestioni olfattive del brillante alchimista e aromatario Meo Fusciuni – che parla di viaggi, esperienze e ricordi attraverso –  durante la quale ha presentato la nuova fragranza, “Narcotico”, un profumo ipnotico che dà vita al Ciclo della Mistica(. È un viaggio a ritroso per affrontare il futuro, un canto della sacralità del quotidiano. Forti emozioni che nascono da un dialogo silente e profondo con l’ interiorità, enfatizzato da note di incenso, benzoino unitamente alla fava tonka che addolcisce la piramide olfattiva, comprensiva di un formidabile gioco di contrasti fatto di patchouli and agarwood, vaniglia e muschio). Genuinità e salubri idee in movimento, quelle di Ilaria Venturini Fendi, pionieristica fashion designer e attivista del sociale, creatrice del brand di accessori, gioielli e componenti di arredo Carmina Campus che promuove la cultura del riuso è stata anche lei protagonista dell’ evento. Ivi è sono state presentate le “Pictogram bags”, borse che si ispirano alla grafica dei pittogrammi( realizzate con fondi di lattina, cartelle colori, ritagli di pelle, scarti di pvc, nylon o altri materiali waterproof) insieme alle “Space waste bags” (create con sacchi neri della spazzatura, tecno materiali difettati o fondi di magazzino, la base delle lattine di alluminio, ritagli di pelle e pelle recuperata da cartelle colori) del marchio. Un simpatico interludio all’ insegna di leggerezza, divertimento e spontaneità che ha offerto la possibilità ai clienti e agli entusiasti di conoscere e parlare direttamente con i creatori dei loro prodotti, avvicinando due ambiti che solitamente sono lontani: la creatività ed il consumo.

Meo Fusciuni along with the scents he made

Meo Fusciuni along with the scents he made

Meo Fusciuni

Meo Fusciuni

Meo Fusciuni

Meo Fusciuni

Carmina Campus

Carmina Campus, “Space waste bags”

Carmina Campus

Carmina Campus, “Pictogram bags”

Carmina Campus, "Pictograms bags"

Carmina Campus, “Pictograms bags”

Carmina Campus

Carmina Campus, “Space Waste bags”

www.zitafabiani.it

photo by N

photo by N

It’ s a modern day, a Sunday afternoon spent under the sign of fashion, high fashion and art. “To live with art”, categorical imperative of high fashion and Italy during the years 1945-1968. That is the core of “Bellissima. The Italy of high fashion 1945-1968”, exhibition opened on Sunday 30th November 2014 in Rome(where it was also held during the same day at the Auditorium della Musica the concert of legendary band of industrial music Einstuerzende Neubauten, a missed appointment) at the MAXXI Museum – running through 3rd May 2015 -, curated by Maria Luisa Frisa, Stefano Tonchi and Anna Mattirolo, organized in collaboration with Altaroma and Bulgari which is its main partner.

Roland Sejko, Simmetries of light Vol. III. courtesy Istituto Luce Cinecittà Srl

Roland Sejko, “Simmetries of light Vol. III”. Istituto Luce Cinecittà Srl, photo by N

Dresses by Germana Marucelli( Fall/Winter 1968-1969, courtesy Germana Marucelli archive),  and Roberto Capucci(1967, courtesy Roberto Capucci Archive) along with the artworks "Inter-ena-cubo", by Paolo Scheggi(1969, Carla and Cosimo Scheggi collection)

Dresses by Germana Marucelli( Fall/Winter 1968-1969, courtesy Germana Marucelli archive), and Roberto Capucci(1967, courtesy Roberto Capucci Archive) along with the artworks “Inter-ena-cubo”, by Paolo Scheggi(1969, Carla and Cosimo Scheggi collection), photo by N

Bulgari, the jewelry featuring in the "Snakes" collection(1965) Bulgari Heritage collection), photo by N

Bulgari, the jewelry featuring in the “Snakes” collection(1965) Bulgari Heritage collection), photo by N

Germana Marucelli( evening dress with bodice and belt in anodized aluminum, designed in collaboration with the artist Getulio Alviani, Alluminio collection, Spring/Summer 1969, private collection) and Emilio Pucci( lurex evening dress with jewelry clasp, Spring/Summer 1967, Emilio Pucci Archive), photo by N

Germana Marucelli( evening dress with bodice and belt in anodized aluminum, designed in collaboration with the artist Getulio Alviani, Alluminio collection, Spring/Summer 1969, private collection) and Emilio Pucci( lurex evening dress with jewelry clasp, Spring/Summer 1967, Emilio Pucci Archive), photo by N

Getulio Alviani, "Forma"(1961, private collection, Pescara), photo by N

Getulio Alviani, “Forma”(1961, private collection, Pescara), photo by N

A story of art and poetry, the story of a nation, the Italy and its creativity, also impressed in the pages of a wonderful book which is much more than a catalogue of an exhibition, it’s an anthological work, full of documents, signs and visions that reorganize and rebuild an age in a syncretic way, giving rise to a red drop with the ready to wear from the following decades, the demi-couture and the contemporary creative language. And Rome, city which yesterday gave rise to these many creative alchemies, open dialogues and blends between art, film and fashion, becomes today its witness. All happens in an afternoon and finally in a museum. An important signal of a renovated sharing between art and fashion, representing a new way, a necessary dialogue between institutions and consequently a rediscovered dignity of fashion – emancipated from the prejudices, often considered only as consumer goods – which is a discipline, a source of culture having the same rank of the visual arts (a dignity recognized from a long time elsewhere or rather in many worldwide museums), hosted now by the place where it must be: the museum.

Federico Forquet( silk Evening jumpsuit with sequins owned by Gioia Marchi Falck, about 1967-1968, Courtesy Galleria del Costume di Palazzo Pitti - Donazione Tirelli), photo by N

Federico Forquet( silk evening jumpsuit with sequins owned by Gioia Marchi Falck, about 1967-1968, Courtesy Galleria del Costume di Palazzo Pitti – Donazione Tirelli) and Galitzine(Evening Pyjama, made of fringed jersey with braiding, crystals and glass beads, Fall/Winter 1960-1961, Label: Irene Galitzine Rome; label: Neiman Marcus), photo by N

Tiziani, designed by Karl Lagerfeld (evening dress made of silk crêpon, embroidered with glass beads, owned by Catherine Spaak, Fall/Winter 1967/1968, courtesy Palazzo Pitti’s Galleria del Costume –Donazione Tirelli), photo by N

Tiziani, designed by Karl Lagerfeld (evening dress made of silk crêpon, embroidered with glass beads, owned by Catherine Spaak, Fall/Winter 1967/1968, courtesy Palazzo Pitti Costume Gallery –Donation by Tirelli), photo by N

Mila Schön, silk organza evening gown embroidered with medallions of pearls, rhinestones and sequins, Spring/Summer 1969, courtesy Fashion house Mila Schön’s Archive), photo by N

Mila Schön, (silk organza evening gown embroidered with medallions of pearls, rhinestones and sequins, Spring/Summer 1969, courtesy Fashion house Mila Schön’s Archive), photo by N

 Mila Schön (tulle evening dress, embroidered with beads, owned by Gioia Marchi Falck, Fall/Winter 1967-1968, courtesy  Palazzo Pitti  Costume Gallery- Tirelli donation), photo by N


Mila Schön (tulle evening dress, embroidered with beads, owned by Gioia Marchi Falck, Fall/Winter 1967-1968, courtesy Palazzo Pitti Costume Gallery- Donation by Tirelli), photo by N

Germana Marucelli(evening dress with sequins and silk embroidery from patterns by Pietro Zuffi, "Impero" collection, 1967, courtesy Germana Marucelli Archive) and Jole Veneziani (organza short dress embroidered with stripes, sequins and jais, Fall/Winter 1968-1969, courtesy Veneziani Archive), photo by N

Germana Marucelli(evening dress with sequins and silk embroidery from patterns by Pietro Zuffi, “Impero” collection, 1967, courtesy Germana Marucelli Archive) and Jole Veneziani (organza short dress embroidered with stripes, sequins and jais, Fall/Winter 1968-1969, courtesy Veneziani Archive), photo by N

It’s a present full of promises and energies, though it’s different from the past which exhibition tells about, from which it arises the modernity of signs, and emotions of the many stories impressed on the cloth. Shapes, spaces, colors and avant-garde suggestions, as well as craftsmanship tracing the DNA of Made in Italy and Italian fashion industry which is born yesterday as elitist and sartorial phenomenon. The couturier is the interpret and demiurge, decoding the suggestions coming from his time. Eternal works, iconic clothes, the ones by Germana Marucelli, Galitizine and Fontana Sisters, masterpieces of experimentation and irony as the lapin jumpsuit by Fendi, the dresses by Capucci and Emilio Schuberth show a fashion going beyond time. Architectures draw the femininity, made of matter, shape and colors becoming the references of exhibition. Black and white, cocktail and evening dresses, futuristic tensions and unusual lines. 80 are the clothes on show along with many accessories – including the celebrated creations by Roberta di Camerino, Gucci, Salvatore Ferragamo, Fragiacomo, Dal Cò -, the jewelry by Bulgari and fashion jewelry by Coppola and Coppo telling about this vibrant age and do that by using other channels of communications: contemporary art, film and photography.

Galitzine( silk shantung Pyjama with shirt fully embroidered  with gold leaves and glass crystals, trousers with the same polka dot embroidered motif, 1962, label: Irene Galitzine, Rome, courtesy Galitzine Archive), photo by N

Galitzine( silk shantung Pyjama with shirt fully embroidered with gold leaves and glass crystals, trousers with the same polka dot embroidered motif, 1962, label: Irene Galitzine, Rome, courtesy Galitzine Archive), photo by N

Catalogues and documents ft. in "Bellissima", photo by N

Catalogues and documents ft. in “Bellissima”, photo by N

Fragiacomo( 1960, courtesy Fragiacomo) and Cavallera(1950, Courtesy City of Venice Museums - Fortuny Museum- G. Pallavicini Collection), photo by N

Fragiacomo( 1960, courtesy Fragiacomo) and Cavallera(1950, Courtesy City of Venice Museums – Fortuny Museum- G. Pallavicini Collection), photo by N

Valentino ( tulle short evening dress featuring drapes giving rise to roses, Spring/Summer 1959, courtesy Valentino S.P.A.), photo by N

Valentino ( tulle short evening dress featuring drapes giving rise to roses, Spring/Summer 1959, courtesy Valentino S.P.A.), photo by N

Alberto Burri, "Rosso plastica"(1961, private collection), photo by N

Alberto Burri, “Rosso plastica”(1961, private collection), photo by N

A wide setup of documents tells on film about the atmospheres of age, emphasized by the movies of legendary filmmakers as Luchino Visconti – “Bellissima”, the movie he made, is the title of exhibition -, Federico Fellini, film documentaries and photography by Pasquale De Antonis, Federico Garolla and Ugo Mulas. The masterpieces by Lucio Fontana, Alberto Burri highlight the thematic areas of exhibition path. The red dress by Valentino is matched to a work by Alberto Burri, the optical patterns by Alberto Biasi dialogue with the dress by Germana Marucelli and many others, creating a dynamic path made of lines, curves, successful asymmetries and divagations, made concrete by the set design of exhibition, a metallic path being at the wide room of MAXXI hosting it at the second floor, made by the bright architects  Maria Giuseppina Grasso Cannizzo and Guido Schinklert, makers of an experiential path, subverting the limits of space of a sole room and making usable and light an exhibition path which otherwise could become very hard and less intelligible.

Alberto Burri, "Ferro"(1960, National Gallery of Modern Art, Rome), photo by N

Alberto Burri, “Ferro”(1960, National Gallery of Modern Art, Rome), photo by N

Simonetta(two-pieces cocktail dress, about 1955, courtesy Enrico Quinto and Paolo Tinarelli Collection), photo by N

Simonetta(two-pieces cocktail dress, about 1955, courtesy Enrico Quinto and Paolo Tinarelli Collection), photo by N

Me,myself and I along wiith Adrien Yakimov, photo by N

Me,myself and I along wiith Adrien Yakimov, photo by N

Emilio Schuberth(cocktail dress,  owned by Lucy D' Albert, about 1955, courtesy Enrico Quinto and Paolo Tinarelli Collection), photo by N

Emilio Schuberth(cocktail dress, owned by Lucy D’ Albert, about 1955, courtesy Enrico Quinto and Paolo Tinarelli Collection), photo by N

Marcello Mastroianni ft. in the movie "8 1/2" by Federico Fellini, photo by N

Marcello Mastroianni ft. in the movie “8 1/2” by Federico Fellini, photo by N

A motion featuring also in the mannequins by La Rosa, women – as it teaches the genius Diana Vreeland in her work as curator – and ideas on the move. Beauty and femininity, a complex talk, made of textures – as the fragments of cloths and embroideries by Fontana Sisters – and retraced by catalogues, magazines and a copious mail, precious documents telling about the relationships between the buyers, customers and ateliers, the rise of fashion industry, fashion show as event presenting and selling the fashion product (which happens for the first time on 22nd July 1952 in Florence at the Palazzo Pitti White Room).

Evening dresses by Roberto Capucci(“Azalea rosa”dress, Roberto Capucci, first show,  Florence Palazzo Pitti White Room, 1961,Archive of Roberto Capucci Foundation), Valentino(evening dress in hand-painted sillk satin, Spring/Summer 1968, courtesy Valentino S.P.A.) and Emilio Schuberth(evening gown in silk satin with silk embroidery and glass beads,1951, courtesy Gabriella Lo Faro Private collection), photo by N

Evening dresses by Roberto Capucci(“Azalea rosa”dress, Roberto Capucci, first show, Florence Palazzo Pitti White Room, 1961,Archive of Roberto Capucci Foundation), Valentino(evening dress in hand-painted sillk satin, Spring/Summer 1968, courtesy Valentino S.P.A.) and Emilio Schuberth(evening gown in silk satin with silk embroidery and glass beads,1951, courtesy Gabriella Lo Faro Private collection), photo by N

Video documenting "La settimana Incom( 1947), photo by N

Video documenting “La settimana Incom( 1947), photo by N

Botti Sisters(Evening dress in silk faille and rebrodè lace, 1957, courtesy Gabriella Lo Faro Private Collection) and Fontana Sisters(evening dress in damask silk with rose motifs and panel secured to the back, inspired by the traditional Japanese clothes, owned by Palma Bucarelli, 1957, courtesy Historical Archive of Micol Fontana Foundation), photo by N

Botti Sisters(evening dress in silk faille and rebrodè lace, 1957, courtesy Gabriella Lo Faro Private Collection) and Fontana Sisters(evening dress in damask silk with rose motifs and panel secured to the back, inspired by the traditional Japanese clothes, owned by Palma Bucarelli, 1957, courtesy Historical Archive of Micol Fontana Foundation), photo by N

Bulgari ( gold necklace with emeralds, rubies, sapphires and diamonds, 1967,  gold earrings with emeralds, rubies, sapphires and diamonds, 1967, "Melone" gold vanity case with diamonds, 1960, Bulgari Heritage Collection), photo by N

Bulgari ( gold necklace with emeralds, rubies, sapphires and diamonds, 1967, gold earrings with emeralds, rubies, sapphires and diamonds, 1967, “Melone” gold vanity case with diamonds, 1960, Bulgari Heritage Collection), photo by N

Bulgari,  photo by N

Bulgari, photo by N

A happening enriched by the performance of artist Vanessa Beecroft, known for her semiotic affiliation with the fashion world, who staged exclusively for the event VB74, a tableau vivant made of women wrapped by veils, depicting and looking into femininity, the being and its clothing. A cooled, stripped idea which becomes abstract and embodies that catchy aesthetics which made famous the artist. An art which represents itself and answers to the questions of being through the silence of body and matter, the veil, lights and shadows. A “staged” idea revealing the essence by itself.

VB74 by Vanessa Beecroft,  photo by N

VB74 by Vanessa Beecroft, photo by N

VB74 by Vanessa Beecroft,  photo by N

VB74 by Vanessa Beecroft, photo by N

VB74 by Vanessa Beecroft,  photo by N

VB74 by Vanessa Beecroft, photo by N

Vanessa Beecroft talking with the professor Monica Bolzoni, photo by N

Vanessa Beecroft talking with the professor Monica Bolzoni, photo by N

Essence of the non-existent, that being non-existent which represents the individual seen by Carmelo Bene, though it’s not obscene, out of the stage, but it is and stays in the stage for three hours, the duration of performance which was also held on 28th November at the MAXXI for the gala dinner of exhibition for the MAXXI’s fund-raising, event where generously fashion supported art, calling its most famous features along with a plethora of more and less famous personas, known in the socialite news sections who, happy and cash, contributed to the success of evening – widely told by the website Dagospia of brilliant and ironic journalist Roberto D’ Agostino -, a fund-raising amounting to about 600.000 Euros (for an institution which – as many others Italian museums is not very well -, suffering since months, circumstances which is often told by news, resulting from the moment of precariousness and uncertainty the culture in Italy, its country and people experience).

Fontana Sisters( embroideries on cloth, 1949, 1964, 1953, Historical Archive of Micol Fontana Foundation), photo by N

Fontana Sisters( embroideries on cloth, 1949, 1964, 1953, Historical Archive of Micol Fontana Foundation), photo by N

Fernanda Gattinoni( short evening dress in moiré silk with velved and satin, worn by Anna Magnani, 1951, evening cape in velvet with satin lining, worn by Anna Magnani, 1951, two pieces evening dress, trousers in marocain crêpe silk  and blouse in silk organza, work by Anna Magnani, 1956, Historical Archive Fernanda and Raniero Gattinoni), photo by N

Fernanda Gattinoni( short evening dress in moiré silk with velved and satin, worn by Anna Magnani, 1951, evening cape in velvet with satin lining, worn by Anna Magnani, 1951, two pieces evening dress, trousers in marocain crêpe silk and blouse in silk organza, work by Anna Magnani, 1956, Historical Archive Fernanda and Raniero Gattinoni), photo by N

Ava Gardner wearing the “Pretino” dress, (created for her by the Fontana Sisters, "Pretino" dress, 1955, courtesy Archive of Micol Fontana Foundation, Rome

Ava Gardner wearing the “Pretino” dress, (created for her by the Fontana Sisters, “Pretino” dress, 1955,
courtesy Archive of Micol Fontana Foundation, Rome

Salvatore Ferragamo( décolleté shoe made in glided kid, made for Marylin Monroe for the movie by Joshua Logan "Bus stop", 1967,  décolleté shoe in satin with rhinestones appliques and stiletto heel,owned by Marylin Monroe, 1958-1959, décolleté show made of crocodile leather created for Marilyn Monroe, 1958-1959, "Damigella" ankle boot in stretch brocade-effect silk fabric, created for Sophia Loren, 1957, "Madonna", closed-toe sandal with vamp bearing flowers embroidered in silk, glass beads and rhinestones, created for Sophia Loren, 1955, "Ranina" sandal with upper in Tavernelle lace and sequin appliqués, lining in transparent vinilite, flared  Louis XV heel, made for Anna Magnani, 1955, Courtesy Salvatore Ferragamo Museum), photo by N

Salvatore Ferragamo( décolleté shoe made in glided kid, made for Marylin Monroe for the movie by Joshua Logan “Bus stop”, 1967, décolleté shoe in satin with rhinestones appliques and stiletto heel,owned by Marylin Monroe, 1958-1959, décolleté show made of crocodile leather created for Marilyn Monroe, 1958-1959, “Damigella” ankle boot in stretch brocade-effect silk fabric, created for Sophia Loren, 1957, “Madonna”, closed-toe sandal with vamp bearing flowers embroidered in silk, glass beads and rhinestones, created for Sophia Loren, 1955, “Ranina” sandal with upper in Tavernelle lace and sequin appliqués, lining in transparent vinilite, flared Louis XV heel, made for Anna Magnani, 1955, Courtesy Salvatore Ferragamo Museum), photo by N

Mingolini Guggenheim, short evening dress in organza, owned by Silvana Pampanini, late 1960, Courtesy Palazzo Pitti Costume Gallery - Tirelli Donation) and Fausto Sarli ( short evening dress in fabric embroidered with pearls, Swarovski crystals and glass baguettes designed for Mina ft. in the "Studio Uno" TV program, mid-1960, courtesy Atelier Sarli Couture), photo by N

Mingolini Guggenheim, short evening dress in organza, owned by Silvana Pampanini, late 1960, Courtesy Palazzo Pitti Costume Gallery – Tirelli Donation) and Fausto Sarli ( short evening dress in fabric embroidered with pearls, Swarovski crystals and glass baguettes designed for Mina ft. in the “Studio Uno” TV program, mid-1960, courtesy Atelier Sarli Couture), photo by N

That is also a positive sign, I hope it’s the beginning of a new dialogue being more productive, deep and solid between the museums and the fashion world to develop in a long term period and build new ways, sow ideas looking at the culture as food for Italy and its minds, what makes us thinking, autonomous and free, a kind of food being necessary and universal. I also wish that is the first step for making a series of exhibitions on fashion that are – not set up sporadically and hopefully not set up in a sole, though it’s wide, room – set up in the Italian museums (telling that I think about the exhibition which during this year celebrated the Made in Italy in London, at the Victoria & Albert Museum and I also think about the new technologies to use to make more complete and understandably the tale of an exhibition).

UNA GIORNATA MODERNA: L’ INAUGURAZIONE DI “BELLISSIMA. L’ ITALIA DELL’ ALTA MODA 1945-1968” AL MUSEO MAXXI DI ROMA

Federico Garolla(two models wearing dresses by Valentino walking in steps of Central State Archive, Rome, 1958), photo by N

Federico Garolla(two models wearing dresses by Valentino walking in steps of Central State Archive, Rome, 1958), photo by N

Una giornata moderna, una domenica pomeriggio passata all’ insegna della moda, dell’ alta moda e dell’ arte. “Vivere con arte”, imperativo categorico dell’ alta moda e l’ Italia durante gli anni 1945-1968. Questo il cuore di “Bellissima”, mostra inaugurata domenica 30 novembre 2014 a Roma (in cui si è anche tenuto nello stesso giorno all’ Auditorium della Musica il concerto della leggendaria band di musica industrial Einstuerzende Neubauten, un appuntamento mancato) presso il MAXXI – che prosegue fino al 3 maggio 2015 -, curata da Maria Luisa Frisa, Stefano Tonchi e Anna Mattirolo, organizzata in collaborazione con Altaroma e Bulgari che ne è il main partner.

Emilio Schuberth(tulle dress, decorated with beads and sequins in floral motifs, worn by Gina Lollobrigida, about 1953, courtesy Gabriella Lo Faro Private Collection), photo by N

Emilio Schuberth(tulle dress, decorated with beads and sequins in floral motifs, worn by Gina Lollobrigida, about 1953, courtesy Gabriella Lo Faro Private Collection), photo by N

Fendi (Jumpsuit in black rabbit, with diagonally symmetric pattern, adorned with jewel buttons, chiffon and lace on the collar and wrists, Fall/Winter 1067-1968, Fendi Historical Archive) and Valentino (ensemble in cotton mikado, Spring/Summer 1966, courtesy Valentino S.P.A.), photo by N

Fendi (Jumpsuit in black rabbit, with diagonally symmetric pattern, adorned with jewel buttons, chiffon and lace on the collar and wrists, Fall/Winter 1067-1968, Fendi Historical Archive) and Valentino (ensemble in cotton mikado, Spring/Summer 1966, courtesy Valentino S.P.A.), photo by N

Hats and hairdresses by Clemente Cartoni (1950 and 1960, courtesy of Palazzo Pitti Costume Gallery -Tornabuoni-Lineapiù donation) and Gallia and Peter(turban in Zoagli silk velvet decorated with pearl and rhinestone embroidery, 1945, courtesy Gallia and Peter Milan), photo by N

Hats and hairdresses by Clemente Cartoni (1950 and 1960, courtesy of Palazzo Pitti Costume Gallery -Tornabuoni-Lineapiù donation) and Gallia and Peter(turban in Zoagli silk velvet decorated with pearl and rhinestone embroidery, 1945, courtesy Gallia and Peter Milan), photo by N

Fendi (mink coat, 1960, Fendi historical archive), photo by N

Fendi (mink coat, 1960, Fendi historical archive), photo by N

"Bellissima", fashion and the art by Lucio Fontana( "Concetto Spaziale - Attese (bianco e due tagli)" 1968, private collection, Rome), photo by N

“Bellissima”, fashion and the art by Paolo Scheggi (“Zone riflessse”, 1963,  National Gallery of Modern Art, Rome), photo by N

Paolo Scheggi “Zone riflesse”( 1963, National Gallery of Modern Art, Rome),

Una storia d’ arte e di poesia, la storia di una nazione, l’ Italia e della sua creatività, impressa anche nelle pagine di un libro che è più di un catalogo di una mostra,opera antologica da avere, colma di documentazioni, segni, visioni che riordinano e costruiscono un’ epoca in chiave sincretica, dando vita a un “fil rouge” con il prêt à porter dei decenni successivi, il demi-couture e il linguaggio creativo contemporaneo. E Roma, città che ha dato vita ieri a queste plurime alchimie creative, dialoghi aperti e contaminazioni tra arte, cinema e moda, ne diventa oggi la testimone. Accade tutto in un pomeriggio e finalmente in un museo. Un segnale importante di una rinnovata condivisione tra arte e moda, simbolo di una nuova strada, un necessitato dialogo tra istituzioni e conseguentemente una ritrovata dignità della moda – emancipata dai pregiudizi, sovente considerata unicamente quale bene di consumo -, la quale è una disciplina, una fonte di cultura di egual rango a quello delle arti visive(una dignità riconosciuta da tempo altrove ovvero in plurime istituzioni museali di tutto il mondo), ospite adesso del luogo in cui deve stare: il museo.

Enzo( dress, early 1960,  courtesy Enrico Quinto and Paolo Tinarelli collection) and Capucci ( Sculpture-dress in satin organza, Box line, 1958, courtesy Historical Archive of Roberto Capucci Foundation), photo by N

Enzo( dress, early 1960, courtesy Enrico Quinto and Paolo Tinarelli collection) and Capucci ( Sculpture-dress in satin organza, Box line, 1958, courtesy Historical Archive of Roberto Capucci Foundation), photo by N

Lucio Fontana( "Concetto Spaziale - Attese (bianco e due tagli)" 1968, private collection, Rome), photo by N

Paolo Scheggi “Zone riflesse”( 1963, National Gallery of Modern Art, Rome), photo by N

Giuseppe Capogrossi, "Superficie 294"( 1958, National Gallery of Modern Art, Rome), photo by N

Giuseppe Capogrossi, “Superficie 294″( 1958, National Gallery of Modern Art, Rome), photo by N

The magazines and documents ft. in "Bellissima", photo by N

The magazines and documents ft. in “Bellissima”, photo by N

Un presente ricco di promesse e di energie, di certo diverso dal passato che la mostra racconta, da cui però si evince l’ attualità di segni ed emozioni di tante storie impresse su tessuto. Forme, spazi, colori e suggestioni avveniristiche, ma anche artigianalità che traccia il dna del Made in Italy e dell’ industria della moda italiana che nasce ieri quale fenomeno elitario e sartoriale. Il couturier è l’ interprete e il demiurgo del suo tempo, decodifica in segni e visioni le suggestioni del suo presente. Opere immortali, abiti iconici, quelli di Germana Marucelli, Galitizine e delle Sorelle Fontana, capolavori di sperimentazione e di ironia come la tuta di lapin di Fendi, gli abiti di Capucci e di Emilio Schuberth, che testimonia una moda che va al di là del tempo. Architetture disegnano la femminilità fatta di materia, forma e colori che diventano i riferimenti della mostra. Il bianco e nero, gli abiti da cocktail e da gran sera, le tensioni futuristiche e le forme insolite. 80 sono gli abiti unitamente a plurimi accessori – che comprendono le celebri creazioni di Roberta di Camerino, Gucci, Salvatore Ferragamo, Fragiacomo, Dal Cò -, i gioielli di Bulgari e la bigiotteria di Coppola e Coppo che raccontano questa vibrante epoca e lo fanno avvalendosi di altri canali di comunicazione: l’ arte contemporanea, il cinema e la fotografia.

The catalogues and documents ft. in "Bellissima", photo by N

The catalogues and documents ft. in “Bellissima”, photo by N

Fontana Sisters( 1960, A.N.G.E.L.O Vintage Archive) and Mila Schön ( 1960, private collection), photo by N

Fontana Sisters( 1960, A.N.G.E.L.O Vintage Archive) and Mila Schön ( 1960, private collection), photo by N

 Pasquale De Antonis(1947), photo by N

Pasquale De Antonis(1947), photo by N

Roberta di Camerino( early and mid 1960. courtesy A.N.G.E.L.O. Vintage Archive), photo by N

Roberta di Camerino( early and mid 1960. courtesy A.N.G.E.L.O. Vintage Archive), photo by N

Un ampio apparato documentaristico racconta su pellicola le atmosfere di un epoca e le visioni, enfatizzate dal segno di leggendari registi quali Luchino Visconti – il cui film “Bellissima” è il titolo della mostra -, Federico Fellini, da documentari e dalle fotografie di Pasquale De Antonis, Federico Garolla e Ugo Mulas. I capolavori di Fontana, Burri enfatizzano le aree tematiche del percorso della mostra. L’ abito rosso di Valentino abbinato a un’ opera di Burri, i motivi optical di Alberto Biasi dialogano con l’ abito di Germana Marucelli e molti altri, creando un percorso dinamico, fatto di linee e curve, felici asimmetrie e divagazioni, concretizzate dal set design della mostra, un sentiero metallico presso la grande sala del MAXXI che la ospita al secondo piano, realizzato dai brillanti architetti Maria Giuseppina Grasso Cannizzo e Guido Schinklert, fautori di un cammino esperienziale che sovverte i limiti dello spazio ovvero di un’ unica sala e rende fruibile e lieve un percorso espositivo che altrimenti sarebbe potuto divenire oltremodo arduo e poco intellegibile.

Gucci ( Courtesy Gucci Archive), photo by N

Gucci ( courtesy Gucci Archive), photo by N

Alberto Fabiani(reversible wool day overcoat, Spring/Summer 1961, courtesy Enrico Quinto and Paolo Tinarelli Collection) and Pino Lancetti( Wool coat with silk liningm Spring/Summer 1965, City of Venice Museums Foundation- Fortuny Museum- G. Pallavicini Collection), photo by N

Alberto Fabiani(reversible wool day overcoat, Spring/Summer 1961, courtesy Enrico Quinto and Paolo Tinarelli Collection) and Pino Lancetti( Wool coat with silk liningm Spring/Summer 1965, City of Venice Museums Foundation- Fortuny Museum- G. Pallavicini Collection), photo by N

Magazines ft. in "Bellissima", photo by N

Magazines ft. in “Bellissima”, photo by N

Hats and hairdresses by Clemente Cartoni (1950 and 1960, courtesy of Palazzo Pitti Costume Gallery -Tornabuoni-Lineapiù donation) and Gallia and Peter(turban in Zoagli silk velvet decorated with pearl and rhinestone embroidery, 1945, courtesy Gallia and Peter Milan), photo by N

Hats and hairdresses by Clemente Cartoni (courtesy of Palazzo Pitti Costume Gallery -Tornabuoni-Lineapiù donation) and Gallia and Peter(courtesy Gallia and Peter Milan), photo by N

Un moto impresso anche nei manichini di La Rosa, donne – come insegna Diana Vreeland nelle vesti di curatrice – e idee in movimento. Bellezza e femminilità, un discorso complesso, fatto di molteplici textures – come i frammenti di tessuti e ricami delle Sorelle Fontana – e rievocate da cataloghi, riviste e da una fitta corrispondenza, preziosa documentazione che racconta i rapporti tra i buyer, i clienti e gli atelier, la nascita dell’ industria della moda, della sfilata quale evento di presentazione e vendita del prodotto moda (che avviene per la prima volta il 22 luglio 1952 a Firenze nella Sala Bianca di Palazzo Pitti).

Alberto Biasi (1964-1965, National Gallery of Modern Art), photo by N

Alberto Biasi (1964-1965, National Gallery of Modern Art), photo by N

Cocktail dress in silk twill with optical motifs, designed by teaming with Getulio Alviani, "Optical collection", Spring/Summer, 1965, courtesy Germana Marucelli Archive), photo by N

Cocktail dress in silk twill with optical motifs, designed by teaming with Getulio Alviani, “Optical collection”, Spring/Summer, 1965, courtesy Germana Marucelli Archive), photo by N

Lucio Fontana  "Concetto Spaziale - Attese (bianco e due tagli) -1968, private collection, Rome,- and Alberto Biasi (1964-1965, National Gallery of Modern Art), photo by N

Lucio Fontana
“Concetto Spaziale – Attese (bianco e due tagli) – 1968, private collection, Rome – and Alberto Biasi (1964-1965, National Gallery of Modern Art), photo by N

Valentino( silk evening pyjama, Spring/Summer 1966, courtesy Valentino S.P.A,) and Roberto Capucci, "Omaggio a Vasarely", sculpture-dress inspired by the artist's works with interwoven optical effect satin ribbons and ostrich feathers, 1965, Historical Archive of Roberto Capucci Foundation), photo by N

Valentino( silk evening pyjama, Spring/Summer 1966, courtesy Valentino S.P.A,) and Roberto Capucci, “Omaggio a Vasarely”, sculpture-dress inspired by the artist’s works with interwoven optical effect satin ribbons and ostrich feathers, 1965, Historical Archive of Roberto Capucci Foundation), photo by N

Un happening arricchito dalla performance dell’ artista Vanessa Beecroft, nota per le sue affiliazioni semiotiche con il mondo della moda, che ha messo in scena per l’ occasione VB74, un tableau vivant fatto di donne avvolte da veli che ritrae e indaga la femminilità, l’ essere e il suo vestimentum. Un’ idea refrigerata, scarnificata che diventa astratta e racchiude in sé quell’ accattivante estetica che ha reso famosa l’ artista. Un’ arte che rappresenta sé stessa e risponde agli interrogativi dell’ essere con il silenzio di corpo e materia, il velo, luci e ombre. Un concetto “staged” che svela in sé la sua essenza.

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

Me, myself and I along with Giampiero Mughini, photo by N

Me, myself and I along with Giampiero Mughini, photo by N

L’ essenza dell’ inesistente, di quell’ inesistente essente che rappresenta l’ individuo visto da Carmelo Bene, che però non è osceno, fuori scena, ma è e resta in scena per tre ore, durata della performance che si è tenuta anche il 28 novembre al Maxxi in occasione della cena di gala della mostra per la raccolta fondi del MAXXI, evento in cui la moda ha generosamente sostenuto l’ arte, chiamando a sé i suoi più famosi protagonisti unitamente a una pletora di personaggi più e meno noti nelle cronache mondane che, felici e contanti, hanno contribuito al successo della serata – ampiamente raccontata dal sito web Dagospia del brillante e ironico giornalista Roberto D’ Agostino -, una raccolta fondi pari a circa 600.000 Euro (per una istituzione che – come tante altre istituzioni museali italiane – non versa in condizioni felici, soffrendo da mesi, circostanza raccontata da cronache giornalistiche, per il periodo di precarietà e incertezza in cui versa la cultura in Italia, la stessa nazione e la sua popolazione).

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

Stefano Tonchi and Maria Luisa Frisa talking with a friend, photo by N

Stefano Tonchi and Maria Luisa Frisa talking with a friend, photo by N

Anche questo è un segnale positivo, che spero sia l’ inizio di un nuovo dialogo più costruttivo, profondo e solido tra le istituzioni museali e il mondo della moda che si sviluppi nel lungo periodo e costruisca nuove vie, semini idee che guardino al lungo periodo e alla cultura, come nutrimento dell’ Italia e delle sue menti, ciò che ci rende pensanti, autonomi e liberi, una forma di cibo necessaria e universale. Mi auguro anche che questo sia il primo passo per realizzare una serie di mostre in materia di moda allestite – non più sporadicamente e sperabilmente non in un’ unica, seppur ampia, sala – nei musei italiani (dicendo ciò penso alla mostra che quest’ anno ha celebrato il made in Italy a Londra, presso il Victoria & Albert Museum e penso anche alle nuove tecnologie di cui dotarsi per render ancor più esaustivo e fruibile il racconto di una mostra).

Mila Schön,  coat in plain-weave double wool with intarsia inspired by Lucio Fontana's cuts, Spring/Summer 1969, courtesy Giorgio Schön) and Roberto Capucci, "Omaggio a Burri", georgette coat with applied wool elements, inspired by the artist's works, 1969, courtesy Historical Archive of Roberto Capucci Foundation), photo by N

Mila Schön, coat in plain-weave double wool with intarsia inspired by Lucio Fontana’s cuts, Spring/Summer 1969, courtesy Giorgio Schön) and Roberto Capucci, “Omaggio a Burri”, georgette coat with applied wool elements, inspired by the artist’s works, 1969, courtesy Historical Archive of Roberto Capucci Foundation), photo by N

Coppola and Toppo, photo by N

Coppola and Toppo, photo by N

Germana Marucelli( 1962. 1967-1968, courtesy Germana Marucelli Archive), photo by N

Germana Marucelli( 1962. 1967-1968, courtesy Germana Marucelli Archive), photo by N

 

www.fondazionemaxxi.it

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

It was recently held at Penelope, the renowned Brescia cathedral of conceptual fashion of the one and only Roberta Valentini, a Christmas party, successful event to wish each other a happy Christmas wishes. It was celebrated the new entry, the brand Marques Almeida, as well as the heart-shaped jewelry by See me – embodying a vibrant message: a chain of love to stop the chain of violence against women. Each creation is handcrafted in Tunisia by women trained as artisans, coming for the shelter home run by the Amal Association – and a cornerstone of boutique, the brand of bags and accessories Carmina Campus promoting the culture of re-use , created by the bright fashion designer and social activist Ilaria Venturini Fendi who attended at the event. A smashing chance to enjoy signs and visions of contemporary fashion where ethics joins to aesthetic, giving rise to a new way to make fashion.

IL PARTY NATALIZIO DI PENELOPE A BRESCIA

The bags by Carmina Campus ft. in Penelope, photo by Alessandro Boccingher

The bags by Carmina Campus ft. in Penelope, photo by Alessandro Boccingher

Si è recentemente tenuto da Penelope, la rinomata cattedrale di moda concettuale di Brescia della sola e unica Roberta Valentini, un party natalizio, felice evento per scambiarsi gli auguri di Natale. Si è anche festeggiata la new entry, il brand Marques Almeida, come anche i gioielli a forma di cuore di See me – che racchiudono in sé un vibrante messaggio: una catena dell’ amore per fermare la catena di violenza contro le donne. Ogni creazione è realizzata a mano in Tunisia dalle donne avviate al lavoro di artigiano, provenienti dalla casa-rifugio gestita dall’ Associazione Amal –  e un caposaldo della boutique, il marchio di borse e accessori Carmina Campus che promuove la cultura del riuso, creato dalla brillante fashion designer e attivista del sociale Ilaria Venturini Fendi che ha presenziato all’ evento. Una formidabile occasione  per apprezzare segni e visioni di moda contemporanea in cui l’ etica si unisce all’ estetica, dando vita a un nuovo modo di fare moda.

The one and only Roberta Valentini along with Ilaria Venturini Fendi, photo by Alessandro Boccingher

The one and only Roberta Valentini along with Ilaria Venturini Fendi, photo by Alessandro Boccingher

 

The one and only Roberta Valentini at Penelope, photo by Alessandro Boccingher

The one and only Roberta Valentini at Penelope, photo by Alessandro Boccingher

 

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

 

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

 

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

 

The heart-shaped jewelry by See me

The heart-shaped jewelry by See me

 

The heart-shaped jewelry by See me

The heart-shaped jewelry by See me

 

 

www.penelope-store.it

Contemporary art, avant-garde  and non-conventional aesthetics dialogue. It’ s a synthesis of elements and combinations, creativity and contemporary time meeting fashion. An open tale, told by “Shit and Die”, exhibition project by One Torino, produced by Artissima and organized by Maurizio Cattelan, Myriam Ben Salah and Marta Papini which is held in the Turin Palazzo Cavour from  6th November 2014 to 11th January 2015, enriching of a smashing showcase of fashion, featuring Carmina Campus, brand of accessories, jewelry and furniture created by  the pioneer fashion designer and social activist Ilaria Venturini Fendi. The bookshop – temporary space managed by OOLP Bookshop – of exhibition, will showcase a selection of bags, accessories and jewelry by the brand resulting from the re-use of materials and embodying a new luxury under the sign of refinement and sustainability. A not to be missed event to enjoy contemporary art and fashion.

ARTE & MODA: “SHIT & DIE”  E  CARMINA CAMPUS AL PALAZZO CAVOUR DI TORINO

L’ arte contemporanea, l’ avanguardia e un’ estetica non convenzionale dialogano. Una sintesi di elementi e combinazioni, creatività e contemporaneità che incontrano la moda. Un racconto aperto, narrato da “Shit and Die”, progetto espositivo di One Torino, prodotto da Artissima ed organizzato da Maurizio Cattelan, Myriam Ben Salah e Marta Papini che si tiene presso il Palazzo Cavour di Torino dal 6 novembre 2014 all’ 11 gennaio 2015 che si arricchisce di una formidabile selezione di moda di cui è protagonista Carmina Campus, brand di accessori, gioielli e componenti d’ arredo creato dalla pionieristica fashion designer e attivista del sociale Ilaria Venturini Fendi. La libreria – spazio temporaneo gestito dalla Libreria OOLP – della mostra ospiterà una selezione di borse, accessori e gioielli del marchio che sono il risultato del riuso di materiali e racchiudono in sé un nuovo lusso all’ insegna di raffinatezza e sostenibilità. Un evento imperdibile per apprezzare l’ arte contemporanea e la moda.

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

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Carmina Campus, condom holder ft. in “Shit and die”

Carmina Campus, Pan bracelet ft. in "Shit & Die"

Carmina Campus, Pan bracelet ft. in “Shit & Die”

Carmina Campus, Soft drink bracelet, ft. in "Shit & Die"

Carmina Campus, Soft drink bracelet, ft. in “Shit & Die”

Carmina Campus, Space Waste brooch ft. in "Shit & Die"

Carmina Campus, Space Waste brooch ft. in “Shit & Die”

Carmina Campus, One way pictogram shopping bag ft. in "Shit & Die"

Carmina Campus, One way pictogram shopping bag ft. in “Shit & Die”

Carmina Campus, Respect life bag ft. in "Shit & Die"

Carmina Campus, Respect life bag ft. in “Shit & Die”

www.carminacampus.com

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

The bright fashion designer Marco Grisolia will feature as guest designer in the Riga Fashion Week and present on 1st November 2014 the Spring/Summer 2015 collection he made where dream-like visions inspired by Moldavia artist Alexander Tinei overlap to Maghreb landscapes. Contemporary urban-folk suggestions meet sporty-chic architectures made of cotton piquet, poplin, silk shantung, nylon, organza, tulle, silk satin. Over-fit and tight lines, paisley prints and geometric decorations enriches the creations. A dynamism emphasized by a palette of colors including natural colors, metal nuances, ivory, nude and pink. The mood of collection is emphasized by the accessories shoes and bags designed by Federica Bernardelli for Marco Grisolia.

MARCO GRISOLIA PROTAGONISTA DELLA RIGA FASHION WEEK

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Il brillante fashion designer Marco Grisolia sarà protagonista nelle vesti di guest designer della Riga Fashion Week e presenterà l’ 1 novembre 2014 la sua collezione primavera/estate 2015 in cui visioni oniriche che si ispirano all’ artista Alexander Tinei si sovrappongono a paesaggi maghrebini. Suggestioni urban-folk contemporanee incontrano architetture sporty-chic di piquet di cotone, popeline, shantung di seta, nylon, organza, tulle, raso di seta. Linee over-fit e aderenti, stampe paisley e decorazioni geometriche arricchiscono le creazioni. Un dinamismo enfatizzato da una palette di colori che include colori naturali, nuances metalliche, avorio, nudo e rosa. Il mood della collezione è sottolineato dagli accessori, scarpe e borse disegnate da Federica Bernardelli per Marco Grisolia.

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

www.marcogrisolia.it

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

“Nothing is created, nothing is destroyed, everything transforms”. The principle of conservation of matter by Antoine Lavoisier becomes a successful metaphor to talk about Carmina Campus and the creative alchemies featuring in the Spring/Summer 2015 collection. Plastic, recycled paper, leather scraps and color samples join, transform, becoming little, big masterpieces of design. Waste becomes fashion. That is the result arising from the creative flair Ilaria Venturini Fendi, bright fashion designer, farming businesswoman and social activist, made concrete by Carmina Campus, brand of accessories, jewelry and furniture she created, promoting the culture of re-use. It’s a new luxury, made of craftsmanship, irony and consciousness. Bags, clutch bags, wallets, mobile phone-cases – condom cases, laudable initiative being part of a campaign to prevent HIV – Ipad cases, jewelry talking about a conscious lifestyle and a healthy ethic. The beautiful and good, the kalokagathia, a political and poetic idea starts to be part of everyday life through fashion and fashion product which is the medium. Refined lines, fun combination of colors and materials under the sign of lightness, comfort and elegance give rise to genuine passé-partout.

ARTIGIANALITÀ, IRONIA E CONSAPEVOLEZZA: IL NUOVO LUSSO DI CARMINA CAMPUS

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

“Nulla si crea, nulla si distrugge, ma tutto si trasforma”. Il principio di conservazione della materia di Antoine Lavoisier diviene una felice metafora per parlare di Carmina Campus e delle alchimie creative della collezione primavera/estate 2015. Plastica, carta riciclata, cascami di pelle e palette colori si uniscono e si trasformano,diventando piccoli, grandi capolavori di design. Lo scarto diventa moda. Questo il risultato dell’ estro creativo di Ilaria Venturini Fendi, brillante fashion designer, imprenditrice agricola e attivista del sociale, concretizzato da Carmina Campus, brand di accessori, gioielli e componenti d’ arredo da lei creato che promuove la cultura del riuso. Un nuovo lusso, fatto di artigianalità, ironia e consapevolezza. Borse, clutch, portafogli, porta-telefonini – porta preservativi, lodevole iniziativa che fa parte di una campagna per la prevenzione dell’ HIV – porta-Ipad, gioielli che parlano di uno stile di vita consapevole e di un’ etica salubre. Il bello e il buono, la kalokagathia, un pensiero politico e poetico entra a far parte della quotidianità mediante la moda e il prodotto moda che ne diventa il medium. Linee raffinate, divertenti combinazioni di colori e materiali all’ insegna di leggerezza, comfort ed eleganza danno vita ad autentici passé-partout.

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

The fashion blogger Vincent Law wearing a Carmina Campus bag, photo by N

The fashion blogger Vincent Law wearing a Carmina Campus bag, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Me, myself & I wearing the collar by Carmina Campus, photo by N

Me, myself & I wearing the collar by Carmina Campus, photo by N

 

 

 

www.carminacampus.com