You are currently browsing the tag archive for the ‘Maria Luisa Frisa’ tag.

iuav 1

It will be held from 2nd to 3rd July 2015, Fashion at Iuav, the happening under the sign of fashion and its culture, promoted by the Fashion Design Faculty of IUAV University of Venice headed by the bright Maria Luisa Frisa -, which moves or rather comes from Treviso to its traditional seat, Venice..A two days event which will feature “L’ Italia è di moda” – which will be held on 2nd July 2015 in the Tolentini/ Santa Croce 191 space of IUAV University  from 12:00 am to 12:00 pm, made in collaboration with the magazine Rivista Studio -, it will be 24 hours of words, projects and images along with the BA and MA graduation show of IUAV students which will be held on 3rd July 2015 at the Area Magazzini ex Frigoriferi of Iuav University of Venice. A not to be missed happening or rather, borrowing the words of one of the souls of this Faculty, the professor and fashion curator, untiring worker and beautiful individual joining kindness, efficiency and a fine mind, Gabriele Monti: “it’s always a great success at the Iuav”!

FASHION AT IUAV 2015 TORNA A VENEZIA

A project ft. in Fashion at Iuav 2014, photo by N

A project ft. in Fashion at Iuav 2014, photo by N

Si terrà dal 2 al 3 luglio 2015, Fashion at Iuav, l’ happening all’ insegna della moda e della sua cultura, promosso dalla Facoltà di Fashion Design della Università IUAV di Veneziaguidato dalla brillante Maria Luisa Frisa -, che si sposta ovvero ritorna da Treviso alla  sua sede tradizionale, Venezia..Un evento di due giorni di cui sarà protagonista “L’ Italia è di moda” – che si terrà il 2nd luglio 2015 presso lo spazio Tolentini/ Santa Croce 191 dell’ Università IUAV dalle ore 12:00 alle ore 24:00, realizzato in collaborazione con il in magazine Rivista Studio -, 24 ore di parole, progetti e immagini unitamente alla sfilata degli studenti neolaureati del Corso di Laurea Triennale e Magistrale di Fashion Design della IUAV che si terrà il 3 luglio 2015 nell’ Area Magazzini ex Frigoriferi dell’ Università Iuav di Venezia. Un evento imperdibile o meglio, prendendo a prestito le parole di una delle anime di questa facoltà, il docente e fashion curator, lavoratore indefesso, bella individualità che unisce gentilezza, efficienza e un fine intelletto Gabriele Monti: “è sempre un grand successo alla Iuav”!

A project ft. in Fashion at Iuav 2014, photo by N

A project ft. in Fashion at Iuav 2014, photo by N

A project ft. in Fashion at Iuav 2014, photo by N

A project ft. in Fashion at Iuav 2014, photo by N

Fashion at Iuav 2014: an exhibition depicting the circus atmosphere, photo by N

Fashion at Iuav 2014: an exhibition depicting the circus atmosphere, photo by N

Fashion at Iuav 2014: me, myself & I in the mood for the exhibition, photo by N

Fashion at Iuav 2014: me, myself & I in the mood for the exhibition, photo by N

Fashion at Iuav 2014: trinity moment ft. me, myself and I, Giusi Ferré and Maria Luisa Frisa, photo by N

Fashion at Iuav 2014: trinity moment ft. me, myself and I, Giusi Ferré and Maria Luisa Frisa, photo by N

Fashion at Iuav 2014, photo by N

Fashion at Iuav 2014, photo by N

Fashion at Iuav: in the garden with my devoted Iuav companion Simone Sbarbati, the creator of blog Frizzi Frizzi, photo by Elda Danese

Fashion at Iuav 2014: in the garden with my devoted Iuav companion Simone Sbarbati, the creator of blog Frizzi Frizzi, photo by Elda Danese

Fashion at Iuav 2014: me, myself & I along with Elda Danese, photo by N

Fashion at Iuav 2014: me, myself & I along with Elda Danese, photo by N

Fashion at  Iuav 2014: me, myself & I along with Ermanno Scervino, photo by N

Fashion at Iuav 2014: me, myself & I along with Ermanno Scervino, photo by N

Fashion at Iuav 2014: me, myself & I along with Iuav my guardian angel, Paolo Boin, photo by N

Fashion at Iuav 2014: me, myself & I along with Iuav my guardian angel, Paolo Boin, photo by N

Fashion at Iuav 2014: an Epicurean  interlude ft. me, myself & I , Simone Sbarbati and Fabio Quaranta, photo by N

Fashion at Iuav 2014: an Epicurean interlude ft. me, myself & I , Simone Sbarbati and Fabio Quaranta, photo by N

Fashion at Iuav 2014: me, myself & I along with Arthur Arbesser, photo by N

Fashion at Iuav 2014: me, myself & I along with Arthur Arbesser, photo by N

www.iuav.it

Mustafa Sabbagh

Mustafa Sabbagh

It will be held  tomorrow 13th March 2015 in Rome at the Auditorium of MAXXI Museum at 6 pm the talk about the first edition of Photography Masterclass, project promoted by the IUAV University of Venice in collaboration with Altaroma in order to support the contemporary creativity which will feature the bright photographer Mustafa Sabbagh and will be presented by the fashion curator, author and head of Iuav University Fashion Design Faculty Maria Luisa Frisa along with Anna Mattirolo, director of MAXXI Museum’s Art. It’s renowned his creative path moving around between art and fashion photography, his sign and the rarefied atmospheres he depicted shined in solo and group show that were held in art galleries and museums in Italy and abroad as well as other cultural initiatives that featured him. To talk about Mustafa Sabbagh it’ s simple, being the simplicity a leitmotiv of him as individual and artist, though it could sound like a hiatus to tell that, considering the complex exploration embodied in his works – darkness, coral lyricism, incisiveness, an unconventional aesthetics, the being and its dualism -, I reduce just to three words: life is life. It’s a song of the life he made, celebrating the beauty existing in life, a thinking beauty which can hurt and also represents also its dark side, reminding the death, pain, weakness, passion. We are all human, we live, feel, love, suffer and die. An universal story told on film he turned into a kind of canvas as the landscapes he draw, arising from an unique pictorial technique applied to the photography and his game of lights evoking Caravaggio and the Flemish painters and being his signature. A not to be missed happening to enjoy a vibrant contemporary artist.

LA PHOTOGRAPHY MASTERCLASS CON MUSTAFA SABBAGH AL MUSEO MAXXI DI ROMA

Mustafa Sabbagh

Mustafa Sabbagh

Si terrà domani 13 marzo 2015 a Roma presso l’ Auditorium del Museo MAXXI alle ore 18:00 il talk sulla prima edizione di Photography Masterclass, progetto promosso dall’ Università IUAV di Venezia in collaborazione con Altaroma al fine di sostenere la creatività contemporanea che avrà quale protagonista il brillante fotografo Mustafa Sabbagh e sarà presentato dalla dalla fashion curator, scrittrice e responsabile della Facoltà di Fashion Design dell’ Università Iuav Maria Luisa Frisa e da Anna Mattirolo, direttore MAXXI Arte. Rinomato il suo percorso creativo che si muove tra la fotografia d’ arte e moda, le rarefatte atmosphere da lui ritratte hanno brillato in molteplici personali e collettive che si sono tenute in Musei e gallerie in Italia e all’ estero come anche altre iniziative culturali di cui è stato protagonista. Parlare di Mustafa Sabbagh è semplice, essendo la semplicità un leitmotiv di lui come individuo e artista, benché potrebbe sembrare uno iato dire ciò, considerando la complessa esplorazione racchiusa nelle sue opere – oscurità, lirismo corale, incisività, un’ estetica anticonvenzionale, l’ essere e il suo dualismo – che riduco a tre parole: la vita è vita. È un canto di vita, il suo, che celebra la bellezza della vita, una bellezza pensante che può ferire e rappresenta anche il suo lato oscuro, richiamando alla mente la morte, il dolore, la fragilità, la passione. Siamo tutti umani, viviamo, sentiamo, amiamo, soffriamo e moriamo. Una storia universale raccontata su pellicola da lui trasformata in una sorta di tela come anche gli scenari da lui disegnati, risultato di una tecnica pittorica unica applicata alla fotografia e al suo gioco di luci che evoca Caravaggio e pittori fiamminghi ed è la sua firma. Un evento imperdibile per apprezzare un vibrante artista contemporaneo.

Mustafa Sabbagh

Mustafa Sabbagh

 

 

www.fondazionemaxxi.it

photo by N

photo by N

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bulgari,  photo by N

Bulgari, photo by N

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

VB74 by Vanessa Beecroft,  photo by N

VB74 by Vanessa Beecroft, photo by N

VB74 by Vanessa Beecroft,  photo by N

VB74 by Vanessa Beecroft, photo by N

VB74 by Vanessa Beecroft,  photo by N

VB74 by Vanessa Beecroft, photo by N

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 Pasquale De Antonis(1947), photo by N

Pasquale De Antonis(1947), photo by N

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

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

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

Gucci ( Courtesy Gucci Archive), photo by N

Gucci ( courtesy Gucci Archive), photo by N

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

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

Magazines ft. in "Bellissima", photo by N

Magazines ft. in “Bellissima”, photo by N

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

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

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

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

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

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

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

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

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

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

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

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

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

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

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

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

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

VB74 , performance by Vanessa Beecroft, photo by N

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

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

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

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

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

Coppola and Toppo, photo by N

Coppola and Toppo, photo by N

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

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

 

www.fondazionemaxxi.it

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

bernard 1

It is held today in Venice at the Cotonificio, Gardoni room, at 4 pmPerfect failure”, a conversation with the celebrated Belgian fashion designer Bernhard Willhelm, event presented by the head of Fashion Design Faculty of Iuav University of Venice Maria Luisa Frisa and moderated by Cristiano Seganfreddo, director of Progetto Marzotto Association. The happening, smashing chance to enjoy and know the experience of a renowned creative, celebrates the opening of academic year 2014-2015 of this laudable public institution.

“PERFECT FAILURE”, UNA CONVERSAZIONE CON BERNHARD WILLHELM PER L’ APERTURA DELL’ ANNO ACCADEMICO DELL’ UNIVERSITÀ IUAV

Bernhard Willhelm, photoby Josh Paul Thomas

Bernhard Wilhelm, photo by Josh Paul Thomas

Oggi si tiene a Venezia presso il Cotonificio, Aula Gardoni, alle ore 16:00Perfect failure”, una conversazione con il celebre fashion designer belga Bernhard Willhelm, evento presentato dalla responsabile della Facoltà di Design della Moda della Università Iuav di Venezia Maria Luisa Frisa e moderato da Cristiano Seganfreddo, il direttore dell’ Associazione Progetto Marzotto. L’ happening, felice occasione per apprezzare e conoscere l’ esperienza di un rinomato creativo, celebra l’ apertura dell’ anno accademico 2014-2015 di questa lodevole istituzione pubblica.

www.iuav.it

It's important to know what is your seat: Rome Capitol Square before the start of T.A.G., photo by N

It’s important to know what is your seat: Rome Capitol Square before the start of T.A.G., photo by N

I recently featured in the nice fashion contest T.A.G., event which was held in the Rome Capitol Square, including a showcase of sport and ballet. The contest gave the chance to young graduated students to present their creations and win a money scholarship amounting to 1000 Euros and an internship at the Milan atelier of Raffaella Curiel. Awards were given to personas of world sport as the Olympic Games champion of foil Valentina Vezzali who also featured on the stage as jury member sat down close to me, as well as the sport journalist Valeria Ciardiello and the pr Michela Bonafoni along with the dancers Kledi and Giuseppe Picone, Stefano Dominella, CEO of Gattinoni fashion house and the bright fashion designer Chiara Boni. The event included the live performance of Bussoletti, an emerging singer, of whose song he made “Come scemi” (meaning “Like idiots”), a song about the habit of taking selfie, became famous due to a commercial of an Italian brand of ice-creams. It was nice to see a project made to increase and support the creativity, dance and sport being in the area of Rome, but I have to add something, some remarks concerning that and initiatives like that. Today “young talents” and “emerging creativity” along with “start-up” are words that became empty slogans in the fashion of the “love’s party”, old memory from Berlusconism. That wants to be a double alert, regarding the people who set up projects like these ones and the fashion schools training the students in order to use sense in what they do and develop. My words are strictly connected to this experience and a moment of that or rather when it was asked me for giving some remarks on the fashion shows. I did it, though later it was asked to the jury for being more kind with the young creatives. I tell what I think, that is a virtue and a big limit, as consent gives sense to all that has no sense. I saw some collections Japan inspired, which is the hardest thing to develop in terms of structure and volumes. In this circumstance this inspiration has turned into a Lady Gaga-esque weak interpretation, lacking of any fashion show styling, a leitmotiv of the evening, except few fashion shows. A man from the audience made me compliments for my sagacity. I had to tell that. Why? Because I think if you make believe to a young boy/ girl he/ she has got talent, you destroy him/her and make him/her waste time if he or she has not got it. It results from that a diabolical alchemy, made of  pretentiousness of the people who wants being a fashion designer, but lacks of abilities and a proper background to become it. I focus on the huge responsibility having the fashion schools to train properly the students, a hard work I enjoy every time I am at the Fashion Design Faculty of Iuav University of Venice, headed by Maria Luisa Frisa and at the Rome Costume and Fashion Academy, excellent institution headed by Lupo Lanzara as well as in many fashion schools, institutions there are in Italy and abroad. I care to tell that to improve instead of destroying initiatives like this for giving rise to a real virtuous circuit, made of ideas, energies and facts, considering that as a mere suggestion, given to young people who want working in the realm of fashion. Modesty helps, as well hard-working, but there is not just only the work as fashion designer in the fashion industry. Textile designers, pattern makers are other works being extremely precious. Thus let’s focus on your ability with honesty and modesty to give rise to a successful working path. That is my genuine wish for all the ones who are currently studying and investing time, money and energies on that.

T.A.G.: CREATIVITÀ EMERGENTE, SPORT & DANZA A ROMA

Me, myself & I waiting for the start of T.A.G.(being on time is not always a virtue...), photo by N

Me, myself & I waiting for the start of T.A.G.(being on time is not always a virtue…), photo by N

Sono stata recentemente protagonista del simpatico contest di moda T.A.G., evento che si è tenuto presso la Piazza del Campidoglio di Roma, comprensivo di una rassegna di sport e danza. Il contest ha dato la possibilità a giovani studenti neo-diplomati di presentare le loro creazioni e vincere una borsa di studio in denaro pari a 1000 Euro e uno stage presso l’ atelier di Raffaella Curiel. Premi sono stati consegnati a personaggi del mondo dello sport quali la campionessa olimpica di fioretto Valentina Vezzali che è apparsa anche sul palco nelle vesti di giurata, seduta vicino a me, come anche la giornalista sportiva Valeria Ciardiello e la pr Michela Bonafoni unitamente ai ballerini Kledi e Giuseppe Picone, Stefano Dominella, il CEO della casa di moda Gattinoni e la brillante fashion designer Chiara Boni. L’ evento ha incluso l’ esibizione dal vivo di Bussoletti, un cantante emergente, il cui brano “Come scemi”, una canzone sull’ abitudine di fare selfie, divenuta famosa per uno spot di un marchio italiano di gelati. È stato simpatico vedere un progetto fatto per incentivare e sostenere la creatività, lo sport e la danza che c’è nell’ area di Roma, devo però aggiungere altro, alcune riflessioni inerenti iniziative come questa. Oggi “giovani talenti” e “creatività emergente” insieme a “start-up” sono parole che sono diventate slogan vuoti alla stregua del “partito dell’ amore”, vecchio ricordo del Berlusconismo. Ciò vuol essere un doppio avvertimento che riguarda la gente che organizza progetti come questi e le scuole di moda che formano gli studenti affinché si dotino di senso in ciò che fanno e sviluppano. Le mie parole sono strettamente collegate a questa esperienza e a un suo momento ovvero quando mi è stato chiesto di commentare le sfilate. L’ ho fatto, anche se è poi stato chiesto alla giuria di essere più gentile con i giovani creativi. Dico ciò che penso, una virtù che è un grande limite, poiché il consenso dà senso a ciò che non lo ha.. Ho visto alcune collezioni ispirate al Giappone che è la cosa più difficile da sviluppare in termini di struttura e volumi. In questa circostanza tale ispirazione si è trasformata in una debole interpretazione Lady Gaga-esca, priva di alcuno styling della sfilata, un leitmotiv della serata, ad eccezione di alcune sfilate. Un uomo del pubblico mi ha fatto i complimenti per la mia sagacia. Dovevo dire ciò che pensavo. Perchè? Perchè ritengo che se fai credere a un giovane ragazzo/ragazza che abbia talento, lo/la distruggi e gli/le fai perdere tempo ove non ne abbia. Da ciò deriva una diabolica alchimia, fatta di pretenziosità della gente che vuol essere un fashion designer, ma è privo delle capacità e di un background appropriato per diventarlo. Mi soffermo sulla grande responsabilità che hanno le scuole di moda nel formare in modo appropriato gli studenti, un duro lavoro che apprezzo ogni volta che mi trovo alla Facoltà di Design della Moda della Università Iuav di Venezia, guidata da Maria Luisa Frisa e all’ Accademia di Costume e Moda di Roma, eccellente istituzione diretta da Lupo Lanzara come anche in diverse scuole di moda, istituzioni che si trovano in Italia e all’ estero. Mi preoccupo di dire ciò per migliorare e non distruggere iniziative come queste, dando vita a un reale circolo virtuoso, fatto di idee, energie e fatti, considerando ciò un mero monito dato ai giovani che vogliono lavorare nell’ ambito della moda. La modestia aiuta, come anche il lavorare alacremente, ma non esiste soltanto il lavoro di fashion designer nell’ industria della moda. I designers di tessuti, i modellisti sono professionalità altrettanto preziose. Perciò concentratevi sulle vostre capacità con onestà e modestia per dar vita a un felice iter lavorativo. Questo che il mio sincero augurio per tutti coloro che in questo momento stanno studiando e investendo tempo, denaro ed energie in ciò.

A moment of performance by the Italian fencing team along the a Ballet company, photo by N

A moment of performance by the Italian fencing team along the a Ballet company, photo by N

 

The jury at work: Valentina Vezzali & Valeria Ciarriello. photo by N

The jury at work: Valentina Vezzali & Valeria Ciardiello. photo by N

 

 

A selfie(sh) moment inspired by the song performed by Bussoletti ft. Michela Bonafoni, me, myself & I, Valeria Ciarriello & Valentina Vezzali, photo by N

A selfie(sh) moment inspired by the song performed by Bussoletti ft. Michela Bonafoni, me, myself & I, Valeria Ciardiello & Valentina Vezzali, photo by N

 

Arnoldo Battois, photo by Paolo Franzo

Arnoldo Battois, photo by Paolo Franzo

Origin, Passion and Belief -the new concept of fashion tradeshow event, focused on accessories and jewelry, hosting also renowned companies producing and distributing fashion and lifestyle products, ideated by Fiera di Vicenza and Not Just a Label (NJAL) – has recently opened in Vicenza. It’s a promising new experience of making joining the creatives to the fashion companies as well as installations talking about healthy ethics, as “Space waste”, installation curated by Maria Luisa Frisa and Carlo Alberto D’ Emilio, featuring Carmina Campus – brand of accessories, jewelry and furniture, created by Ilaria Venturini Fendi – embodying the culture of re-use and sustainability, a value successfully made concrete by the brand along with other ones celebrating the design as “Corporeality il gioiello secondo Gianfranco Ferrè“, which showcases the work by Gianfranco Ferrè and was also curated  by Maria Luisa Frisa. Elegance shines as lifestyle, a bright alchemy made of experimentation and refinement. That is the sign by Arnoldo Battois, brand of accessories created by Silvano Arnoldo and Massimiliano Battois: high-end materials and sophisticated design, catchy shapes under the sign of a timeless elegance and a fine craftsmanship give rise to a new idea of luxury. An interesting display of creatives, some are more nice other are fun like the creations by Harem and the ethno-chic garments and accessories by ART/C along with other brands, I will tell you about much more soon.

ORIGIN(1): MODA CONTEMPORANEA & CULTURA ALL’ EVENTO FIERISTICO DI MODA DI  VICENZA

Arnoldo Battois, photo by Paolo Franzo

Arnoldo Battois, photo by Paolo Franzo

Origin, Passion and Belief – il nuovo concetto di evento fieristico di moda incentrato sugli accessori e i gioielli che ospita anche rinomate aziende che producono e distribuiscono prodotti di moda e di lifestyle ideata da Fiera di Vicenza e Not Just a Label (NJAL) – si è recentemente aperta a Vicenza. Una promettente nuova esperienza che unisce i creativi alle aziende di moda come anche le installazioni che parlano di una salubre etica, quale “Space waste”, installazione curata da Maria Luisa Frisa e Carlo Alberto D’ Emilio, di cui è protagonista Carmina Campus – brand di accessori, gioielli e componenti di arredo, creato da Ilaria Venturini Fendi – e racchiude in sé la cultura del riuso e della sostenibilità, valore felicemente concretizzato dal brand unitamente ad altre che celebrano il design come “Corporeality il gioiello secondo Gianfranco Ferrè“,  che espone l’ opera di Gianfranco Ferrè ed è stata curata anch’ essa da Maria Luisa Frisa. Splende l’ eleganza come stile di vita, una brillante alchimia fatta di sperimentazione e raffinatezza. Questo è il segno di Arnoldo Battois, brand di accessori creato Silvano Arnoldo e Massimiliano Battois: materiali di alta qualità e un sofisticato design, accattivanti volumi all’ insegna di una eleganza senza tempo e fine artigianalità danno vita a una nuova idea di lusso. Una interessante esposizione di creativi, alcuni dei quali sono simpatici altri divertenti come le creazioni di Harem e gli abiti ed accessori di ART/C unitamente ad altri brand di cui presto vi dirò di più .

Arnoldo Battois, photo by Paolo Franzo

Arnoldo Battois, photo by Paolo Franzo

 

Arnoldo Battois, photo by Paolo Franzo

Arnoldo Battois, photo by Paolo Franzo

 

Arnoldo Battois, photo by Elisabetta Facco

Arnoldo Battois, photo by Elisabetta Facco

 

Arnoldo Battois, photo by Elisabetta Facco

Arnoldo Battois, photo by Elisabetta Facco

 

Arnoldo Battois, photo by Elisabetta Facco

Arnoldo Battois, photo by Elisabetta Facco

 

Arnoldo Battois, photo by Elisabetta Facco

Arnoldo Battois, photo by Elisabetta Facco

 

Arnoldo Battois, photo by Elisabetta Facco

Arnoldo Battois, photo by Elisabetta Facco

 

The installation featuring Carmina Campus, photo by Paolo Franzo

The installation featuring Carmina Campus, photo by Paolo Franzo

 

Carmina Campus, photo by Paolo Franzo

Carmina Campus, photo by Paolo Franzo

 

Carmina Campus, photo by Paolo Franzo

Carmina Campus, photo by Paolo Franzo

 

The installation by Maria Luisa Frisa and Carlo Alberto D' Emilio featuring Carmina Campus, photo by Elisabetta Facco

The installation by Maria Luisa Frisa and Carlo Alberto D’ Emilio featuring Carmina Campus, photo by Elisabetta Facco

 

The installation by Maria Luisa Frisa and Carlo Alberto D' Emilio featuring Carmina Campus, photo by Elisabetta Facco

The installation by Maria Luisa Frisa and Carlo Alberto D’ Emilio featuring Carmina Campus, photo by Elisabetta Facco

 

The installation by Maria Luisa Frisa and Carlo Alberto D' Emilio featuring Carmina Campus, photo by Elisabetta Facco

The installation by Maria Luisa Frisa and Carlo Alberto D’ Emilio featuring Carmina Campus, photo by Elisabetta Facco

 

The installation by Maria Luisa Frisa and Carlo Alberto D' Emilio featuring Carmina Campus, photo by Elisabetta Facco

The installation by Maria Luisa Frisa and Carlo Alberto D’ Emilio featuring Carmina Campus, photo by Elisabetta Facco

 

The installation by Maria Luisa Frisa and Carlo Alberto D' Emilio featuring Carmina Campus, photo by Elisabetta Facco

The installation by Maria Luisa Frisa and Carlo Alberto D’ Emilio featuring Carmina Campus, photo by Elisabetta Facco

 

The installation by Maria Luisa Frisa and Carlo Alberto D' Emilio featuring Carmina Campus, photo by Elisabetta Facco

The installation by Maria Luisa Frisa and Carlo Alberto D’ Emilio featuring Carmina Campus, photo by Elisabetta Facco

 

The installation by Maria Luisa Frisa and Carlo Alberto D' Emilio featuring Carmina Campus, photo by Elisabetta Facco

The installation by Maria Luisa Frisa and Carlo Alberto D’ Emilio featuring Carmina Campus, photo by Elisabetta Facco

 

The installation by Maria Luisa Frisa and Carlo Alberto D' Emilio featuring Carmina Campus, photo by Elisabetta Facco

The installation by Maria Luisa Frisa and Carlo Alberto D’ Emilio featuring Carmina Campus, photo by Elisabetta Facco

 

“Corporeality il gioiello secondo Gianfranco Ferrè”, installation featuring Gianfranco Ferrè jewelry curated by Maria Luisa Frisa, photo by Paolo Franzo

 

“Corporeality il gioiello secondo Gianfranco Ferrè”, installation featuring Gianfranco Ferrè jewelry curated by Maria Luisa Frisa, photo by Paolo Franzo

 

“Corporeality il gioiello secondo Gianfranco Ferrè”, installation featuring Gianfranco Ferrè jewelry curated by Maria Luisa Frisa, photo by Paolo Franzo

 

Harem Royal, photo by Elisabetta Facco

Harem Royal, photo by Elisabetta Facco

 

Harem Royal, photo by Elisabetta Facco

Harem Royal, photo by Elisabetta Facco

 

 

Harem, photo by Paolo Franzo

Harem Royal, photo by Paolo Franzo

 

ART/C, photo by Paolo Franzo

ART/C, photo by Paolo Franzo

 

ART/C, photo by Paolo Franzo

ART/C, photo by Paolo Franzo

 

ART/C, photo by Paolo Franzo

ART/C, photo by Paolo Franzo

 

 

www.originfair.com

 

 

enricodarling

It will be held on 29th April 2014 in Treviso, in Via Achille Papa 1, at the Fashion Design Faculty of Iuav University of Venice, at 2:30 pm the talk “Il collezionista di abiti”, being part of series of conferences organized by Maria Luisa Frisa and Gabriele Monti “Mostrare la moda oggi: il gesto del curatore” (during the exhibition “Revisioni: Esercizi a partire da una study collection”, curated by Gabriele Monti which is held in Venice at the Spazio Punch), a talk featuring the clothing collector and dear friend Enrico Quinto. Enrico is the co-owner of collection Enrico QuintoPaolo Tinarelli, including 130 clothes that star in an exhibition on the Italian Glamour, recently opened in Rio De Janeiro, I tell you about during the forthcoming days (ten items being part of collection are also showcased in “The Glamour of Italian Fashion”, exhibition which is held in London at the Victoria & Albert Museum and runs through 27th July). I like reminding a nice circumstance I shared with him, talking about possession and fashion culture and involving a Bagonghi bag, my favorite bag by Roberta di Camerino, we found during a pleasant Summer afternoon in Rome. Walking on the street, in the area of Piazza Navona, in Via del Governo Vecchio we found the Bagonghi bag, which was close to the rubbish container. It was and is my favorite bag, I was happy to find it with my friend, put on the ground as garbage. Not being part of me – spiritually and materially – the possession, believing in random synchronicity – as nothing happens for random -, I immediately gave it to my friend. Knowing it was my favorite bag he wanted I held it. Instead of me who I am just someone who liked this bag, I considered Enrico as a kind of fashion culture’s guardian and therefore he had to have it. Thus it has been. Fashion culture is such an essential value, a value arising from the creativity connected to the matter, an object, a garment and goes beyond the ethic of possession (after all I always have chosen between to have or to be of being). And concerning that or rather fashion culture, I am sure the words by Enrico (bright individual successfully joining intelligence and irony), his tales will be really precious to think about the work of a collector. A not to be missed happening which is just an announced success, as it often happens at the Iuav University.

“IL COLLEZIONISTA DI ABITI”, A TALK FEATURING ENRICO QUINTO AT THE IUAV UNIVERSITY

Enrico Quinto and the Bagonghi bag by Roberta di Camerino, photo by N

Enrico Quinto and the Bagonghi bag by Roberta di Camerino, photo by N

Si terrà il 29 aprile 2014 a Treviso, in Via Achille Papa 1, presso la Facoltà di Design della Moda dell’ Università Iuav di Venezia, alle ore 14:30 il talk “Il collezionista di abiti” che è parte della serie di conferenze organizzate da Maria Luisa Frisa e Gabriele MontiMostrare la moda oggi: il gesto del curatore” (in occasione della mostra “Revisioni: Esercizi a partire da una study collection”, curata da Gabriele Monti che si tiene a Venezia presso lo Spazio Punch), un talk di cui è protagonista il collezionista di abiti e caro amico Enrico Quinto. Enrico è comproprietario della collezione Enrico QuintoPaolo Tinarelli, la quale include 130 abiti che sono protagonisti di una mostra, recentemente inaugurata a Rio De Janeiro sull’ Italian Glamour, in merito alla quale parlerò nei prossimi giorni (dieci pezzi che sono parte della collezione sono anche esposti in “The Glamour of Italian Fashion”, mostra che si tiene a Londra presso il Victoria & Albert Museum e prosegue fino al 27 luglio). Mi piace ricordare una simpatica circostanza condivisa con lui che parla di possesso, cultura della moda e coinvolge una Bagonghi, la mia borsa preferita di Roberta di Camerino, da noi trovata durante un piacevole pomeriggio estivo a Roma. Passeggiando per strada, nei dintorni di Piazza Navona, a Via del Governo Vecchio, abbiamo trovato una Bagonghi che stava a terra vicino al contenitore dell’ immondizia. Non facendo – spiritualmente e materialmente – parte di me il possesso, credendo nel sincronismo del caso – poiché niente accade casualmente -, l’ ho immediatamente donata al mio amico. Sapendo che era la mia borsa preferita voleva che la tenessi. Diversamente da me che sono soltanto qualcuno a cui piaceva questa borsa, considero Enrico una sorta di guardiano della cultura della moda e pertanto la doveva avere. Così è stato. La cultura della moda è un valore imprescindibile, valore che nasce dalla creatività legata alla materia, a un oggetto, un indumento e va al di là dell’ etica del possesso (dopotutto tra avere ed essere ho sempre scelto di essere). E in merito a ciò ovvero alla cultura della moda, son certa che le parole di Enrico(brillante individualità che unisce felicemente intelligenza e ironia), i suoi racconti saranno oltremodo preziosi per riflettere sull’ opera di un collezionista. Un evento imperdibile che è già un successo annunciato, come sovente accade alla Iuav.

Enrico Quinto and me at  the Rome Caffè Novecento

Enrico Quinto and me at the Rome Caffè Novecento

 

 

www.iuav.it

revisioni_invito_social

It will be opened on 4th April 2014 at 6 pm in Venice at the Spazio Punch “Re-visioni: esercizi a partire da una study collection”(standing as “Re-visions: exercises arising from a study collection”), exhibition organized by the Culture of Project Research Unit “The design in fashion” of Iuav University of Venice, in collaboration with the Venice Fondazione Musei Civici-Palazzo Moncenigo, curated by Gabriele Monti teaming with the students of third year of Fashion Design Course from the Iuav University of Venice. The name of exhibition – which will run through 29th April 2014 – evokes the gesture of seeing again, catching the unseen details. A smashing display of fashion from Eighties to contemporary times, including creatives as Jean Paul Gaultier, Giorgio Armani, Romeo Gigli, Comme des Garçons, Emilio Pucci, Norma Kamali, Maison Martin Margiela, Complice, Byblos, Irié, Claude Montana, Yohji Yamamoto, Moschino, Sybilla, Junya Watanabe, Vivienne Westwood, Prada, creations coming from the private collection of Maria Luisa Frisa, director of BA Fashion Design Course at Iuav. This exhibition has been the chance of giving rise to reproductions on canvas of items that are here showcased, made by the students, a modeling work which is part of exhibition path and emphasizes a different way of observing the dress, as study and design. It completes the exhibition the ephemera, ephemeral objects as invitations to attend at events, fashion shows and performances, press- releases, lookbooks and other materials as catalogues telling the work by fashion designers. A not to be missed event under the sign of fashion culture.

 

“RE-VISIONI: ESERCIZI A PARTIRE DA UNA STUDY COLLECTION” ALLO SPAZIO PUNCH DI VENEZIA

Jacket by Moschino( late Eighties), Maria Luisa Frisa Collection

Jacket Moschino( late Eighties), Maria Luisa Frisa Collection

Sarà inaugurata il 4 aprile 2014 alle ore 18:00 a Venezia presso lo Spazio Punch “Re-visioni: esercizi a partire da una study collection”, mostra organizzata dal Dipartimento di Cultura del Progetto Unita di Ricerca “Il progetto nella moda” dell’ Università Iuav di Venezia, in collaborazione con la Fondazione Musei Civici di Venezia-Palazzo Moncenigo, curata da Gabriele Monti in collaborazione con gli studenti del terzo anno del Corso di Laurea in Fashion Design dell’ Università Iuav di Venezia. Il nome della mostra – che proseguirà fino al 29aprile 2014 – evoca il gesto del rivedere, catturando i dettagli che non erano stati visti. Una formidabile esposizione di moda dagli anni Ottanta alla contemporaneità, comprensiva delle opere di creativi quali Jean Paul Gaultier, Giorgio Armani, Romeo Gigli, Comme des Garçons, Emilio Pucci, Norma Kamali, Maison Martin Margiela, Complice, Byblos, Irié, Claude Montana, Yohji Yamamoto, Moschino, Sybilla, Junya Watanabe, Vivienne Westwood, Prada, creazioni provenienti dalla collezione privata di Maria Luisa Frisa, direttore del Corso di Laurea Triennale di Fashion Design della Iuav. Questa mostra è stata la felice occasione di dar vita a riproduzioni dei modelli esposti su tela, realizzate dagli studenti, un lavoro di modellistica che fa parte del percorso espositivo e sottolinea un modo diverso di osservare l’ abito, quale studio e progetto. Completano la mostra le ephemera, oggetti effimeri quali inviti a eventi, sfilate e performances, comunicati stamp, lookbooks ed altri materiali quali cataloghi che raccontano l’ opera dei fashion designers. Un evento imperdibile all’ insegna della cultura della moda.

Suit by Giorgio Armani, Fall/Winter 1998-1999, Maria Luisa Frisa Collection

Suit Giorgio Armani, Fall/Winter 1998-1999, Maria Luisa Frisa Collection

 

Suit by Emilio Pucci from Mid-Nineties, Maria Luisa Frisa Collection

Suit Emilio Pucci from Mid-Nineties, Maria Luisa Frisa Collection

 

Jacket by Prada Spring/Summer 1998, Maria Luisa Frisa Collection

Jacket Prada Spring/Summer 1998, Maria Luisa Frisa Collection

 

Moschino, Fall/Winter 1987-1988, photo by Francesco de Luca

Moschino, Fall/Winter 1987-1988, photo by Francesco de Luca

 

Complice, late Eighties, Maria Luisa Frisa Collection, photo by Francesco de Luca

Complice, late Eighties, Maria Luisa Frisa Collection, photo by Francesco de Luca

 

From the left to the right side: Jacket Norma Kamali, late Eighties; suit Giorgio Armani, early Nineties; suit Emilio Pucci, late Sixties; Maria Luisa Frisa collection, photo by Francesco de Luca

From the left to the right side: Jacket Norma Kamali, late Eighties; suit Giorgio Armani, early Nineties; suit Emilio Pucci, late Sixties; Maria Luisa Frisa collection, photo by Francesco de Luca

 

Ephemera

Ephemera

 

 

www.spaziopunch.com

www.iuav.it