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The founders of Abito: Simona Barbieri, Italo Scaietta, Bruna Casella, Manuela Galli, Constanza Zukierman, photo courtesy of Abito

The founders of Abito: Simona Barbieri, Italo Scaietta, Bruna Casella, Manuela Galli, Constanza Zukierman, photo courtesy of Abito

 

It arises in Mantua, famous  city of art and culture, which this year has recognized capital of culture, the no-profit association Abito, to drive autonomously forward that educational, artistic and cultural path which has started since 2005 by FAI (Fondo Ambiente Italiano). Many have been the initiatives featuring the fashion, as the Homage to Roberto Capucci I attended at time ago, having enjoyed very much during this circumstance the quality and fashion oriented cultural offer. A laudable work which continues, developed by a committee headed by Serena Angelini Parravicini, including experts as Bruna Casella, renowned and bright leading opinion buyer, owner along with the husband Stefano Gozzoli of celebrated Mantua stores Bernardelli, the fashion historian and critic Michele Venturini, Simona Barbieri fashion designer of brand Twin-Set, Manuela Galli, Italo Scaietta, Bibi Benedini ( Benedini & Associati AGAPE Architects Studio), Silvia Araldi, Constanza Zukierman. A successful event which will be celebrated today in Mantua since 6:30 pm at Palazzo Te with a talk curated by Michele Venturini on Dries Van Noten and Marchionnes Casati, muse  who inspired the Fall/Winter 2016-2017 womenswear collection he made, of whose signs are told on paper and embodied in the book illustrated by Gill Button. A not to be missed happening for all the ones who are devoted to fashion culture and cult of beauty which will be enriched by music made by di Igor Palmieri and Michele Bianchi, as well as Epicurean suggestions by Cucina da Manuale, joyful chance to discover and enjoy the aristocratic and sophisticated elegance of Mantua, city where to go and come back.

MODA E CULTURA A MANTOVA PER CELEBRARE ABITO

invito-abito

Nasce a Mantova, famosa città d’ arte e cultura, riconosciuta quest’ anno capitale della cultura, l’ associazione no-profit Abito, per portare avanti autonomamente quel percorso divulgativo, artistico e culturale ivi avviato a partire dal 2005 dal FAI (Fondo Ambiente Italiano). Plurime le iniziative che hanno avuto quale protagonista la moda, come l’ Omaggio a Roberto Capucci a cui tempo fa ho presenziato, avendo oltremondo apprezzato in quell’ occasione la qualità e l’ offerta culturale fashion oriented . Un lodevole lavoro che continua, consolidato da un comitato guidato da Serena Angelini Parravicini, costituito da esperti del settore quali Bruna Casella, rinomata e brillante leading opinion buyer, proprietaria unitamente al marito Stefano Gozzoli dei noti stores mantovani Bernardelli, lo storico e critico della moda Michele Venturini, Simona Barbieri fashion designer del brand Twin-Set, Manuela Galli, Italo Scaietta, Bibi Benedini (dello Studio di Architettura Benedini & Associati AGAPE), Silvia Araldi, Constanza Zukierman. Un felice evento che sarà celebrato oggi a Mantova a partire dalle ore 18:30 presso Palazzo Té con un talk curato da Michele Venturini inerente Dries Van Noten e la marchesa Casati, musa ispiratrice della sua collezione autunno-inverno 2016-2017, i cui segni sono raccontati  su carta e racchiusi nel libro illustrato da Gill Button. Un happening imperdibile per tutti coloro che sono devoti alla cultura della moda e al culto del bello, che sarà arricchito da musiche di Igor Palmieri e Michele Bianchi, come anche da suggestioni epicuree realizzate Cucina da Manuale, gioiosa occasione per scoprire e apprezzare l’ aristocratica e raffinata eleganza di Mantova, città in cui andare e tornare.

Dries van Noten Fall/Winter 2016-2017 along with the work by Gill Button, photo courtesy of Dries van Noten

Dries van Noten Fall/Winter 2016-2017 along with the work by Gill Button, photo courtesy of Dries van Noten

Dries van Noten, illustration by Gill Button

Dries van Noten, illustration by Gill Button

 

Dries van Noten Fall/Winter 2016-2017 along with the work by Gill Button, photo courtesy of Dries van Noten

Dries van Noten Fall/Winter 2016-2017 along with the work by Gill Button, photo courtesy of Dries van Noten

 

 

Barbara Locatelli & Roberto Capucci at the Mantua Spazio Bernardelli, photo courtesy of Barbara Locatelli

Barbara Locatelli & Roberto Capucci at the Mantua Spazio Bernardelli, photo courtesy of Barbara Locatelli

The smashing series of events under the sign of culture, fashion and art – produced by the brand Twin-Set Simona Barbieri and organized in collaboration with Fondo Ambiente Italiano(FAI) and the renowned boutiques Bernardelli of the bright Bruna Casella – that were held in Mantua to celebrate the genius couturier Roberto Capucci followed with an exhibition and a gala dinner. The exhibition “Roberto Capucci, inventions for the theatre and ballet from 1982 to 2006”, curated by Stefano Gozzoli, which took place at Bernardelli Space where it was showcased a marvelous display of sketches of creations along with iconic garments featuring in the first ready-to-wear collection he made.

Roberto Capucci, photo courtesy of Barbara Locatelli

Roberto Capucci, photo courtesy of Barbara Locatelli

 

Roberto Capucci, photo courtesy of Barbara Locatelli

Roberto Capucci, photo courtesy of Barbara Locatelli

 

Roberto Capucci, photo courtesy of Barbara Locatelli

Roberto Capucci, photo courtesy of Barbara Locatelli

 

Roberto Capucci, photo courtesy of Barbara Locatelli

Roberto Capucci, photo courtesy of Barbara Locatelli

 

Roberto Capucci, photo courtesy of Barbara Locatelli

Roberto Capucci, photo courtesy of Barbara Locatelli

 

A majestic building, Palazzo Te – which is city of Mantua Museum and evidences the aristocratic heritage of this city, the tracks of a family, the Gonzaga family which ruled it during the sixteenth century – and its gardens were the place where it was held the gala dinner and the intense ballet “Goodbye” by the bright young dancers from the COD Ballet Company I appreciated very much. It was a tale – by the choreographer Chiara Oliveri – about the rise and end of a love, colored by the many feelings, being light and delicate, dark and moving that featured in it. The lyricism, joined to lightness, emphasized the female dimension of love experience, giving rise to a successful nocturnal interlude which paid homage to an unique creative, a gentleman, Roberto Capucci.

TRE GIORNI A MANTOVA ALL’ INSEGNA DI ROBERTO CAPUCCI (2)

Mantua Palazzo Te, photo courtesy of Barbara Locatelli

Mantua Palazzo Te, photo courtesy of Barbara Locatelli

La formidabile serie di eventi all’ insegna di cultura, moda e arte – prodotti dal brand Twin-Set Simona Barbieri e organizzati in collaborazione con il Fondo Ambiente Italiano(FAI) e le rinomate boutiques Bernardelli della brillante Bruna Casella – che si sono tenuti a Mantova per celebrare il geniale couturier Roberto Capucci è proseguita con una mostra e una cena di gala. La mostra “Roberto Capucci, invenzioni per il teatro e la danza dal 1982 al 2006”, curata da Stefano Gozzoli, che ha avuto luogo presso lo Spazio Bernardelli Bernardelli in cui è stata esposta una meravigliosa rassegna di disegni insieme ai capi iconici protagonisti della sua prima collezione di prêt a porter.

Palazzo Te, photo by N

Mantua Palazzo Te, photo by N

 

Palazzo Te, photo by Giacomo Maiolini aka Feder

Mantua Palazzo Te, photo by Giacomo Maiolini aka Feder

 

Mantua Palazzo Te, photo courtesy of Barbara Locatelli

Mantua Palazzo Te, photo courtesy of Barbara Locatelli

Un maestoso edificio, Palazzo Te – che è il Museo Civico di Mantova e testimonia le radici aristocratiche di questa città, le tracce di una famiglia, i Gonzaga che hanno l’ hanno governata durante il sedicesimo secolo – e i suoi giardini era il luogo in cui si è tenuta la cena di gala e l’ intenso balletto “Goodbye” dei giovani ballerini della Compagnia di Danza COD che ho molto apprezzato. Un racconto – della coreografa Chiara Oliveri – sulla nascita e fine di un amore, colorato da diversi sentimenti. tenui e delicati, cupi e struggenti che ne erano protagonisti. Il lirismo, unito alla leggerezza, enfatizzava la dimensione femminile dell’ esperienza amorosa, dando vita a un felice interludio notturno che ha reso omaggio a un creativo unico, un gentleman, Roberto Capucci.

Stefano Gozzoli talking with Mario Dell' Oglio ( The President of Italy Buyer Chamber), photo by N

Stefano Gozzoli talking with Mario Dell’ Oglio ( The President of Italy Buyer Chamber), photo by N

 

Bruna Casella, Mario Dell' Oglio, the music producer  Giacomo Maiolini aka Feder and the one and only Roberta Valentini, photo by N

Bruna Casella, Mario Dell’ Oglio, the music producer Giacomo Maiolini aka Feder and the one and only Roberta Valentini, photo by N

 

Giacomo Maiolini and Simona Barbieri at Palazzo Te, photo courtesy of Giacomo Maiolini

Giacomo Maiolini and Simona Barbieri at Palazzo Te, photo courtesy of Giacomo Maiolini

 

The shiny Michela Zio along with the other smokers, photo by N

The shiny Michela Zio along with the other smokers, photo by N

 

The one and only Roberta Valentini along with the audience during the ballet, photo by Giacomo Maiolini

The one and only Roberta Valentini along with the audience during the ballet, photo by Giacomo Maiolini

 

Goodbye, the ballet by the COD Ballet Company, photo by Roberta Valentini

“Goodbye”, the ballet by the COD Ballet Company, photo by Roberta Valentini

 

"Goodbye", the ballet by the COD Ballet Company, photo by Roberta Valentini

“Goodbye”, the ballet by the COD Ballet Company, photo by Roberta Valentini

 

Me, myself & I along with  Mario Colosio arriving at Palazzo Te, photo by Roberta Valentini

Me, myself & I along with Mario Colosio arriving at Palazzo Te, photo by Roberta Valentini

 

The creations by Roberto Capucci at the Mantova Bibiena Theatre, photo by N

The creations by Roberto Capucci at the Mantua Bibiena Theatre, photo by N

All in a weekend, a three days event to celebrate the genius of Roberto Capucci, vibrant creative, genuine gentleman evoking the grace. That has recently held in Mantua and featured talks and other events under the sign of culture, fashion history, art and contemporary times, produced by the brand Twin-Set Simona Barbieri and organized in collaboration with Fondo Ambiente Italiano(FAI) and the renowned boutiques Bernardelli  of the bright Bruna Casella. The event has opened by a talk, which was held in the Mantova Bibiena Theatre (suggestive place which hosted the first performance by Wolfgang Amadeus Mozart), moderated by the powerful journalist and art historian Michele Venturini which widely told about Roberto Capucci’s experience, by using the syncreticism, an unusual point of view( like the idea of wonder, concept which is the cornerstone of Baroque art as well as the work by Capucci), full of connections between history, art, fashion and contemporary times. Michele told about the couturier and at the same time talked about the idea of beauty, that idea which is embodied in the many creations made by the couturier. An open dialogue with the art he always kept alive as it is evidenced by the series of creations he dedicated to the work by Alberto Burri. Matter and structure, the patterns as the optical ones( that were turned into prints and featured in garments made of reps, a cloth which doesn’t exist since many times), the pleats, their sumptuous usage and other precious remarks concerning the making of the creations. A marvelous alchemy made of volumes and colors where – as Roberto Capucci asserts – sometimes “the color sometimes comes before the structure of a dress”. A detailed and generous talk which gave rise to a smashing evening interlude, celebrating fashion culture, high fashion and one of its most relevant leading characters.

TRE GIORNI A MANTOVA ALL’ INSEGNA DI ROBERTO CAPUCCI(1)

Roberto Capucci, photo by N

Roberto Capucci, photo by N

Tutto in un weekend, un evento di tre giorni per celebrare il genio di Roberto Capucci, vibrante creativo, autentico gentleman che evoca la grazia. Ciò si è recentemente tenuto a Mantova ed ha avuto quali protagonisti un talk ed altri eventi all’ insegna di cultura, storia dell moda, arte e contemporaneità, prodotti dal brand Twin-Set Simona Barbieri e organizzati in collaborazione con il Fondo Ambiente Italiano (FAI) e le rinomate boutiques Bernardelli della brillante the Bruna Casella. L’ happening è stato aperto da un talk che ha avuto luogo presso il Teatro Bibiena di Mantova (luogo suggestivo che ha ospitato la prima esibizione di Wolfgang Amadeus Mozart), moderato dal poderoso giornalista e storico dell’ arte Michele Venturini che ha ampiamente raccontato l’ esperienza di Roberto Capucci, avvalendosi del sincretismo, di un insolito punto di vista e vari collegamenti tra storia, arte e moda (come l’ idea della meraviglia, concetto che è il fondamento dell’ arte barocca come anche dell’ opera di Capucci). Michele parlava del couturier e al tempo stesso raccontava l’ idea di bellezza, quell’ idea che è racchiusa nelle sue creazioni. Un dialogo aperto con l’ arte da lui  mantenuto sempre vivo come è evidenziato dalla serie di abiti che ha dedicato al lavoro di Alberto Burri. Materia e struttura, motivi come quelli optical (che erano trasformati in stampe protagoniste di abiti di reps, tessuto che non esiste più), i plissé, il loro sontuoso uso ed altri preziose delucidazioni inerenti la realizzazione delle creazioni. Una splendida alchimia fatta di volumi e colori in cui – come afferma Roberto Capucci – “il colore talvolta viene prima della struttura di un abito”. Un dettagliato e generoso talk che ha dato vita a un formidabile interludio serale, celebrando la cultura della moda, l’ alta moda e uno dei suoi personaggi più significativi.

All together: The one and only Roberta Valentini, Alessandro Boccingher, Paola Sandrini and me,  myself & I, photo by N

All together: The one and only Roberta Valentini, Alessandro Boccingher, Paola Sandrini and me, myself & I, photo by N

Me, myself & I along with the bright Bruna Casella, photo by N

Me, myself & I along with the bright Bruna Casella, photo by N

The creations by Roberto Capucci at the Mantova Bibiena Theatre, photo by N

The creations by Roberto Capucci at the Mantua Bibiena Theatre, photo by N

The creations by Roberto Capucci at the Mantova Bibiena Theatre, photo by N

The creations by Roberto Capucci at the Mantua Bibiena Theatre, photo by N

The creations by Roberto Capucci at the Mantova Bibiena Theatre, photo by N

The creations by Roberto Capucci at the Mantua Bibiena Theatre, photo by N

Michele Venturini and Roberto Capucci, photo by N

Michele Venturini and Roberto Capucci, photo by N

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A “love is in the hair” moment ft. Gianluca Capannolo and Roberta Valentini, photo by N

Gianluca Capannolo, Paola Sandrini, me,myself & I along with the one and only Roberta Valentini, photo by N

Gianluca Capannolo, Paola Sandrini, me,myself & I along with the one and only Roberta Valentini, photo by N

Roberto Capucci and the optical prints he made, photo by N

Roberto Capucci and the optical prints he made, photo by N

The homage to Alberto Burri by Roberto Capucci along with the creations he made, Michele Venturini and him during the talk, photo by N

The homage to Alberto Burri by Roberto Capucci along with the creations he made, Michele Venturini and him during the talk, photo by N

Me, myself and I at the Mantua Bibiena Theatre, photo by N

Me, myself and I at the Mantua Bibiena Theatre, photo by N

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

Turin Circle of Readers

It will be held in Turin at the Circle of Readers from 15th to 21st October 2012 the event “Voice of fashion word, style meetings” – organized by the Circle of readers in collaboration with the City of Turin Culture, Turism and Promotion office, the Turin Chamber of Commerce and National Confederation of Little and Middle Company, supported by the Miroglio Fashion Group – which will focus on fashion as, idea, culture, tradition, art and craftsmanship under the, featuring many events as the talks with renowned personas in realm of art, fashion, design and craftsmanship, fashion designers, hair stylists, journalists, critics, designers, historians, philosophers, architects, businessmen and artisans – Carlo Callieri, Elena Miroglio, Melissa Hili, Luca Bianchini, Maria Luisa Frisa, Cesare Cunaccia, Benedetta Barzini, Sofia Gnoli, Giusi Ferré, Patrizia Sandretto Re Baudengo, Gabriele Ferraris, Lavinia Biagiotti, Bob Recine, Luca Beatrice, Stephan Janson, Silvia Mira, Roberto Capucci, Egle Santolini, Marta Sanniti, Daniela Farnese, Elena Masuelli, Giuseppe Culicchia, Pietrangelo Buttafuoco, Mario Bonfanti, Pietro Bonicatti, Alberto Campra, Silvio Cattaneo, Roberto Mazzeo, Vitaliano Alessio Stefanoni, Donatella Sartorio, Alberto and Tancredi Alemagna, Gelasio Gaetani D’ Aragona Lovatelli, Alessandra Comazzi, Federica Gentile, Francesco Martini Coveri, Ugo Volli, Licia Mattioli, Franco Pené, Luca Scarlini, Stefania Ricci, Quirino Conti, Agata La Spina, Massimo Alba, Stefania Ravera, Gianluigi Ricuperati, Bruno Ventavoli, Patrizia Di Carobbio, Antonio Mancinelli, Manuela Gomez, Jill Vergottini, Maurizia Marietta Goccio, Giuseppe Scaraffia, Franco Curletto, Paolo Genta Ternavasio, Elena Pignata, Bruna Biamino, Alessandra Montrucchio, Laura Tonatto -, the exhibition “La moda: lessico minimo” at Palazzo Madama which will host iconic creations as the bag “Bolide” of Julie Hermès created by his husband Emile which will be held from 16th October 2012 to February 2013, the exhibition “Vestire, Creare, Apparire, Fotografare, la moda attraverso l’ obiettivo di grandi fotografi italiani”, curated by Enrica Viganò at Ersel Group – open to the public until 21st December 2012 – which will showcase the works by renowned Italian photographers as Pasquale De Antoniis, Alfa Castaldi and Ugo Mulas, the “città in vetrina”, cultural walkings between fashion and design, featuring brands as Santoni, emerging creatives as Marta Ferri and journalists as Federico Rocca who will tell about the icons from past, talking about the celebrated brand Hermès along with workshops and other brilliant initiatives celebrating and promoting fashion and its culture. A not to be missed happening to enjoy a magic city, renowned centre of culture, its marvelous suggestions and laudable initiatives.

 “VOCE DEL VERBO MODA, INCONTRI DI STILE ” AL CIRCOLO DEI LETTORI DI TORINO 

The Turin Mole, sketch by Peter Greenaway included in the book he wrote “Tulse Luper in Turin( Volumina Editions)

Si terrà a Torino presso il Circolo Dei Lettori dal 15al 21ottobre 2012 l’ evento “Voce del verbo moda, incontri di stile” – organizzato dal Circolo dei lettori in collaborazione con l’ Assessorato del Comune di Torino per la Cultura, il Turismo e la Promozione, la Camera di Commercio di Torino and la Confederazione Nazionale per la Piccola e Media Impresa, sostenuto dal Gruppo Miroglio – che si dedicherà alla moda quale idea, cultura, tradizione, arte artigianato, di cui saranno protagonisti plurimi eventi quali i talk con rinomati personaggi nell’ ambito dell’ arte, design e artigianato, fashion designer, hair stylist, giornalisti, critici, designer, storici, filosofi, architetti, imprenditori e artigiani – Carlo Callieri, Elena Miroglio, Melissa Hili, Luca Bianchini, Maria Luisa Frisa, Cesare Cunaccia, Benedetta Barzini, Sofia Gnoli, Giusi Ferré, Patrizia Sandretto Re Baudengo, Gabriele Ferraris, Lavinia Biagiotti, Bob Recine, Luca Beatrice, Stephan Janson, Silvia Mira, Roberto Capucci, Egle Santolini, Marta Sanniti, Daniela Farnese, Elena Masuelli, Giuseppe Culicchia, Pietrangelo Buttafuoco, Mario Bonfanti, Pietro Bonicatti, Alberto Campra, Silvio Cattaneo, Roberto Mazzeo, Vitaliano Alessio Stefanoni, Donatella Sartorio, Alberto and Tancredi Alemagna, Gelasio Gaetani D’ Aragona Lovatelli, Alessandra Comazzi, Federica Gentile, Francesco Martini Coveri, Ugo Volli, Licia Mattioli, Franco Pené, Luca Scarlini, Stefania Ricci, Quirino Conti, Agata La Spina, Massimo Alba, Stefania Ravera, Gianluigi Ricuperati, Bruno Ventavoli, Patrizia Di Carobbio, Antonio Mancinelli, Manuela Gomez, Jill Vergottini, Maurizia Marietta Goccio, Giuseppe Scaraffia, Franco Curletto, Paolo Genta Ternavasio, Elena Pignata, Bruna Biamino, Alessandra Montrucchio, Laura Tonatto -, la mostra “La moda: lessico minimo” presso Palazzo Madama che ospiterà iconiche creazioni quali la borsa “Bolide” di Julie Hermès creata da suo marito Emile che si terrà dal 16 ottobre 2012 a febbraio 2013, la mostra “Vestire, Creare, Apparire, Fotografare, la moda attraverso l’ obiettivo di grandi fotografi italiani”, curata da Enrica Viganò presso il Gruppo Erselaperta al pubblico fino al 21 dicembre 2012 – che esporrà le opere di rinomati fotografi italiani quali Pasquale De Antoniis, Alfa Castaldi ed Ugo Mulas, la “città in vetrina”, passeggiate culturali tra moda e design con brand quali Santoni, creativi emergenti quali Marta Ferri e giornalisti quali Federico Rocca che racconterà delle icone del passato, parlando del celebre brand Hermès unitamente a workshop ed altre brillanti iniziative che celebrano e promuovono la moda e la sua cultura. Un evento imperdibile per apprezzare una città magica, rinomato centro di cultura, le sue meravigliose suggestioni e lodevoli iniziative.

www.circololettori.it

Gareth Pugh

 

It was held in Rome at the Monumental building Borgo S.Spirito during the latest edition of Altaroma, Limited/Unlimited, a smashing exhibition that featured the sculptural suggestions by many bright and celebrated designers as Gareth Pugh, Sylvio Giardina, Fendi, Sergio Zambon, Mary Katrantzou, Arnoldo Battois, Katsuya Kamo, Valentino, Pierre Hardy, Minky Jaemin Ha, Andreia Chaves, Hellen van Rees, Maison Michel by Laetitia Crahay, Marco De Vincenzo, Aquilano Rimondi e Roberto Capucci.

LIMITED/UNLIMITED, UNA MOSTRA CHE OMAGGIA LE SUGGESTIONI SCULTOREE 

Arnoldo Battois

Si è tenuta a Roma press il Complesso Monumentale di Borgo S.Spirito in occasione dell’ ultima edizione di Altaroma, Limited/Unlimited, una formidabile mostra di cui sono state protagoniste le scultoree suggestioni di plurimi brillanti e celebri designer quali Gareth Pugh, Sylvio Giardina, Fendi, Sergio Zambon, Mary Katrantzou, Arnoldo Battois, Katsuya Kamo, Valentino, Pierre Hardy, Minky Jaemin Ha, Andreia Chaves, Hellen van Rees, Maison Michel by Laetitia Crahay, Marco De Vincenzo, Aquilano Rimondi e Roberto Capucci.

Sylvio Giardina

 

Fendi

 

Sergio Zambon

 

 

Andreia Chaves

 

Minky Jaemin Ha

 

 

Mary Katrantzou

Maison Michel by Laetitia Crahay

 

Marco De Vincenzo

 

Roberto Capucci

 

 

Pierre Hardy

 

Katsuya Kamo

Hellen van Rees

 

Sandra Backlund

 

Valentino

 

Aquilano Rimondi

 

www.altaroma.it

Sofia Gnoli and me

It has recently presented in the suggestive Rome Orto Botanico the new book by Sofia Gnoli “Moda. Dalla nascita della haute couture a oggi”(Carocci, 34,00 Euros) during a talk featuring the author, her mentor, the professor and fashion historian Bonizza Giordani Aragno, the fashion designer and President of Alta Roma Silvia Venturini Fendi and the couturier Roberto Capucci. An afternoon to celebrate – along with emblematic personas of Italian fashion and culture – the work of a bright individual as well as yesterday and today Italian fashion history, being the past the trait d’ union with contemporary times where shines smashing creatives as Sergio Zambon, Marco De Vincenzo and many other ones of whose work is told by the book, marking – as Silvia Venturini Fendi rightly asserted – the importance of “making system in Italy” and contributing to making visible and known the new face of made in Italy. That is something continuing to be developed by institutions as AltaRoma showcasing and promoting the emerging creativity. I wish yesterday, today and tomorrow Italian fashion history and culture is promoted, considered and re-thought by a dynamic and syncretistic approach, successful chance for continuing to renew itself.

LA PRESENTAZIONE DEL LIBRO “MODA. DALLA NASCITA DELLA HAUTE COUTURE A OGGI” DI SOFIA GNOLI ALL’ ORTO BOTANICO DI ROMA

Bonizza Giordani Aragno, Sofia Gnoli, Silvia Venturini Fendi and Roberto Capucci

È stato recentemente presentato presso il suggestivo Orto Botanico di Roma il nuovo libro di Sofia Gnoli “Moda. Dalla nascita della haute couture a oggi”(Carocci, 34,00 Euro) in occasione di un talk con l’ autrice, il suo mentore, la docente e storica di moda Bonizza Giordani Aragno, la designer e Presidente di Alta Roma Silvia Venturini Fendi ed il couturier Roberto Capucci. Un pomeriggio per celebrare – unitamente ad emblematici personaggi della moda e cultura italiana – l’ opera di una brillante individualità come anche della storia della moda italiana di ieri e oggi, essendo il passato il trait d’ union con la contemporaneità in cui splendono formidabili creativi quali Sergio Zambon, Marco De Vincenzo e molti altri la cui opera è raccontata dal libro, sottolineando – come ha giustamente affermato Silvia Venturini Fendi – l’ importanza di “fare sistema in Italia”, contribuendo a rendere visibile e noto il nuovo volto del made in Italy. Ciò è qualcosa che continua ad essere consolidato da istituzioni quali AltaRoma che espone e sostiene la creatività emergente. Mi auguro che la storia della moda e la cultura italiana di ieri, oggi e domani sia promossa, considerata e ripensata all’ insegna di un approccio dinamico e sincretico, felice occasione per continuare a rinnovarsi.

Simonetta Gianfelici and her copy of book by Sofia Gnoli

Carla Fendi

My friend Sylvio Giardina and me

Silvia Venturini Fendi and Sergio Zambon

Marina Ripa di Meana and me