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Gucci, photo courtesy of Gucci

Applauses e criticisms – as the one appeared on Facebook by the renowned TV journalist Mariella Milani  – featured in the Gucci  Fall/Winter 2018-2019 collection, presented during the Milan Fashion Week. Beyond the dissent and plaudit for the bright work made by the creative director Alessandro Michele, it has to be recognized he built and defined incisively in a couple of years a concept the brand never had. It needs to remember Gucci is born as brand of accessories which comes to shine again under the creative direction of Tom Ford, getting a great success in the realm of ready-to-wear, though the sign of the American creative director prevailed over the heritage and concept of fashion house. Later Frida Giannini (who is also an ex-student, as Michele, of the Rome Fashion and Costume Academy where I teach) increased the work in the field of wearability of the garments and worked on the communication of brand.

Alessandro Michele went beyond that, he started to implement a successful operation of branding and know-how, made concrete also in the aesthetics of flagship stores. He revolutionized the brand and gave a conceptual identity which did not exist(in the ready to wear), through an awesome work of styling and communication. The fact speak: songs as “Gucci gang” by Lil Pump and the dress-code of Italian pop band making rap music as the Dark Polo Gang express an evidence: Gucci is a luxury brand which entered into the mainstream, desired by the youth people of every age. Concerning the sign, architecture and lines strategy followed by the creative director, there is an overlap of constructions, patterns coming from the costume archive, the street, the pop, underground culture and its icons, giving often rise to new-baroque, sporty chic suggestions and defining a clear and intelligible concept of elegance made of freedom, irony and fluidity. There is not anything new in the design, instead of styling and communication of brand, I add more, it’s contemporary. Gucci tells about different stories and follows standards as the fluidity, life as theatre of the self, emphasized by grotesque suggestions as the setting of recent fashion show, a surgery room with the hand cut off heads that mark the question of human being, its hybrid identity, ego, consciousness, making use of highly symbolic elements as the eyes on the hands. An existentialism of the dress-code, it’s the one by the brand directed by Alessandro Michele which says “do what you want”(Crowleyan quote under the sign of the love as law, put under the will of individual).

Gucci, photo courtesy of Gucci

A dress to think and be. Elegance is a lifestyle, it’s not the passivity of a consumer which chooses the total-look proposed by one or many fashion designers to be or worst disguise oneself, corollary of “vanity as ready to wear of narcissism”( bright synthesis of a thought belonging to me, asserted by the celebrated art critic and curator Achille Bonito Oliva). This verticality results from a culture, the one of single brand which later becomes cult and consuming culture. Thus I disagree with the famous Mariella Milani when she says: “more than being a trend it’s already a certainty: fashion is also having a strong identity crisis. The question between the most cool fashion designers is: Do we make clothes or launch proclamations and send messages that depict the time we live in order to evidence we also are able to “tell”?”. The fashion designers are thinking individuals representing, as what they make, the “Spirit of folks” (the “Volksgeist” by jurist and philosopher Karl von Savigny, misunderstood by Adolph Hitler in the book he wrote “Mein  kampf”), as well as their tensions and emotions arising from living in a certain territory and time, therefore it’s natural to say something, something being genuine and having a sense. What Alessandro Michele says it has it. I comes back again on the words by Mariella Milani: “it is for sure a mirror of times, but is it possible fashion is doing all of this mess to sell rags”. This words seem like embodying a thought which looks at fashion as secondary discipline beside the visual arts, disqualifies and degrades it to the status of goods. Though fashion, the fashion product which is born to be sold, otherwise it does not exist is also other, it’s history, culture, elevation of the thought, it’s like an art work, it makes to think about. Why do I tell that? I wish in the forthcoming times fashion gets that dignity it had during the early Nineties, when at the Paris Museum of the Decorative Arts fashion, visual arts and design were all together, communicated between themselves, but to do that it needs going ahead and making more to dignify fashion and its culture, also and especially during dark and uncertain times where the cultural decadence, putrescence, mediocracy and obsolescence excels at many realms.

GUCCI: FLUIDITÀ E LIBERTÀ, IL SEGNO DEI TEMPI E DELLA MODA CONTEMPORANEA

 

 

Applausi e critiche – come quella apparsa su Facebook dalla autorevole giornalista televisiva Mariella Milani – sono stati i comprimari della collezione autunno/inverno 2018 di Gucci, presentata in occasione della fashion week milanese. Al di là del dissenso e del plauso verso il brillante lavoro svolto dal direttore creativo Alessandro Michele, va riconosciuto che in pochi anni costui ha costruito e definito in modo incisivo un concept che il marchio non ha mai avuto. E’ d’ uopo ricordare che Gucci nasce come marchio di accessori che ritorna a primeggiare sotto la direzione creativa di Tom Ford, riscuotendo un grande successo nell’ ambito del pret â porter, anche se è il segno del direttore creativo americano ha prevalso sull’ heritage e il concept della casa di moda. Successivamente Frida Giannini (anch’ella ex-allieva, come Michele, dell’ Accademia di Costume e Moda di Roma presso la quale insegno) ha ampliato il lavoro nell’ ambito della portabilità dei capi ed ha lavorato sulla comunicazione del marchio.

Alessandro Michele è andato oltre, ha iniziato a consolidare una felice operazione di branding e know-how, concretizzata anche nell’ estetica dei flagship store. Ha rivoluzionato il marchio e dato un’ identità concettuale che non c’era (nel pret â porter) mediante un mirabile lavoro di styling e di comunicazione. I fatti parlano: canzoni quali “Gucci gang” di Lil Pump e il dress-code di gruppi pop italiani che fanno rap quali i Dark Polo Gang esprimono un evidenza: Gucci è un marchio di lusso entrato nel mainstream, desiderato da giovani di tutte le età. Quanto al segno, all’ architettura e strategia delle linee seguita dal direttore creativo, si ritrova una sovrapposizione di costruzioni, patterns provenienti dall’ archivio di costume, dalla strada, dalla cultura pop, underground e dalle sue icone che sovente danno vita a suggestioni neo-barocche, sporty-chic e delineano un’ idea chiara ed intelleggibile di eleganza fatto di libertà, ironia e fluidità. Non c’è nulla di nuovo nel design, diversamente dallo styling e comunicazione del marchio, aggiungo ancor di più, è contemporaneo. Il marchio racconta storie diverse e segue dei parametri ben chiari: la fluidità, la vita come teatro del sé, enfatizzato da suggestioni grottesche come il setting della recente sfilata, una sala operatoria con teste mozzate a portata di mano che rimarcano il discorso sull’ essere, sulla sua identità ibrida, sull’ io, sulla consapevolezza, unitamente ad elementi altamente simbolici come gli occhi sulle mani. Un esistenzialismo vestimentario, quello del marchio diretto da Alessandro Michele che parla e dice “do what you want”( “fai ciò che vuoi” celebre aforisma Crowleyano all’ insegna dell’ amore quale legge, sovraordinato alla volontà dell’ individuo).

Gucci, photo courtesy of Gucci

Un abito per pensare ed essere. L’ eleganza è uno stile di vita pensante, non è la passività di un consumatore che si adagia al total-look proposto da uno o più fashion designer per essere o peggio travestirsi, corollario della “vanità quale pret â porter del narcisismo”(felice sintesi di un pensiero che mi appartiene, sapientemente espresso dal celebre critico d’ arte e curatore Achille Bonito Oliva). Questa verticalità è il risultato di una cultura, quella del singolo marchio che poi diventa culto, cultura del consumo. Pertanto dissento dalla illustre Mariella Milani quando afferma che “più che una tendenza ormai è una certezza: anche la moda è in preda a una violenta crisi di identità. La domanda che circola fra i designers più cool è: facciamo vestiti o lanciamo proclami e mandiamo messaggi che rappresentino il tempo che viviamo in modo da dimostrare che anche noi possiamo “dire” qualcosa?”. I fashion designer sono individui pensanti che, come ciò che fanno, rappresentano lo spirito del popolo ( il “Volksgeist” del giurista e filosofo Karl von Savigny, male interpretato da Adolph Hitler nel suo libro “Mein  kampf”), nonché le loro tensioni ed emozioni derivanti dal vivere in un dato territorio e tempo, sicché è naturale il dire qualcosa, ma qualcosa di autentico e sensato. Il discorso di Alessandro Michele lo è. Mi soffermo nuovamente sulle parole di Mariella Milani: “sarà pure specchio dei tempi, ma possibile che ci si metta anche la moda a fare tutto sto casino per vendere stracci”. Sembra che queste parole racchiudano un pensiero che guarda alla moda come disciplina di secondo grado rispetto alle arti visive, la dequalifica e degrada allo status di merce. Eppure la moda, il prodotto moda che nasce per esser venduto altrimenti non esiste è anche altro, è storia, è cultura, è elevazione di pensiero, come un’ opera d’ arte, fa pensare. Perché dico ciò? Mi auguro che nei tempi a venire la moda acquisti quella dignità che aveva nei primi del Novecento, quando al Musée Des Art Décoratifs di Parigi, la moda, le arti visive e il design erano tutti insieme, comunicavano tra di loro, ma per far questo è necessario andare avanti e fare di più per dignificare la moda e la sua cultura, anche e soprattutto in tempi oscuri e incerti in cui la decadenza culturale, la putrescenza, la mediocrazia e l’ obsolescenza primeggia in molti ambiti.

www.gucci.com

Roberto Paolini

Roberto Paolini

 

“Identity in the difference” is the exhibition project – coinciding with the Arte Fiera art tradeshow event which will be held from 21st to 26th January 2015 in Bolognafeaturing Roberto Paolini which will be previewed on 20th January 2015,  opened on 24th January 2014 at 6:00 pm and will runs through 26th January 2015  at the Bologna Gucci in Galleria Cavour 90(from 10:00 am to 7:30 pm). Here it will be showcased the series of works by the celebrated artistI Riquadri, successful chance to think again about the idea of producing identity in the difference, a concept which connects art and fashion and  evokes the idea by Gilles Deleuze, embodied in the book he madeDifference and Repetition. The philosopher considers “identity” as the being itself or rather the inner nature of subject and “difference” as the contrast between the pure identity and its concrete expression or its making physical object in the world. It’s a difference connected to the being, which is also an aesthetic difference. That is the field where the art by Roberto Paolini and Gucci meets themselves. A smashing event to enjoy different channels of communication dialoguing between themselves.

“IDENTITÀ NELLA DIFFERENZA”: L’ ARTE DI ROBERTO PAOLINI AL GUCCI STORE DI BOLOGNA

Roberto Paolini

Roberto Paolini

“Identità nella differenza” è il progetto espositivo – che coincide con l’ evento fieristico d’ arte Arte Fiera che si terrà dal 21 al 26 gennaio 2015 a Bologna di cui sarà protagonista Roberto Paolini che sarà presentata in anteprima il  20 gennaio 2015, inaugurata il 24 gennaio 2014 alle ore 18:00 e proseguirà fino al 26 gennaio 2015 presso il Gucci store di Bologna, in Galleria Cavour 90( dalle ore 10:00 alle ore 19:30). Ivi sarà esposta la serie di opere del celebre artistaI Riquadri, felice occasione per ripensare all’ idea di produrre identità nella differenza, un concetto che lega l’ arte e la moda ed evoca il pensiero di Gilles Deleuze, racchiuso nel suo libro Differenza e ripetizione. Il filosofo considera “l’ identità” come l’ essere o meglio la natura interiore del soggetto e la “differenza” come lo stacco tra l’ identità pura e la sua espressione pratica o il suo farsi oggetto fisico nel mondo. Una differenza collegata all’ essere che è anche una differenza estetica. Questo è l’ ambito in cui l’ arte di Roberto Paolini e Gucci si incontrano. Un formidabile evento per apprezzare diversi canali di comunicazione che dialogano tra di loro.

 

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

Anna Magnani, still image from the movie "Bellissima" by Luchino Visconti

Anna Magnani, still image from the movie “Bellissima” by Luchino Visconti, 1951, courtesy National Film Library – Film Experimental Centre

Fashion dialogues with art, telling about the fashion in the atelier and the Italian fashion history, the haute couture from its rise to the late Sixties. That is the core of “Bellissima. The Italy of high fashion 1945-1968”, exhibition curated by Maria Luisa Frisa, Stefano Tonchi and Anna Mattirolo, organized in collaboration with Altaroma and in main partnership with Bulgari which will be opened on 30th November 2014  at 7:30 pm and will be held from 2nd December 2014 to 3rd May 2015 in Rome at the MAXXI Museum. The exhibition talks about high fashion, Italy and its creative synergies, by using photography and art, giving rise to an open dialogue between different disciplines.

A model at the Rome Capitol Museums, behind the Constantine monument,  wearing a dress by Fontana Sisters (1952), photo by Regina Relang (courtesy of Münchner Stadtmuseum, Sammlung Fotografie, Archiv Relang)

A model at the Rome Capitol Museums, behind the Constantine monument, wearing a dress by Fontana Sisters, 1952, photo Regina Relang (courtesy of Münchner Stadtmuseum, Sammlung Fotografie, Archiv Relang)

Fendi Fall/Winter 1967-1968

Fendi Fall/Winter 1967-1968

Original sketch by Karl Lagerfeld, Fall/Winter 1967-1968, photo   © Pierluigi Praturlon/Reporters Associati & Archivi

Original sketch by Karl Lagerfeld, Fall/Winter 1967-1968, photo © Pierluigi Praturlon/Reporters Associati & Archivi

The photography by Pasquale De Antonis, Federico Garolla, Ugo Mulas catchs the most important moments of this tale and the artworks by Lucio Fontana, Alberto Burri, Paolo Scheggi, Massimo Campigli, Getulio Alviani, Carla Accardi and Giuseppe Capogrossi – coming from the National Gallery of Modern Art – evidence the vital creativity which marked Italy and an age. The creations by couturiers as Germana Marucelli emphasizes the connection existing between art and fashion. It’s a detailed display of fashion, featuring the garnments by Maria Antonelli, Renato Balestra, Biki, Carosa, Roberto Capucci, Gigliola Curiel, Fendi, FontanaSorelle Sisters(as the “Pretino” dress they created in 1955 for Ava Gardner), Irene Galitzine, Fernanda Gattinoni, Mingolini-Guggenheim, Fausto Sarli, Mila Schön, Emilio Schuberth, Simonetta and Fabiani, Valentino, Jole Veneziani along with the accessories by Ferragamo, Fragiacomo, Gucci, Roberta di Camerino, jewelry by Bulgari – including the iconic creations “Snakes”- and fashion jewelry by Coppola and Toppo.

Model of Sorelle Botti, photo Pasquale De Antonis, 1947

Dress by Botti Sisters, photo Pasquale De Antonis, 1947

Two models wearing dresses by Valentino walking  in steps of Central State Archive, photo Federico Garolla, Rome, 1958

Two models wearing dresses by Valentino walking in steps of Central State Archive, photo Federico Garolla, Rome, 1958

Ugo Mulas, Lungo i Navigli, 1958 photo Ugo Mulas © Eredi Ugo Mulas,  courtesy Ugo Mulas Archive, Milao – Lia Rumma Gallery, Milan/Neaples

Ugo Mulas, Lungo i Navigli, 1958,
photo Ugo Mulas © Eredi Ugo Mulas, courtesy Ugo Mulas Archive, Milao – Lia Rumma Gallery, Milan/Neaples

The tale of exhibition is embodied in a marvelous catalogue (Electa, € 55.00) opening with a photograph by Garolla, combined with the words by Maria Luisa Frisa revealing what is the core of exhibition, the portrait of couturier and its role, being not just only “a creator, but an individual who observes the society where he lives, questions its many moods, …kneaded by the energy of his time” or bringer and interpret of “Volksgeist”, “The Spirit of people”, in a certain place and time.

Ivy Nicholson wearing a dress by Gattinoni at the Imperial Fora, photo Federico Garolla, Rome, 1954

Ivy Nicholson wearing a dress by Gattinoni at the Imperial Fora, photo Federico Garolla, Rome, 1954

 Giovannelli-Sciarra, photo Fortunato Scrimali published in the magazine Bellezza, n. 9, September 1953

Giovannelli-Sciarra, photo Fortunato Scrimali
ft. in the magazine “Bellezza”, n. 9, September 1953

 Ava Gardner wearing the  “Pretino"  dress, (created for her by the Sorelle Fontana  for a film the actress had to play but the film was never made. The  cassock apparel's idea was later taken over by director Federico Fellini for Anita Ekberg in "La Dolce Vita", 1960), 1955, photo Pierluigi Praturlon, courtesy of Historical Archive  Micol Fontana Foundation, Rome

Ava Gardner wearing the “Pretino” dress, (created for her by the Fontana Sisters for a film the actress had to play but the film was never made. The cassock apparel’s idea was later taken over by Federico Fellini for Anita Ekberg in  the movie “La Dolce Vita”, 1960), 1955, photo Pierluigi Praturlon,
courtesy Archive of Micol Fontana Foundation, Rome

Anita Ekberge ft. in "La dolce vita" by Federico Fellini, 1960, photo Pierluigi Praturlon, courtesy Archivio Fotografico della Cineteca Nazionale - Centro Sperimentale di Cinematografia. Fondo Reporters Associati

Anita Ekberg ft. in “La dolce vita” by Federico Fellini, 1960, photo Pierluigi Praturlon, courtesy  Photo Archive of National Film Library – Experimental Film Centre. Fondo Reporters Associati

Bulgari, snake bracelet watch gold, red and green enamel and diamonds, ca1965

Bulgari, snake bracelet watch gold, red and green enamel and diamonds, 1965

Salvatore Ferragamo, Damigella ankle boots (created for Sofia Loren), 1957, photo Christofer Broadbent

Salvatore Ferragamo, Damigella ankle boots (created for Sofia Loren), 1957, photo Christofer Broadbent

Bulgari, Tubogas gold bracelet-watch, ca 1965

Bulgari, Tubogas gold bracelet-watch, 1965

The binomial between art and fashion will be also enriched by VB74, the performance created by Vanessa Beecroft exclusively for the exhibition which will be held during its opening. That makes “Bellissima” a not to be missed event and precious, as it dignifies fashion as source of culture and art, bringing again it in the place where it has to be: the museum. I tell that, thinking that can be a first step towards the path giving rise to a Fashion Museum in Italy or – considering also what it happens in other museums as the New York MET Museum the London Victoria & Albert Museum – of specific areas focused on fashion being into a museum.

LA MODA NELL’ ATELIER: LA MOSTRA “BELLISSIMA. L’ ITALIA DELL’ ALTA MODA 1945-1968” AL MUSEO MAXXI DI ROMA

Still image from the movie "The Barefoot Countess" by  Joseph L. Mankiewicz, 1954, photo Osvaldo Civirani, courtesy Archivio Fotografico della Cineteca Nazionale - Centro Sperimentale di Cinematografia. Fondo Civirani

Still image from the movie “The Barefoot Countess” by Joseph L. Mankiewicz, 1954,
photo Osvaldo Civirani, courtesy Photo Archive from the National Film Library – Film Experimental Centre. Fondo Civirani

La moda dialoga con l’ arte, raccontando la moda nell’ atelier, la storia della moda italiana e l’ alta moda dalla sua nascita alla fine degli anni Sessanta. Questo è il cuore di “Bellissima. L’ Italia dell’ alta moda 1945-1968”, mostra curata da Maria Luisa Frisa, Stefano Tonchi ed Anna Mattirolo, organizzata in collaborazione con Altaroma e in main partnership con Bulgari che sarà inaugurata il 30 novembre 2014 alle ore 19.30 e si terrà dal 2 dicembre 2014 al 3 maggio 2015 al Museo MAXXI di Roma. Il percorso espositivo della mostra parla dell’ alta moda, dell’ Italia e delle sue sinergie creative avvalendosi della fotografia e dell’ arte, dando vita un dialogo aperto tra diverse discipline.

Creations by De Gasperi Zezza, Fernanda Gattinoni and Sorelle Fontana - Fontana Sisters -, photo Pasquale De Antonis, 1948,  published in the magazine I Tessili Nuovi. Estate, n. 37, July – August - September 1948

Creations by De Gasperi Zezza, Fernanda Gattinoni and Fontana Sisters,
photo Pasquale De Antonis, 1948,
ft. in the magazine I Tessili Nuovi. Summer, n. 37, July – August – September 1948

Fendi, vison, mink coat, 1960. photo © Pierluigi Praturlon/Reporters Associati & Archivi

Fendi, mink coat, 1960. photo © Pierluigi Praturlon/Reporters Associati & Archivi

Fendi, mink coat, 1960

Fendi, mink coat, 1960

La fotografia di Pasquale De Antonis, Federico Garolla, Ugo Mulas cattura i momenti più salienti di questo intenso racconto e le opere di Lucio Fontana, Alberto Burri, Paolo Scheggi, Massimo Campigli, Getulio Alviani, Carla Accardi e Giuseppe Capogrossi – provenienti dalla Galleria Nazionale di Arte Moderna – testimoniano la vitale creatività che ha segnato un’ epoca e l’ Italia. Le creazioni di couturiers quali Germana Marucelli enfatizzano il legame tra arte e moda. Una dettagliata rassegna di moda di cui sono protagonisti i capi di Maria Antonelli, Renato Balestra, Biki, Carosa, Roberto Capucci, Gigliola Curiel, Fendi, Sorelle Fontana (come l’ abito “Pretino” da loro creato nel 1955 per Ava Gardner), Irene Galitzine, Fernanda Gattinoni, Mingolini-Guggenheim, Fausto Sarli, Mila Schön, Emilio Schuberth, Simonetta e Fabiani, Valentino, Jole Veneziani unitamente agli accessori di Ferragamo, Fragiacomo, Gucci, Roberta di Camerino, i gioielli di Bulgari – comprensivi delle iconiche creazioni “Serpenti” – e la bigiotteria di Coppola e Toppo.

Two creations by De Gasperi Zezza at Museum of the  Baths of Diocletian, photo Pasquale De Antonis, Rome, 1948

Two creations by De Gasperi Zezza at Museum of the Baths of Diocletian, photo Pasquale De Antonis, Rome, 1948

Gina Lollobrigida,  still image from the movie "Come September" (1961) by Robert Mulligan, ©Universal Pictures

Gina Lollobrigida, wearing jewelry by Bulgari, still image from the movie “Come September” by Robert Mulligan, 1962
©Universal Pictures

Anita Ekberg, wearing Bulgari jewelry, still image from the movie "Call me Bwana" by Douglas Gordon, 1962

Anita Ekberg, wearing Bulgari jewelry, still image from the movie “Call me Bwana” by Douglas Gordon, 1962

Il racconto della mostra è racchiuso anche in uno splendido catalogo (Edizioni Electa, € 55.00) che si apre con una foto di Garolla, accompagnato dalle parole di Maria Luisa Frisa che svelano ciò che è il nucleo fondante della mostra, il ritratto del couturier e del suo ruolo, il quale non è soltanto “ un creatore, ma un individuo che scruta la società in cui vive, ne interroga i molteplici umori,..impastato dall’ energia del proprio tempo” ovvero portatore e interprete del “Volksgeist”, lo “Spirito del popolo, in un determinato luogo e tempo.

Creations by Fercioni, photo Elsa Robiola,  ft. in the magazine Bellezza, n. 5, May 1951

Creations by Fercioni, photo Elsa Robiola,
ft. in the magazine Bellezza, n. 5, May 1951

 'Azalea Rosa',  Roberto Capucci, first show: Sala Bianca Palazzo Pitti in Florence, 1961, photo Claudia Primangeli, Archive Roberto Capucci Foundation

“Azalea rosa”dress, Roberto Capucci, first show,  Florence Palazzo Pitti White, 1961, photo Claudia Primangeli, Archive of Roberto Capucci Foundation

1969 'Omaggio a Burri' "Homage to Burri", Roberto Capucci, first show at the Rome Capucci atelier in Via Gregoriana, photo Claudia Primangeli, Archive Roberto Capucci Foundation

“Homage to Burri”, Roberto Capucci, first show at the Rome Capucci atelier in Via Gregoriana, 1969, photo Claudia Primangeli, Archive of Roberto Capucci Foundation

Roberto Capucci, first show, Florence Palazzo Pitti White Room, photo Claudia Primangeli, Archive of  Roberto Capucci Foundation

Roberto Capucci, first show, Florence Palazzo Pitti White Room, photo Claudia Primangeli,  1959, Archive of Roberto Capucci Foundation

Salvatore Ferragamo, "Decolletè",shoes created for Maliryn Monroe in the movie “Bus Stop” by Joshua Logan, 1965, photo Roberto Quagli

Salvatore Ferragamo, “Decolletè”,shoes created for Maliryn Monroe in the movie “Bus Stop” by Joshua Logan, 1965, photo Roberto Quagli

Bulgari, necklace, earrings, gold and platinum with turquoises, sapphires, diamonds, 1961-1962

Bulgari, necklace, earrings, gold and platinum with turquoises, sapphires, diamonds, 1961-1962

Venice, 1966, photo Ugo Mulas © Eredi Ugo Mulas,  courtesy Ugo Mulas Archive, Milao – Lia Rumma Gallery, Milan/Neaples

Venice, 1966, photo Ugo Mulas © Eredi Ugo Mulas, courtesy Ugo Mulas Archive, Milao – Lia Rumma Gallery, Milan/Neaples

Il binomio tra arte e moda sarà anche arricchito da VB74, la performance creata esclusivamente per la mostra dall’ artista Vanessa Beecroft che si terrà durante la opening. Ciò rende “Bellissima” un evento imperdibile e prezioso, poiché dignifica la moda quale fonte di cultura e di arte, riportandola nel luogo in cui deve stare: il museo. Dico ciò, pensando che questo possa essere un primo passo per il cammino che dia luogo alla nascita di un Museo della Moda in Italia oppure – considerando anche ciò che accade in altre istituzioni museali quali il MET Museum di New York ed il Victoria & Albert Museum di Londra – di specifiche aree dedicate alla moda all’ interno di un museo.

flyer

www.fondazionemaxxi.it

Cinzia Malvini, Furio Francini, Frida Giannini, photo by N

Cinzia Malvini, Furio Francini, Frida Giannini, photo by N

A celebration, the 50th birthday of Rome Costume & Fashion Academy, which coincided with the opening of its new academic year and with the launch of book “Accademia Costume & Moda 1964-2014” by Maria di Napoli Rampolla and Antonio Mancinelli, was recently held in Rome at the Rome Costume & Fashion Academy. The afternoon event was under the sign of fashion. There were many celebrated personas from the fashion realm as Beppe Modenese, Anna Fendi, Piero Tosi, Adriano Franchi, Fabiana Balestra, Fabio Quaranta, Deanna Ferretti Veroni, Laura Lusuardi, Donata Sartorio, Alessandra Spalletti, Maria Luisa Frisa, the ex-alumni of Academy Tommaso Aquilano, Maurizio Galante and Sylvio Giardina. Here it was hosted a talk moderated by Cinzia Malvini which featured the creative director of Gucci fashion house Frida Giannini, who was a student of Academy. The fashion designer talked about creativity as “result of a team work”. Concerning young creatives she is focused on “observing the hand, the way they draw, as the instinct and vision of free hand makes the difference”. She talked about her experience made working at Fendi fashion house “where she learnt to be in place as today it’s important how to approach”, considering there is a Wikipedia culture today in many realms”. A video, introduced by Cinzia Malvini told about the Women association she launched and an live music event featuring Beyonce, Rita Ora, Jessie J, Florence & the Machine and many others. The association made concrete over 390 projects supporting the women. The talk with Frida Giannini ended with her suggestion for the student: let’s study, work hard and have fun”. Later, another ex-alumnus, the fashion journalist Antonio Mancinelli talked about his experience. He wanted to work as fashion designer and during the study at the Academy he changed his path and came to the journalism. He considered the wearability as value and result of a suggestion given him in the form of a question by Rosana Pistolese, the founder of Academy, arising from the view of a creation he made: “is it wearable?”, she asked him. Antonio said yes, it was, but naturally it was not. And since this experience, that became a paradigm to look at fashion, “something which always features in the Gucci collections Frida made, the wearability, their being wearable and super glamourous”. He considered “Rosana Pistolese as a kind of human Facebook, as she catalysed a series of important personas”. Later it was told about the book celebrating the fifty years of Academy, a book made with the support and collaboration with Altaroma and Alcantara along with the initiatives of Academy as the creations of the ex-alumni Association in order to give them working opportunities. A successful event depicting the laudable work of a bright Institution.

UNA CELEBRAZIONE & L’ INAUGURAZIONE DELL’ ANNO ACCADEMICO DELL’ ACCADEMIA DI COSTUME & MODA DI ROMA

Cinzia Malvini, Antonio Mancinelli and Beppe Modenese, photo by N

Cinzia Malvini, Antonio Mancinelli and Beppe Modenese, photo by N

Una celebrazione, il 50° compleanno dell’ Accademia di Costume & Moda di Roma, in concomitanza con l’ apertura del suo nuovo anno accademico e la presentazione del libro “Accademia Costume & Moda 1964-2014” a cura di Maria di Napoli Rampolla e Antonio Mancinelli, si è recentemente tenuta a Roma presso l’ Accademia di Costume e Moda di Roma. L’ evento pomeridiano è stato all’ insegna della moda. Presenti molteplici celebri personaggi della moda quali Beppe Modenese, Anna Fendi, Piero Tosi, Adriano Franchi, Fabiana Balestra, Fabio Quaranta, Deanna Ferretti Veroni, Laura Lusuardi, Donata Sartorio, Alessandra SpallettiMaria Luisa Frisa, gli ex-allievi dell’ Accademia Tommaso Aquilano, Maurizio Galante e Sylvio Giardina. Ivi è stato ospitato un talk moderato dalla giornalista Cinzia Malvini di cui è stato protagonista il direttore creativo della casa di moda Gucci Frida Giannini, che è stata una studentessa dell’ Accademia. La fashion designer ha parlato di creatività come “risultato di un lavoro di gruppo”. Riguardo ai giovani creativi si è concentrata sull’ “osservare la mano, il modo in cui disegnano, perché l’ istinto e la visione della mano libera fà la differenza”. Ha raccontato la sua esperienza di lavoro presso la casa di moda Fendi “dove ha imparato a stare al proprio posto, poiché oggi è importante come comportarsi”, considerando che “oggi c‘ è una cultura da Wikipedia un po’ su tutti i fronti”. Un video, presentato da Cinzia Malvini parlava dell’ Associazione per le Donne da lei lanciata e di un evento musicale con  Beyonce, Rita Ora, Jessie J, Florence & the Machine e molti altri. L’ associazione ha concretizzato più di 390 progetti a sostegno delle donne. Il talk con Frida Giannini si è concluso con un simpatico monito da lei dato  agli studenti: “studiate, impegnatevi e divertitevi”. Successivamente, un altro ex-allievo, il giornalista di moda Antonio Mancinelli ha parlato della sua esperienza all’ Accademia. Voleva lavorare come fashion designer e durante gli studi all’ Accademia ha cambiato il suo percorso ed è approdato al giornalismo. Costui ha preso in considerazione la portabilità come valore e risultato di un suggerimento a lui dato in forma di domanda da Rosana Pistolese, la fondatrice dell’ Accademia, derivante dalla visione di una sua creazione: “lo indosseresti?”, chiese a lui. Antonio rispose di si, ma naturalmente il capo non era indossabile. E a partire da questa esperienza, ciò è divenuto un suo paradigma per guardare la moda e qualcosa che appare sempre nelle collezioni Gucci realizzate da Frida: la indossabilità, l’ esser portabili e super glamourous. Riteneva “Rosana Pistolese una sorta di Facebook umano, perché catalizzava una serie di personaggi importanti”. A seguire si è parlato del libro che celebra i cinquanta anni dell’ Accademia, un libro realizzato con il sostegno e la collaborazione di Altaroma ed Alcantara unitamente alle iniziative dell’ Accademia quali la creazione di un’ Associazione di ex-alunni al fine di offrire opportunità lavorative. Un felice evento che ritrae il lodevole lavoro di una brillante istituzione.

Beppe Modenese, Fiamma Lanzara, Maria Luisa Frisa, photo by N

Beppe Modenese, Fiamma Lanzara, Maria Luisa Frisa, photo by N

Piero Tosi and Anna Fendi, photo by N

Piero Tosi and Anna Fendi, photo by N

Two Adrien: Adriano Franchi and Adrien Roberts, photo by N

Two Adrien: Adriano Franchi and Adrien Roberts, photo by N

Fabiana Balestra and Lupo Lanzara, photo by N

Fabiana Balestra and Lupo Lanzara, photo by N

Details talking about the Academy and its founder, Rosana Pistolese, photo by N

Details talking about the Academy and its founder, Rosana Pistolese, photo by N

Me, myself and I along with Alessandra Spalletti, photo by N

Me, myself and I along with Alessandra Spalletti, photo by N

www.accademiacostumeemoda.it

Raffaella Curiel talking about lightness and femininity and elegance which is all about self-confidence


Raffaella Curiel talking about lightness and femininity and elegance which is all about self-confidence

One day of trunk shows in Rome, fashion shows and exhibitions with a focus on tradition, art and craftsmanship. The day started with press conference with renowned couturier Raffaella Curiel which was held in the suggestive rooms of Hotel Inghilterra, successful chance to appreciate the couturier’s sharpness and irony as well as the craftsmanship embodied in Spring/Summer 2013 collection she made.

Looking at that you can see the name of Valentino has deleted instead the name of Versace is still there, but...


Looking at that you can see the name of Valentino has deleted instead the name of Versace is still there, but…

Later I had been at the National Arts and Folk Traditions Museum (Museo Nazionale delle Arti e Tradizioni Popolari), place where followed an exhibition I announced time ago, “La seduzione dell’ artigianato”, curated by Bonizza Giordani Aragno (https://fashionbeyondfashion.wordpress.com/2012/12/05/creativity-in-open-order-the-seduction-of-craftsmanship-at-the-rome-national-museum-of-arts-and-folk-traditions).

...in the end it has also deleted, along with the thanks

…in the end it has also deleted, along with the thanks

I discovered due to this circumstance the exhibition has been set up without the collaboration of fashion houses ( as it usually happens and it should happen) and therefore as it has evidenced by the flyer there is at the entrance of Museum, brands like Valentino and Versace, pretended the delete of their names. Being the exhibition set up with the clothes of private collectors it has also deleted the thanks to the fashion houses.

Gattinoni Spring/Summer 2013

Gattinoni Spring/Summer 2013, photo by Giorgio  Miserendino

I discovered that as that has been the set of Gattinoni fashion show, brand designed by Guillermo Mariotto who has the merit of making concrete by using a hilarious aesthetics suggestions coming from contemporary times and political framework, successfully evoking a kind of luxury breakfast at Arcore( renowned Berlusconi’s residency and set of burlesque parties).

fashion tr 4

Later I moved to the area of Campo dei Fiori to visit A.I. Fair Future, a showcase of high-end craftsmanship and art at the Howtan Space. When I crossed Piazza Farnese to go to the event I was pleased to see a peaceful public protest organized by the Mario Mieli Association for claiming the right of the same sex couple to get married.

Not being a great fan of marriage as I prefer the freedom of loving without being obliged, I think “it doesn’t bind a dream with a contract” as Domenico Modugno sang in “L’ Anniversario”, track censured in Italy during the Seventies which became later the soundtrack for the recognition of rights to the couples of people who aren’t married beyond their gender. I am proud of having attended the public protests concerning this issue during the last years to get more rights, as freedom is a goal for every individual and is the evidence of a democratic and liberal society.

Antica Manifattura cappelli

Antica Manifattura cappelli

I appreciated at the Howtan Space the creations of many brands and couturiers and their grotesque interpretations on paper made by the brilliant artist Vincenzo Montini.

Vincenzo Montini

Vincenzo Montini

Then I visited the Hadrian’s Temple for the exhibition Limited/Unlimited, (organized by Altaroma in collaboration with many celebrated brands), featuring limited editions inspired by the theme of red carpet. That has been the chance to see friends I didn’t see since a long time,see again others and meet Goga Ashkenazi, the charming woman who owns the fashion house Vionnet.

MODA, TRADIZIONE & INNOVAZIONE IN MOSTRA AD ALTAROMA

Rocchetti at the Howtan Space

Rocchetti at the Howtan Space

Un giorno di trunk show a Rome, sfilate e mostre incentrate su tradizione, arte e artigianalità. La giornata è cominciata con la conferenza stampa della rinomata couturier Raffaella Curiel che si è tenuta nelle suggestive stanze dell’ Hotel Inghilterra, felice occasione per apprezzare l’ acume e l’ ironia della couturier come anche l’ artigianalità racchiusa nella collezione primavera/estate 2013 da lei realizzata.

Going to the Hadrian's Temple

Going to the Hadrian’s Temple

Dopo sono stata presso il Museo Nazionale delle Arti e Tradizioni Popolari, luogo in cui proseguiva una mostra da me annunciata tempo fa, “La seduzione dell’ artigianato”, curata da Bonizza Giordani Aragno (https://fashionbeyondfashion.wordpress.com/2012/12/05/creativity-in-open-order-the-seduction-of-craftsmanship-at-the-rome-national-museum-of-arts-and-folk-traditions).

Delfina Delettrez who is the first one I saw at the Hadrian's Temple


Delfina Delettrez who is the first one I saw at the Hadrian’s Temple

Ho scoperto in ragione di questa circostanza che la mostra è stata allestita senza la collaborazione di case di moda (come solitamente accade e dovrebbe accadere) e perciò come si evince dal flyer che é all’ entrata del Museo, brand quali Valentino e Versace, hanno preteso la cancellazione dei loro nomi. Essendo la mostra stata allestita massimamente con gli abiti di collezionisti privati sono stati anche cancellati i ringraziamenti alle case di moda.

Sylvio Giardina

Sylvio Giardina at the Hadrian’s Temple

Ho scoperto ciò poiché questa era la location della sfilata di Gattinoni, brand disegnato da Guillermo Mariotto che ha il merito di concretizzare, avvalendosi di una ilare estetica, suggestioni provenienti dalla contemporaneità e dalla cornice politica, evocando felicemente una sorta di lussuosa colazione ad Arcore( rinomata residenza di Berlusconi e location di party burlesque).

Gucci

Gucci at the Hadrian’s Temple

Successivamente mi sono spostata nei dintorni di Campo dei Fiori per visitare A.I. Fair Future, una esposizione di alta artigianalità ed arte presso l’ Howtan Space. Quando ho attraversato Piazza Farnese per recarmi all’ evento sono stata lieta di vedere una pacifica manifestazione di pubblica protesta, organizzata dall’ Associazione Mario Mieli per rivendicare il diritto di sposarsi per le coppie dello stesso sesso.

The actress Elena Radoninich in Angelos Bratis at the Hadrian's Temple


The actress Elena Radoninich in Angelos Bratis at the Hadrian’s Temple

Non essendo una grande ammiratrice del matrimonio poiché preferisco la libertà di amare senza essere obbligata, penso che “con un contratto non si lega un sogno” come cantava Domenico Modugno in “L’ Anniversario”, brano censurato in Italia negli anni Settanta che successivamente è divenuto la colonna sonora per il riconoscimento dei diritti per le coppie di fatto al di là del loro gender. Sono fiera di aver partecipato alle manifestazioni di protesta pubblica inerenti questa problematica in questi ultimi anni per ottenere più diritti, poiché la libertà è un obiettivo per tutti gli individui ed è la dimostrazione di una società democratica e liberale.

Angelos Bratis

Angelos Bratis at the Hadrian’s Temple

Ho apprezzato all’ Howtan Space le creazioni di molteplici brand e couturier e le loro grottesche interpretazioni su carta realizzate dal brillante artista Vincenzo Montini.

Andrea Splisgar and Sergio Zambon

Friends: Andrea Splisgar and Sergio Zambon at the Hadrian’s Temple

Ho quindi visitato il Tempio di Adriano per la mostra Limited/Unlimited(organizzata da Altaroma in collaborazione con molti celebri brand) di cui sono protagonisti limited editions che si ispirano al tema del red carpet. Ciò è stata l’ occasione per vedere amici che non vedevo da lungo tempo, rivederne altri e conoscere Goga Ashkenazi, l’ affascinante donna, proprietaria della casa di moda Vionnet.

Galitzine by Sergio Zambon

Galitzine by Sergio Zambon

Cesare Cunaccia and Silvia Venturini Fendi at the Hadrian's Temple

Cesare Cunaccia and Silvia Venturini Fendi at the Hadrian’s Temple

Valentino Haute Couture

Valentino Haute Couture

Goga Ashkenazi talking with Angelos Bratis

Goga Ashkenazi talking with Angelos Bratis

Marco de Vincenzo

Marco de Vincenzo

www.altaroma.it

www.ashadedviewonfashion.com

Sofia Gnoli, celebrated fashion journalist, historian, fashion curator and Professor released today her new book “Moda, dalla nascita della haute couture a oggi” (Carocci, 34,00 Euros), telling about the history of fashion from its rise to contemporary fashion, talking about the most important designers and changes arisen from the realm of fashion. A book to have, precious source of fashion culture, something should – during those dark times especially – be increased in Italy about which the bright author told, focusing on something I deeply agree with her: the recognition of full scientific dignity to fashion in Italy”.

What are the ten-day periods decades and creatives, featuring in your latest book do you think that have emblematically marked Italian fashion?

“It’s hard identifying one only ten-day period. I think every historical age had its own importance. The Thirties were fundamental for giving rise to the consciousness it could exist an Italian fashion being independent from the French one. It has been the time where it has created the National Institution of Fashion, the first public institution for supporting and promoting the Italian fashion, it has been the time of autarchy and genius inventions by Salvatore Ferragamo. Italian fashion during the Forties starts shamefully emerging with names as Marucelli, Fontana sisters, Simonetta Colonna di Cesarò, Fernanda Gattinoni. It has been in the following ten-year period, the Forties, resulting from the Hollywood on Tevere in Rome and the Pitti White Hall in Florence, the great international recognition of Italian style and the rise of fashion boutique with Emilio Pucci, etc. and so on, arriving after the mid-Sixties to the emerging made in Italy, evidencing every ten-day period had its own main features and innovations”.

What do you think of contemporary made in Italy – haute couture, ready-to-wear, demi.couture – and what are its main features?

“After a stop started in the Nineties where it didn’t feature a new generation of creatives, except phenomenons as Antonio Marras and Ennio Capasa, creator of Costume National, didn’t feature new great creatives, it arose from a new heterogeneous generation of Italian creatives in the first ten-day period of Twenty-first century. Someone, working as consultants or having worked as consultant for others brands, established their own brand as Marco De Vincenzo, Giambattista Valli and Sergio Zambon. Other ones became creative directors of renowned international names as Giannini (Gucci), Riccardo Tisci (Givenchy) e Marco Zanini (Rochas). Other ones also held their brand, being or being been creative director of famous brand: Tommaso Aquilano and Roberto Rimondi, Gabriele Colangelo, Francesco Scognamiglio. All of the names evidence how Italian creativity, due to its perfect balance between dream and reality, marketing and fantasy, continues being one of the most desirable ones”.

What are the project you are going to develop?

“The thing I care very much is to improve the culture of Italian fashion. I think our Country should focus on that much more. In fact the fashion in Italy, though it’s one of the biggest entries of turnover, is still  smugly considered in some universities, instead it’s very important. The fashion studies in Italy, comparing them with countries as England, USA and France, are very behind. Then the space given by institution to cultural events, concerning fashion is very little. Instead there are important museums abroad having fashion areas as the New York Metropolitan Museum of the Arts or London Victoria & Albert Museum. Unfortunately in Italy there isn’t anything like that. It’s very hard and dangerous setting up a fashion exhibition, though it’s a really charming work, in fact is one of my forthcoming projects. In fact here in Italy the scientific standards of this subject aren’t codified. I think it’s often forgotten fashion is not an issue about  ruffles and furbelows where everyone can improvise. Fashion is a more serious issue than is commonly considered…”.

“MODA. DALLA NASCITA DELLA HAUTE COUTURE A OGGI”, IL NUOVO LIBRO DI SOFIA GNOLI

Sofia Gnoli

Sofia Gnoli, celebre giornalista, storica della moda, fashion curator e docente ha pubblicato oggi il suo nuovo libro “Moda, dalla nascita della haute couture a oggi” (Carocci, 34,00 Euro) che narra la storia della moda dalla sua nascita alla moda contemporanea, parla dei più importanti designer e dei cambiamenti sorti nell’ ambito della moda. Un libro da avere, preziosa fonte di cultura della moda, qualcosa che dovrebbe essere incrementata – specialmente durante questi tempi oscuri – in Italia della quale la brillante autrice ha parlato, concentrandosi su qualcosa che condivido profondamente: il riconoscimento di piena dignità scientifica alla moda in Italia.

Quali sono le decadi e i creativi, protagonisti del tuo ultimo libro che ritieni abbiano segnato in modo emblematico la moda italiana?

“Difficile individuare un unico decennio. Trovo che ogni momento storico abbia avuto una sua importanza. Gli anni Trenta sono stati fondamentali per far nascere negli italiana la consapevolezza che una moda italiana indipendente da quella francese poteva esistere. Sono stati gli anni in cui è stato creato l’Ente Nazionale della Moda, la prima istituzione pubblica volta a sostenere e promuovere la moda italiana, sono stati gli anni dell’autarchia e delle geniali invenzioni di Salvatore Ferragamo. Negli anni Quaranta la moda italiana, con nomi come Germana Marucelli, Sorelle Fontana, Simonetta Colonna di Cesarò, Fernanda Gattinoni, inizia timidamente ad emergere. Nel decennio successivo, grazie alla Hollywood sul Tevere a Roma e alla Sala Bianca di Pitti a Firenze ci sono stati il grande riconoscimento internazionale dello stile italiano e l’affermarsi della moda boutique con Emilio Pucci, ecc. E così via per arrivare nella seconda metà dei Settanta all’emergente made in Italy. Insomma ogni decennio ha avuto le sue peculiarità e le sue innovazioni…”.

Cosa pensi del made in Italy contemporaneo – alta moda, pret-à-porter e demi-couture – e quali sono i suoi tratti più salienti?

“Dopo una battuta d’arresto iniziata negli anni Novanta, durante i quali, a parte i fenomeni di Antonio Marras ed Ennio Capasa, mente di Costume National, non si sono affermati nuovi grandi creativi, nel corso del primo decennio del Duemila è emersa una generazione di creatori italiani dal carattere eterogeneo. Alcuni, pur effettuando o avendo effettuato consulenze per altri marchi, hanno fondato una loro linea, è il caso di Marco De Vincenzo, Giambattista Valli e Sergio Zambon. Altri sono diventati direttori artistici di importanti griffe internazionali come Frida Giannini (Gucci), Riccardo Tisci (Givenchy) e Marco Zanini (Rochas). Altri ancora hanno mantenuto la loro linea pur essendo o essendo stati art director di noti brand: Tommaso Aquilano e Roberto Rimondi, di Gabriele Colangelo, Francesco Scognamiglio. Tutti nomi che dimostrano come la creatività italiana, per il suo perfetto equilibrio tra realtà e sogno, tra marketing e fantasia, continui a essere tra le più ambite”.

Quali sono i progetti che hai in cantiere?

“Valorizzare la cultura della moda italiana è la cosa che mi sta più a cuore. Trovo che il nostro Paese dovrebbe concentrarsi sempre più in questo senso. In Italia infatti, nonostante sia una delle voci più ingenti del fatturato, la moda è ancora guardata con una certa sufficienza in alcuni ambiti accademici, mentre invece è importantissima. Da noi i fashion studies, rispetto a paesi quali l’Inghilterra, gli Stati Uniti e la Francia, sono molto indietro. Inoltre lo spazio che le istituzioni concedono a iniziative culturali concernenti la moda è molto ridotto. Mentre all’estero ci sono importanti musei con sezioni di moda, è il caso del Metropolitan Museum of the Arts di New York o del Victoria & Albert Museum di Londra. In Italia purtroppo non abbiamo nulla del genere. Inoltre, anche se fare una mostra di moda è senz’altro affascinante, non a caso è uno dei miei prossimi progetti, è molto difficile e pericoloso. Da noi infatti i parametri scientifici di questa disciplina sono ancora poco codificati. Trovo che ci si dimentichi un po’ troppo spesso che la moda non è una questione di volants e falpalà, dove chiunque si può improvvisare. La moda è una cosa molto più seria di quanto si pensi…”.

Crocera Lloyd, Illustrazione Italiana, 6th August 1963

Salvatore Ferragamo and Joan Crawford, 1923, courtesy of Salvatore Ferragamo

Christian Dior along with his collaborators in Avenue Montaigne, courtesy of Christian Dior

Sketch by Capucci, 2011, courtesy of Capucci Foundation

Simonetta Colonna di Cesarò trying a dress for Theo Graham, 1961, photo Leombuno Bodi, courtesy of Archivio Saraceni

Kim Novak wearing a dress by Fernanda Gattinoni, 1957, courtesy of Gattinoni archive

Giuliana Cohen Camerino and Salvador Dalì, 1974, courtesy of Roberta di Camerino archive

Antonia Dell'Atte Fall/Winter 1984-1985, photo by Aldo Fallai, courtesy of Giorgio Armani

Sketch by Gianfranco Ferrè haute-couture Fall/Winter 1986-1987, courtesy of Gianfranco Ferré Foundation

Antonio Marras Spring/Summer 1988, courtesy of Antonio Marras

 

Liz Hurley at the set of “Bedazzled” (2000) wearing the Baguette by Fendi, courtesy of Fendi

 

Prada Spring/Summer 1996, courtesy of Prada

Fiat 500C by Gucci

It has started the “500c by Gucci” in tour from Saint Tropez at Place Celli, event where it has showcased the legendary car by Fiat of whose suggestive shape, pays homage to its old model, enriched by details as the logo, the two-colored Frau leather car seats, prints and colors evoking the celebrated luxury Florentine brand Gucci. It completes the event the launch of a travel accessories collection – as little items made of leather sweat-suits, eyewear and watches – and the Ipad application “Fiat 500C by Gucci” available for free at the Apple Store in the new version 1.2 and the magazine “World 500C by Gucci”, including sections that regard fashion shows and events, featuring “Fiat 500C by Gucci” along with another one focused to the most exclusive restaurants suggested by Frida Giannini, the creative director of brand. The tour will follow crossing the Europe, moving to Berlin in Friedrichstrasse/Checkpoint Charlie from 8th to 14th September 2011, in Barcelona at Plaza Catalunya from 25th September to 2nd October 2011, in London at Covent Garden from 16th to 23rd October 2011 and later in Geneva at Place du Rhone/Place del la Fusterie/Place de Longemalle from 23rd to 30th October 2011. A parallel tour will be held also in Italy in Rome at Piazza San Lorenzo in Lucina from 19th October to 1st  November 2011, in Florence at Piazza della Repubblica from 19th to 26th September 2011 and in the end in Milan at Piazza Duomo from 8th to 16th October 2011. A not to be missed event to enjoy the result of a smashing collaboration under the sign of Italian fashion and tradition.

MODA A QUATTRO RUOTE: LA “500C BY GUCCI” IN TOUR A SAINT TROPEZ

500 by Gucci

È iniziato il “500C by Gucci” in tour da Saint Tropez presso Place Celli, evento in cui é stata presentata la leggendaria automobile della Fiat la cui suggestiva forma rende omaggio al suo vecchio modello, arricchito da dettagli quali il logo, i sedili in pelle Frau bicolore, stampe e colori che evocano il celebre marchio di lusso fiorentino Gucci. Completa l’evento il lancio di una collezione di accessori da viaggio – quali piccoli oggetti in pelle, tute sportive, occhiali ed orologi – come anche l’application per l’Ipad “Fiat 500C by Gucci”, disponibile gratuitamente presso l’ Apple Store nella nuova versione 1.2 ed il magazine “World 500C by Gucci” che include sezioni afferenti sfilate ed eventi di cui è protagonista la “Fiat 500C by Gucci” ed un’altra, dedicata ai ristoranti più esclusivi segnalati da Frida Giannini, il direttore creativo del brand. Il tour proseguirà, attraversando l’ Europa, spostandosi a Berlino in Friedrichstrasse/Checkpoint Charlie dall’ 8 al 14 settembre 2011, a Barcellona in Plaza Catalunya dal 25 settembre al 2 ottobre 2011, a Londra in Covent Garden dal 16 al 23 ottobre 2011 e successivamente a Ginevra in Place du Rhone/Place del la Fusterie/Place de Longemalle dal 23 al 30 ottobre 2011. Un tour parallelo si terrà anche in Italia  a Roma in Piazza San Lorenzo in Lucina dal 19 ottobre all’ 1 novembre 2011, a Firenze in Piazza della Repubblica dal 19 al 26 settembre 2011 ed infine a Milano in Piazza Duomo dall’ 8 al 16 ottobre 2011. Un evento imperdibile per apprezzare il risultato di una formidabile collaborazione all’insegna della moda e tradizione italiana.

Fiat 500 by Gucci

Fiat 500 by Gucci

Fiat 500 by Gucci

Fiat 500 by Gucci

Fiat 500 by Gucci

http://500bygucci.com

Albertina Marzotto area on Yoox.com

The countess Albertina Marzotto, icon of Milanese style presents a selection of her favourite vintage clothes on the virtual multi-brand boutique Yoox.com, featuring over 200 items, including creations by legendary brands as Chanel, Gucci, Gianfranco Ferrè, Valentino, Helmut Lang, Comme des Garçons, Dries van Noten and Marni.

 

LA SELEZIONE DI ABBIGLIAMENTO VINTAGE DI ALBERTINA MARZOTTO SU YOOX.COM

Albertina Marzotto

La contessa Albertina Marzotto, icona dello stile Milanese presenta una selezione dei suoi abiti vintage preferiti sulla boutique virtuale multi-brand Yoox.com in cui sono protagonisti più di 200 pezzi che includono creazioni di marchi leggendari quali Chanel, Gucci, Gianfranco Ferrè, Valentino, Helmut Lang, Comme des Garçons, Dries van Noten e Marni.

www.yoox.com