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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.

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www.fondazionemaxxi.it

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Sergio Zambon, creative director of legendary fashion house Galitzine, depicted an urban princess and reinterprets in a modern and innovative way the traditional patterns of work by Irene Galitzine in the Spring/Summer 2014 collection he made. The iconic pyjama suit is one of the main features of collection along with catchy dresses, short skirts and jackets resulting from a detailed work of construction and experimentation. The Sangallo cotton gets a paper effect , silk has decorated by fun and delicate appliqués. Other sophisticated details joins to a urban femininity, dressed up with irony. That refined irony which is part of the creative, its work and it is impressed in the print of the slogan, “princess”, decorating dresses, shirts, accessories and talks about a refined, self-confident and free woman who lives in contemporary times and winks at the same time to the Sixties suggestions. Black, white, light colors, orange and a smashing print depicting a heritage of brand, the make­up collection, created yesterday by the Georgian princess, enriches the collection including also little, big masterpieces of craftsmanship, the enchanting metal bags.

ELEGANZA & MODERNITÀ:LA PRINCIPESSA URBAN DI GALITZINE

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Sergio Zambon, direttore creativo della leggendaria casa di moda Galitzine, dipinge una principessa urban e reintepreta in modo moderno e innovativo tradizionali motivi dell’ opera di Irene Galitzine nella collezione primavera/estate da lui realizzata. L’ iconico pigiama palazzo è uno dei principali protagonisti della collezione insieme ad accattivanti abiti, gonne corte e giacche che sono il risultato di una minuzioso lavoro di costruzione e sperimentazione. Il cotone Sangallo acquisisce un effetto carta, la seta è decorata da divertenti e delicate appliqués. Altri sofisticati dettagli si uniscono a una femminilità urban, condita da ironia. Quella fine ironia che è parte del creativo, del suo lavoro ed è impressa nello slogan “princess” che decora abiti, maglie, accessori e parla di una donna libera e sicura di sé che vive nella contemporaneità e al tempo stesso strizza l’ occhio al passato, alle suggestioni degli anni Sessanta. Nero, bianco, colori tenui, arancio e una formidabile stampa che rappresenta un heritage del brand, la linea di make­up, creata ieri dalla principessa georgiana, arricchisce la collezione che include anche piccoli, grandi capolavori di artigianalità, le borse di metallo.

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Beppe Modenese and Adriano Franchi

Beppe Modenese and Adriano Franchi

 

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

 

Galitzine Spring/Summer 2014

Galitzine Spring/Summer 2014

Sergio Zambon and Beppe Modenese

Sergio Zambon and Beppe Modenese

 

Cesare  Cunaccia, Alessandra Spalletti and Beppe Modenese

Cesare Cunaccia, Alessandra Spalletti and Beppe Modenese

Cesare Cunaccia and Sergio Zambon

Cesare Cunaccia and Sergio Zambon

Cesare Cunaccia and Sergio Zambon

Cesare Cunaccia and Sergio Zambon

Sergio Zambon and me

Sergio Zambon and me

www.galitzine.it

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

The quintessence of elegance features in the Fall/Winter 2013-2014 collection of Galitzine by Sergio Zambon (presented during the last edition of Milan Fashion Week) made of precious materials – which makes concrete a cult for the cloth, its texture and the many graphic elements -, of whose items are enriched by decorations that appear in the many interpretation of legendary pyjama – as the one made of golden brocade -, as well as in the enchanting black cape. Another successful evidence of the reinterpretation of the Irene Galitzine’ s heritage made by the brilliant fashion designer Sergio Zambon.

GALITZINE BY SERGIO ZAMBON: LA QUINTESSENZA DELL’ ELEGANZA

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

La quintessenza dell’ eleganza è protagonista della collezione autunno/inverno 2013-2014 di Galitzine by Sergio Zambon (presentata in occasione dell’ ultima edizione della settimana della moda milanese), realizzata in preziosi materiali – che concretizza un culto per il tessuto, la sua consistenza ed i plurimi grafismi -, i cui capi sono arricchiti da decorazioni che appaiono nelle diverse interpretazioni del leggendario pigiama palazzo – come quello in broccato dorato – come anche nella incantevole cappa nera. Splende un glamour grafico e Un’ altra felice dimostrazione della reinterpretazione della tradizione di Irene Galitzine realizzata dal fashion designer Sergio Zambon.

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Galitzine by Sergio Zambon Fall/Winter 2013-2014, photo by Giorgio Miserendino

Sergio Zambon, photo by Giorgio Miserendino

Sergio Zambon, photo by Giorgio Miserendino

www.galitzine.it

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Storia della moda a Roma”(Donzelli Editions, Euros 30, 00), book by the fashion historian Cinzia Capalbo, which explores Italian fashion and its history, focusing on the Italian capital as cornerstone of haute couture, a suggestive path depicted by the author which starts in late nineteenth century was released recently.

Valentino

Valentino

Like the work of Silvia Venturini Fendi (fashion designer of brand Fendi) as President of Altaroma: art, fashion and craftsmanship are together with emerging talents in order to showcase, celebrate and support the made in Italy and made in Rome(a purpose which has made concrete and evidenced by the facts: the sharing of talents showcased and supported by Altaroma which recently featured in relevant Italian trade show events as the Milan White and Florence Pitti, successful evidence of the laudable talent-scouting work made and promoted by Altaroma).

Renato Balestra Fall/Winter 2011-2012

Renato Balestra Fall/Winter 2011-2012

Thus I am very pleased of getting her words, embodied in the preface of book by Cinzia Capalbo. on loan: “Rome is my city, the city where I was born and raised, where I started considering the craftsmanship as a great heritage and where, once I had the chance, I started to support it as value of Italian culture. Rome is a city full of history and traditions which is considered all around the world as the cradle of those trades that join with themselves, giving rise to the concept of fashion.

Brioni 1964

Brioni 1964

This book very clearly explains how a series of social, political and economic conditions contributed to the rise of a forerunner melting-pot, laying the basis for the contemporary made in Italy. Rome has always played the part of fascinating all of the human perceptions and because of that it has attracted many masters artisans who came here from every land of country, contributing to create a centre of excellence.

Irene Galitzine at her home in Rome

Irene Galitzine at her home in Rome

Rome has been a destination for celebrated authors for the Grand Tour they made in the nineteenth century, a cornerstone of film in the golden years of last century: a huge source to draw on. A city made of places to enjoy, cues to learn, paths to discover and trades that have fitted together and inspired the future. “A time machine”, as Cinzia Capalbo defines the book she wrote, which upsets and gives a detailed account of Rome as ideal seat of high-end craftsmanship.

Dress by Irene Galitzine featuring in Vogue America, December issue 1949

Dress by Irene Galitzine featuring in Vogue America, December issue 1949

An idea which is naturally connected to Altaroma, which represents the means to re-discover and protect those ancient professions, those manual skills that are always more rare. How many masters artisans don’t know anyone to pass on him their art?. I really think all that is a challenge and an opportunity. The creativity is an unlimited heritage which, joint to the recovery of this wide range of professions, can give infinite chances to work.

Silvia Venturini Fendi and me during the press conference for the launch of Galitzine capsule collection by Sergio Zambon

Silvia Venturini Fendi and me during the press conference for the launch of Galitzine capsule collection by Sergio Zambon

I think about a pied microcosm of arts and trades that is doomed to create dynamism in an industry which requests new incentives and energies. Holding and passing on the know-how of tradition and implementing the crossover with experimentation, il made in Italy really will find again its leading role in the realm of international fashion. A lively and dynamic campus for contributing to recognize the depth and relevance of made in Italy and “made in Rome”, so as fashion and all goes around this field becomes discipline of contemporary times, recognized as genuine art”.

 

LA STORIA DELLA MODA A ROMA, UN LIBRO DI CINZIA CAPALBO

Fendi Spring/Summer 2012

Fendi Spring/Summer 2012

Storia della moda a Roma”(Donzelli Editore, Euro 30, 00), libro della storica della moda Cinzia Capalbo, che esplora la moda italiana e la sua moda, soffermandosi sulla capitale italiana quale fulcro dell’ alta moda, un percorso suggestivo dipinto dall’ autrice che inizia alla fine del diciannovesimo secolo, è stato recentemente pubblicato.

From the left to the right: sketches featuring in the Brioni Spring/Summer collection 1956 by Luigi Tarquini for the magazine Costume, Angelo Litrico and Vittorio Gassman

From the left to the right: sketches featuring in the Brioni Spring/Summer collection 1956 by Luigi Tarquini for the magazine Costume, Angelo Litrico and Vittorio Gassman

Come l’ opera di Silvia Venturini Fendi (fashion designer del brand Fendi) nelle vesti di Presidente di Altaroma: arte, moda e artigianato sono insieme ai talenti emergenti al fine di esporre, celebrare e sostenere il made in Italy e il made in Rome(una finalità che è stata concretizzata e dimostrata dai fatti: la condivisione dei talenti esposti e sostenuti da Altaroma che è stata recentemente protagonista di importanti eventi fieristici di moda quali il White di Milano e il Pitti di Firenze, felice dimostrazione del lodevole lavoro di talent-scouting realizzato e promosso da Altaroma).

The model Ivy Nicholson wearing a dress by Sartoria Fabiani, 1955, photo by Pasquale de Antonis


The model Ivy Nicholson wearing a dress by Sartoria Fabiani, 1955, photo by Pasquale de Antonis

Pertanto sono molto lieta di prendere a prestito le sue parole, racchiuse nella prefazione del libro di Cinzia Capalbo: “Roma è la mia città, la città dove sono nata e cresciuta, dove ho imparato a considerare l’ artigianato un grande patrimonio e dove, appena ne ho avuto la possibilità, ho cominciato a sostenerlo come valore della cultura italiana. Roma è una città intrisa di storia e di tradizioni che viene percepita nel mondo come culla di tutti quei mestieri che si uniscono, fino a formare il concetto di moda.

The artist Maria Grazia Mariani wearing a dress by Capucci, 1955, photo by Pasquale de Antonis


The artist Maria Grazia Mariani wearing a dress by Capucci, 1955, photo by Pasquale de Antonis

Questo libro spiega con grande chiarezza in che modo una serie di condizioni sociali, politiche ed economiche hanno fatto sì che si venisse a creare un “melting-pot” ante litteram, gettando le basi del made in Italy contemporaneo. Roma ha sempre giocato la sua fascinazione su tutte le percezioni umane, ed è anche per questo che qui sono stati attratti molti maestri artigiani da ogni angolo del paese, finendo per creare un polo di eccellenza.

Dress by the Fontana sisters at the Baths of Diocletian Museum, 1948 photo by Pasquale de Antonis


Dress by the Fontana sisters at the Baths of Diocletian Museum, 1948 photo by Pasquale de Antonis

Meta di celebri scrittori per il loro Grand Tour nell’ Ottocento, fulcro del cinema negli anni d’oro del secolo scorso: in breve, un bacino immenso al quale attingere. Una città fatta di luoghi da ammirare, spunti per imparare, percorsi da scoprire e mestieri che hanno finito per intrecciarsi con la storia e ispirare il futuro. “Una macchina del tempo”, come Cinzia Capalbo definisce il suo libro, che capovolge e circostanzia con estrema lucidità l’ idealizzazione di Roma come sede ideale dell’ alto artigianato.

Simonetta Visconti wearing a hat at her atelier, 1949, photo by Pasquale de Antonis


Simonetta Visconti wearing a hat at her atelier, 1949, photo by Pasquale de Antonis

Un concetto che si lega in maniera naturale ad Altaroma, che rappresenta lo strumento per riscoprire e salvaguardare quei mestieri antichi, quelle abilità manuali che sono sempre più rare. Quanti maestri artigiani non sanno a chi tramandare la loro arte? Sono fermamente convinta che questo rappresenti una sfida e un’ opportunità. La creatività è un patrimonio inesauribile, che unito al recupero di questo immenso bacino di mestieri potrà offrire infinite occasioni di lavoro.

Fashion Palace, illustration by Filippo Omegna, 1910

Fashion Palace, illustration by Filippo Omegna, 1910

Penso a un variegato microcosmo di arti e mestieri destinati a creare movimento in un’ industria che richiede nuovi stimoli e nuove energie. Conservando e tramandando tutto il know-how della tradizione e implementando il crossover con la sperimentazione, il made in Italy ritroverà certamente il suo ruolo da protagonista nel panorama della moda internazionale. Un campus vivo e dinamico per far riconoscere la vastità e l’ importanza del made in Italy e “made in Rome”. Affinché la moda, e tutto quanto ruota intorno a questo settore diventi disciplina della contemporaneità riconosciuta come vera e propria arte”.

The fashion house Magazzini Fratelli Pontecorvo and Giovanni Gilardini in the early Nineties


The fashion house Magazzini Fratelli Pontecorvo and Giovanni Gilardini in the early Nineties

The actress Paola Borbone as testimonial of textiles and autarchic fashion, 1934


The actress Paola Borbone as testimonial of textiles and autarchic fashion, 1934

The actress Paola Borbone as testimonial of textiles and autarchic fashion, 1934

Audrey Hepburn and Anita Ekberg at the set of movie “War and peace” by King Vidor, wearing dresses by Fernanda Gattinoni, designed by Maria de Matteis, 1956

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Silvia Venturini Fendi, Sergio Zambon and Alessandra Spalletti

A press conference was held in Milan at 10 Corso Como presenting the Spring/Summer 2013 capsule collection by Galitzine, created by Sergio Zambon as creative director. The press conference was moderated by Silvia Venturini Fendi, glad of having acted as a catalyst, getting the main purpose of her role as President of Altaroma: to give a showcase to emerging fashion designers – as Sergio Zambon – and promote a dialogue and synergies between them and the celebrated Rome fashion houses. In fact this action is what has given to the creative alchemy “Limited/Unlimited, Edition-Re-edition”, the exhibition where Sergio Zambon interpreted the pyjama by Galitzine.

The pyjama by Galitzine interpreted by Sergio Zambon at the Limited/Unlimited exhibition of Altaroma in July 2011

Adriano Franchi, the Altaroma general director

Beppe Modenese

The event featured also Beppe Modenese who talked about Irene Galitzine, making a portrait of her as friend, Alessandra Spalletti, the CEO of Galitzine who told about this project: a start-up of whose development will be implemented in different steps, telling the brand is owned by the nephew of Irene Galitzine along with a group of partners, the distribution will be made by thePagani show-room and the collection will be available for sale at selected stores as 10 Corso Como and the virtual multi-brand boutique Yoox.

Galitzine by Sergio Zambon Spring/Summer 2013

Later Sergio Zambon talked about the project, “as a re-educational approach for the customer” which is divided in three showcases, including 20 items: the first one is everyday wear, made of cotton, popeline and crépon, inspired by the Bruno Munari’ s geometries, having a palette of colors including white and “ink”, a mix between blue carbon paper and charcoal; the second one “tomato classic” features damasks and the third one is more couture, featuring white, greige, lime and black along with embroideries, Swarovski appliqués and resin punk studs, including also a capsule collection of shoes.

Sergio Zambon

This capsule collection will be presented on 20thSeptember 2012 in the Milanese concept store 10 Corso Como. A not to be missed happening to celebrate a myth and enjoy the wonders of an iconic item, the pyjama considered yesterday as a uniform, by iconic women as Lee Radziwill and Jackie Kennedy.

 

IL PIGIAMA PALAZZO DI GALITZINE A 10 CORSO COMO DI MILANO

Galitzine by Sergio Zambon Spring/Summer 2013

Una conferenza stampa si é tenuta a Milano presso 10 Corso Como che ha presentato la collezione primavera/estate 2013 di Galitzine, creata da Sergio Zambon nelle vesti di direttore creativo. La conferenza stampa è stata moderata da Silvia Venturini Fendi, lieta di aver agito da catalizzatore, realizzando la finalità principale del suo ruolo da Presidente di Altaroma: offrire una vetrina a designer emergenti – quali Sergio Zambon – e promuovere un dialogo e sinergie tra di loro e le celebri caase di moda di Roma. Infatti questa azione è ciò che é stato offerto all’ alchimia creativa “Limited/Unlimited, Edition-Re-edition”, la mostra in cui Sergio Zambon ha interpretato il pigiama palazzo di Galitzine.

Irene Galitzine and Jackie Kennedy, photo courtesy of Galitzine archives

L’ evento ha avuto quale protagonista anche Beppe Modenese che ha parlato di Irene Galitzine, facendo un ritratto di lei da amico, Alessandra Spalletti, CEO di Galitzine che ha parlato di questo progetto: una start-up il cui sviluppo sarà implementato in diverse fasi, dicendo che il brand è di proprietà del nipote di Irene Galitzine unitamente a un gruppo di soci, la distribuzione sarà effettuata dallo show-room Pagani e la collezione sarà disponibile per la vendita presso selezionate boutiques quali 10 Corso Como e la boutique multi-brand virtuale Yoox.

Carla Sozzani and me

Successivamente Sergio Zambon ha parlato del progetto nel senso di “un approccio rieducativo per il cliente”, diviso in tre vetrine che includono 20 capi: la prima é abbigliamento per ogni giorno, realizzata in cotone, popeline e crépon che si ispira alle geometrie di Bruno Munari, ha una palette di colori che includono bianco ed “inchiostro”, un mix tra blu copiativo e antracite; la seconda “tomato classic” ha quale protagonista i damaschi e la terza è più couture di cui sono protagonisti bianco, greige, lime e nero unitamente a ricami, applicazioni di Swarovski e borchie punk di resina, includendo anche una collezione capsule di scarpe.

Questa collezione capsule sarà presentata il 20 settembre 2012 nel concept store milanese 10 Corso Como. Un evento imperdibile per celebrare un mito e apprezzare le meraviglie di un capo iconico, il pigiama palazzo, considerato ieri una uniforme da donne iconiche quali Lee Radziwill e Jackie Kennedy.

www.10corsocomo.com

www.galitzine.it

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