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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

Caterina Gatta and the creations she made by using vintage fabrics by Lancetti

 

Lancetti re-edition”, is a double exhibition in collaboration with the multi-brand virtual boutique Yoox.com, retrospective which paid homage to the Italian couturier Pino Lancetti and was held at the Traianus’ Markets. Here an unforgettable chapter of fashion history – told by the journalist, fashion historian and curator Sofia Gnoli – joined to contemporary times, reinterpreted by designer Caterina Gatta who researched vintage fabrics – a leitmotiv of her work under the sign of irony and craftsmanship – by Lancetti, creating a capsule collection which is available exclusively on Yoox.com.

“LANCETTI RE-EDITION”: CATERINA GATTA INTERPRETA LANCETTI, UN VIAGGIO LUNGO 50 Anni ad ALTAROMA

Lancetti

Lancetti re-edition”, é una doppia mostra in collaborazione con la boutique virtuale multi-brand Yoox.com, retrospettiva che ha reso omaggio al couturier italiano Pino Lancetti e si è tenuta presso i Mercati Traianei. Ivi un indimenticabile capitolo di storia della moda – raccontato dal catalogo curato dalla giornalista, storica della moda e curatrice Sofia Gnoli – è stato unito alla contemporaneità, reinterpretato dalla designer Caterina Gatta che ha effettuato una ricerca di tessuti vintage – un leitmotiv del suo lavoro all’ insegna di ironia ed artigianalità – di Lancetti, creando una collezione capsule che è disponibile in esclusiva su Yoox.com.

Lancetti

 

Lancetti

 

Caterina Gatta

Caterina Gatta on Yoox.com

 

Caterina Gatta

 

Caterina Gatta

 

Caterina Gatta

 

Caterina Gatta

 

Caterina Gatta

 

Pino Lancetti

 

Sofia Gnoli along with her brother Massimo

 

www.ashadedviewonfashion.com

www.altaroma.it

www.yoox.com

 

 

 

J Smith Esquire

The most superb event featuring in the latest edition of Alta Roma – successful evidence of a path I celebrate under the sign of art and fashion, made by promoting and showcasing emerging talents, but without forgetting the past, the way Made in Italy comes from, its rich history of traditions, art and beauty – has been the exhibition Limited/Unlimited, “Small objects of desire” which was held in Rome at the Library Casatanese. Here 42 talents – Italian and foreigners who participated at talent-scouting award Who Is On Next and not only as Albino, Betony Vernon, Bruno Laurenzano VilladorCorto Moltedo, Delfina Delettrez, Fabio Quaranta, Fabrizio Talia, Gentucca Bini, Gianni Serra, Ivano Atzori, J Smith Esquire, Max Kibardin, Marco de Vincenzo, Matteo Thiela,  Nicholas Kirkwood, Sergio Zambon, Silvio Betterelli and VBH – showcased in the rooms of a dark and symbolic place their creations along with the ones from Sixties to Eighties made by Italian couturiers as Pino Lancetti, included in the exhibition “Out of the time-Guardaroba da signora” – curated by the journalist Sofia Gnoli – most of whose has given by Italian aristocratic women as Marisela Federici and Marquise Flaminia Patrizi Naro Montoro. The exhibition will follow since July 2011 on the web, featuring in the website of multi-brand virtual boutique Yoox.com which supported the project as media partner, giving the chance to everyone of enjoying the vibrant, genuine yesterday and today creativity.

ALTA ROMA, LIMITED/UNLIMITED, UNA MAGNIFICA MOSTRA CHE CELEBRA LA MODA DI IERI E OGGI

 

(Es*) Artisanal by Fabrizio Talia

 

L’evento più superbo protagonista dell’ultima edizione di Alta Roma – felice dimostrazione di un percorso che celebro all’insegna di arte e moda, realizzato mediante la promozione e presentazione di talenti emergenti, senza però dimenticare il passato, il sentiero da cui proviene il Made in Italy, la sua ricca storia di tradizioni, arte e bellezza – é stata la mostra Limited/Unlimited, “Small objects of desire” che si è tenuta a Roma presso la Biblioteca Casatanese. Ivi 42 talenti – italiani e stranieri che hanno partecipato al concorso di talent-scouting award Who Is On Next e non soltanto quali Albino, Betony Vernon, Bruno Laurenzano Villador, Corto Moltedo, Delfina Delettrez, Fabio Quaranta, Fabrizio Talia, Gentucca Bini, Gianni Serra, Ivano Atzori, J Smith Esquire, Max Kibardin, Marco de VincenzoMatteo Thiela, Nicholas Kirkwood, Sergio Zambon, Silvio Betterelli e VBH – hanno esposto nelle stanze di un luogo buio e simbolico le loro creazioni unitamente a quelle realizzate dagli anni Sessanta agli Ottanta da couturier italiani quali Pino Lancetti, incluse nella mostra “Out of the time-Guardaroba da signora” – curata dalla giornalista Sofia Gnoli – la maggior parte delle quali sono state date da donne dell’aristocrazia italiana quali Marisela Federici e la Marchesa Flaminia Patrizi Naro Montoro. La mostra proseguirà sul web a partire dal luglio 2011, protagonista del sito web della boutique virtuale Yoox.com che ha supportato il progetto in qualità di media partner, offrendo la possibilità a tutti di apprezzare l’autentica, vibrante creatività di ieri e oggi.

Diane Pernet taking a picture of Gentucca Bini and her design

 

Gentucca Bini and her design

Albino

The sole-less shoes by Betony Vernon Fine Erotic Jewelry

 

Sergio Zambon

Me, Silvio Betterelli and his creation

Silvio Betterelli

Matteo Thiela

Matteo Thiela and his design

Marco de Vincenzo

Max Kibardin

Nicholas Kirkwood

Gianni Serra and his design

FQR by Fabio Quaranta

Pino Lancetti, 1972, collection of Marisela Federici

Bruce Hoeksema of VBH and the clutch he created

Pino Lancetti 1988-1989, collection of Marquise Flaminia Patrizi Naro Montoro

Bruno Laurenzano Villador

Ivano Atzori

Marina Ripa di Meana dressing a smashing antique hat

Delfina Delettrez

Ilaria Venturini Fendi and me

Corto Moltedo

www.altaroma.it