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Stella Jean featuring at Penelope, photo by N

Stella Jean featuring at Penelope, photo by N

It’s a perfect binomial to be in Brescia and come back to Penelope, the marvelous cathedral of conceptual fashion, created by the one and only Roberta Valentini and to see the its new look, made by the architect Antonio Gardoni and creator of artistic perfumery brand Bogue, who is inspired by the idea of staircase and made the interiors more catchy and comfortable. Here I attended at a shooting made by the brilliant photographer Erminardo Aliaj (I used calling Ermengardo due to Manzonian suggestions) and I appreciated the choices made by Roberta. It has been a smashing day which ended under the sign of epicureanism in a delicious restaurant Brescia restaurant, the Osteria Bianchi, where I enjoyed a typical dish, the beef with oil and the companion of Roberta, her fantastic tales that embody relevant chapters of fashion history as well as the bright ideas by Dario Bonetta and Alessandro Boccingher, my contubernals, co-founders of AplusB gallery, who gave me details about Brescia, its history, verticality and independent spirit it saved in the passing of time, something I felt walking on the streets which makes it unique, a place where going and coming back.

 

UN GIORNO A BRESCIA(2): LA MIA GIORNATA PENELOPESCA ALL’ INSEGNA DI MODA, CONCETTI E EPICUREISMO

The interiors of Penelope,  photo by N

The interiors of Penelope, photo by N

 

É un perfetto binomio essere a Brescia e ritornare da Penelope, la meravigliosa cattedrale di moda concettuale, creata dalla sola e unica Roberta Valentini e vedere il suo nuovo look, realizzato dall’ architetto Antonio Gardoni che è il creatore del brand di profumeria artistica Bogue, il quale ha tratto ispirazione dall’ idea della scala e ha reso gli interni più accattivanti e confortevoli. Ivi ho assistito al servizio fotografico realizzato dal brillante fotografo Erminardo Aliaj (che ero solita chiamare Ermengardo in ragione di suggestioni manzoniane) e apprezzare le scelte di Roberta. È stata una giornata formidabile che si è conclusa all’ insegna dell’ epicureismo in un delizioso ristorante bresciano, l’ Osteria Bianchi in cui ho assaporato una pietanza tipica, il manzo all’ olio e gioito della compagnia di Roberta, dei suoi fantastici racconti che racchiudono significativi capitoli della storia della moda come anche le brillanti idee di Dario Bonetta ed Alessandro Boccingher, i miei contubernali, co-fondatori della galleria d’ arte AplusB, i quali mi hanno fornito dettagli su Brescia, la sua storia, la verticalità e lo spirito indipendente mantenuto intatto con il passare del tempo, qualcosa che ho avvertito passeggiando per le strade e la rende unica, un luogo in cui andare e ritornare.

The restyling work of Penelope, made by the architect Antonio Gardoni, photo by N

The restyling work of Penelope, made by the architect Antonio Gardoni, photo by N

 

The restyling work of Penelope, made by the architect Antonio Gardoni, photo by N

The restyling work of Penelope, made by the architect Antonio Gardoni, photo by N

 

The restyling work of Penelope, made by the architect Antonio Gardoni, photo by N

The restyling work of Penelope, made by the architect Antonio Gardoni, photo by N

 

The restyling work of Penelope, made by the architect Antonio Gardoni, photo by N

The restyling work of Penelope, made by the architect Antonio Gardoni, photo by N

 

Dress by Vionnet at Penelope, photo by N

Dress by Vionnet at Penelope, photo by N

 

Penelope, photo by N

Penelope, photo by N

 

A categorical imperative, Dream, impressed on the silk shirt by Lanvin at Penelope, photo by N

A categorical imperative, Dream, impressed on the silk shirt by Lanvin at Penelope, photo by N

 

The area of Penelope featuring Christian Louboutin, photo by N appearing in the mirror

The area of Penelope featuring Christian Louboutin, photo by N appearing in the mirror

 

Christian Louboutin, photo by N

Christian Louboutin, photo by N

 

Christian Louboutin, photo by N

Christian Louboutin, photo by N

 

Christian Louboutin, photo by N

Christian Louboutin, photo by N

 

Dries van Noten, photo by N

Dries van Noten, photo by N

 

Dries van Noten, photo by N

Dries van Noten, photo by N

 

Dries van Noten, photo by N

Dries van Noten, photo by N

 

Erminardo Aliaj being ready to work, photo by N

Erminardo Aliaj being ready to work, photo by N

 

Coffee time with Antonio Gardoni, photo by N

Coffee time with Antonio Gardoni, photo by N

 

Erminardo Aliaj( aka Ermengardo) working and the one and only Roberta looks at the shoots he made, photo by N

Erminardo Aliaj( aka Ermengardo) working and the one and only Roberta looks at the shoots he made, photo by N

 

Antonio Gardoni talking with the owner of design store Rua Confettora, photo by N

Antonio Gardoni talking with the owner of design store Rua Confettora, photo by N

 

Erminardo Aliaj( aka Ermengardo), me, the one and only Roberta Valentini and Alessandro Boccingher, photo by N

Erminardo Aliaj( aka Ermengardo), me, the one and only Roberta Valentini and Alessandro Boccingher, photo by N

 

Carmina Campus, photo by N

Carmina Campus, photo by N

 

Sacai Luck, photo by N

Sacai Luck, photo by N

 

Birkenstock by Sacai Luck, photo by N

Birkenstock by Sacai Luck, photo by N

Sacai Luck, photo by N

Sacai Luck, photo by N

 

Opening Ceremony, photo by N

Opening Ceremony, photo by N

 

Uusual shoes at Penelope, photo by N

Uusual shoes at Penelope, photo by N

 

Carmina Campus, photo by N

Carmina Campus, photo by N

 

An accessory, a thought, a fetish, the hand-painted  gaiters by Comme des Garçons, photo by N

An accessory, a thought, a fetish, the hand-painted gaiters by Comme des Garçons, photo by N

 

Alessandro Boccingher and me at the Osteria Bianchi, photo by N

Alessandro Boccingher and me at the Osteria Bianchi, photo by N

 

Wine at Osteria Bianchi, photo by N

Wine at Osteria Bianchi, photo by N

 

My delicious dish, the beef with oil served with the best cornmeal mush I ever have eaten, photo by N

My delicious dish, the beef with oil served with the best cornmeal mush I ever have eaten, photo by N

 

The one and only Roberta Valentini and me, photo by N

The one and only Roberta Valentini and me, photo by N

 

 

www.penelopestore.it

William Burroughs featuring in the Penelope's show window, photo by N

William Burroughs featuring in the Penelope’s show window, photo by N

I recently visited in Brescia the smashing cathedral of conceptual fashion Penelope, created by the brilliant and vibrant Roberta Valentini. Vibrations meeting themselves as William Burroughs featuring in the shop-windows of boutique, being this year and this month the centenary of his birth, persona immediately making me think about the cut-up (literary technique he created along with the visual artist Brion Gysin, embodied in the marvelous book “The third mind”, which has found a new context in fashion, becoming the theme of “Urban cut-up”, the Fall/Winter 2014-2015 capsule collection by L. Rousseau, young, talented fashion designer). It was sales time, thus I couldn’t enjoy most of choices made by Roberta. Nevertheless it was clear and visible her unique taste and visions I appreciate and share: one for all is Comme des Garçons along with Yohji Yamamoto, Lanvin, Vionnet, Azzedine Alaia, including also contemporary creatives as well as  young contemporary creatives as Simone Rainer, Benedetta Bruzziches, Stella Jean and Fausto Puglisi. Fashion and new ideas, as sustainaibility, made concrete by the bags by Carmina Campus, brand created by the pioneer Ilaria Venturini Fendi, promoting the culture of re-use. An amazing interlude has been the visit to Penelope Sposa, bridal boutique which feels like getting married (also for the ones who – like me – are allergic to wedding, as – Domenico Modugno sang – “it does not bind a dream by a contract”). Here I also ran into a very beautiful, future spouse who was choosing her dress and was dressed by Penelope from the head to feet. Minimalism, conceptual elegance, sophistication and refinement, those are the alchemies of Penelope. A temple to visit and come back. I will come back soon to enjoy the companion of Roberta, her assertive individuality and wisdom I love and celebrate and hopefully also to see her hidden treasures, her rich fashion archives, a genuine fashion encyclopedia of conceptual fashion, source of culture and precious suggestions.

PENELOPE: QUANDO LA MODA É CULTURA E UNO STILE DI VITA

The first thing I saw at Penelope, the bag by Carmina Campus

The first thing I saw at Penelope, the bag by Carmina Campus

Ho recentemente fatto visita a Brescia alla formidabile cattedrale di moda concettuale Penelope, creata dalla brillante e vibrante Roberta Valentini. Vibrazioni che si incontrano come William Burroughs, protagonista delle vetrine della boutique, il cui centenario ricorre quest’ anno, personaggio che mi fa subito pensare al cut-up (tecnica letteraria da lui creata unitamente all’ artista Brion Gysin, racchiusa nel meraviglioso libro “The third mind”, che ha trovato un nuovo contesto nella moda, divenendo il tema di “Urban cut-up”, la collezione capsule autunno/inverno 2014-2015 di L. Rousseau, giovane e talentuosa fashion designer). Era tempo di saldi, sicché non ho potuto apprezzare la maggior parte delle scelte effettuate da Roberta. Ciònondimeno era chiaro e visibile il suo gusto unico e le visioni che anche io apprezzo e condivido: uno su tutti Comme des Garçons insieme a Yohji Yamamoto, Lanvin, Vionnet, Azzedine Alaia come anche giovani creativi contemporanei quali Simone Rainer, Benedetta Bruzziches, Stella Jean e Fausto Puglisi. Moda e nuove idee come la sostenibilità, concretizzata nelle borse di Carmina Campus, brand creato dalla pionieristica Ilaria Venturini Fendi che promuove la cultura del riuso. Uno splendido interludio è stato la visita a Penelope Sposa, boutique di abiti da sposa che fa venir voglia di sposarsi (anche a coloro che – come me – sono allergici al matrimonio, poiché – come cantava Domenico Modugno – “con un contratto non si lega un sogno”). Ivi mi sono imbattuta in una futura sposa, bellissima, che stava scegliendo il proprio abito da sposa vestita da Penelope dalla testa ai piedi. Minimalismo, eleganza concettuale, sofisticazione e raffinatezza, queste sono le alchimie di Penelope. Un tempio da visitare e in cui tornare. Ritornerò presto per godere della compagnia di Roberta, della sua assertiva individualità e saggezza che amo e celebro e sperabilmente anche per vedere i suoi tesori nascosti, il suo ricco archivio, un’ autentica enciclopedia di moda concettuale, risorsa di cultura e preziose visioni.

Penelope, photo by N

Penelope, photo by N

Me, myself and I, hat moment at Penelope, photo by N

Me, myself and I, hat moment at Penelope, photo by N

May the cut-up be  with you!... William Burroughs at Penelope strikes back, photo by N

May the cut-up be with you!… William Burroughs at Penelope strikes back, photo by N

Magic moment: Penelopesposa, photo by N

Magic moment: Penelopesposa, photo by N

Lightness and a detail in the name of Vionnet, photo by N

Lightness and a detail in the name of Vionnet, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa,  photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Lace, silk and a vintage details, the shoes by Alaia, photo by N

Lace, silk and a vintage details, the shoes by Alaia, photo by N

Penelopestore, photo by N

Penelopesposa, photo by N

Jewelry in the name of love at Penelopesposa, photo by N

Jewelry in the name of love at Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Lanvin at Penelopesposa, photo by N

Lanvin at Penelopesposa, photo by N

Lanvin at Penelopesposa, photo by N

Lanvin at Penelopesposa, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

The one and only Roberta Valentini, me and the nice Penelope-sque being part of Penelope family, photo by N

The one and only Roberta Valentini, me and the nice Penelope-sque being part of Penelope family, photo by N

Dress by Comme des Garçons, necklace by Lanvin, photo by N

Dress by Comme des Garçons, necklace by Lanvin, photo by N

Penelopesposa, photo by N

Penelopesposa, photo by N

Comme des Garçons, photo by N

Comme des Garçons, photo by N

Comme des Garçons, photo by N

Comme des Garçons, photo by N

Roberta Valentini showing me a acket by Comme des Garçons, photo by N

Roberta Valentini showing me a jacket by Comme des Garçons, photo by N

Miss Bonomi choosing the bridal gown and accessories at Penelopesposa, photo by N

Miss Bonomi choosing the bridal gown and accessories at Penelopesposa, photo by N

Vionnet, photo by N

Vionnet, photo by N

The magic of random: to see Roberta Valentini at the Brescia railway station early in the morning before leaving, photo by N

The magic of random: to see Roberta Valentini at the Brescia railway station early in the morning before leaving, photo by N

Black celebration moment featuring me, myself and I, photo by N

Black celebration moment featuring me, myself and I, photo by N

www.penelope-store.it

The Boldi Pezzoli Museum

The Boldi Pezzoli Museum, photo by Giorgio Miserendino

It has recently opened the exhibition “Thayhat. Between art & fashion” at the Milan Boldi Pezzoli museumwich runs until 25th February 2013 -, event organized by the fashion house Vionnet in collaboration with W magazine, featuring 61 sketches made by the Florentine genius artist, designer and inventor Ernesto Michahelles aka Thayaht who made the logo of Vionnet and reproduced by sketches, turned in illustrations, appeared on the Gazette du Bon Ton the creations by Vionnet. The exhibition focused on a successful collaboration between the two creatives who shared that libertarian yearning to make the body free, thinking – as Madeleine Vionnet asserted – “there is nothing more graceful than seeing the garment float freely on the body”.

“THAYAHT. TRA ARTE & MODA” PRESSO IL MUSEO BOLDI PEZZOLI DI MILANO

Thayaht

Thayaht, photo by Giorgio Miserendino

È stata recentemente inaugurata la mostra “Thayhat. Between art & fashion” presso il Museo Boldi Pezzoli di Milanoche prosegue fino al 25 febbraio 2013 -, evento organizzato dalla casa di moda Vionnet con W magazine di cui sono protagonisti 61 disegni realizzati dal geniale artista fiorentino, designer e inventore Ernesto Michahelles aka Thayaht che ha realizzato il logo di Vionnet e riprodotto in disegni, trasformati in illustrazioni, apparse sulla Gazette du Bon Ton, le creazioni di Vionnet. La mostra si sofferma sulla felice collaborazione tra i due creativi che hanno condiviso quell’ anelito libertario rivolto a liberare il corpo, ritenendo  – come Madeleine Vionnet affermava – che “ non c’è niente di più aggraziato che vedere la materia fluttuare libera sul corpo”.

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Thayaht, photo by Giorgio Miserendino

Goga Ashkenazi, photo by Giorgio Miserendino

Goga Ashkenazi, photo by Giorgio Miserendino

Goga Ashkenazi & Stefano Tonchi, photo by Giorgio Miserendino

Goga Ashkenazi & Stefano Tonchi, photo by Giorgio Miserendino

www.museoblodipezzoli.it

http://vionnet.com

Raffaella Curiel talking about lightness and femininity and elegance which is all about self-confidence


Raffaella Curiel talking about lightness and femininity and elegance which is all about self-confidence

One day of trunk shows in Rome, fashion shows and exhibitions with a focus on tradition, art and craftsmanship. The day started with press conference with renowned couturier Raffaella Curiel which was held in the suggestive rooms of Hotel Inghilterra, successful chance to appreciate the couturier’s sharpness and irony as well as the craftsmanship embodied in Spring/Summer 2013 collection she made.

Looking at that you can see the name of Valentino has deleted instead the name of Versace is still there, but...


Looking at that you can see the name of Valentino has deleted instead the name of Versace is still there, but…

Later I had been at the National Arts and Folk Traditions Museum (Museo Nazionale delle Arti e Tradizioni Popolari), place where followed an exhibition I announced time ago, “La seduzione dell’ artigianato”, curated by Bonizza Giordani Aragno (https://fashionbeyondfashion.wordpress.com/2012/12/05/creativity-in-open-order-the-seduction-of-craftsmanship-at-the-rome-national-museum-of-arts-and-folk-traditions).

...in the end it has also deleted, along with the thanks

…in the end it has also deleted, along with the thanks

I discovered due to this circumstance the exhibition has been set up without the collaboration of fashion houses ( as it usually happens and it should happen) and therefore as it has evidenced by the flyer there is at the entrance of Museum, brands like Valentino and Versace, pretended the delete of their names. Being the exhibition set up with the clothes of private collectors it has also deleted the thanks to the fashion houses.

Gattinoni Spring/Summer 2013

Gattinoni Spring/Summer 2013, photo by Giorgio  Miserendino

I discovered that as that has been the set of Gattinoni fashion show, brand designed by Guillermo Mariotto who has the merit of making concrete by using a hilarious aesthetics suggestions coming from contemporary times and political framework, successfully evoking a kind of luxury breakfast at Arcore( renowned Berlusconi’s residency and set of burlesque parties).

fashion tr 4

Later I moved to the area of Campo dei Fiori to visit A.I. Fair Future, a showcase of high-end craftsmanship and art at the Howtan Space. When I crossed Piazza Farnese to go to the event I was pleased to see a peaceful public protest organized by the Mario Mieli Association for claiming the right of the same sex couple to get married.

Not being a great fan of marriage as I prefer the freedom of loving without being obliged, I think “it doesn’t bind a dream with a contract” as Domenico Modugno sang in “L’ Anniversario”, track censured in Italy during the Seventies which became later the soundtrack for the recognition of rights to the couples of people who aren’t married beyond their gender. I am proud of having attended the public protests concerning this issue during the last years to get more rights, as freedom is a goal for every individual and is the evidence of a democratic and liberal society.

Antica Manifattura cappelli

Antica Manifattura cappelli

I appreciated at the Howtan Space the creations of many brands and couturiers and their grotesque interpretations on paper made by the brilliant artist Vincenzo Montini.

Vincenzo Montini

Vincenzo Montini

Then I visited the Hadrian’s Temple for the exhibition Limited/Unlimited, (organized by Altaroma in collaboration with many celebrated brands), featuring limited editions inspired by the theme of red carpet. That has been the chance to see friends I didn’t see since a long time,see again others and meet Goga Ashkenazi, the charming woman who owns the fashion house Vionnet.

MODA, TRADIZIONE & INNOVAZIONE IN MOSTRA AD ALTAROMA

Rocchetti at the Howtan Space

Rocchetti at the Howtan Space

Un giorno di trunk show a Rome, sfilate e mostre incentrate su tradizione, arte e artigianalità. La giornata è cominciata con la conferenza stampa della rinomata couturier Raffaella Curiel che si è tenuta nelle suggestive stanze dell’ Hotel Inghilterra, felice occasione per apprezzare l’ acume e l’ ironia della couturier come anche l’ artigianalità racchiusa nella collezione primavera/estate 2013 da lei realizzata.

Going to the Hadrian's Temple

Going to the Hadrian’s Temple

Dopo sono stata presso il Museo Nazionale delle Arti e Tradizioni Popolari, luogo in cui proseguiva una mostra da me annunciata tempo fa, “La seduzione dell’ artigianato”, curata da Bonizza Giordani Aragno (https://fashionbeyondfashion.wordpress.com/2012/12/05/creativity-in-open-order-the-seduction-of-craftsmanship-at-the-rome-national-museum-of-arts-and-folk-traditions).

Delfina Delettrez who is the first one I saw at the Hadrian's Temple


Delfina Delettrez who is the first one I saw at the Hadrian’s Temple

Ho scoperto in ragione di questa circostanza che la mostra è stata allestita senza la collaborazione di case di moda (come solitamente accade e dovrebbe accadere) e perciò come si evince dal flyer che é all’ entrata del Museo, brand quali Valentino e Versace, hanno preteso la cancellazione dei loro nomi. Essendo la mostra stata allestita massimamente con gli abiti di collezionisti privati sono stati anche cancellati i ringraziamenti alle case di moda.

Sylvio Giardina

Sylvio Giardina at the Hadrian’s Temple

Ho scoperto ciò poiché questa era la location della sfilata di Gattinoni, brand disegnato da Guillermo Mariotto che ha il merito di concretizzare, avvalendosi di una ilare estetica, suggestioni provenienti dalla contemporaneità e dalla cornice politica, evocando felicemente una sorta di lussuosa colazione ad Arcore( rinomata residenza di Berlusconi e location di party burlesque).

Gucci

Gucci at the Hadrian’s Temple

Successivamente mi sono spostata nei dintorni di Campo dei Fiori per visitare A.I. Fair Future, una esposizione di alta artigianalità ed arte presso l’ Howtan Space. Quando ho attraversato Piazza Farnese per recarmi all’ evento sono stata lieta di vedere una pacifica manifestazione di pubblica protesta, organizzata dall’ Associazione Mario Mieli per rivendicare il diritto di sposarsi per le coppie dello stesso sesso.

The actress Elena Radoninich in Angelos Bratis at the Hadrian's Temple


The actress Elena Radoninich in Angelos Bratis at the Hadrian’s Temple

Non essendo una grande ammiratrice del matrimonio poiché preferisco la libertà di amare senza essere obbligata, penso che “con un contratto non si lega un sogno” come cantava Domenico Modugno in “L’ Anniversario”, brano censurato in Italia negli anni Settanta che successivamente è divenuto la colonna sonora per il riconoscimento dei diritti per le coppie di fatto al di là del loro gender. Sono fiera di aver partecipato alle manifestazioni di protesta pubblica inerenti questa problematica in questi ultimi anni per ottenere più diritti, poiché la libertà è un obiettivo per tutti gli individui ed è la dimostrazione di una società democratica e liberale.

Angelos Bratis

Angelos Bratis at the Hadrian’s Temple

Ho apprezzato all’ Howtan Space le creazioni di molteplici brand e couturier e le loro grottesche interpretazioni su carta realizzate dal brillante artista Vincenzo Montini.

Andrea Splisgar and Sergio Zambon

Friends: Andrea Splisgar and Sergio Zambon at the Hadrian’s Temple

Ho quindi visitato il Tempio di Adriano per la mostra Limited/Unlimited(organizzata da Altaroma in collaborazione con molti celebri brand) di cui sono protagonisti limited editions che si ispirano al tema del red carpet. Ciò è stata l’ occasione per vedere amici che non vedevo da lungo tempo, rivederne altri e conoscere Goga Ashkenazi, l’ affascinante donna, proprietaria della casa di moda Vionnet.

Galitzine by Sergio Zambon

Galitzine by Sergio Zambon

Cesare Cunaccia and Silvia Venturini Fendi at the Hadrian's Temple

Cesare Cunaccia and Silvia Venturini Fendi at the Hadrian’s Temple

Valentino Haute Couture

Valentino Haute Couture

Goga Ashkenazi talking with Angelos Bratis

Goga Ashkenazi talking with Angelos Bratis

Marco de Vincenzo

Marco de Vincenzo

www.altaroma.it

www.ashadedviewonfashion.com

A sketch by Judith Clark depticting the setting of exhibition at Venice Fortuny Museum

Maria Luisa Frisa, eclectic and bright individual who is the Director of Fashion Design Faculty of Iuav University of Venice, fashion critic, author and fashion curator recently tells about the new project involving her, a fashion exhibition she curated along with Judith Clark promoted by the Venice Civic Museums Foundation and Diana Vreeland Estate which will be held in Venice from 9th March to 26th June 2012 at the Fortuny Museum, paying homage, reconstructing and telling about the genius of Diana Vreeland – legendary fashion editor of “Harper’s Bazaar” and editor-in-chief of Vogue who influenced the way to perceive and catch fashion yesterday and today as well as the way to display fashion in the Museums, being been consultant at Costume Institute of the New York Metropolitan Museum of the arts -, a successful chance to talk about fashion and fashion curating, being also the theme of an international meeting – organized during the opening of exhibition by the The Iuav University of Venice in collaboration with the London College of Fashion-University of the Arts London and the Centre for Fashion Studies of Stockholm University – which will be held on 10th March 2012 as well as exploring the fashion grammar and its imagery, Diana Vreeland contributed yesterday to develop and showcase and Maria Luisa Frisa today researches, defines, tells and showcase at best.

What is the path did you choose to tell in the exhibition you curated about the charismatic Diana Vreeland?

“I’m really very bound to the persona Diana Vreeland as fashion editor at editor at “Harper’s Bazaar” (1936-1962) and later visionary editor-in-chief of “Vogue America” (1962-1971), as well as curator of fashion exhibition, during her time spent at the Costume Institute of Metropolitan Museum from 1972 to 1989, year of her death. I started working on the Vreeland’s legacy in 2008, during the installation Vreelandesque, organized by Class Editors and curated by me that celebrated the Vreeland style and her visionary approach to fashion by a display of magazine for whose she worked as well as by editing of pictures of the exhibitions she curated. It has arisen since that project the will of bringing on more complex level the reflection about the fashion exhibitions and fashion curating and the fundamental role of Diana Vreeland in the evolution of these two aspects of that complex discipline that is fashion.

The exhibition, curated by Judith Clark and me, promoted by the Venice Civic Museum Foundation and Diana Vreeland Estate, will be held at the Fortuny Museum from 9th March to 26th June 2012. It’s the first exhibition explicitly reflecting on the complexity of Vreeland’s work, who has been simultaneously editor and curator and on her ability to use fashion as extraordinary flywheel for the imagination. It’s not only a fashion exhibition, but a chance to understand how and when many of imaginaries of contemporary fashion have arisen.

The exhibition tries to put a focus on the magnificent, imaginative journey that Diana Vreeland went through during the Nineties: the exhibition will be divided between the noble floor and the second floor of Fortuny Museum, a journey through 3 cores that – I believe – can tell very much about Diana Vreeland. It starts from elements of her personal style and obsessions, being fundamental to define her approach as a curator in the display and interpretation of fashion. Then it follows with the exploration of Diana Vreeland as a curator through her innovative exhibition projects: a series of typical museum cases, will emphasize the elements that featured in exhibitions by Diana Vreeland. Obviously the mannequins will have a central role, alluding to the original installations by Diana Vreeland and ideated exclusively for the exhibition by Judith Clark along with the La Rosa company. The magazines (original issues of “Harper’s Bazaar” and “Vogue America”), the catalogues and the books released during the exhibitions she curated will be the last core of the exhibition: a complex editorial work reflecting her ability to catch in advance tastes and trends through the Nineties.

The exhibitions by Diana Vreeland also includes a series of dresses, many of them to be seen for the first time in Italy as items of Saint Laurent and Givenchy worn by Diana Vreeland and coming from the archives of the New York Metropolitan Museum of Art, in addition to some extraordinary Balenciaga items lent from the Balenciaga Museum, recently opened in Getaria, the most iconic creations by Saint Laurent from the Pierre Bergé-Yves Saint Laurent Foundation, precious items that marked the Nineties fashion coming from important private and institutional collections, including items of Chanel, Schiaparelli, Missoni, Pucci and the costumes of Russian Ballets.”

Are there an satellite events you organized around the exhibition?

The Iuav University of Venice – where I head the degree course in Fashion Design – organizes on 10th March 2012 during the opening of exhibition, an international meeting in collaboration with the London College of Fashion-University of the Arts London and the Centre for Fashion Studies of Stockholm University. The meeting, focused on the discipline of fashion curating features the most important names in International realm of fashion museum and curating of fashion exhibition as Harold Koda, Akiko Fukai, Kaat Debo, Alexandra Palmer, Amy de la Haye, Becky Conekin, Stefano Tonchi, Miren Arzalluz. It starts from the experience of Diana Vreeland at the Met and continues with a series of reflections about the topic of fashion curating and the relationship between fashion, installations and museums. I am involved in the day of studies which is part of the Curatorial Practices and fashion museography. The project in fashion, came out of the Department for research at the Iuav University of Venice. One more advance towards a better fashion presence between the academic disciplines in Italy”.

Do you think in our times there are other icons in the fashion system or publishing as powerful as Diana Vreeland?

“All of the stylists today are already genuine celebrities. They are photographed, featured on the blogs, editors of blogs where they show themselves and show their point of view about fashion. I think this genuine cult of personality is an evolution of what was already suggested by Diane Vreeland when she was a fashion editor at “Harper’s Bazaar” and later on as the editor-in-chief at “Vogue”. Now that the stylist has moved from the backstage to the center stage: it makes it more difficult (but maybe more interesting) to be unique and influential. The path towards a conscious self-styling, simultaneously detailed as well as visionary, makes it more difficult to rule”.

“Never fear being vulgar, just boring”, to which extent do you agree with the assertion of Diana Vreeland?

“The genius of Diana Vreeland was expressed above all by creating a grammar of excess. The exhibition and the release of the book – which coincides with the exhibition – is curated by me and Judith Clark and has the intention – of being naturally difficult – in order to reconstruct this visual and conceptual grammar. The intention is for the exhibition to create a setting for Diana Vreeland’s flamboyant vision of fashion, Diana talked about excess, allure, chic, pizazz, all terms that are now part of the fashion vocabulary. Naturally there is no fear of being vulgar, but there is still a need to measure the elements that give rise to excess. There is intuition, but also a specific algebraic system, allowing (or rather looking for) the mistake without losing sight of an equation of style, combining the natural with the artifice. A fashion algebra, which reminds me a lot of what Anna Piaggi tells us on her double pages” in Italian Vogue”.

What has changed in fashion print publishing, what stays from the past and what do we disguard?

“The magazine is here to stay. The double page is a fundamental unit for the construction of an issue and is an important element in expressing visual tales. We will always have the legacy left behind by great visionaries such as Alexey Brodovitch who was a graphic designer and art director of Harper’s Bazaar for nearly a quarter of a century including Diana Vreeland’s “Bazaar” years. He is the one that designed the mythological column by Vreeland, “Why don’t you…”.

What is your opinion about Diana Vreeland as a consultant to the Costume Institute of the Metropolitan Museum of Art in New York (who wanted the exhibitions to look like a part of the present instead of the past)?

“It’s the force of interpretation the risk always assumed by a curator. It’s an approach that doesn’t question the rigorous and fundamental work of curator (reconstruction the history of an object, dress, describing that in its own materiality and inserting in the age it came from), but it uses these views to make arising further reflections about the culture and fashion history, with a view starting from the past to develop new stories and catch never explored path”.

“The trouble with this country is that they want to give the public what it wants. Well, the public wants what it can get, and it‘s up to the museum to teach them what to want public”, said Diana Vreeland, is this assertion still contemporary?

“The answer is a complex one as it needs to take into consideration different types of museums (decorative arts, contemporary art, fashion, etc.). It must be said that still in Italy we do not have a genuine fashion museum that is of a level that it can compete with the big International museums and institutions. There are a few significant realities, but it still lacks, for example, a workable mechanism of connection. I think this has more to do with the outdated status of Italian reflection about the fashion culture. With this exhibition we are trying to bring a higher level of the discussion of these themes with Italian fashion. One must be very contemporary and it is urgent to resolve this problem with an Italian fashion museum”.

Considering the eclecticism of your work, what is your approach to define, observe, dialogue and promote art, fashion, culture and innovation?

“To act as a curator means that we must give rise to reflections about the visual contemporary culture which embodies fashion and art works. In acting as the director of a fashion school, the degree Course in Fashion Design at the Iuav University of Venice: my intention is to create a place that is a fertile ground for academic research and which helps to form a new generation of fashion designers”.

GRAMMATICA DELLA MODA & CURATELA DI MODA: IL GENIO DI DIANA VREELAND RACCONTATO DA MARIA LUISA FRISA

Veruschka in Yves Saint Laurent, photo by Irving Penn, Vogue 1st September 1965

Maria Luisa Frisa, eclettica e brillante individualità che é il Direttore della Facoltà di Fashion Design della Università Iuav di Venezia, critico di moda, scrittrice fashion curator, parla recentemente dell’ ultimo progetto che la coinvolge, una mostra di moda da lei curata unitamente a Judith Clark, promossa dalla Fondazione Musei Civici di Venezia ed il Diana Vreeland Estate che si terrà a Venezia dal 9marzo al 26 giugno 2012 presso il Museo Fortuny che rende omaggio, ricostruisce e racconta il genio di Diana Vreeland – leggendaria fashion editor di “Harper’s Bazaar” e direttore editoriale di “Vogue” che ha influenzato il modo di percepire e catturare la moda ieri ed oggi come anche il modo di esporre la moda nei Musei, essendo stata curatrice al Costume Institute del Metropolitan Museum of the Arts di New York -, una felice occasione per parlare di moda e curatela di moda che è il tema di un convegno internazionale – organizzato in occasione della mostra dalla Università Iuav di Venezia in collaborazione con il London College of Fashion-University of the Arts London ed il Centre for Fashion Studies of Stockholm University – che si terrà il 10marzo 2012 come anche per esplorare la grammatica della moda ed il suo immaginario che Diana Vreeland ha contribuito ieri a consolidare ed esporre e che oggi Maria Luisa Frisa ricerca, definisce, racconta ed espone al meglio”.

Quale percorso hai scelto per ricostruire e raccontare nella mostra da te curata la carismatica Diana Vreeland?

“Sono particolarmente legata alla figura di Diana Vreeland, sia in quanto fashion editor ad “Harper’s Bazaar” (1936-1962) e poi visionario direttore a “Vogue America” (1962-1971), sia in quanto curatore di mostre di moda durante il suo periodo al Costume Institute del Metropolitan dal 1972 al 1989, anno della sua morte. Ho iniziato a lavorare sull’ eredità di Vreeland nel 2008 in occasione dell’installazione Vreelandesque, organizzata da Class Editori e da me curata che celebrava lo stile Vreeland e il suo approccio visionario alla moda attraverso una esposizione delle riviste a cui ha lavorato, come anche montaggi di immagini delle mostre che ha curato. Da quel progetto è nato il desiderio di portare a un livello più complesso la riflessione sulle mostre di moda e sul fashion curating e sul ruolo centrale di Diana Vreeland nell’evoluzione di questi due aspetti di quella complessa disciplina che è la moda.

La mostra, curata da Judith Clark e da me, promossa dalla Fondazione dei Musei Civici di Venezia e dal Diana Vreeland Estate, sarà allestita al Museo Fortuny, dal 9 marzo al 26 giugno 2012. Si tratta della prima mostra che riflette in modo esplicito sulla complessità del lavoro di Diana Vreeland, simultaneamente editor e curator e sulla sua capacità di usare la moda come straordinario volano per l’immaginazione. Non solo una mostra di moda, quindi, ma l’occasione per capire come e quando sono stati messi a fuoco buona parte degli immaginari della moda contemporanea.

La mostra cerca di restituire l’incedere immaginifico con cui Diana Vreeland ha attraversato la moda del Novecento: il percorso espositivo sarà articolato fra il piano nobile e il secondo piano del Museo Fortuny, un viaggio attraverso tre nuclei che crediamo possano raccontare Diana Vreeland molto bene. Si parte dagli elementi del suo stile personale e dalle sue ossessioni, fondamentali nel definire il suo atteggiamento curatoriale rispetto alla messa in scena e all’interpretazione della moda. Poi si prosegue nell’esplorazione di Vreeland come curatore attraverso i suoi innovativi progetti allestitivi: un serie di teche, elemento museale per eccellenza, enfatizzerà gli elementi che hanno caratterizzato le mostre di Diana Vreeland; ovviamente un ruolo centrale avranno i manichini che alludono agli allestimenti originali di Vreeland e sono progettati appositamente da Judith Clark insieme alla ditta La Rosa. Ultimo nucleo in mostra saranno le riviste (numeri originali di “Harper’s Bazaar” e “Vogue America”) e i cataloghi e i libri usciti in occasione delle mostre da lei curate: un complesso lavoro editoriale che attraverso il Novecento e riflette la sua capacità  di intercettare e anticipare gusti e tendenze.

Le mostre di Diana Vreeland includono da una serie di abiti, molti dei quali saranno visti per la prima volta in Italia quali i capi di Saint Laurent e Givenchy indossati da Diana Vreeland e provenienti dal Metropolitan Museum of Art di New York, alcuni straordinari pezzi di Balenciaga prestati dal Cristóbal Balenciaga Museum, recentemente inaugurato a Getaria, le creazioni più iconiche di Saint Laurent dalla collezione della Fondation Pierre Bergé-Yves Saint Laurent, preziosi esemplari che hanno segnato la moda del Novecento provenienti da prestigiose collezioni private e aziendali fra cui capi di Chanel, Schiaparelli, Missoni, Pucci e costumi dei Balletti Russi”.

Hai organizzato altri eventi collaterali ad essa?

L’Università Iuav di Venezia – presso la quale dirigo il Corso di Laurea in Design della moda – in occasione dell’inaugurazione della mostra organizza il 10 marzo 2012 un convegno internazionale in collaborazione con il London College of Fashion-University of the Arts London e con il Centre for Fashion Studies della Stockholm University. Il convegno, dedicato alla disciplina del fashion curating, prevede la partecipazione dei nomi più importanti nel panorama internazionale dei musei della moda e della cura delle mostre di mode quali Harold Koda, Akiko Fukai, Kaat Debo, Alexandra Palmer, Amy de la Haye, Becky Conekin, Stefano Tonchi, Miren Arzalluz. Il convegno parte dall’ esperienza di Diana Vreeland al Met e continua con una serie di riflessioni sul tema del fashion curating ed il rapporto fra moda, allestimenti e musei. Ho allestito una giornata di studi che fa parte della ricerca Pratiche curatoriali e museografia della moda. Il progetto nella moda che rientra nelle attività dell’unità di ricerca del Dipartimento per la ricerca dell’Università Iuav di Venezia. Un altro passo verso una maggiore presenza in Italia della moda fra le discipline accademiche”.

Ritieni che oggi esistano altre icone nel fashion system o nell’ editoria della moda talmente formidabili come Diana Vreeland?

“Tutti gli stylist di oggi sono ormai delle vere e proprie celebrities. Sono fotografati, sono protagonisti dei blog, sono autori a loro volta di blog in cui si espongono ed espongono il loro punto di vista sulla moda. Credo che questo vero e proprio culto della personalità abbia che fare con una delle possibili evoluzioni di quello che ha suggerito Vreeland al tempo in cui era fashion editor a “Bazaar” e successivamente nelle vesti di come direttore editoriale a “Vogue”. Adesso gli stylist sono passati dal backstage al centro della scena: questo però rende più difficile (ma forse più interessante) essere unici e influenti. Il percorso verso un self-styling consapevole, simultaneamente preciso e visionario, è molto più arduo da stabilire”.

“Non bisogna aver paura di essere volgari, soltanto di esser noiosi”, in che misura sei d’ accordo con l’affermazione di Diana Vreeland?

“La genialità di Vreeland si è espressa soprattutto attraverso la messa a punto di una grammatica dell’eccesso. La mostra e la pubblicazione del libro – che coincide con la mostra – è da me sempre curata e da Judith Clark e si pongono come obiettivo – certamente difficile – quello di ricostruire questa grammatica visuale e concettuale. La finalità è la messa a punto per la mostra della visione flamboyant della moda di Diana Vreeland, Diana parlava di eccesso, allure, chic, pizazz, tutti termini che sono ormai entrati a far parte del vocabolario della moda. Sicuramente non bisogna aver paura di essere volgari, ma bisogna anche saper dosare gli elementi che innescano l’eccesso. C’è intuito, ma anche un preciso sistema algebrico che si permette (e anzi cerca) l’errore, senza perdere di vista un’equazione di stile che mescola naturalezza e artificio. Un’algebra della moda che mi ricorda moltissimo quella di cui parla Anna Piaggi a proposito delle sue doppie pagine su Vogue Italia”.

Cosa è cambiato nell’ editoria di moda cartacea, cosa resta del passato e cosa lasciamo?

“La rivista resterà sempre. La doppia pagina è un’unità fondamentale per la costruzione di un’ edizione ed è un importante elemento per l’ espressione dei racconti visuali. dedicati alla moda e ai suoi immaginari. Del passato resterà sempre l’ eredità di grandi visionari come Alexey Brodovitch che è stato grafico e art director di Harper’s Bazaar per circa un quarto di secolo, compresi gli anni di Diane Vreeland di “Bazaar”. Costui è colui che ha messo in pagina la mitologica rubrica di Vreeland, “Why don’t you…”.

Qual è la tua opinione sull’approccio seguito da Diana Vreeland nelle vesti di consulente del Costume Institute del Metropolitan Museum of Art di New York (la quale voleva le mostre apparissero come parte del presente invece del passato)?

“È la forza dell’interpretazione, il rischio sempre assunto da un curatore. Si tratta di un atteggiamento che non mette in discussione il lavoro rigoroso e fondamentale del curatore (che ricostruisce la storia di un oggetto, di un abito, descrivendolo nella sua materialità e collocandolo correttamente nel suo periodo di appartenenza), ma che utilizza questi aspetti per innescare riflessioni ulteriori sulla cultura e la storia della moda, con uno sguardo che parte dal passato per costruire nuove storie e intercettare traiettorie non ancora esplorate”.

“Il problema di questo paese è che vogliono dare al pubblico ciò che vuole. Ebbene il pubblico vuole ciò che non può ottenere e spetta al museo per insegnargli ciò che vogliono”, diceva Diana Vreeland, questa affermazione è ancora attuale?

“La risposta è complessa, soprattutto perché richiede di considerare diverse tipologie di musei (arti decorative, arte contemporanea, moda, ecc.). Mi limito semplicemente a sottolineare che in Italia manca ancora un vero e proprio museo della moda, in grado di confrontarsi con i grandi musei ed istituzioni internazionali. Ci sono alcune poche realtà significative, ma ancora manca, per esempio, un funzionale meccanismo di raccordo. Credo che tutto questo abbia a che fare con lo stato ancora arretrato della riflessione italiana sulla cultura della moda. La mostra e il convegno sono anche il tentativo di portare a un livello superiore il dibattito italiano rispetto a questi temi in relazione alla moda italiana. Una questione di grande attualità e urgenza è risolvere questo problema con un museo della moda italiana”.

Considerando l’eclettismo della tua opera qual è il tuo approccio per definire, osservare, far dialogare e promuovere arte, moda, cultura e innovazione?

“Agire come un curatore significa innescare riflessioni rispetto alla cultura visuale contemporanea che racchiude le manifestazioni della moda e quelle dell’arte. Agire come direttore di una scuola di moda, il corso di laurea in Design della moda dell’Università Iuav di Venezia:la mia intenzione è creare un luogo che sia un terreno fertile per la ricerca accademica ed aiuti a formare una nuova generazione di fashion designer”.

Veruschka in Valentino and De Barentzen, photo by Franco Rubartelli. Vogue 1st April 1967

Benedetta Barzini in Grès, photo by Irving Penn and the editorial by Diana Vreeland, Vogue 1st September 1967

Coat by Yves Saint-Laurent ( Fall/Winter 1969 collection) , photo by Duane Michals for Yves Saint Laurent, catalogue of the exhibition curated by della mostra Diana Vreeland (New York, The Costume Institute at The Metropolitan Museum of Art, 14th December 1983-2nd September 1984), New York, The Metropolitan Museum of Art, 1983

Costume worn by Joan Crawford in The Bride Wore Red (1937) made by Adrian, photo by Keith Trumbo featuring in the book by Dale McConathy with Diana Vreeland, Hollywood Costume. Glamour! Glitter! Romance!, New York, Harry N. Abrams, 1976, made after the exhibition Romantic and Glamorous Hollywood Design, curated by Diana Vreeland (New York, The Costume Institute at The Metropolitan Museum of Art, 21st December 1974-31st August 1975)

"Why don't you", the double pages by Diana Vreeland, Harper's Bazaar, December 1936 issue (first year Diana Vreeland works for “Bazaar”, who started on March 1936)

"Why don't you", the double pages by Diana Vreeland, Harper's Bazaar, May 1941 issue ( last time it appears the editorial)

Dress by Madeleine Vionnet (1925-1926), photo by Irving Penn featuring in Inventive Paris Clothes 1909-1939 (New York, The Viking Press, 1977), book made teaming with Diana Vreeland after the exhibition The 10s, The 20s, The 30s. Inventive Clothes 1909-1939, curated by Diana Vreeland (New York, The Costume Institute at The Metropolitan Museum of Art, 13th December 1973-3rd September 1974)

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Soft Core by Sergio Zambon, Photo by Agostino Fabio

It continues the story told by Agostino Fabio featuring bright creatives as Sergio Zambon, the designer of brand Soft Core, Gabriele Colangelo, Alessandro Dell’Acqua, Carta & Costuraand Rodolfo Paglialunga for Vionnet and many others – as well as Max Kibardin, the smashing shoe designer who recently created the shoe-guitar along with Alex Murray-Leslie, the front-woman of band Chicks on Speed, Glenn Belverio, the journalist, author, blogger and correspondent of Diane Pernet’s blog A Shaded View On Fashion, being my Epicurean companion inside out AltaRomaAltaModa – who participated at Limited/Unlimited, the suggestive exhibition included in the latest edition of AltaRomaAltaModa which was held in Rome at La Pelanda.

Sergio Zambon and me, photo by Agostino Fabio

ALTAROMAALTAMODA: LIMITED/UNLIMITED UN PHOTO REPORTAGE DI AGOSTINO FABIO (3)

Gabriele Colangelo, photo by Agostino Fabio

Continua la storia raccontata da Agostino Fabio di cui sono protagonisti brillanti creativi quali Sergio Zambon, il designer del brand Soft Core, Gabriele Colangelo, Alessandro Dell’Acqua, Carta & Costura e Rodolfo Paglialunga per Vionnet e molti altri – come Max Kibardin, il formidabile designer di calzature smashing che recentemente ha creato la scarpa-chitarra unitamente ad Alex Murray-Leslie, membro della band Chicks on Speed, Glenn Belverio, il giornalista, scrittore, blogger e corrispondente per il blog di Diane Pernet A Shaded View On Fashion che è il mio compagno epicureo dentro e fuori AltaRomaAltaModa – che hanno partecipato a Limited/Unlimited, la suggestiva mostra inclusa nell’ultima edizione di AltaRomaAltaModa che si è tenuta a Roma presso La Pelanda.

N° 21 by Alessandro Dell'Acqua, photo by Agostino Fabio

Carta & Costura, photo by Agostino Fabio

Max Kibardin and me, photo by Agostino Fabio

Rodolfo Paglialunga for Vionnet, photo by Agostino Fabio

Glenn Belverio, photo by Agostino Fabio

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