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photo courtesy of Roberto D’ Agostino

 

A world, an universe, a cross, unusual and non-conventional mood, a sartorial-rock architecture, also marked by the iconic dress-code, meets a vibrant way of thinking which translates and decodes the contemporary times revealing creative relationships and reshaping borders under the sign of ethics, as well as its container, the aesthetics of living with art. This is the engaging tale Roberto D’ Agostino – eclectic and visionary TV persona, journalist, critic, director of movie “Mutande pazze” (standing as “Crazy slips”), writer and author along with the famous art critic Federico Zeri of book “Sbucciando piselli” (meaning “Peeling peas” Mondadori, 1990), creator of “Dagospia”, the famous website focused on mainstream news and gossip – is going to start in Tv on Sky arte, featuring in “Dago in the Sky”, tv format which today  at 6:30 pm will be presented and will be broadcasted on every Friday at 11:30 pm. An irresistible journey inside the beauty to discover and appreciate its aesthetics, its interprets and makers which starts dealing with the wide topic of art and homosexuality and tells about an age, many times, emblematic personas from the art scene and their sign. That is an essential, mystic experience, as well as the watching of Tv program, a successful event, a must for all that love art, culture and celebrate an autonomous way of thinking which increases a categorical imperative: the mind must be all opened like a parachute.

VIVERE CON ARTE: IL DEBUTTO DI “DAGO IN THE SKY”

Roberto D' Agostino, photo by N

Roberto D’ Agostino, photo by N

Un mondo, un universo, un mood, trasversale, insolito e anticonvenzionale, un’ architettura sartorial-rock, rimarcata anche dall’ iconico codice vestimentario incontra un vibrante pensiero il quale traduce e decodifica la contemporaneità, svelando relazioni creative e ridisegnandone i confini all’ insegna dell’ etica, nonché del suo contenitore, l’ estetica del vivere con arte. Questo l’ avvincente racconto che Roberto D’ Agostino – eclettico e visionario personaggio televisivo, giornalista, critico, regista del film “Mutande pazze”, scrittore e autore unitamente al famoso critico d’ arte Federico Zeri del libro “Sbucciando piselli” (Mondadori, 1990), creatore di “Dagospia”, il famoso sito di informazione generalista che si occupa di retroscena – si appresta ad avviare in Tv su Sky arte nelle vesti di protagonista di “Dago in the Sky”, format televisivo che verrà presentato oggi alle ore 18:30 e andrà in onda ogni venerdì alle ore 23:30. Un irresistibile viaggio nel bello per scoprire e apprezzare la sua estetica, i suoi interpreti ed esecutori che inizia affrontando il vasto tema dell’ arte e dell’ omosessualità e racconta un’ epoca, vari momenti, personaggi emblematici del mondo dell’ arte e il loro segno. Un’ imprescindibile esperienza mistica, questa, come anche la visione del programma tv, lieto evento, un must per tutti coloro i quali amano l’ arte, la cultura e celebrano un pensiero autonomo che incentiva un imperativo categorico: la mente va aperta tutta come un paracadute.

Me, myself & I along with Roberto D' Agostino, photo by Roberto D' Agostino

Me, myself & I along with Roberto D’ Agostino, photo by Roberto D’ Agostino

 

http://arte.sky.it

Marco de Luca Gioielli, photo by N

Marco de Luca Gioielli, photo by N

Sacredness, mysticism, embodied in the religious iconography meeting the profane, catchy rock suggestions start an overwhelming dialogue which is impressed in the precious silver alchemies by the bright Rome jewelry designer Marco de Luca. Incisiveness, fine craftmanship and lightness, a leitmotiv of his work featuring also in other creations he made that reinterpret animalier motifs as well as the rings from the early Nineties where silver substitutes the gem and its blaze, a successful game of constructions making concrete a brilliant manufacture and a timeless, sharp design – appreciate by personas from fashion, culture and art scene as the fashion designer, who is currently the creative director of Christian Dior, Maria Grazia Chiuri and the eclectic, iconic and visionary journalist and critic Roberto D’ Agostino -, giving rise to genuine passé-partout to collect, overlap, to give oneself as a gift that are available in Rome at the boutique Toko in via del Corallo 33, a nice place to discover, appreciate and where to come back.

 

SACRO, ROCK & PROFANO, LE PREZIOSE ALCHIMIE DI MARCO DE LUCA GIOIELLI

Marco de Luca Gioielli, photo by N

Marco de Luca Gioielli, photo by N

Sacralità, misticismo racchiuso nell’ iconografia di matrice religiosa che incontra il profano, accattivanti suggestioni rock avviano un avvincente dialogo che è impresso nelle preziose alchimie in argento del brillante designer di gioielli romano Marco de Luca. Incisività, fine artigianalità e levità, un leitmotiv della sua opera protagonista anche di altre creazioni da lui realizzate, le quali reinterpretano motivi animalier e gli anelli antichi di primo novecento in cui l’ argento ne sostituisce la pietra preziosa e il suo bagliore, un felice gioco di costruzioni che concretizza una brillante manifattura e un graffiante design senza tempo – tanto apprezzato da personaggi del mondo della moda, arte e cultura quali la fashion designer , attuale direttore creativo di Christian Dior, Maria Grazia Chiuri e l’ eclettico, iconico, visionario giornalista e critico Roberto D’ Agostino -, dando vita ad autentici passé-partout da collezionare, sovrapporre, regalarsi e regalare che sono in vendita a Roma presso la boutique Toko in via del Corallo 33, un simpatico luogo da scoprire, apprezzare e in cui tornare.

Marco de Luca Gioielli, photo by N

Marco de Luca Gioielli, photo by N

Marco de Luca Gioielli, photo by N

Marco de Luca Gioielli, photo by N

Me, myself & I at Toko boutique, photo by N

Me, myself & I at Toko boutique, photo by N

Marco de Luca Gioielli, photo courtesy of Marco de Luca

Marco de Luca Gioielli, photo courtesy of Marco de Luca

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Marco de Luca Gioielli, photo courtesy of Marco de Luca

Maria Grazia Chiuri wearing a necklace by Marco de Luca Gioielli, photo courtesy of Marco de Luca

Maria Grazia Chiuri wearing a necklace by Marco de Luca Gioielli, photo courtesy of Marco de Luca

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Marco de Luca Gioielli, photo courtesy of Marco de Luca

Marco de Luca Gioielli, photo courtesy of Marco de Luca

Marco de Luca Gioielli, photo courtesy of Marco de Luca

Roberto D' Agostino wearing rings by Marco de Luca Gioielli, photo courtesy of Roberto D' Agostino

Roberto D’ Agostino wearing rings by Marco de Luca Gioielli, photo courtesy of Roberto D’ Agostino

Marco de Luca, photo courtesy of Marco de Luca

Marco de Luca, photo courtesy of Marco de Luca

http://marcodelucagioielli.com

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

Some of the little hosts featuring in Floracult, photo by N

Some of the little hosts featuring in Floracult, photo by N

Floracult, the event celebrating the nature and its culture, created by Ilaria Venturini Fendi and curated by Antonella Fornai, which was held in the Rome countryside, in La Storta, at I Casali del Pino, has been the successful chance to discover and enjoy flowers, plants, the little, big hosts of natural world, meet awesome companions of Epicurean interludes and share new flavors. Concerning the Epicurean side of my stay at Floracult, at I Casali del Pino – which is a smashing farming company, producing cheeses, cold cuts, pastries and other delights and is the place where is also the factory of Carmina Campus, brand of accessories, jewelry and furniture promoting the culture of re-use and sustainability, created by Ilaria Venturini Fendi – I was pleased of discover and enjoy the wines and spirits selected by Anna Venturini Fendi about I will talk about much more soon. It has been a smashing, magic experience, an unforgettable edition of an event, successfully making concrete that healthy ethic I celebrate.

FLORACULT: TRE GIORNI ALL’ INSEGNA DI ARTE, PROFUMI, DELLA NATURA E DELLA SUA CULTURA (3)

My new friend, Lea bulimique, from the Scialanga family, photo by N

My new friend, Lea bulimique, from the Scialanga family, photo by N

 Floracult, l’ evento che celebra la natura e la sua cultura, creato da Ilaria Venturini Fendi e curato da Antonella Fornai, che si è tenuto nella campagna romana, a La Storta, presso I Casali del Pino, è stato la felice occasione per scoprire e apprezzare i piccoli, grandi ospiti del mondo della natura, conoscere fantastici compagni di interludi epicurei e condividere nuovi sapori. Riguardo alla dimensione epicurea della mia permanenza a Floracult, a I Casali del Pino – che è una formidabile azienda agricola che produce, formaggi, salumi, torte e altre delizie ed è anche il luogo in cui si trova la factory di Carmina Campus, brand, di accessori, gioielli e componenti di arredo che racchiude in sé la cultura del riuso e la sostenibilità, creato da Ilaria Venturini Fendi – mi ha fatto molto piacere scoprire e gustare i vini e i distillati selezionati da Anna Venturini Fendi dei quali parlerò presto più approfonditamente. È stata una formidabile, magica esperienza, un’ edizione indimenticabile di un evento che concretizza felicemente quella salubre etica che celebra.

Other little hosts, featuring in Floracult

Other little hosts, featuring in Floracult

Other little hosts featuring in Floracult, photo by N

Other little hosts featuring in Floracult, photo by N

Other little hosts featuring in Floracult, photo by N

Other little hosts featuring in Floracult, photo by N

Waiting to turn into a butterfly, photo by N

Waiting to turn into a butterfly, photo by N

Spices on show at Floracult, photo by N

Spices on show at Floracult, photo by N

Spices at Floracult, photo by N

Spices at Floracult, photo by N

Spices at Floracult, photo by N

Spices at Floracult, photo by N

One of the delicious pastries by I Casali Del Pino, photo by N

One of the delicious pastries by I Casali Del Pino, photo by N

One of the delicious pastries from I Casali del Pino, photo by N

One of the delicious pastries from I Casali del Pino, photo by N

The place hosting the delights by I Casali del Pino, photo by N

The place hosting the delights by I Casali del Pino, photo by N

The red wines selected by Anna Venturini Fendi

The red wines selected by Anna Venturini Fendi, photo by N

Spina di pesca, one of the wines selected by Anna Venturini Fendi, photo by N

Spina di pesca, one of the wines selected by Anna Venturini Fendi, photo by N

Anna Venturini Fendi, Paola Fendi, Emma Bonino, Silvia Venturini Fendi, Ilaria Venturini Fendi, Antonella Antonelli, photo by N

Anna Venturini Fendi, Paola Fendi, Emma Bonino, Silvia Venturini Fendi, Ilaria Venturini Fendi, Antonella Antonelli, photo by N

Antonella Antonelli and me, photo by N

Antonella Antonelli and me, photo by N

Roberto D' Agostino and Irene Ghergo, photo by N

Roberto D’ Agostino and Irene Ghergo, photo by N

Delfina Delettrez and me,  photo by N

Delfina Delettrez and me, photo by N

Umberto Pons and Giacomo Pons Fendi, photo by N

Umberto Pons and Giacomo Pons Fendi, photo by N

Giancarlo Scialanga, Meo Fusciuni aka the cousin of Fabio Quaranta, Federica Castellani and Pietro Scialanga, photo by N

Giancarlo Scialanga, Meo Fusciuni aka the cousin of Fabio Quaranta, Federica Castellani and Pietro Scialanga, photo by N

Two friends are better than one: Ilaria Venturini Fendi and Nicola Paccagnella, photo by N

Two friends are better than one: Ilaria Venturini Fendi and Nicola Paccagnella, photo by N

Stephan Hamel and me, photo by N

Stephan Hamel and me, photo by N

Davide Orlandi Dormino and Clara Tosi Pamphili, photo by N

Davide Orlandi Dormino and Clara Tosi Pamphili, photo by N

Adelaide Corbetta and me, photo by N

Adelaide Corbetta and me, photo by N

Claudio Santamaria and his intense green shooping, photo by N

Claudio Santamaria and his intense green shooping, photo by N

My hair stylist at Floracult, Silvia Turbo and me, photo by N

My hair stylist at Floracult, Silvia Turbo and me, photo by N

Two rainbows are better than one at Floracult, photo by N

Two rainbows are better than one at Floracult, photo by N

www.floracult.com

Life is sharing: Ilaria Venturini Fendi and me, photo by Stephan Hamel

Life is sharing: Ilaria Venturini Fendi and me, photo by Stephan Hamel

The fifth edition of Floracult, event celebrating the nature and its culture, created by Ilaria Venturini Fendi and curated by Antonella Fornai – which was held in the Rome countryside, at La Storta, in I Casali del Pino -, opened with a series of smashing initiatives as the talk moderated by the journalist and author Ida Tonini starring Meo Fusciuni, modern alchemist who talked about his experiences with herbs, scents and his brand of artistic perfumery.

Meo Fusciuni (aka the cousin of Fabio Quaranta) and me, photo by N

Meo Fusciuni (aka the cousin of Fabio Quaranta) and me, photo by N

Antonella Fornai, Ida Tonini and Meo Fusciuni, photo by N

Antonella Fornai, Ida Tonini and Meo Fusciuni, photo by N

 

The scents by Meo Fusciuni, photo by N

The scents by Meo Fusciuni, photo by N

 

Federica Castellani, Meo Fusciuni as alchemist and some people who were interested in his magic potions at the School for Re-inventors, photo by N

Federica Castellani, Meo Fusciuni as alchemist and some people who were interested in his magic potions at the School for Re-inventors, photo by N

Meo, nice and bright individual, who seemed me like the cousin of Fabio Quaranta (brilliant fashion designer and professor at the Iuav University of Venice). That became his second nick name adding to Meo Fusciuni, art name chosen by Giuseppe Imprezzabile, Sicilian man who is based in Salsomaggiore, of whose the family name Fusciuni arises from the Sicilian slang and stands as “to flow”. Meo told about his relationship with the scents, experience arisen for random. He studied chemistry, then worked with disabled people, became herbalist and later started studying anthropology and travelling. His scents have arisen during his journeys. Passion, love and nostalgia are some emotions the lack of love as it happened with “Notturno” and “Luce”, two fragrances that embodied the feelings of Meo, the nostalgia for his love, her life companion Federica Castellani, who were far away from him and her return, celebrate his love for her, featuring the warmth and sensuality of patchouli (one of my favorite fragrances along with vetiver and opoponax), spicy notes that are sweetened by tonka. Olfactive experiences and alchemic moments, connected to poetry and magic suggestions under the sign of Crowley’s experiences (another thing confirming the spiritual connection to Fabio Quaranta, his love for the bands that are Crowley inspired as Psychic TV, Coil and Current 93).

Floracult

Floracult

 

Floracult

Floracult

 

Floracult

Floracult

 

Floracult

Floracult

 

Floracult

Floracult

 

Floracult

Floracult

 

 

Carnations at Floracult

Carnations at Floracult

A successful experience which combined with other happenings, exhibition events that talked about nature, art and craftsmanship. The world of butterflies was depicted by “Patma”, the performance by Sasha Turchi which told about the rise of butterflies and “La memoria degli oggetti” by Pablo Mesa Capella, who created containers of memories and poetry.

Pablo Mesa Capella

Pablo Mesa Capella

 

Pablo Mesa Capella

Pablo Mesa Capella

 

Pablo Mesa Capella

Pablo Mesa Capella

 

Pablo Mesa Capella

Pablo Mesa Capella

 

Patma by Sacha Turchi, photo by N

Patma by Sacha Turchi, photo by N

 

Patma by Sacha Turchi, photo by Davide Orlandi Dormino

Patma by Sacha Turchi, photo by Davide Orlandi Dormino

 

Patma by Sacha Turchi, photo by Davide Orlandi Dormino

Patma by Sacha Turchi, photo by Davide Orlandi Dormino

 

Patma by Sacha Turchi, photo by Davide Orlandi Dormino

Patma by Sacha Turchi, photo by Davide Orlandi Dormino

 

Patma by Sacha Turchi, photo by N

Patma by Sacha Turchi, photo by N

Patma by Sacha Turchi, photo by N

Patma by Sacha Turchi, photo by N

Patma by Sacha Turchi, photo by N

Patma by Sacha Turchi, photo by N

 

A butterfly featuring in Patma by Sacha Turchi, photo by N

A butterfly featuring in Patma by Sacha Turchi, photo by N

 

A butterfly featuring in Patma by Sacha Turchi, photo by N

A butterfly featuring in Patma by Sacha Turchi, photo by N

 

A butterfly featuring in Patma by Sacha Turchi, photo by N

A butterfly featuring in Patma by Sacha Turchi, photo by N

 

A butterfly featuring in Patma by Sacha Turchi, photo by N

A butterfly featuring in Patma by Sacha Turchi, photo by N

 

A butterfly featuring in Patma by Sacha Turchi, photo by N

A butterfly featuring in Patma by Sacha Turchi, photo by N

The woods found into the sea of Pantelleria and their lyricism where the main features of installation by Giancarlo Scialanga which was emphasized by the sound design by Pietro Scialanga. Wood and craftsmanship shined in the suggestive furniture by the nice Alessandro Visi.

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Alessandro Visi, photo by N

Alessandro Visi, photo by N

 

Giancarlo Scialanga, photo by N

Giancarlo Scialanga, photo by N

 

Giancarlo Scialanga, photo by N

Giancarlo Scialanga, photo by N

 

Giancarlo Scialanga, photo by N

Giancarlo Scialanga, photo by N

 

Giancarlo Scialanga, photo by N

Giancarlo Scialanga, photo by N

Flowers, plants, little, big animals, delights as the licorice by Amarelli, creations inspired by nature where the alchemies by Floracult, dressed up by such a loving and genuine atmosphere which had a kind of magic. The warm welcome of place, kindness and congeniality of people I saw made all that marvelous, relaxing and fun.

FLORACULT: TRE GIORNI ALL’ INSEGNA DI ARTE, PROFUMI, DELLA NATURA E DELLA SUA CULTURA (1)

Ilaria Venturini Fendi and Antonella Fornai, photo by N

Ilaria Venturini Fendi and Antonella Fornai, photo by N

La quinta edizione di Floracult, evento che celebra la natura e la sua cultura, creato da Ilaria Venturini Fendi e curato da Antonella Fornai – che si è tenuto nella campagna romana, a La Storta, nei I Casali del Pino -, si è aperta con una serie di formidabili iniziative quali un talk moderato dalla giornalista e scrittrice Ida Tonini con Meo Fusciuni, moderno alchimista che ha parlato delle sue esperienze con le erbe, i profumi e del suo brand di profumeria artistica.

Peonies at Floracult, photo by N

Peonies at Floracult, photo by N

Leonetta Luciano Fendi, me and the peonies, photo by N

Leonetta Luciano Fendi, me and the peonies, photo by N

Meo, simpatica e brillante individualità che mi sembrava il cugino di Fabio Quaranta( brillante fashion designer e docente presso l’ Università Iuav di Venezia). Questo è diventato il suo secondo nick name che si aggiunge a Meo Fusciuni, nome d’ arte scelto da Giuseppe Imprezzabile, siciliano che risiede Salsomaggiore, il cui cognome deriva dal dialetto siciliano e sta a significare “scorrere”. Meo ha raccontato del suo rapporto con i profumi, un’ esperienza nata per caso. Ha studiato chimica, ha poi lavorato con i disabili, è divenuto erborista e poi ha iniziato a studiare antropologia e viaggiare. Le sue fragranze sono nate durante i suoi viaggi. Passione, amore e nostalgia sono alcune delle emozioni da loro ritratte. Infatti “Notturno” e “Luce” racchiudono la nostalgia per il suo amore, la sua compagna di vita Federica Castellani che era lontana e il suo ritorno, celebrano l’ amore per lei ed hanno quali protagonisti la calda sensualità del patchouli(una delle mie fragranze preferite unitamente a vetiver e opoponax), note speziate addolcite dalla fava tonka. Esperienze olfattive e momenti alchemici, legati alla poesia ed a magiche suggestioni crowleyane (un’ alltra prova che conferma la parentela spirituale con Fabio Quaranta, il suo amore per le band che si ispirano a Crowley quali Psychic TVCoil e Current 93).

Lavander at Floracult, photo by N

Lavander at Floracult, photo by N

 

Lavander at Floracult, photo by N

Lavander at Floracult, photo by N

 

 

Lavander at Floracult, photo by N

Lavander at Floracult, photo by N

 

photo by N

photo by N

Una felice esperienza, unita ad altri eventi che parlavano di natura, arte e artigianalità. Il mondo delle farfalle è stato ritratto da “Patma”, la performance di Sacha Turchi che ha narrato la nascita delle farfalle e “La memoria degli oggetti” di Pablo Mesa Capella che ha creato contenitori di ricordi e poesia.

Me, myself and I along with a little rabbit, photo by N

Me, myself and I along with a little rabbit, photo by N

Chicks on speed, photo by N

Chicks on speed, photo by N

 

La legna ritrovata nelle acque di Pantelleria e il suo lirismo erano i protagonisti dell’ installazione di Giancarlo Scialanga che è stata enfatizzata dal sound design di Pietro Scialanga. Legno e artigianalità hanno brillato nei suggestivi componenti di arredo del simpatico Alessandro Visi.

Silvia Venturini Fendi and me, photo by N

Silvia Venturini Fendi and me, photo by N

Claudio Santamaria, photo by N

Claudio Santamaria, photo by N

 

Silvia Venturini Fendi, Eric and Zen, the dog of Roberto D' Agostino, photo by N

Silvia Venturini Fendi, Eric and Zen, the dog of Roberto D’ Agostino, photo by N

 

Adelaide Corbetta and me, photo by N

Adelaide Corbetta and me, photo by N

 

Delfina Delettrez, photo by N

Delfina Delettrez, photo by N

 

Irene Ghergo, photo by N

Irene Ghergo, photo by N

A headonism moment (hat by Patrizia Romita) featuring me, myself and I, photo by N

A headonist moment (hat by Patrizia Romita) featuring me, myself and I, photo by N

 

Roberto D' Agostino and me, photo by N

Roberto D’ Agostino and me, photo by N

 

A headonist moment featuring Roberto D' Agostino, photo by N

A headonist moment featuring Roberto D’ Agostino, photo by N

Fiori, piante, piccoli, grandi animali, delizie come la liquirizia di Amarelli, creazioni che si ispirano alla natura erano le alchimie di Floracult, condite da una atmosfera estremamente amorevole e autentica che aveva qualcosa di magico. La calda accoglienza del luogo e la gentilezza e simpatia delle persone che ho incontrato ha reso tutto ciò meraviglioso rilassante e divertente.

Licorice by Amarelli, photo by N

Licorice by Amarelli, photo by N

 

The salted licorice by Amarelli,photo by N

The salted licorice by Amarelli,photo by N

The liquorice by Amarelli, photo by N

The liquorice by Amarelli, photo by N

 

www.floracult.com

 

 

 

 

Lapo Elkann

Lapo Elkann, photo by Giorgio Miserendino

The book-launch of “Le regole del mio stile”( Add Editore, Euros 18,00) by Lapo Elkann which was held in Rome at the Arion bookshop, placed in the Palazzo delle Esposizioni, has been a successful chance to reflect about themes as beauty, style, Italy, made in Italy and planning quality, as well as to know and enjoy the vibrant personality of author. Iconic, brilliant, warm-hearted, candid – as the nice Roberto D’ Agostino asserted, pointing this word could be the title of book -, sensitive, all that is Lapo Elkann. It fascinates, catches and moves his say and modesty in presenting the first book he wrote which embodies “the passion and love for beauty, the will of building and doing” – says Lapo –  his “it’s not for me, but it’s for the others”, pointing all that I made I made it along with the others” and successfully making concrete a value which is deeply connected with me, the sharing.

The book "Le regole del mio stile", by Lapo Elkann at the Arion bookshop, photo by Giorgio Miserendino

The book “Le regole del mio stile”, by Lapo Elkann at the Arion bookshop, photo by Giorgio Miserendino

The author considers the beauty and style as means to renew Italy and made in Italy and asserts: “when we talk about beauty and style, we talk about Italy; it’s something there is much more than in many other countries, even if we often don’t love enough what we have”. Emotions, ideas and concrete strategies to take beauty back and re-launch the made in Italy as the product customization and use of craftsmanship, featuring in our history. Roberto D’ Agostino, Lupo Lanzara and Marco Materazzi were at the book-launch, chosen by Lapo, as they embody the dynamism, the do, everyone in a different realm: the media for D’Agostino, creator of costume website Dagospia, Lupo Lanzara who heads and is renewing an institution of excellence, the Rome Costume and Fashion Academy and the soccer player Marco Materazzi.

Roberto D' Agostino and Lapo Elkann, photo by Giorgio Miserendino

Roberto D’ Agostino and Lapo Elkann, photo by Giorgio Miserendino

Roberto D’ Agostino added lightness and irony, a leitmotiv of this individual, praised the being superficial – value he thinks it’s impressed in the book by Lapo and join both -, explaining: “we have our ideology, the superficialism, the deepness kills us, so we are faster than others and we pinch all the ones from”. Talking about the book, he thought: “it’s so naive to be true, Lapo says what we never want hearing or rather we love being appreciated.” The talk of Lupo Lanzara has been more intimist and focused on Lapo as long-time friend, his book and to the extent it represents him.

Lupo Lanzara, Lapo Elkann, Roberto D' Agostino, photo by Giorgio Miserendino

Lupo Lanzara, Lapo Elkann, Roberto D’ Agostino, photo by Giorgio Miserendino

An awesome event under the sign of style, a catchy book and its author who evokes the velocity and gives rise to an original and contemporary version of Filippo Tommaso Marinetti’ s way of thinking, celebrating the freedom, Italian character, progress and technology (paradigms successfully made concrete by the brand he created Italia Independent), enriched by a charming eccentricity which makes him unique.

LA PRESENTAZIONE DEL LIBRO “LE REGOLE DEL MIO STILE” DI LAPO ELKANN A ROMA

Lapo Elkann

Lapo Elkann, photo by Giorgio Miserendino

La presentazione del libro “Le regole del mio stile”( Add editore, 18,00 Euro) di Lapo Elkann che si è tenuta a Roma presso la Libreria Arion, sita nel Palazzo delle Esposizioni, è stata una felice occasione per riflettere su temi quali bellezza, stile, Italia, made in Italy e progettualità, nonché conoscere e apprezzare la vibrante personalità dell’ autore. Iconico, brillante, caloroso, candido – come afferma il simpatico Roberto D’ Agostino, sottolineando che tale qualificazione sarebbe potuta essere il titolo del libro -, sensibile, tutto ciò è Lapo Elkann. Affascina, cattura ed emoziona il suo dire e la sua modestia nel presentare il suo primo libro che racchiude “la passione e l’ amore per il bello, la voglia di costruire e fare” – dice Lapo – “non per me, ma per gli altri”, sottolineando che “tutto ciò che ho fatto l’ ho fatto insieme ad altri” e concretizzando felicemente un valore a me profondamente connesso, la condivisione.

Marco Materazzi, Lapo Elkann and Lupo Lanzara, photo by Giorgio Miserendino

Marco Materazzi, Lapo Elkann and Lupo Lanzara, photo by Giorgio Miserendino

L’ autore prende in considerazione il bello e lo stile quali strumenti per rinnovare l’ Italia e il made in Italy e afferma: “quando parliamo di bello e di stile parliamo di Italia; è qualcosa che abbiamo molto di più di tanti altri paesi, anche se spesso non amiamo a sufficienza ciò che abbiamo”. Emozioni, idee e strategie concrete per riappropriarsi del bello e rilanciare il made in Italy quali la personalizzazione del prodotto e l’ uso dell’ artigianalità, protagonisti della nostra storia. Roberto D’ Agostino, Lupo Lanzara e Marco Materazzi sono intervenuti alla presentazione del libro, scelti da Lapo poiché rappresentano il dinamismo, il fare, ognuno in un ambito diverso: l’ informazione per D’Agostino, creatore del website Dagospia, Lupo Lanzara che dirige una istituzione di eccellenza, l’ Accademia di Costume e Moda di Roma e il calciatore Marco Materazzi.

Lapo Elkann, photo by Giorgio Miserendino

Lapo Elkann, photo by Giorgio Miserendino

Roberto D’ Agostino ha aggiunto leggerezza e ironia, leitmotiv della sua individualità, ha lodato l’ esser superficiali – valore che ritiene impresso nel libro di Lapo e accomuna entrambi -, spiegando che: “abbiamo una nostra ideologia, il superficialismo, la profondità ci uccide, così siamo più veloci degli altri e li freghiamo tutti”. Parlando del libro ha ritenuto che: “è talmente ingenuo da esser vero, Lapo ci dice ciò che non vorremmo mai sentire ovvero che ci piace piacere”. L’ intervento di Lupo Lanzara è stato più intimista e si è concentrato su Lapo quale amico di lunga data, sul suo libro e in che misura lo rappresenti.

Marco Materazzi, Lapo Elkann, Roberto D' Agostino, photo by Giorgio Miserendino

Marco Materazzi, Lapo Elkann, Roberto D’ Agostino, photo by Giorgio Miserendino

Un fantastico evento all’ insegna dello stile, un accattivante libro e il suo autore che evoca la velocità e dà vita a una originale e contemporanea versione del pensiero di Filippo Tommaso Marinetti, celebrando la libertà, l’ italianità, il progresso e la tecnologia (paradigmi felicemente concretizzati dal suo brand Italia Independent), arricchito da una affascinante eccentricità che lo rende unico.

 

www.addeditore.it

lapo book launch

Self-irony, without any pretension of teaching anything and an idea of style which is under the sign of freedom “to be elegant means to be one’s self and customize also with its own eccentricities” features in “Le regole del mio stile”(Add Editore, Euros 18,00), the first book by Lapo Elkann – style icon, nominated four times as “Best dressed man” by the magazine Vanity Fair, businessman, creator of the menswear and accessories brand  Italia Independent and the factory Independent ideas, dynamic, brilliant and warm-hearted individual – which will be presented on 14th February 2013 in Rome at the Arion Bookshop, placed at the Palazzo delle Esposizioni, at 6:00 pm by the author along with Lupo Lanzara (director of Rome Fashion & Costume Academy) and Roberto d’Agostino (columnist, creator of costume and gossip website Dagospia). The book, a catchy fetish to have, includes the Lapo’s way of thinking, words and images, dynamism, will of doing and the consciousness “beauty if it is well used” – as the author asserts – “ does good to a nation in a spot” along with original details, paradigms of uniqueness as the words that directly or indirectly remind his name ( the adjective “lapalissiano” which stands as “self-evident” and many others) and the layout of book which evokes the “laps to go” of Formula 1, as well as the velocity, futurist idea he successfully made concrete. A not to be missed event for all the ones who are devoted to the style.

IL SENSO DI LAPO ELKANN PER LO STILE: LA PRESENTAZIONE DEL LIBRO “LE REGOLE DEL MIO STILE” A ROMA

lapo invito 2

Autoironia, senza la pretesa di insegnare nulla e un’ idea dello stile all’ insegna della libertà, “essere eleganti vuol dire essere sé stessi e personalizzare anche con le proprie eccentricità” sono i protagonisti di “Le regole del mio stile”(Add Editore, Euro 18,00), il primo libro di Lapo Elkann – icona di stile, eletto quattro volte “Best dressed man” dal magazine Vanity Fair, imprenditore, creatore del brand di abbigliamento da uomo e accessori Italia Independent e della factory Independent ideas, dinamica, brillante e calorosa individualità – che sarà presentato il 14 febbraio 2013 a Roma presso la Libreria Arion, ubicata al Palazzo delle Esposizioni, alle ore 18:00 dall’ autore unitamente a Lupo Lanzara (direttore dell’ Accademia di Costume e Moda di Roma) ed a Roberto d’Agostino (opinionista, creatore del sito web di costume e gossip Dagospia). Il libro, un accattivante feticcio da avere,  include il pensiero di Lapo, parole e immagini, dinamismo, voglia di fare e la consapevolezza che “il bello se ben usato” – come afferma l’ autore  – “ faccia bene a una nazione in difficoltà” unitamente a originali dettagli, paradigmi dell’ unicità quali i lemmi che direttamente o indirettamente ricordano il suo nome (la qualificazione “lapalissiano” e molte altre) e l’ impaginazione del libro che evoca i “laps to go” della Formula 1, nonché la velocità, istanza futurista da lui felicemente concretizzata. Un evento imperdibile per tutti coloro che sono devoti allo stile.

www.addeditore.it