photo by N

photo by N

It follows my tale in reverse, made by words and images featuring “Art and food”, the exhibition curated by Germano Celantrunning through 1st November 2015 – recently opened at the Milan Triennale Design Museum. A lapse of time going mostly from Fifties to Eighties is told the exhibition’s path second section. A suggestive showcase which exhibits many objects, talking about the relationship between food and art, a theme explored through the photography by Henri Cartier-Bresson, Ugo Mulas, pop-art by Andy Warhol, Robert Rauschenberg, Mimmo Rotella, Roy Lichtenstein and other artists, enriched by the creations made by the fashion designer Ken Scott( though fashion is a delicate presence, just murmured into the exhibition, evidence of a culture eradicate in Italy which still considers fashion as a secondary discipline and gives the primacy to the visual arts), the commercials by Armando Testa (bright creative who made the commercial saga of Carmensita for the Paulista coffee by Lavazza ) and impressed also on music, embodied in the cover albums of celebrated bands as Rolling Stones.

L’ INAUGURAZIONE DELLA MOSTRA “ART & FOOD” AL MUSEO DEL DESIGN DELLA TRIENNALE DI MILANO(2)

Henri Cartier Bresson, Sunday on the sanks of the Seine river, 1938, Collection Henri Cartier- Bresson Foundation, photo by N

Henri Cartier Bresson, Sunday on the sanks of the Seine river, 1938, Collection Henri Cartier- Bresson Foundation, photo by N

Prosegue il mio racconto a ritroso, fatto di parole e immagini di cui è protagonista “Art and food”, la mostra curata Germano Celant – che prosegue fino all’ 1 novembre 2015 – recentemente inaugurata al Museo del Design della Triennale di Milano. Un lasso di tempo che va principalmente dagli anni Cinquanta agli anni Ottanta è raccontato dalla seconda sezione del percorso espositivo. Una suggestiva rassegna che espone plurimi oggetti che parlano della relazione tra cibo e arte, un tema esplorato attraverso la fotografia di Henri Cartier-Bresson, Ugo Mulas, la pop-art Andy Warhol, Robert Rauschenberg, Mimmo Rotella, Roy Lichtenstein, arricchita dalle creazioni del fashion designer Ken Scott(benché la moda sia una presenza delicata, appena sussurrata all’ interno della mostra, dimostrazione di una cultura da sradicare in Italia che ancora considera la moda come una disciplina secondaria rispetto alla primazia data alle arti visive), dalle pubblicità di Armando Testa (brillante creativo che ha realizzato la saga pubblicitaria di Carmensita per il caffè Paulista di Lavazza) e impressa anche nella musica, racchiusa negli album delle copertine di celebri band quali i Rolling Stones.

Nino Migliori, Bread delivery boy, 1956, Bologna, Nino Migliori archive, photo by N

Nino Migliori, Bread delivery boy, 1956, Bologna, Nino Migliori archive, photo by N

 

Robert Indiana. the electric eat, 1964, courtesy of Galerie Gmurzynska AG, photo by N

Robert Indiana. the electric eat, 1964, courtesy of Galerie Gmurzynska AG, photo by N

 

Ugo Mulas, photo by N

Ugo Mulas, photo by N

 

Ugo Mulas, The Warhol factory,  photo by N

Ugo Mulas, The Warhol factory, photo by N

 

Ugo Mulas, Andy Warhol at the Warhol factory,  photo by N

Ugo Mulas, Andy Warhol at the Warhol factory, photo by N

 

Andy Warhol, Campbell's soup| Portfolio, 1968, private collection, New York

Andy Warhol, Campbell’s soup| Portfolio, 1968, private collection, New York

 

Andy Warhol, Del Monte  peach halves, 1964, Mugrabi Collection, 1964, Kellog's corn flakes box, 1964,  courtesy of the Brant Foundation, Greenwich, photo by N

Andy Warhol, Del Monte peach halves, 1964, Mugrabi Collection, 1964, Kellog’s corn flakes box, 1964, courtesy of the Brant Foundation, Greenwich, photo by N

 

Robert Rauschenberg, Hungry weeds, 1969, Robert Rauschenberg Foundation, New York, photo by N

Robert Rauschenberg, Hungry weeds, 1969, Robert Rauschenberg Foundation, New York, photo by N

 

Commercial by Armando Testa, photo by N

Commercial by Armando Testa, photo by N

 

 

Roy Lichtenstein, Apple with black and blue blackground, 1982, the Roy Lichtenstein Foundation and courtesy of the Castell Gallery, New York, photo by N

Roy Lichtenstein, Apple with black and blue blackground, 1982, the Roy Lichtenstein Foundation and courtesy of the Castell Gallery, New York, photo by N

 

Roy Lichtenstein, Ceramic sculpture, 1965, private collection, Switzerland, photo by N

Roy Lichtenstein, Ceramic sculpture, 1965, private collection, Switzerland, photo by N

 

Carmensita and Caballero, the main features of commercials by Armando Testa for Paulista coffee by Lavazza, photo by N

Carmensita and Caballero, the main features of commercials by Armando Testa for Paulista coffee by Lavazza, photo by N

 

 

Another iconic persona still existing from food commercial Susanna, brand of cheese triangles by Kraft, photo by N

Another iconic persona still existing from food commercial Susanna, brand of cheese triangles by Kraft, photo by N

 

 

The cover albums by celebrated artists, photo by N

The cover albums by celebrated artists, photo by N

 

Andy Warhol, The last supper (Camel/57), 1986, Mugrabi collection, New York, photo by N

Andy Warhol, The last supper (Camel/57), 1986, Mugrabi collection, New York, photo by N

 

Mimmo Rotella, Point and a half, 1962, private collection, courtesy of Marconi Foundation, photo by N

Mimmo Rotella, Point and a half, 1962, private collection, courtesy of Marconi Foundation, photo by N

 

 

Mimmo Rotella, photo by N

Mimmo Rotella, photo by N

 

Ken Scott, Cereghino dress and cape, "Ken Scott cooks something new" Spring/Summer 1970, Piper club, January 1970, Ken Scott Foundation, Rome, photo by N

Ken Scott, Cereghino dress and cape, “Ken Scott cooks something new” Spring/Summer 1970, Piper club, January 1970, Ken Scott Foundation, Rome, photo by N

 

Ken Scott, Ruspante dress and cape, "Ken Scott cooks something new" Spring/Summer 1970, Piper club, January 1970, Ken Scott Foundation, Rome, photo by N

Ken Scott, Ruspante dress and cape, “Ken Scott cooks something new” Spring/Summer 1970, Piper club, January 1970, Ken Scott Foundation, Rome, photo by N

 

 Dieter Roth, Schokoladenplätzchenbild, 1969, Kem collection, Germany, photo by N


Dieter Roth, Schokoladenplätzchenbild, 1969, Kem collection, Germany, photo by N

 

Michelangelo Pistoletto, Bottle, 1963, Cittadellarte-Pistoletto Foundation, Biella, photo by N

Michelangelo Pistoletto, Bottle, 1963, Cittadellarte-Pistoletto Foundation, Biella, photo by N

 

Alain Jaquet, Dèjeuner sur l' herbe, 1964, Kem collection, Germany, photo by N

Alain Jaquet, Dèjeuner sur l’ herbe, 1964, Kem collection, Germany, photo by N

 

 

www.triennale.org

photo by N

photo by N

Art and food”, the exhibition curated by Germano Celantrunning through 1st November 2015 -, was recently opened at the Milan Triennale Design Museum, which is the only thematic area placed in the Milan city centre of event Expo Milan 2015. It was a smashing display of art exploring the relationship with food, emphasized by many references and an amazing selections of objects and furniture. I start talking about that in reverse, showing  many works being in third section of the exhibition which is placed on the first floor of museum, featuring celebrated contemporary artworks (paintings, sculptures, videos and installations). That is the part of exhibition I appreciated mostly for its lightness though the myriad of artworks that here were on show – among whom I was glad to see the works by Joel-Peter Witkin, Gregory Crewdson, an installation by the fashion designer Issey Miyake along with the ones made by other celebrated artists.

L’ INAUGURAZIONE DELLA MOSTRA “ART & FOOD” AL MUSEO DEL DESIGN DELLA TRIENNALE DI MILANO (1)

Jeff Koons, Cake, 1995-1997, private collection, photo by N

Jeff Koons, Cake, 1995-1997, private collection, photo by N

Art and food”, la mostra curata da Germano Celantche prosegue fino all’ 1 novembre 2015 -, è stata recentemente inaugurata presso il Museo del Design della Triennale di Milano, unica area tematica ubicata nel centro di Milano dell’ evento Expo Milano 2015. Una formidabile rassegna d’ arte che esplora la relazione con il cibo, enfatizzata da plurimi riferimenti e una incredibile selezione di oggetti e arredi. Ne comincio a parlare a ritroso, mostrando varie opere che si trovano nella terza sezione della mostra che è ubicata al primo piano del museo, di cui sono protagoniste vare opere d’ arte contemporanea (dipinti, sculture, collage, video e installazioni). Questa è la parte della mostra che ho apprezzato di più per la sua leggerezza nonostante la myriade delle opere d’ arte ivi esposte – tra cui mi ha rallegrato vedere le opere di Joel-Peter Witkin, Gregory Crewdson, un’ installazione del fashion designer Issey Miyake insieme a quelle di molti altri celebri artisti.

  Jeff Koons, bread with egg, 1995-1997, courtesy the artist and Jérôme de Noirmont, Paris


Jeff Koons, bread with egg, 1995-1997, courtesy the artist and Jérôme de Noirmont, Paris, photo by N

 

photo by N

photo by N

 

photo by N

photo by N

 

photo by N

photo by N

 

photo by N

photo by N

 

Tom Friedman, big big mac, 2013, courtesy of Luhring Augustine, New York and Stephen Friedman Gallery, London

Tom Friedman, big big mac, 2013, courtesy of Luhring Augustine, New York and Stephen Friedman Gallery, London

 

Inka Shonibare Mbe, Champagne kid(Fallen), B(w)anker (2), 2013, courtesy of the artist and Stephen Friedman Gallery London, photo by N

Inka Shonibare Mbe, Champagne kid(Fallen), B(w)anker (2), 2013, courtesy of the artist and Stephen Friedman Gallery London, photo by N

 

Wim Delvoye, Personal cloaca, 2006, courtesy of the artist

Wim Delvoye, Personal cloaca, 2006, courtesy of the artist

 

Nate Lowman, Blood orange is the new kale, 2013, courtesy of the artist

Nate Lowman, Blood orange is the new kale, 2013, courtesy of the artist

 

Elad Lassry, Kitchen, 2010, private collection, Milan, Eggs, 2010, Carlo Beldi Collection, Milan, Meat, Onion, 2010, Ringier Collection Switzerland, Short ribs, eggs, 2012, private collection, photo by N

Elad Lassry, Kitchen, 2010, private collection, Milan, Eggs, 2010, Carlo Beldi Collection, Milan, Meat, Onion, 2010, Ringier Collection Switzerland, Short ribs, eggs, 2012, private collection, photo by N

 

Mario Botta, La Petra Winery, Suvereto, 2003, Petra, Terra Moretti Group, photo by N

Mario Botta, La Petra Winery, Suvereto, 2003, Petra, Terra Moretti Group, photo by N

 

Gae Aulenti, Tenuta di Campo Sasso, Bibbona, 2003-2004, Gae Aulenti Archive,  photo by N

Gae Aulenti, Tenuta di Campo Sasso, Bibbona, 2003-2004, Gae Aulenti Archive, photo by N

 

Renzo Piano,  La Rocca Winery at Frassinello, Gavorrano, 2006, photo by N

Renzo Piano, La Rocca Winery at Frassinello, Gavorrano, 2006, photo by N

 

Richard Meier, Felida, 2012, courtesy Galerie Gmurzynska AG, photo by N

Richard Meier, Felida, 2012, courtesy Galerie Gmurzynska AG, photo by N

 

Igor Baskakov, Mars, 1999, courtesy Galerie Gmurzynska AG, photo by N

Igor Baskakov, Mars, 1999, courtesy Galerie Gmurzynska AG, photo by N

 

Igor Baskakov, Twix, 2001, courtesy Galerie Gmurzynska AG, photo by N

Igor Baskakov, Twix, 2001, courtesy Galerie Gmurzynska AG, photo by N

 

Jani Leinonen, Or Flakes: Slave or Slut, 2010, courtesy Galerie Gmurzynska AG, photo by N

Jani Leinonen, Or Flakes: Slave or Slut, 2010, courtesy Galerie Gmurzynska AG, photo by N

 

Nathalie Djurberg, man with the ice-cream, 2012, The Michael Storåkems Collection, photo by N

Nathalie Djurberg, man with the ice-cream, 2012, The Michael Storåkems Collection, photo by N

 

Nathalie Djurberg, bang your little drums, duration 10'42", music by Hans Berg, Giò Marconi, Milan

Nathalie Djurberg, bang your little drums, duration 10’42”, music by Hans Berg, Giò Marconi, Milan

 

Marc Quinn, Flesh painting( on sensualism), 2012, private collection, photo by N

Marc Quinn, Flesh painting( on sensualism), 2012, private collection, photo by N

 

Cai Guo-Qiang, Sunshine and solitude: poppy flowers, 2010, courtesy of the artist, photo by N

Cai Guo-Qiang, Sunshine and solitude: poppy flowers, 2010, courtesy of the artist, photo by N

 

Pleats please by Issey Miyake, photo by N

Pleats please by Issey Miyake, photo by N

 

Pleats please by Issey Miyake, phot by N

Pleats please by Issey Miyake, phot by N

 

Pleats please by Issey Miyake, phot by N

Pleats please by Issey Miyake, phot by N

 

Pleats please by Issey Miyake, phot by N

Pleats please by Issey Miyake, phot by N

 

Hassan Hajjaj, Ilham, 2000, courtesy of the artist and Taymour Grahne Gallery, New York

Hassan Hajjaj, Ilham, 2000, courtesy of the artist and Taymour Grahne Gallery, New York

 

Miles Aldridge, first impression 1, firts impression 2, 2006, courtesy Steven Kasher Gallery, New York, photo by N

Miles Aldridge, first impression 1, firts impression 2, 2006, courtesy Steven Kasher Gallery, New York, photo by N

 

Paul McCarthy, Bossy burger, 1991, video, duration 58' 59", photo by N

Paul McCarthy, Bossy burger, 1991, video, duration 58′ 59″, photo by N

 

Mona Hatoum, Deep throat, 1996, courtesy by the artist

Mona Hatoum, Deep throat, 1996, courtesy by the artist

 

Mona Hatoum, Deep throat, 1996, courtesy by the artist

Mona Hatoum, Deep throat, 1996, courtesy by the artist

 

Shen Wei, Bag from the series "Table setting", 2010, courtesy of the artist and Flowers Gallery, New York

Shen Wei, Bag from the series “Table setting”, 2010, courtesy of the artist and Flowers Gallery, New York

 

Thomas Demand, Stove, 2014, courtesy of the artist, VG Bild-Kunst, Bonn,  Sprüth Magers, photo by N

Dennis Oppheneim, Sleeping dogs, 1997, private collection, photo by N

 

Ron Mueck, Woman with shopping, 2013, Fondation Cartier pour l' art contemporain, Paris, photo by N

Ron Mueck, Woman with shopping, 2013, Fondation Cartier pour l’ art contemporain, Paris, photo by N

 

George Steinmetz, at the Nutribras pig farm in Brazil, 2nd September 2013, courtesy of the artist, photo by N

George Steinmetz, at the Nutribras pig farm in Brazil, 2nd September 2013, courtesy of the artist, photo by N

 

Barbara Kruger, untitled( God sends the meat and the devil cooks), 1988, collection famille Servais, photo by N

Barbara Kruger, untitled( God sends the meat and the devil cooks), 1988, collection famille Servais, photo by N

 

house of bread, photo by N

house of bread, photo by N

 

house of bread, photo by N

house of bread, photo by N

 

Vanessa Beecroft, VB 52.168.NT, 2003-2007, private collection, courtesy of Galleria Lia Rumma, Milano, Napoli, photo by N

Vanessa Beecroft, VB 52.168.NT, 2003-2007, private collection, courtesy of Galleria Lia Rumma, Milano, Napoli, photo by N

 

Frank O. Gehry, the gift fish, 1985, Castello di Rivoli Contemporary Art Museum, long term deposit Marco Rivetti Foundation, Rivoli-Turin, photo by N

Frank O. Gehry, the gift fish, 1985, Castello di Rivoli Contemporary Art Museum, long term deposit Marco Rivetti Foundation, Rivoli-Turin, photo by N

 

Andres Serrano, black supper, 1990, private collection, London, photo by N

Andres Serrano, black supper, 1990, private collection, London, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Marina Abramovic, the onion, 1995, courtesy Marina Abramovic and Sean Kelly Gallery, New York, photo by N

Marina Abramovic, the onion, 1995, courtesy Marina Abramovic and Sean Kelly Gallery, New York, photo by N

 

Joann Verburg, still life with Jim, 1991, courtesy of the artist and Pace MacGill Gallery, New York, photo by N

Joann Verburg, still life with Jim, 1991, courtesy of the artist and Pace MacGill Gallery, New York, photo by N

 

Mimmo Jodice, Eden-opera n. 45, 48, 1995, courtesy of the artist, photo by N

Mimmo Jodice, Eden-opera n. 45, 48, 1995, courtesy of the artist, photo by N

 

Sally Mann, Yard eggs, 1991, courtesy of the artist and Gagosian Gallery New York, photo by N

Sally Mann, Yard eggs, 1991, courtesy of the artist and Gagosian Gallery New York, photo by N

 

Giovanni Gastel, Ricerca, 1991, courtesy Image Srl for Giovanni Gastel, photo by N

Giovanni Gastel, Ricerca, 1991, courtesy Image Srl for Giovanni Gastel, photo by N

 

Giovanni Gastel, Mondo uomo, 1985, courtesy Image Srl for Giovanni Gastel, photo by N

Giovanni Gastel, Mondo uomo, 1985, courtesy Image Srl for Giovanni Gastel, photo by N

 

Jannis Kounellis, Untitled, 2013, courtesy of the artist, photo by N

Jannis Kounellis, Untitled, 2013, courtesy of the artist, photo by N

 

Gregory Crewdson, Untitled (Sunday roast), 2005, courtesy of the artist and Gagosian Gallery, New York, photo by N

Gregory Crewdson, Untitled (Sunday roast), 2005, courtesy of the artist and Gagosian Gallery, New York, photo by N

 

Subodh Gupta, Ancestor cupboard, 2012, courtesy of the artist and Hauser & Wirth, London/Zurich, photo by N

Subodh Gupta, Ancestor cupboard, 2012, courtesy of the artist and Hauser & Wirth, London/Zurich, photo by N

 

Mario Merz, Igloo of bread, 1989, Mario Merz Collection, Turin

Mario Merz, Igloo of bread, 1989, Mario Merz Collection, Turin

 

Cindy Sherman, Untitled Metropolis, 1987-1991, Pierre Huber Collection, photo by N

Cindy Sherman, Untitled Metropolis, 1987-1991, Pierre Huber Collection, photo by N

 

Robert Mapplethorpe, Fish, Eggplant, Corn, Grapes, 1985, Robert Mapplethorpe Foundation, New York, photo by N

Robert Mapplethorpe, Fish, Eggplant, Corn, Grapes, 1985, Robert Mapplethorpe Foundation, New York, photo by N

 

Joel-Peter Witkin, Vanity, New Mexico, 1990, Witkin, Feast of fools, 1990, Still life, Marseille, 1992, Harvest, New Mexico, 1981, courtesy of the artist and Boudoin Lebon, photo by N

Joel-Peter Witkin, Vanity, New Mexico, 1990, Witkin, Feast of fools, 1990, Still life, Marseille, 1992, Harvest, New Mexico, 1981, courtesy of the artist and Boudoin Lebon, photo by N

 

Joel-Peter Witkin, Vanity, New Mexico, 1990,courtesy of the artist and Boudoin Lebon, photo by N

Joel-Peter Witkin, Vanity, New Mexico, 1990,courtesy of the artist and Boudoin Lebon, photo by N

 

Braco Dimitrijevic, Heralds of post history, 1997, courtesy of the artist, photo by N

Braco Dimitrijevic, Heralds of post history, 1997, courtesy of the artist, photo by N

 

 

www.triennale.org

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

Elegance becomes a lifestyle and an experience: the culture of taste. That is the sign impressed in the eclectic work by Anna Fendi, who embodied her renowned experience in the realm of fashion, in a series of smashing projects concerning furniture, hotellerie and Epicureanism. A harmony of signs, where the rationality of suggestions reminding the constructivism, details and sophistication, celebrating the art of making, the made in Italy shines in the collection of furniture Anna made and features in other smashing initiatives she had.

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

The wine selection AVF, photo by N

The wine selection AVF, photo by N

 

The wine selection AVF, photo by N

The wine selection AVF, photo by N

One of them is the project of luxury residence, an idea which is much more than a hotellerie and regards life quality which arises from feeling like being at home, staying in a smashing place where many senses are stimulated and caressed. That is the core of Villa Laetitia, a residency which is in Rome, placed in the renowned area Prati, a historical building from early Nineties designed by the architect Armando Brasini. I enjoyed very much being there and sharing with Anna an Epicurean interlude featuring the delicatessen of La Torre”, the restaurant and wine bar of Villa Laetitia, as the infamous “Patata interrata”, made by the chef Danilo Ciavattini, an awesome, an appetizer where potato joins with the scent of truffles and other delicate aromas. Villa Laetitia also hosts the creations Anna made, it’s a little, big cathedral of elegance where to go and come back.

 

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

 

AVF furniture collection, photo by N

AVF furniture collection, photo by N

In this circumstance I also enjoyed another project Anna made, AVF, a selection of Italian wines bringing the initials of her name. This project, developed along with her husband Giuseppe Toscano, embodies a leitmotiv of her work: the excellence of made in Italy products, genuineness and craftsmanship. In fact it has been selected 21 wines and spirits, resulting from stories of passions of wine houses who made it. These superb wines – red and white wines: Barolo, Brunello di Montalcino, Chianti, Amarone, prosecco from Valdobbiadene and champagne from Alta Langa, Soave, la Falanghina, Gavi and Vermentino, along with Kerner, which is my favourite one, Riesling and other ones I was pleased of tasting – brings unusual names as “Twill”, “Velvet”, “Spina di Pesce”, “Lamé” and others that evidence her world, her life and work spent in the atelier, immersed in the beauty and are exclusively available on line. An universe which talks about the Italian style in its most vibrant version and the bright genius of Anna Fendi.

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Chess celebration ft. me, myself and I, photo by N

Chess celebration ft. me, myself and I, photo by N

 

Me, myself and I, photo by N

Me, myself and I, photo by N

 

Villa Laetitia Rome, photo by N

Villa Laetitia Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

I could spend thousands of words to depict her, her powerful strength as creative and individual, but I prefer just reminding the words by her daughter Silvia who once told me: my mother is amazing, she has a such a great sense of detail and a visual attitude, she is able to see how the things can be, can combine between themselves, before that is made. This is one of her many skills, a value I celebrate.

L’ ELEGANZA E LA CULTURA DEL GUSTO DI ANNA FENDI

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

L’ eleganza diventa un lifestyle e un’ esperienza all’ insegna della cultura del gusto. Questo, il segno impresso nell’ eclettica opera di Anna Fendi, che ha racchiuso la sua rinomata esperienza nell’ ambito della moda in una serie di formidabili progetti che riguardano l’ arredamento, l’ hotellerie e l’ epicureismo. Un’ armonia di segni, in cui la razionalità di suggestioni che richiamano alla mente il costruttivismo, i dettagli e la raffinatezza, che celebrano l’ arte del fare e il made in Italy splende nella collezione di componenti di arredo realizzata da Anna ed è protagonista di altre sue fantastiche iniziative.

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

Una di queste è il progetto di residenze di lusso, un’ idea che è molto di più di una hotellerie e riguarda la qualità di vita data dal sentirsi come a casa, soggiornando in un luogo che sollecita e accarezza molteplici sensi. Questo è il cuore di Villa Laetitia, una residenza che si trova a Roma, ubicata nei dintorni della nota area Prati, un edificio storico che risale ai primi anni del Novecento progettato dall’ architetto Armando Brasini. Ho molto apprezzato trovarmi in questo meraviglioso luogo e condividere con Anna un interludio epicureo a base delle delizie di “La Torre”, quali la famigerata “Patata interrata”, un superbo appetizer, realizzato dallo chef Danilo Ciavattini, in cui la patata si unisce al profumo del tartufo e di altri delicati aromi. Villa Laetitia ospita anche le creazioni di Anna, è una piccola, grande cattedrale di eleganza in cui andare e tornare.

AVF, the wine selection at the restaurant La Torre at Villla Laetitia, Rome, photo by N

AVF, the wine selection at the restaurant La Torre at Villla Laetitia, Rome, photo by N

 

La Torre restaurant at Villla Laetitia, Rome, photo by N

La Torre restaurant at Villla Laetitia, Rome, photo by N

 

La Torre restaurant at Villla Laetitia, Rome, photo by N

La Torre restaurant at Villla Laetitia, Rome, photo by N

In questa circostanza ho apprezzato anche un altro progetto di Anna, AVF, una selezione di vini italiani che portano le iniziali del suo nome. Questo progetto, consolidato insieme al marito Giuseppe Toscano, racchiude in sé un leitmotiv del suo lavoro: l’ eccellenza dei prodotti made in Italy, la genuinità e l’ artigianalità. Infatti sono stati selezionati 21 vini e distillati, risultato di storie di passione delle case vinicole che li hanno realizzati. Questi superbi vini – vini rossi e bianchi: il Barolo, Brunello di Montalcino, Chianti, Amarone il prosecco di Valdobbiadene e lo champagne di Alta Langa, il Soave, la Falanghina, il Gavi e Vermentino di Gallura, unitamente al Kerner, il mio preferito, al Riesling e altri ancora che sono stata lieta di assaporare – portano nomi insoliti come “Twill”, “Velvet”, “Spina di Pesce”, “Lamé” e altri che testimoniano il suo mondo, la sua vita e il suo lavoro trascorso nell’ atelier, immersa nella bellezza e sono disponibili esclusivamente on line. Un universo che parla di stile italiano nella sua versione più vibrante e del brillante estro di Anna Fendi.

Patata interrata, photo by N

Patata interrata, photo by N

The best tartare I have ever eaten, photo by N

The best tartare I have ever eaten, photo by N

Me, myself and I and my favourite dish, the tartare, photo by N

Me, myself and I and my favourite dish, the tartare, photo by N

 

Sweetness, photo by N

Sweetness, photo by N

 

Little sweetness, photo by N

Little sweetness, photo by N

Potrei spendere migliaia di parole per dipingere lei, la sua poderosa forza da creativa e da individuo, ma preferisco ricordare soltanto le parole di sua figlia Silvia che una volta mi ha detto: mia madre è sorprendente, ha un acuto senso del dettaglio e una notevole attitudine visiva, è capace di vedere come le cose possono essere, abbinarsi tra di loro, prima ancora che ciò sia stato fatto. Questo, uno dei suoi vari talenti, un valore che celebro.

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Anna Fendi on canvas at Villa Laetitia, Rome, photo by N

Anna Fendi on canvas at Villa Laetitia, Rome, photo by N

 

The Fendi sisters on canvas, photo by N

The Fendi sisters on canvas, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

Villa Laetitia, Rome, photo by N

Villa Laetitia, Rome, photo by N

 

La Torre wine bar at Villa Laetitia, Rome, photo by N

La Torre wine bar at Villa Laetitia, Rome, photo by N

 

La Torre wine bar at Villa Laetitia, Rome, photo by N

La Torre wine bar at Villa Laetitia, Rome, photo by N

 

Anna Fendi at the La Torre wine bar, Rome, photo by N

Anna Fendi at the La Torre wine bar, Rome, photo by N

 

www.villalaetitia.com

The rise of the Paris atelier, space to promote art and fashion, by Lamerti, jewellery brand created by the bright designer and conceptual artist Martina Angius, who expresses herself by using the glass as medium, a dream which can come true through the support of people. I think that creativity and dreams have to be celebrated, increased and shared as well as the value of generosity, thus dear FBFers, I ask you to join with me by participating at the crowd-fund which features in the virtual platform Ulule and giving your modest contribution to make this dream true.

SOSTENIAMO LA NASCITA DELL’ ATELIER PARIGINO DI LAMERTI!

Lamerti

Lamerti

La nascita dell’ atelier, spazio per promuovere arte e moda, di Lamerti, brand di gioielli creato dalla brillante designer e artista concettuale Martina Angius, che si esprime attraverso l’ uso del vetro quale medium, un sogno che può avverarsi grazie al sostegno delle persone. Penso che la creatività e i sogni debbano essere celebrati, incentivati e condivisi come anche il valore della generosità, perciò cari FBFers, vi chiedo di unirvi a me e fare avverare questo sogno, partecipando alla raccolta fondi che appare nella piattaforma virtuale Ulule e offrire dare il vostro modesto contributo per fare avverare questo sogno.

Lamerti

Lamerti

 

Lamerti

Lamerti

 

Lamerti

Lamerti

 

www.lamerti.com

https://vimeo.com/120173990

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

The Fall/Winter 2015-2016 collection by Aquilano.Rimondi, brand created by Tommaso Aquilano and Roberto Rimondi, presented during the Milan Fashion Week is under the sign of rigor and simplicity of shapes and constructions making concrete the paradigm “Less is more” by the architect Mies van Rohe and the neoplasticism impressed in the magazine De Stijl di Piet Mondrian, giving rise to a diorama of bourgeois elegance. A charm made of discretion and sobriety, austere and minimal volumes, some of them reinterpret silhouettes from the Sixties, dark colors as black and blue, join to a fine preciousness and experimentation, emphasized by nice prints, sequins, embroideries and little studs become decoration and refine the creation by the bright fashion designer.

 

 

IL FASCINO DISCRETO DELL’ ELEGANZA BORGHESE DI AQUILANO RIMONDI

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

La collezione autunno/inverno 2015-2016 di Aquilano.Rimondi, brand creato da Tommaso Aquilano e Roberto Rimondi, presentata durante la fashion week milanese è all’ insegna del rigore e della semplicità di forme e costruzioni che concretizzano il paradigma “lessi s more” dell’ architetto Mies van Rohe e il neoplasticismo impresso nella rivista De Stijl di Piet Mondrian, dando vita a un diorama dell’ eleganza borghese. Un fascino fatto di discrezione e sobrietà, volumi austeri e minimali, alcuni dei quali reinterpretano le silhouettes degli anni Sessanta, colori scuri  quali nero e blu. Linee fluide si uniscono a una fine ricercatezza e sperimentazione, enfatizzata da simpatiche stampe, paillettes, ricami gioiello e piccole borchie che diventano decori e ingentiliscono le creazioni dei brillanti fashion designer.

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

Aquilano.Rimondi Fall/Winter 2015-2016

Aquilano.Rimondi Fall/Winter 2015-2016

 

The models at the backstage of Aquilano.Rimondi

The models at the backstage of Aquilano.Rimondi

 

Aquilano Rimondi Fall/Winter 2015-2016

Aquilano Rimondi Fall/Winter 2015-2016

 

www.aquilanorimondi.it

soley

It will be released on 8th May 2015 “Ask the deep”(Morr Music), the second album of the bright Icelandic song-writer, multi-instrumentalist Sòley which features a refined music minimalism inspired by Philip Glass, emphasized by surreal, dreamlike suggestions and fairytale atmospheres, peopled by devils, ghosts and the lyricism of solitude.

 

“ASK THE DEEP”: LE SUGGESTIONI ONIRICHE DI SÓLEY

Sarà pubblicato l’ 8 maggio 2015 “Ask the deep”(Morr Music), il secondo album della brillante cantautrice, polistrumentista islandese Sòley di cui è protagonista un raffinato minimalismo musicale che si ispira a Philip Glass, enfatizzato da suggestioni surreali, oniriche e atmosfere fiabesche popolate da diavoli, fantasmi e dal lirismo della solitudine.

David Cronenberg

David Cronenberg

Three exhibitions, organized by the Lucca Film Festival – directed by Nicola Borrelliin collaboration with Volumina Torino and the Toronto International Film Festival, celebrate the visions by David Cronenberg, the bright filmmaker and precious individual, who features in series of conferences, meetings, talks, screenings and concerts(focused on the soundtracks of the movies he made) that are part of the Lucca Film Festival 2015 edition. A smashing exploration of the poetry by David Cronenberg which is done through three different exhibitions running through 5th May 2015. One is the Italian preview of “Evolution”, curated by the Toronto International Film Festival which is held in Lucca at the Ragghianti Foundation. Another exhibition brings the name and pays homage to the suggestive film “M. Bufferfly”, curated by the director of Toronto Film Festival Piers Handling and Noah Cowan, the art director of TIFF Bell Lightbox and is held in Lucca at Puccini Museum. Here it will be shown over one hundred items featuring in the set of movie, costumes, sketches, unseen photographs and films. “Chromosomes”, exhibition curated by Domenico De Gaetano and Alessandro Romanini, includes 70 photographs, connected to the idea of “staged photography”, resulting from the most famous films by Cronenberg and is held at the Viareggio Modern and Contemporary Art Gallery (GAMC). It completes this awesome exhibition path “Red cars”, a multimedia installation curated by Domenico De Gaetano and Alessandro Romanini which is held at the Lucca City Archive (ex-Macelli), is focused on the Ferrari and races world, is based on a book-object made in 2005 and arises from a script which has never made. Four not to be missed events to know and enjoy art, film and the genius David Cronenberg.

ARTE & CINEMA: QUATTRO EVENTI TRA LUCCA E VIAREGGIO CELEBRANO LA POESIA E LE VISIONI DI DAVID CRONENBERG

Still image by David Cronenberg

Still image by David Cronenberg

Tre mostre, organizzate dal Lucca Film Festival – diretto da  Nicola Borrelliin collaborazione con Volumina Torino ed il Toronto International Film Festival, celebrano le visioni di David Cronenberg, il brillante regista, preziosa individualità, protagonista di una serie di conferenze, incontri, talk, proieioni e concerti (dedicati alle colonne sonore dei suoi film) che fanno parte dell’ edizione 2015 del Lucca Film Festival. Una formidabile esplorazione della poetica di David Cronenberg, effettuata attraverso tre diverse mostre che proseguono fino al 5 maggio 2015. Una è l’ anteprima italiana di “Evolution”, curata dal Toronto International Film Festival che si tiene a Lucca presso la Fondazione Ragghianti. Un’ altra mostra porta il nome e rende omaggio al suggestivo film “M. Bufferfly”, curata dal direttore del Toronto International Film Festival Piers Handling e Noah Cowan, il direttore artistico TIFF Bell Lightbox e si tiene a Lucca al Museo Puccini. Ivi saranno esposti più di un centinaio di oggetti di scena, costumi, disegni, fotografie e fotogrammi inediti. “Chromosomes”, mostra curata da Domenico De Gaetano e Alessandro Romanini, include 70 fotografie, legate al concetto di “staged photography”, tratte dai film più famosi di Cronenberg ed ha luogo alla Galleria di Arte Moderna e Contemporanea (GAMC) di Viareggio Modern and Contemporary Art Gallery (GAMC). Completa questo fantastico percorso espositivo “Red cars”, un’ istallazione multimediale curata da Domenico De Gaetano e Alessandro Romanini che si tiene all’ Archivio di Stato di Lucca Cit (ex-Macelli), è incentrata sul mondo della Ferrari e delle corse, si basa su un libro-oggetto realizzato nel 2005 e nasce da una sceneggiatura che non è mai stata realizzata. Quattro eventi imperdibili per conoscere e l’ arte, il cinema e il geniale David Cronenberg.

The book-object "Red cars" by David Cronenberg

The book-object “Red cars” by David Cronenberg

 

David Cronenberg along with the works he made featuring in Chromosomes

David Cronenberg along with the works he made featuring in Chromosomes

 

www.volumina.net

http://luccafilmfestival.it

www.tiff.net

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Art dialogues with fashion. That becomes a creative technique and constant working method, of whose result is “Black mirror”, the Fall/Winter 2015-2016 collection by the bright fashion designer Sylvio Giardina. The distorted landscapes, arising from the “Claude mirror”, which unifies lines and shapes by the lost of details, are the idea embodied in creations where matter, volumes and colors blend between themselves. The lightness of lace, jersey, mesh, meets the texture of  multiprene, scuba diving cloth, velvet, it’s a suggestive alchemy under the sign of innovation and experimentation. The sumptuous constructions are bringers of light, a leitmotiv of work by Sylvio. The metallic and mirroring effects are emphasized by the accessories as the plexiglas collar – being part of a dress and at the same time detachable from that -and the big earrings along with the palette of colors including black, navy blue, mustard, brown, camel, hazel, burgundy. The lines caress the silhouette and evoke an avant-garde elegance, which make me think about a modern version of M., the charming replicant, interpreted by Sean Young, featuring in the cult-movie by Ridley Scott “Blade Runner”.

MODA, ARTE & ARTEFATTI: LA MODERNA REPLICANTE DI SYLVIO GIARDINA

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

L’ arte dialoga con la moda. Ciò diventa una tecnica creativa e costante metodo di lavoro, il cui risultato è “Black mirror”, la collezione autunno/inverno 2015-2016 del brillante fashion designer Sylvio Giardina. Gli scenari distorti che nascono dallo “Specchio Claude”, che unifica forme e linee con la perdita dei dettagli, sono l’ idea racchiusa in creazioni in cui materia, volumi e colori si fondono. La leggerezza del pizzo, tulle, jersey, della rete, incontra la consistenza di multiprene, scuba diving, velluto, una suggestiva alchimia all’ insegna di innovazione e sperimentazione. Le sontuose costruzioni sono portatrici di luce, un leitmotiv del lavoro di Sylvio. Gli effetti metallici e specchianti sono enfatizzati dagli accessori come il collare di plexiglass – che fa parte di un abito e al tempo stesso è da esso rimovibile – ed i grandi orecchini, unitamente alla palette di colori che include nero, blu, senape, marrone, cammello, nocciola, bordeaux. Le linee accarezzano la silhouette ed evocano una avveniristica eleganza che mi fa pensare una moderna versione di M., l’ affascinante replicante, interpretata da Sean Young, protagonista del cult-movie by Ridley Scott “Blade Runner”.

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

Sylvio Giardina Fall/Winter 2015-2016, photo by Tania Alineri

 

www.sylviogiardina.com

Arthur Arbesser Fall/Winter 2015-2016

Arthur Arbesser Fall/Winter 2015-2016

Good news concerning the emerging creativity and the made in Italy: the bright fashion designer Arthur Arbesser is one of the 8 finalists( along with Coperni, Marques’ Almeida, Craig Green, Faustine Stenmetz, Jaquemus, Off-White/Virgil Abloh, Vetements) of LVHM prize 2015, laudable initiative arisen in 2014 to support concretely the emerging creativity. After the first selection which was held during the Paris Fashion Week latest edition, his work – joining minimalism, fluidity, experimentation, sporty-chic suggestions and sophistication, as it evidences the Fall/Winter 2015-2016 of brand bringing his name, about which I will talk you about during the forthcoming days -, as well as the one by others finalists will be shown on May 2015 behind a jury composed by fashion designers of LVHM Group as Karl Lagerlfeld, Marc Jacobs, Phoebe Philo, Nicholas Ghesquière, Humberto Leon and Carol Lim, Raf Simons, Riccardo Tisci and J. W. Anderson.

ARTHUR ARBESSER È UNO DEGLI OTTO FINALISTI DEL PREMIO LVHM

Arthur Arbesser Fall/Winter 2015-2016

Arthur Arbesser Fall/Winter 2015-2016

Una lieta novella che riguarda la creatività emergente e il made in Italy: il brillante fashion designer Arthur Arbesser è uno degli 8 finalisti( insieme a Coperni, Marques’ Almeida, Craig Green, Faustine Stenmetz, Jaquemus, Off-White/Virgil Abloh, Vetements) del LVHM prize 2015, lodevole iniziativa nata 2014 per supportare concretamente la creatività emergente. Dopo la prima selezione che si è tenuta durante l’ ultima edizione della Paris Fashion Week il suo lavoro – che unisce minimalismo, fluidità, sperimentazione, suggestioni sporty-chic e raffinatezza, come si evince dalla collezione autunno-inverno 2015-2016 del marchio che porta il suo nome, di cui parlerò nei prossimi giorni – e quello degli altri finalisti sarà presentato in maggio 2015 dinanzi a una giuria composta da fashion designers del Gruppo LVHM quali Karl Lagerlfeld, Marc Jacobs, Phoebe Philo, Nicholas Ghesquière, Humberto Leon and Carol Lim, Raf Simons, Riccardo Tisci e J. W. Anderson.

Arthur Arbesser Fall/Winter 2015-2016

Arthur Arbesser Fall/Winter 2015-2016

 

Arthur Arbesser Fall/Winter 2015-2016

Arthur Arbesser Fall/Winter 2015-2016

 

Arthur Arbesser Fall/Winter 2015-2016

Arthur Arbesser Fall/Winter 2015-2016

 

Arthur Arbesser

Arthur Arbesser

 

 

www.lvmhprize.com

martin 1

It will open on 21st March 2015, in Hastings, Sputnik2, the boutique featuring the creations made by the iconic Martin Degville – bright artist and celebrated front-man of famous electro-rock band Sigue Sigue Sputnik -, clothes for rebels embodying a punk attitude.

MODA CON UN’ ATTITUDINE PUNK: L’ APERTURA DI SPUTNIK 2, LA BOUTIQUE DI MARTIN DEGVILLE A HASTINGS

Martin Degville

Martin Degville

 Aprirà il 21 marzo 2015, a Hastings, Sputnik2, la boutique di cui sono protagoniste le creazioni realizzate dall’ iconico Martin Degville – brillante artista e celebre leader della famosa band electro-rock band Sigue Sigue Sputnik -, abiti per ribelli che racchiudono in sé un’ attitudine punk.

Sputnik2

Sputnik2

 

Sputnik2

Sputnik2

 

Sputnik2

Sputnik2

 

www.sputnik2.com

Still image from the film "Antebellum gallery 2015" by Zaebear

Still image from the film “Antebellum gallery 2015″ by Zaebear

It has recently released a video paying homage to the work by Antebellum Gallery – fetish art gallery placed in Hollywood – and the artists who collaborate with it, directed by Zaebear and produced by the art-dealer and photographer Rick Castro. A smashing display of fetish elements meet surreal suggestions, which is emphasized by the set of film, the art gallery, artists starring – Emeka, Barry Morse, Jeffery Hutchison, Copjack, Pawel Gregory Florek, Raven Shadowmoon, Adam Watkins, “Blanket”, the brilliant opera singer Violet Talea, Splink Raven and Ricardo Caranza -, the clothing and accessories by Rick Owens and masks by Raymond Sandoval.

LE FORMIDABILI VISIONI DELLA ANTEBELLUM GALLERY SULLA PELLICOLA DI ZAEBEAR

Still image from the film "Antebellum gallery 2015" by Zaebear

Still image from the film “Antebellum gallery 2015″ by Zaebear

È stato recentemente pubblicato un video che rende omaggio all’ opera della Antebellum Gallery – galleria d’ arte fetish che si trova a Hollywood – ed agli artisti che ci collaborano, diretto da Zaebear e prodotto dal gallerista e fotografo Rick Castro. Una formidabile rassegna di visioni, in cui gli elementi fetish incontrano suggestioni surreali che è enfatizzata dal set della pellicola, la galleria d’ arte, dagli artisti che ne sono protagonisti – Emeka, Barry Morse, Jeffery Hutchison, Copjack, Pawel Gregory Florek, Raven Shadowmoon, Adam Watkins, “Blanket”, la brillante cantante d’opera Violet Talea, Splink Raven e Ricardo Caranza -, gli abiti e accessori di Rick Owens e le maschere di Raymond Sandoval.

Still image from the film "Antebellum gallery 2015" by Zaebear

Still image from the film “Antebellum gallery 2015″ by Zaebear

 

Still image from the film "Antebellum gallery 2015" by Zaebear

Still image from the film “Antebellum gallery 2015″ by Zaebear

 

Still image from the film "Antebellum gallery 2015" by Zaebear

Still image from the film “Antebellum gallery 2015″ by Zaebear

 

Still image from the film "Antebellum gallery 2015" by Zaebear

Still image from the film “Antebellum gallery 2015″ by Zaebear

 

 

 

http://antebellumgallery.blogspot.com

Stella Jean Spring/Summer2015, photo by N

Stella Jean Spring/Summer2015, photo by N

A woman with a strong attitude, who is not afraid to be a woman features in the Fall/Winter 2015-2016 collection by the bright fashion designer Stella Jean. The creative successfully follows the awesome work of styling, developed and enriched by new references, inspired by the Himalaya yak and Indian suggestions, subverting the borders between male and female, as it evidences the patterns concerning the Indian barbershop – area which is usually off-limit for a woman – that are turned into smashing prints and embodied in the wrought-iron bangles. Colors, colors and again colors. That is the main feature of creations she made along with volumes, emphasized by crinoline, of garments reinterpreting the silhouettes from Fifties. Soft mohair coats, long silk dresses, unusual combinations and overlaps, fun decorations and accessories shine and draw a nomadic femininity, made of consciousness and assertiveness, remarking on the edge a genders invasion, which contrasts the male and female in an anarchist way. It’ s the portrait of contemporary femininity and elegance as a lifestyle by a society designer, Stella, who explores the dynamism and contrasts of her time, made of vibrant signs and ideas. In fact that is impressed in her work paying homage to the tradition, culture and work of people from different countries, resulting from her involvement with the Ethical Fashion Initiative by ITC (International Trade Centre, a UN agency) from which it arises the use she made of hand woven cloths made by the women from Burkina Fasu and Mali villages and the hand-made jewelry by Haitian artisans.

LA  FEMMINILITÀ  NOMADE DI STELLA JEAN

Stella Jean Spring/Summer2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

Una donna di forte temperamento, che non ha paura di essere donna, è la protagonista della collezione autunno/inverno 2015-2016 della brillante fashion designer Stella Jean. La creativa prosegue felicemente la fantastica opera di styling, consolidata e arricchita di nuovi riferimenti che si ispirano allo yak himalayano ed a suggestioni indiane, sovvertendo i confini tra maschile e femminile, come testimoniano i motivi del barbiere indiano – zona solitamente off-limit per una donna – che sono trasformati in formidabili stampe e racchiusi in bracciali di ferro battuto. Colori, colori e ancora colori. Questi i protagonisti delle sue creazioni, insieme ai volumi, enfatizzati dalla crinolina, di alcuni capi che reinterpretano le silhouette degli anni Cinquanta. Morbidi cappotti di mohair, lunghi abiti di seta, insolite combinazioni e sovrapposizioni, divertenti decorazioni, accessori splendono e disegnano una femminilità nomade, fatta di consapevolezza e assertività, rimarcando all’ estremo un’ invasione di generi, che contrappone in modo anarchico il maschile e il femminile. È il ritratto della femminilità e dell’ eleganza contemporanea come lifestyle, dipinto da una society designer, Stella, che esplora il dinamismo e i contrasti del suo tempo, dando vita a vibranti segni e idee. Ciò è infatti impresso nel suo lavoro che rende omaggio alla tradizione, alla cultura e al lavoro di diverse popolazioni, risultato del suo coinvolgimento nella Ethical Fashion Initiative dell’ ITC (International Trade Centre, un’ agenzia ONU) da cui deriva l’ uso di stoffe tessute a mano dalle donne dei villaggi in Burkina Fasu, Mali ed i gioielli fatti a mano da artigiani haitiani.

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

A model at the backstage of Stella Jean, photo by N

A model at the backstage of Stella Jean, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

A model at the backstage of Stella Jean, photo by N

A model at the backstage of Stella Jean, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

 

Stella Jean, photo by N

Stella Jean, photo by N

 

www.stellajean.it

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

It has recently presented in Milan at Entrata libera, awesome concept store focused on the search in the realm of design, the collection of accessories made in co-branding by Carmina Campus and Vibram making concrete the categorical imperative “Save waste from waste”. An idea developed by Carmina Campus, brand of accessories, jewelry and furniture created by the bright, overwhelming pioneer fashion designer, farm businesswoman and social activist Ilaria Venturini Fendi and shared today with Vibram, renowned brand producing the rubber soles, which gave rise to a smashing collection of bags, made by re-using the rubber – more precisely, as Ilaria told me, the first rubber plate, resulting from the start of productive process and therefore it is useless -, thus taking away this material from the dump and turning into something wonderful. That evidences which can create without destroying, respecting the environment and earth which host us. It’ another way to see life, the world surrounding us, another way of thinking, working, creating, making and producing fashion, which emphasizes the idea of elegance as bringer of value and values. A healthy ethic is embodied in a vibrant aesthetics where it shines the approach of matter- and reminds me of work by Alberto Burri – and refinement. The many bags, as the nice rubber clutch bags are decorated by little, fun patterns made of rubber as well as other items, joining the rubber to other materials as leather and fur and are genuine passé-partout.

SALUBRI IDEE IN MOVIMENTO: IL LANCIO DELLA COLLEZIONE IN CO-BRANDING DI CARMINA CAMPUS & VIBRAM DA ENTRATA LIBERA

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

È stata presentata recentemente a Milano presso Entrata libera, fantastico concept store incentrato sulla ricerca nell’ ambito del design, la collezione di accessori realizzata in co-branding da Carmina Campus e Vibram che concretizza l’ imperativo categorico “Save waste from waste”(ovvero “Salva i rifiuti dai rifiuti”). Un’ idea consolidata da Carmina Campus, brand di accessori, gioielli e componenti di arredo creato dalla brillante, inarrestabile, pionieristica fashion designer, imprenditrice agricola e attivista nel sociale Ilaria Venturini Fendi e condivisa oggi con Vibram, rinomato marchio che produce suole di gomma, che ha dato vita a una formidabile collezione di borse, realizzate mediante il riuso della gomma – più precisamente, come Ilaria mi ha raccontato, la prima lastra di gomma, risultato dell’ inizio del processo produttivo e che pertanto è inutilizzabile -, sottraendo perciò questo materiale alla discarica e trasformandolo in qualcosa di meraviglioso. Ciò dimostra che si può creare senza distruggere, rispettando l’ ambiente e la terra che ci ospita. E’ un altro modo di vedere la vita, il mondo che ci circonda, un altro modo di pensare, lavorare, creare, fare e produrre moda che enfatizza l’ idea di eleganza come portatrice di valore e valori. Una salubre etica è racchiusa in una vibrante estetica in cui splende il sapiente approccio materico – che mi richiama alla mente l’ opera di Alberto Burri – e la raffinatezza. Le varie borse, le clutch di gomma sono decorate da piccoli divertenti motivi di gomma, come anche altri modelli che uniscono la gomma ad altri materiali quali pelle, pelliccia e sono autentici passé-partout.

Ilaria Venturini Fendi showing me an item ft. in the co-branding collection by Carmina Campus and Vibram, photo by N

Ilaria Venturini Fendi showing me an item ft. in the co-branding collection by Carmina Campus and Vibram, photo by N

 

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

Ilaria Venturini Fendi wearing  a bagle made of rubber elements, photo by N

Ilaria Venturini Fendi wearing a bagle made of rubber elements, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

Ilaria Venturini Fendi and Enea Roveda, photo by N

Ilaria Venturini Fendi and Enea Roveda, photo by N

 

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

The co-branding collection by Carmina Campus and Vibram, photo by N

The co-branding collection by Carmina Campus and Vibram, photo by N

 

The rubber by Vibram, turned into accessories, photo by N

The rubber by Vibram, turned into accessories, photo by N

 

Me, myself & I along with Stephan Hamel, photo by N

Me, myself & I along with Stephan Hamel, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

Me, myself and I along with Meo Fusciuni, photo by N

Me, myself and I along with Meo Fusciuni, photo by N

 

Carmina Campus, photo by N

Carmina Campus, photo by N

 

Carmina Campus, photo by N

Carmina Campus, photo by N

 

Me, myself and I along with Pietro Dottor, photo by N

Me, myself and I along with Pietro Dottor, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera and Alessandro Bocchingher, photo by N

The design showcase featuring in Entrata libera and Alessandro Bocchingher, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

The design showcase featuring in Entrata libera, photo by N

The design showcase featuring in Entrata libera, photo by N

 

Kissing moment featuring me, myself and I, Ilaria Venturini Fendi and Carlo Alberto, photo by N

Kissing moment featuring me, myself and I, Ilaria Venturini Fendi and Carlo Alberto, photo by N

 

 

www.carminacampus.com

Giulia Marani Fall/Winter 2015-2016 collection along with the works by Nicola Felice Torcoli, photo by N

Giulia Marani Fall/Winter 2015-2016 collection along with the works by Nicola Felice Torcoli, photo by N

Colored geometries, constructions giving rise to a dialogue between art and fashion, a leitmotiv of the young fashion designer Giulia Marani feature in “Tetris”, the Fall/Winter 2015-2016 collection she made by teaming with the artist Nicola Felice Torcoli. His architectural, 3d suggestions evoke the celebrated videogame “Tetris” which gives the name to the collection, are impressed in collages arising from a successful game of textures, made of canvas stripes oil painted and find a new context in the refined knitwear by Giulia. The creations she made – dresses, bodysuits, fun sweaters, jackets – are enriched by cuts and decorations emphasizing the silhouette and joining comfort, refinement, high-end materials – as mohair and the printed silk doubled cloth – and precious details talking about the fine manufacture of made in Italy.

 

GEOMETRIE, COSTRUZIONI & ARTE: “TETRIS” DI GIULIA MARANI

Nicola Felice Torcoli, photo by N

Nicola Felice Torcoli, photo by N

Colorate geometrie, costruzioni che danno vita a un dialogo tra moda e arte, un leitmotiv della giovane fashion designer Giulia Marani sono i protagonisti di “Tetris”, la collezione autunno/inverno 2015-2016 da lei realizzata avvalendosi della collaborazione dell’ artista Nicola Felice Torcoli. Le sue architettoniche, tridimensionali suggestioni evocano il celebre videogame “Tetris” che da il nome alla collezione, sono impresse in collages, risultato di un felice gioco di textures, realizzato con strisce di tela dipinte a olio, trovano un nuovo contesto nella raffinata maglieria di Giulia. Le sue accattivanti creazioni – abiti, body, divertenti maglioni, giacche – sono arricchite da un sapiente gioco di tagli e decori che enfatizzano la silhouette e uniscono comfort, raffinatezza, materiali di alta qualità – come il mohair e il tessuto doppiato di seta stampata – e preziosi dettagli che parlano della fine manifattura del made in Italy.

Giulia Marani Fall/Winter 2015-2016, photo by N

Giulia Marani Fall/Winter 2015-2016, photo by N

 

Nicola Felice Torcoli, photo by N

Nicola Felice Torcoli, photo by N

 

Giulia Marani Fall/Winter 2015-2016, photo by N

Giulia Marani Fall/Winter 2015-2016, photo by N

 

Giulia Marani Fall/Winter 2015-2016, photo by N

Giulia Marani Fall/Winter 2015-2016, photo by N

 

Nicola Felice Torcoli, photo by N

Nicola Felice Torcoli, photo by N

 

Giulia Marani Fall/Winter 2015-2016, photo by N

Giulia Marani Fall/Winter 2015-2016, photo by N

 

Giulia Marani Fall/Winter 2015-2016, photo by N

Giulia Marani Fall/Winter 2015-2016, photo by N

 

Giulia Marani Fall/Winter 2015-2016, photo by N

Giulia Marani Fall/Winter 2015-2016, photo by N

 

Giulia Marani Fall/Winter 2015-2016, photo by N

Giulia Marani Fall/Winter 2015-2016, photo by N

 

Giulia Marani Fall/Winter 2015-2016 collection along with the artwork by Nicola Felice Torcoli, photo by N

Giulia Marani Fall/Winter 2015-2016 collection along with the work by Nicola Felice Torcoli, photo by N

 

Giulia's father, the fashion designer Angelo Marani, photo by N

Giulia’s father, the fashion designer Angelo Marani, photo by N

 

Giulia Marani wearing a creation ft. in the Fall/Winter 2015-2015 collection she made, photo by N

Giulia Marani, photo by N

 

 

www.giuliamarani.com

Gentucca Bini, Fall/Winter 2015-2016, photo by N

Gentucca Bini, Fall/Winter 2015-2016, photo by N

It has recently held in Milan, at the Trattoria da Lina, the presentation of “The charm of the uniform”, Fall/Winter collection 2015-2016 by the brilliant fashion designer and multidisciplinary artist Gentucca Bini, new chapter of a smashing sartorial experience, which successfully develops an awesome capsule collection and celebrates the jumpsuit. Sophisticated volumes, a wise combination of high-end materials – wool and technical cloths – shines in the unisex creations joining comfort to a solemn and minimal elegance. The details, evidencing the excellence of made in Italy, are the means to make it morphing as it happens in the “bat-jumpsuit”, the garment Antonio Mondino wore, who interpreted just for me to a hilarious performance, which mimed the wing extension of bat (little, tiny animal I like very much as well as the superhero Batman, further reference it reminds me). A joyful interlude emphasized by an unusual and vibrant set, which evoked Neorealist suggestions, that warm-hearted, unique atmosphere which is a leitmotiv of everything Gentucca makes.

“THE CHARME OF THE UNIFORM” DI GENTUCCA BINI COLPISCE ANCORA!

The artist Pino Pipoli in a Mandrakesque pose along with friends wearing Gentucca Bini Fall/Winter 2015-2016, photo by N

The artist Pino Pipoli in a Mandrakesque pose along with friends wearing Gentucca Bini Fall/Winter 2015-2016, photo by N

Si è recentemente tenuta a Milano, presso la Trattoria da Lina, la presentazione di “The charm of the uniform”, autunno/inverno 2015-2016 della brillante fashion designer e artista multidisciplinare Gentucca Bini, nuovo capitolo di una formidabile esperienza sartoriale che consolida felicemente una fantastica collezione capsule e celebra la tuta. Raffinati volumi, una sapiente combinazione di materiali di alta qualità – lana e tessuti tecnici – splende in creazioni unisex che uniscono il comfort a un’ eleganza solenne e minimale. I dettagli, che testimoniano l’ eccellenza del made in Italy, sono i mezzi per trasformare i capi, come avviene nella “bat-jumpsuit”, il capo indossato da Antonio Mondino, che si è prestato a interpretare soltanto per me una ilare performance che mimava l’ estensione alare del pipistrello (piccolo e tenero animale che apprezzo molto come anche il supereroe Batman, ulteriore riferimento che mi richiama alla mente). Un gioioso interludio enfatizzato da un insolito e vibrante scenario che evocava suggestioni neorealiste, quella calorosa atmosfera unica che è un leitmotiv di tutto ciò che Gentucca fa.

Gentucca Bini Fall/Winter 2015-2016, photo by N

Gentucca Bini Fall/Winter 2015-2016, photo by N

 

The artist Pino Pipoli along with a friend wearing Gentucca Bini Fall/Winter 2015-2016, photo by N

The artist Pino Pipoli along with a friend wearing Gentucca Bini Fall/Winter 2015-2016, photo by N

 

The performance paying homage to the bat's wing extension by Antonio Mondino wearing the "bat jumpsuit" from the Gentucca Bini Fall/Winter 2015-2016 collection, photo by N

The performance paying homage to the bat’s wing extension by Antonio Mondino wearing the “bat jumpsuit” from the Gentucca Bini Fall/Winter 2015-2016 collection, photo by N

 

Antonio Mondino wearing the "bat jumpsuit" from the Gentucca Bini Fall/Winter 2015-2016 collection, photo by N

Antonio Mondino wearing the “bat jumpsuit” from the Gentucca Bini Fall/Winter 2015-2016 collection, photo by N

 

The artist Filippo Timi, Antonio Mondino and Gentucca Bini, photo by N

The artist Filippo Timi, Antonio Mondino and Gentucca Bini, photo by N

 

Me, myself & I along with the artist Pino Pipoli, photo by N

Me, myself & I along with the artist Pino Pipoli, photo by N

 

www.gentuccabini.it

the Jedynak department store, photo courtesy bydgoszcz.pl

the Jedynak department store, photo courtesy bydgoszcz.pl

It will end on 20th March 2015 the fund-raising on the virtual platform Indiegogo to make “Spring”, multidisciplinary event joining fashion, music, photography and olfactive design, ideated by a smashing team of creatives, happen which will be held on 21st March 2015 in Poland, in Bydgoszcz at the Jedynak department store, suggestive building from 1911, to celebrate the Spring season under the sign of visions, concept by the brand HarmoryLab and sounds by the renowned artist Bartlomiej Chmara who will present “Spring”, the music video of new track he made. A showcase which will be enriched by film, photography and olfactive design installations (a exhibition path curated by Mendittorosa odori d’ anima, featuring the scents created by Alexsandra Cacha from Olfactura and PerSeFume along with Jakub Piotrowicz from PerSeFume and HarmonyLab) as well as an after-party in order to involve all of the senses. This nocturnal multi-sensorial interlude deserves to be supported, thus, dear FBFErs let’s support this independent project, giving our modest contribution in order to make it concrete.

“SPRING”: UN EVENTO MULTIDISCIPLINARE ALL’ INSEGNA DI MODA ARTE & DESIGN

HarmoryLab

HarmoryLab

Si concluderà il 20 marzo 2015 la raccolta fondi sulla piattaforma virtuale Indiegogo per la realizzazione di “Spring”, evento multidisciplinare che unisce moda, musica, fotografia e design olfattivo, ideato da un formidabile team di creativi che si terrà il 21 marzo 2015 in Polonia, a Bydgoszcz presso i grandi magazzini Jedynak, suggestivo edificio del 1911, per celebrare la stagione primaverile all’ insegna delle visioni, dei concetti del marchio HarmoryLab e le sonorità del rinomato artista Bartlomiej Chmara che presenterà “Spring”, il video del suo nuovo brano. Una rassegna che sarà arricchita da installazioni filmiche, fotografiche e di design olfattivo (un percorso espositivo curato da Mendittorosa odori d’ anima, di cui saranno protagoniste le fragranze create da Alexsandra Cacha di Olfactura e PerSeFume insieme a Jakub Piotrowicz di PerSeFume e HarmonyLab) come anche un after-party al fine di coinvolgere tutti i sensi. Questo notturno interludio multisensoriale merita di essere sostenuto, perciò, cari FBFErs, supportiamo questo progetto indipendente, dando il nostro modesto contributo affinché si realizzi.

HarmoryLab

HarmoryLab

 

 

HarmoryLab

HarmoryLab

 

Mendittorosa odori d' anima. a limited edition featuring the perfumed oil an a necklace made of volcanic stone from Stromboli, jewel and scent diffuser

Mendittorosa odori d’ anima. a limited edition featuring the perfumed oil an a necklace made of volcanic stone from Stromboli, jewel and scent diffuser

 

Mendittorosa odori d' anima

Mendittorosa odori d’ anima

 

 

https://www.indiegogo.com/projects/spring-music-fashion-and-art-event

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It will be released on 28th April 2015 “MG”(Mute Records), the third solo album by the celebrated songwriter and co-founder of Depeche Mode Martin Gore, featuring 16 instrumental tracks under the sign of sophisticated electro suggestions.

 

“MG”: L’ ALBUM DA SOLISTA DI MARTIN GORE

Martin Gore

Martin Gore

Sarà pubblicato il 28 aprile 2015 “MG”(Mute Records), il terzo album da solista del celebre cantautore e co-fondatore dei Depeche Mode Martin Gore, di cui sono protagonisti 16 brani strumentali all’ insegna di raffinate suggestioni electro.

www.martingore.com

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

The groupie attitude” is the smashing Fall/Winter 2015-2016 collection by Vivetta, brand created by the bright Vivetta Ponti, which was recently presented during the Milan Fashion Week at the Armani Theatre (resulting from the laudable initiative by Giorgio Armani to support the contemporary creativity and its most promising names). Psychedelia, lightness and freedom and a reinterpretation of the groupie’s archetype, inspired by the iconic British artist Marianne Faithfull -who is an exception to the groupies attitude, young women who are lustful for music, leave everything to devote themselves in the band and musicians, becoming their muses, devoted lovers and living in their shadow, getting later a full artistic dignity which is very across-the-board -, reminding the Sixties are the main features of collection.

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

Sounds, telling about imaginary, real and lysergic trips, as the famous “St. Pepper lonely hearts band club” by the Beatles, find a new context and turn into architectures of the universe on the move by Vivetta where the psychedelic signs join to liberty patterns, paying homage to fluidity and dynamism. Mini-skirts, mini-dresses having flared skirts, capri pants, double-breasted jackets are enriched by embroideries and surreal decorations. The faces looking at themselves are drawn in an art-nouveau fashion and emphasized by strong chromes evoking the hopes and vivacity of Sixties. The floral elements, being typically liberty, blend with mystic patterns, the little Buddha and are impressed in colored prints. Lightness and incisiveness combines and alternates with themselves, creating a double way where the flower power links to colored waves or draws an unique and separate path, marking an assertive femininity which is at the same time delicate and ironic. It’s a sweet dialogue made of signs and suggestions, made concrete by a combination of materials and colors.

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

The fur, outerwear which is also the decoration of jackets and dresses, is matched with the cotton poplin and technical clothes as the scuba diving. The colors are light and bright, an unusual alchemy made of lilac, light blue, periwinkle blue, along with vibrant shades of Klein blue, brown, biscuit, burgundy, dark red and the refined simplicity of white and black. Detail becomes the key element of a bohemian elegance, underlined by decorations, embroideries and accessories as the collar, a leitmotiv of brand including new patterns and versions as the traditional model with the hands, made of macrame lace and also presented in a version where the hands are decorated by rings along with a catchy series of sunglasses and shoes. A marvelous mix of lines depicting a cultural phenomenon, the groupism, which revisits its anthropology, celebrating its refined and libertarian dress-code.

UN’ ELEGANZA BOHÈMIEN: “THE GROUPIE ATTITUDE” DI VIVETTA

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

The groupie attitude” è la formidabile collezione autunno/inverno 2015-2016 di Vivetta, brand creato dalla brillante Vivetta Ponti, che é stata recentemente presentato durante la fashion week milanese presso il Teatro Armani (risultato della lodevole iniziativa di Giorgio Armani volta a supportare la creatività contemporanea e i suoi nomi più promettenti). Psichedelia, leggerezza e libertà e una reinterpretazione dell’ archetipo della groupie, che si ispira all’ iconica artista inglese Marianne Faithfull – che è un’ eccezione all’ attitudine delle groupies, giovani donne affamate di musica che lasciano tutto per dedicarsi alla band e ai musicisti, divenendo le loro muse, devote amanti e vivendo nella loro ombra, ottenendo successivamente una piena dignità artistica oltremodo trasversale – sono i principali protagonisti della collezione.

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

I suoni, che raccontano viaggi immaginari, reali e lisergici, quali la celebre “St. Pepper lonely hearts band club” dei Beatles, trovano un nuovo contesto e si trasformano in architetture dell’ universo in movimento di Vivetta in cui i segni psichedelici si uniscono a motivi liberty, rendendo omaggio a fluidità e dinamismo e dando vita a creazioni che reinterpretano felicemente i volumi degli anni Sessanta. Minigonne, mini-abiti con gonne a ruota, capri pants, giacche a doppio petto si arricchiscono di ricami floreali e decori surreali. I volti che si guardano sono raffigurati in chiave art-nouveau ed enfatizzati da forti cromie che evocano le speranze e la vivacità degli anni Sessanta. Elementi floreali tipicamente liberty si fondono a motivi mistici, i piccoli Buddha e sono impressi nelle colorate stampe. Levità e incisività si combinano e alternano, creando un doppio sentiero in cui il flower power si intreccia a colorate onde, metafora di suoni e visioni, oppure disegna un percorso unico e a sé stante, tracciando una femminilità assertiva e al tempo stesso delicata e ironica. Un soave dialogo fatto di segni e suggestioni, concretizzato da una combinazione di materiali e colori.

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

La pelliccia, capo spalla che è anche decoro di giacche e abiti, è abbinata al popeline di cotone e tessuti tecnici come lo scuba diving. I colori sono tenui e vivaci, un’ insolita alchimia fatta di lilla, celeste, pervinca insieme a vibranti nuances di blu Klein, marrone, biscotto bordeaux, rosso scuro e alla raffinata essenzialità del bianco e nero. Il dettaglio diventa l’ elemento chiave di un’ eleganza bohémien, rimarcata da decorazioni, ricami e accessori quali, il colletto, un leitmotiv del brand che include nuovi patterns e versioni come il tradizionale modello con le mani, realizzato in pizzo macramè e presentato anche in una nuova versione in cui le mani sono adornate da anelli unitamente a una serie di accattivanti occhiali da sole e scarpe. Una splendida commistione di linee che dipinge un fenomeno culturale, il groupismo, ne rivisita l’ antropologia, celebrando il suo raffinato dress-code libertario.

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Fall/Winter 2015-2016

Vivetta Fall/Winter 2015-2016

 

Vivetta Ponti

Vivetta Ponti

 

 

www.vivetta.it

Mustafa Sabbagh

Mustafa Sabbagh

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

LA PHOTOGRAPHY MASTERCLASS CON MUSTAFA SABBAGH AL MUSEO MAXXI DI ROMA

Mustafa Sabbagh

Mustafa Sabbagh

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

Mustafa Sabbagh

Mustafa Sabbagh

 

 

www.fondazionemaxxi.it

Johnny Marr

Johnny Marr

I feel you”, celebrated track featuring in the album “Songs of faith and devotion” by Depeche Mode, reinterpreted by Johnny Marr, British musician and singer who has been the guitarist of famous band The Smiths, will be released on 18th April 2015 – day being the Record Store day – and will be accompanied by another smashing cover of “Please please let me get what I want ” by the Smiths. An awesome chance to enjoy the work of a bright artist.

“I FEEL YOU”, LA FORMIDABILE COVER DI JOHNNY MARR PER CELEBRARE IL RECORD STORE DAY

I feel you”, celebre brano protagonista dell’ album “Songs of faith and devotion” dei Depeche Mode, reinterpretato da Johnny Marr, musicista e cantante inglese che è stato il chitarrista della famosa band The Smiths, sarà pubblicato il 18th aprile 2015 – giorno in cui ricorre il Record Store day – e sarà accompagnato da un’ altra formidabile cover di “Please please let me get what I want ” di The Smiths. Una fantastica occasione per apprezzare l’ opera di un brillante artista.

www.johnny-marr.com

Gianfranco Ferré at the Milan Palazzo Reale, set design by Leonardo Salvini

Gianfranco Ferré at the Milan Palazzo Reale, set design by Leonardo Salvini

The white shirt, iconic garment fully evidencing the experimentation and genius of unforgettable fashion designer Gianfranco Ferré is celebrated by “La camicia Bianca secondo me”, exhibition, recently opened in Milan at the Palazzo Reale, sponsored by the City of Milan Labour, Fashion, Design and Culture Department, produced by Palazzo Reale and Gianfranco Ferrè Foundation in collaboration with the Prato Museum Textile and curated by Daniela Degl’ Innocenti which runs through 1st April 2015. The exhibition path talks about the sophistication of white shirt through many media. Tulle cloths turn into screens depicting the macro pictures of sketches by the fashion designer. Instead the core of the exhibition is placed in the center of the Sala delle Cariatidi where are the sculptural white shirts. The matter – taffeta, crêpe de chine, organza, satin, tulle, silk and cotton cloths, laces and embroideries – shines and talks about the wise art of making, embodying harmony, lightness and sartorialism. The suggestive tale is emphasized by different materials coming from the Archive of Gianfranco Ferré Foundation and photo screenings that cast light on the creative path of Gianfranco Ferré and his poetry. The event is accompanied by a book-catalogue (edited by Skira), made with the art-direction by Luca Stoppini which includes contributions by the curator, Quirino Conti, Anna Maria Stillo Castro, Margherita Palli, Daniela Puppa and Franco Raggi which tells about the vision by the legendary creative and the architectures he made. A not to be missed event to discover, know and enjoy the thinking elegance by Gianfranco Ferré.

“LA CAMICIA BIANCA SECONDO ME”: L’ ELEGANZA PENSANTE DI GIANFRANCO FERRÈ AL PALAZZO REALE DI MILANO

Gianfranco Ferré at the Milan Palazzo Reale, set design by Leonardo Salvini

Gianfranco Ferré at the Milan Palazzo Reale, set design by Leonardo Salvini

La camicia bianca, capo iconico che più di ogni altro testimonia la sperimentazione e il genio dell’ indimenticabile fashion designer Gianfranco Ferré è celebrata da “La camicia Bianca secondo me”, mostra recentemente inaugurata al Palazzo Reale di Milano, promossa dall’ Assessorato alle Politiche del Lavoro, Moda, Design e Cultura del Comune di Milano, prodotta dal Palazzo Reale e dalla Fondazione Gianfranco Ferrè in collaborazione con il Museo del Tessuto di Prato e curata da Daniela Degl’ Innocenti che prosegue fino all’ 1 aprile 2015. Il percorso espositivo racconta la raffinatezza della camicia bianca attraverso molteplici media. Teli di tulle si trasformano in schermi che raffigurano macro immagini dei disegni del fashion designer. Il cuore della mostra è invece posizionato al centro della Sala delle Cariatidi in cui si trovano le scultoree camicie bianche. La materia – taffetà, crêpe de chine, organza, raso, tulle, stoffe di seta e cotone, merletti e ricami – splende e parla di una sapiente arte del fare, che racchiude in sé armonia, leggerezza e sartorialità. Il suggestivo racconto è enfatizzato dai vari materiali provenienti dall’ Archivio della Fondazione Gianfranco Ferré e dalle proiezioni di foto che gettano luce sull’ iter creativo di Gianfranco Ferré e sulla sua poesia. L’ evento é accompagnato da un libro-catalogo (edito da Skira), realizzato con la direzione artistica di Luca Stoppini che include i contributi della curatrice, di Quirino Conti, Anna Maria Stillo Castro, Margherita Palli, Daniela Puppa e Franco Raggi che narra la visione del leggendario creativo e le architetture da lui realizzate. Un evento imperdibile per scoprire, conoscere e apprezzare l’ eleganza pensante di Gianfranco Ferré.

Gianfranco Ferré at the Milan Palazzo Reale, set design by Leonardo Salvini

Gianfranco Ferré at the Milan Palazzo Reale, set design by Leonardo Salvini

 

Gianfranco Ferré, Classic Glamour shirt, Fall/Winter 1990, photo by Luca Stoppini

Gianfranco Ferré, Classic Glamour shirt, Fall/Winter 1990, photo by Luca Stoppini

 

Gianfranco Ferré, Sailor Glam shirt, Spring/Summer 1982, photo by Luca Stoppini

Gianfranco Ferré, Sailor Glam shirt, Spring/Summer 1982, photo by Luca Stoppini

 

Gianfranco Ferré, Contrappunto shirt, Spring/Summer 1987, photo by Luca Stoppini

Gianfranco Ferré, Contrappunto shirt, Spring/Summer 1987, photo by Luca Stoppini

 

Gianfranco Ferrè, Classic  Glamour shirt, Fall/Winter 1990, photo by Leonardo Salvini

Gianfranco Ferrè, Classic Glamour shirt, Fall/Winter 1990, photo by Leonardo Salvini

 

Gianfranco Ferré, Sailor Glam shirt, Spring/Summer 1982, photo by Leonardo Salvini

Gianfranco Ferré, Sailor Glam shirt, Spring/Summer 1982, photo by Leonardo Salvini

 

Gianfranco Ferré, Contrappunto shirt, Spring/Summer 1987, photo by Leonardo Salvini

Gianfranco Ferré, Contrappunto shirt, Spring/Summer 1987, photo by Leonardo Salvini

 

 

www.fondazionegianfrancoferre.com

The performance by the Gregorian Chorus before the fashion show by DiLIBORIO,  photo by N

The performance by the Gregorian Chorus before the fashion show by DiLIBORIO, photo by N

A performative tale, being much more than a fashion show, mystic synaesthesia under the sign of sounds and vision joining holy and profane. This is “Mystic runway”, a “Gesamtkunstwerk”, Wagnerian “total work of art” by the brand DiLIBORIO, created by the genius fashion designer Liborio Capizzi which was held during the fashion week in Milan at the Science and Technology Museum. Emotion, sacredness, magic of the moment and gesture. The purity of water, the one held in a glass by the members of a Gregorian chorus who caressed its border, standing up on the catwalk, started to sing and later to walk towards the flames of a fire which illuminated them. The solemnity of this show came before the fashion show which presented “Mystic Synaesthesia”, the Fall/Winter 2015-2016 collection of brand, genuine experiential tableaux vivant.

The Chorus performing

The Chorus performing

Flames continued floating, before being free, after being surrounded by the friezes of a gate and impressed in a big screen, features in the fashion show opening – set which reminded me “The ninth gate”, celebrated movie by Roman Polanski -, accompanied by evocative electro sounds that revisited the music of famous track “Bela Lugosi’s dead” by Bauhaus. Immediately after the fire disappears and the gate stays, turning into a mirror reflecting the silhouettes that walked along the catwalk.

DiLIBORIO Fall/Winter 2015-2016, photo by N

DiLIBORIO Fall/Winter 2015-2016, photo by N

 

DiLIBORIO Fall/Winter 2015-2015, photo by N

DiLIBORIO Fall/Winter 2015-2016, photo by N

Thus it starts the interlude where the coral lyricism emerges from the private and becomes public, universal and intelligible. A mix of faces, thoughts and feelings and belonging to Liborio’s private as well as intimate dimension talks about a strong connection made of divine synchronism which connected him him and still does, personally as well as professionally, in terms of creativity, passion, expression and exchange to renowned personas, Italian and foreigner celebrities, an elite coming from the mainstream and underground scene of fashion, design, film, dance, music and television who featured in that. An intimist story which gives a poetic rigorous and democratic vision of contemporary elegance, enriching of new senses and perceptions, becoming lifestyle, taking on a solemn, libertine e and libertarian aesthetics, impressed in the collection by the fashion designer and including men and women who have different ages.

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

Thirty-three are the creations Liborio presented, that embodying the dialectic between the single and the plural and including a wonderful showcase of menswear ( where it shines magnificent architectures: capes, shearling maxi waistcoats, shirts with lace details and knit coats). In fact one is the paper pattern, the shaping medium, instead different are the materials combined and overlapped between themselves, from whose the many garments arises.

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

A wise game of stratification – metaphor of the many settles of history, experience, fashion, costume culture and the art of making on which Mystic synaesthesia is woven – blends the lightness of silk gazar, jersey and organza, lace, cotton tulle to the texture of woolen cloth, knitwear, leather and fur, giving rise to a successful alchemy of matter embodied in marvelous constructions, paradigms of fluidity, dynamism and refinement. Coats, jackets, blouses and long shirts depict an algid, austere and incisive femininity where gothic-romantic interpretations are delicate trails of a sartorial rock influence, emphasized by shades of white, black and antique pink along with some blaze of blue as well as tartan and metallic details creating effects of shimmering lights. The conceptual rigor becomes religion and the precious details of creations reveal the profound belonging to the made in Italy excellence. A bright evidence of that is given by the accessories, enchanting sandals with the gaiters turning into boots, smashing reinterpretation the of armours’ shoes, details telling about an heroic, dramatic and at the same time wild femininity, drawing a modern Valkyrie, evoking old, dark and unusual romantic landscapes.

UN’ ESPERIENZA DI ELEGANZA, SARTORIALITÀ E UNICITÀ: MYSTIC RUNWAY DI DILIBORIO

The director of Gregorian Chorus, photo by N

The director of Gregorian Chorus, photo by N

Un racconto performativo, molto più di una sfilata, mistica sinestesia all’ insegna di suoni e visioni che unisce sacro e profano, questo è “Mystic runway”, una “Gesamtkunstwerk”, “opera d’ arte totale” di wagneriana memoria del brand DiLIBORIO, creato dal geniale fashion designer Liborio Capizzi che si è tenuta durante la fashion week a Milano presso il Museo della Scienza e della Tecnologia. Emozione, sacralità e magia dell’ istante e del gesto. La purezza dell’ acqua, quella tenuta in un bicchiere dai membri di un coro gregoriano che ne accarezzavano il bordo in piedi sulla passerella e iniziavano a cantare per poi procedere verso le fiamme di un fuoco che li illuminava. La solennità di questa esibizione ha preceduto la sfilata che presentava “Mystic Synaesthesia”, la collezione autunno/inverno 2015-2016 del marchio, autentico tableaux vivant esperienziale.

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

Le fiamme continuavano a fluttuare prima libere, poi cinte dai fregi di un cancello e impresse su un grande schermo, comprimari dell’ apertura della sfilata – scenario che mi ha riportato alla mente “La nona porta” il celebre film di Roman Polanski -, accompagnata da evocative sonorità electro che rivisitavano le musiche del famoso brano “Bela Lugosi’s dead” dei Bauhaus. Subito dopo il fuoco va via e il cancello resta, trasformandosi in uno specchio riflettente delle silhouettes che calcavano la passerella.

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

The magnetic Rosalinda Celentano in DiLIBORIO Fall/Winter 2015-2015

The magnetic Rosalinda Celentano in DiLIBORIO Fall/Winter 2015-2016

 

The iconic Antonia Dell' Atte in DiLIBORIO Fall/Winter 2015-2015

The iconic Antonia Dell’ Atte in DiLIBORIO Fall/Winter 2015-2016

 

Antonia Dell' Atte in DiLIBORIO Fall/Winter 2015-2016, photo by N

Antonia Dell’ Atte in DiLIBORIO Fall/Winter 2015-2016, photo by N

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

Inizia così l’ interludio in cui il lirismo corale del privato diventa pubblico, universale e intellegibile. Una commistione di volti, pensieri e sentimenti impressi nella dimensione intima e privata di Liborio parla di quel profondo legame fatto di sincretismo divino che lo ha unito e lo unisce, personalmente e professionalmente, in termini di creatività, passione, espressione e condivisione a noti personaggi e celebrità italiane e straniere, una elite del circuito di mainstream e underground della moda, del design, del cinema della musica e della televisione che ne sono protagonisti. Una storia intimista che offre una visione poetica, rigorosa e democratica dell’ eleganza contemporanea, arricchendosi di nuovi sensi e percezioni, la quale diventa lifestyle, assume su di sé una solenne estetica libertina e libertaria impressa nella collezione del fashion designer e abbraccia uomini e donne di diverse età.

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

Trentatré sono le creazioni presentate da Liborio che racchiudono in sé la dialettica dell’ uno e del molteplice e includono una meravigliosa rassegna di abbigliamento uomo(in cui splendono magnifiche architetture: cappe, maxi-gilet di shearling, camicie con dettagli in pizzo e i cappotti di maglia). Uno è infatti il cartamodello, il loro modulo formante, diversi sono invece i materiali abbinati e sovrapposti tra loro da cui deriva la pluralità di abiti.

DiLIBORIO Fall/Winter 2015-2015

DiLIBORIO Fall/Winter 2015-2016

 

Liborio Capizzi

Liborio Capizzi

Un sapiente gioco di stratificazioni – metafora delle plurime sedimentazioni di storia, esperienza, cultura della moda, del costume e dell’ arte del fare su cui è intessuta Mystic synaesthesia – fonde la levità del gazar, del jersey e dell’ organza di seta, il pizzo, il tulle di cotone alla consistenza del panno di lana, della maglieria, della pelle e pelliccia, dando vita a una felice alchimia materica racchiusa in splendide costruzioni, paradigmi di fluidità, dinamismo e raffinatezza. Cappotti, giacche, camicie e tuniche dipingono una femminilità algida, austera e incisiva in cui segni gotico-romantici sono lievi tracce interpretate dal creativo in chiave sartorial rock, enfatizzate da nuance di bianco, nero rosa carne, beige insieme a qualche bagliore di blu come anche dal tartan e da effetti metallici che creano giochi di luce sui tessuti. Il rigore concettuale diventa religione e i preziosi dettagli delle creazioni svelano l’ intima appartenenza all’ eccellenza del made in Italy. Una piena dimostrazione di ciò è data dagli accessori, gli incantevoli sandali con le ghette che si trasformano in stivali, reinterpretano i calzari delle armature, dettagli che parlano di una eroica femminilità, drammatica, divina e al tempo stesso ferina, disegnano una moderna Walkiria, evocando antichi, oscuri e inusitati scenari romantici.

 

The models at the backstage of the fashion show some minute before its start, photo by N

The models at the backstage of the fashion show some minute before its start, photo by N

 

Liborio Capizzi at work before the start of his fashion show, photo by N

Liborio Capizzi at work before the start of his fashion show, photo by N

 

Me, myself & I along with Liborio Capizzi, photo by N

Me, myself & I along with Liborio Capizzi, photo by Anna Porcu

 

 

www.diliborio.it

Lines strategy, photo by N

Lines strategy, photo by N

It was recently held in Milan, at Palazzo Visconti, in via Lanzone 2, at the suggestive rooms of an apartment created by the celebrated architect Luigi Caccia Dominioni, the exhibition event “Lines strategy: group of creative families in an interior”, ideated by 5VIE ART+ DESIGN and Nunzia Garoffolo, included in the format of “Fashion at 5 Vie”, macro happening which took place in the 5 Vie district, featuring 15 eventi and trunk-shows, featuring in the calendar of Milan Fashion Week, sponsored by the National Chamber of Buyer and curated by Nunzia Garoffolo which featured the creativity made in Italy by Matteo Thiela, Giulia Marani, Move Cappelli, Olga Pong, Anna Porcu, Bea Bongiasca, SH-Jewels by Stephan Hamel, Mia D’ Arco, Susana Traça, Svetlana Schmidt and Arnoldo Battois. An experiential exhibition path, emphasized by the flair of set-designer Giovanni Ottonello – made by teaming with the Milan Istituto Europeo di Design (IED) – and the furniture created by Luigi Caccia Dominioni, made of presences and absences, lightness, present and past where the suggestions inspired by Visconti, film memories coming from the celebrated movie “Conversation piece” dialogued with the contemporary creativity.

"Bombyx" project by Matteo Thiela, photo by N

“Bombyx” project by Matteo Thiela, photo by N

 

Bombyx project by Matteo Thiela, photo by N

Bombyx project by Matteo Thiela, photo by N

 

Innovation and experimentation, a vibrant aesthetics embodying a healthy ethic, this is the “Bombyx” project by Matteo Thiela, visionary fashion designer who inspired by the silkworm, creating a cloth he patented – made by teaming with a group of homeless women – combining wool, silicon and other materials, some of them have a reflective effect, feature in a series of clothes, suits and long shirts, solemn and austere architectures that evidence his conceptual rigor and are shown in these days, during the Paris Fashion Week, in the windows of renowned concept-store L’ Eclaireur. Fashion meets art, as it is impressed in “Tetris”, the Fall/Winter 2016-2017 collection by Giulia Marani who collaborate with the bright artist Nicola Felice Torcoli, where the patterns impressed in the collage he made found a new context in the soft creations by Giulia, joining comfort, refinement, high-end materials, giving rise to genuine passé-partout.

Giulia Marani along with the works by Nicola Felice Torcoli, photo by N

Giulia Marani along with the works by Nicola Felice Torcoli, photo by N

Olga Pong, photo by N

Olga Pong, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

A detail ft. in the site-specific installation made by Olga Pong, photo by N

A detail ft. in the site-specific installation made by Olga Pong, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

Craftsmanship, timeless elegance and precious details talking about excellence are part of the hats by Move Roma, brand created by the milliner Massimiliano Amicucci. Poetry and lightness, paying homage to the nature and its little hosts, are the sign of Olga Pong, milliner, who made head accessories, jewelry and also a delicate site-specific installation by using wood, lace and hanger. Art, antique and design, old and modern, cameo becomes contemporary in the successful reinterpretation of Anna Porcu, Tuscany jewelry who uses antique cameos, as the ones presented during the exhibition event, coming from the mid-seventeenth century, blending gold, silver and hand carved leather. A smashing design along with high jewelry techniques makes concrete the Eastern and Western culture coming together. This is the sign of young and promising jewelry designer Bea Bongiasca which shines in the collection “No Rice No Life” she made where she questions on themes that are strictly connected to the human being, as the necessities, real needs of individual and consumption in a globalized society, an engaging tale under the sign of deepness, lightness and irony. Unusual materials combining precious gems to plastic, give rise to a brilliant reinterpretation of the gorgier concept – depicted by Van Dyck – by SH-JEWELS, brand created by Stephan Hamel in collaboration with Roberta Bini.

Move Roma, photo by N

Move Roma, photo by N

 

Anna Porcu, photo by N

Anna Porcu, photo by N

 

Anna Porcu, photo by N

Anna Porcu, photo by N

 

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

 

SH-Jewels, photo by N

SH-Jewels, photo by N

 

Mia D' Arco, photo by N

Mia D’ Arco, photo by N

 

Susana Traça, photo by N

Susana Traça, photo by N

 

Susana Traça, photo by N

Susana Traça, photo by N

 

Instead mysticism, the mandala concept is revisited in a pop way by Svetlana Schmidt, genius designer and artist who made collages of whose patterns are transposed in silk scarves and pillows made by Como manufacture. These creations will feature in the 2015 edition of Milanese contemporary art tradeshow MIART. A timeless luxury, precious details and a continuous search of shapes and volumes, combined to a fine craftsmanship are the paradigms of Arnoldo Battois, brand of bags created by Silvano Arnoldo and Massimiliano Battois. These have been the features of event which has opened on Friday 27th February 2015, has run through Sunday 1st March 2015 early afternoon and celebrated by the cocktail-party “Beyond the lines, 5 Vie” which was held the evening of 28th February 2015 featuring the DJ-set of renowned TV, radio persona and social activist Andrea Pellizzari. An interlude under the sign of concept and ideas on the move paying homage to made in Italy and its most vibrant signes talking about contemporary times and uniqueness, enriched by the mellow taste of vines by the wine house Antonutti.

Svetlana Schmidt, photo by N

Svetlana Schmidt, photo by N

 

Arnoldo Battois, photo by N

Arnoldo Battois, photo by N

 

 

LINES STRATEGY: GRUPPO DI FAMIGLIE CREATIVE IN UN INTERNO

 

Lines strategy, photo by N

Lines strategy, photo by N

Si è recentemente tenuto a Milano, a Palazzo Visconti, in via Lanzone 2, presso le suggestive stanze di un appartamento creato dal celebre architetto Luigi Caccia Dominioni, l’ evento espositivo “Lines strategy: gruppo di famiglie creative in un interno”, ideato da 5VIE ART+ DESIGN e da me – incluso nel format di “Fashion at 5 Vie”, macro happening che si è svolto nel distretto di 5 Vie, comprensivo di 15 eventi e presentazioni, inserito nel calendario della settimana della moda milanese -, patrocinato dalla Camera Buyer e da me curato di cui è stata protagonista la creatività made in Italy di Matteo Thiela, Giulia Marani, Move Cappelli, Olga Pong, Anna Porcu, Bea Bongiasca, SH-Jewels by Stephan Hamel, Mia D’ Arco, Susana Traça, Svetlana Schmidt e Arnoldo Battois. Un percorso espositivo esperienziale, enfatizzato dall’ estro del set-designer Giovanni Ottonello – realizzato mediante la gentile collaborazione dell’ Istituto Europeo di Design (IED) di Milano – e dagli arredi creati da Luigi Caccia Dominioni, fatto di presenze e assenze, levità, presente e passato in cui le suggestioni di viscontiana memoria, memorie filmiche tratte dalla celebre pellicola “Gruppo di famiglia in un interno” si univano alla creatività contemporanea.

Matteo Thiela, photo by N

“Bombyx” project by Matteo Thiela, photo by N

 

Innovazione e sperimentazione, un’ estetica vibrante che racchiude un’ etica salubre, questo è il progetto “Bombyx” di Matteo Thiela, visionario fashion designer che si è ispirato alla larva del baco da seta, creando un tessuto da lui brevettato – realizzato effettuando un tutoraggio a un gruppo di donne senza fissa dimora – che unisce lana, silicone e altri materiali alcuni dei quali hanno un effetto catarifrangente, protagonista una serie di abiti, completi e tuniche, architetture, solenni e austere che testimoniano il suo rigore concettuale e in questi giorni, durante la fashion week parigina, sono esposte nelle vetrine del rinomato concept-store L’ Eclaireur. La moda incontra l’ arte, come è impresso in “Tetris”, la collezione autunno/inverno 2016-2017 di Giulia Marani che si è avvalsa della collaborazione del brillante artista Nicola Felice Torcoli, in cui i motivi impressi nei suoi collage tridimensionali hanno trovato un nuovo contesto nelle morbide creazioni di Giulia che uniscono comfort, raffinatezza, alta qualità dei materiali, dando vita ad autentici passè-partout.

Matteo Thiela, photo by N

“Bombyx” project by Matteo Thiela, photo by N

 

Giulia Marani, photo by N

Giulia Marani, photo by N

 

Artigianalità, eleganza senza tempo e dettagli preziosi che parlano di eccellenza sono impressi nei cappelli di Move Roma, brand creato dal designer Massimiliano Amicucci. Poesia e levità, suggestioni esistenzialiste che rendono omaggio alla natura e ai suoi piccoli ospiti sono il segno di Olga Pong, designer di cappelli, cerchietti, gioielli che ha anche realizzato una delicata installazione site-specific avvalendosi di legno, pizzo e fil di ferro. Arte, antiquariato e design, antico e moderno, il cammeo diventa contemporaneo nella felice reinterpretazione di Anna Porcu, designer di gioielli toscana che si avvale di cammei antichi, come quelli presentati nell’ evento espositivo, risalenti alla metà dell’ Ottocento, che uniscono oro, argento e pelle intagliata a mano. Un formidabile design unitamente a tecniche di alta gioielleria concretizza l’ incontro tra la cultura orientale e occidentale. Questo, il segno della giovane e promettente designer di gioielli Bea Bongiasca che splende nella sua collezione “No Rice No Life” in cui si interroga su tematiche strettamente connesse all’ essere uomo, quali le esigenze, i reali bisogni dell’ individuo e il consumismo in una società globalizzata, un racconto avvincente all’ insegna di profondità, leggerezza e ironia. Materiali insoliti che uniscono gemme preziose a plastica, danno vita a una felice rivisitazione del concetto di gorgiera – immortalata nei dipinti di Van Dyck – di SH-JEWELS, brand creato da Stephan Hamel in collaborazione con Roberta Bini.

Mirroring: the hats by Move Roma, photo by N

Mirroring: the hats by Move Roma, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

Olga Pong, photo by N

Olga Pong, photo by N

 

Anna Porcu, photo by N

Anna Porcu, photo by N

 

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

 

Me, myself & I, Roberta Valentini, Nicola Paccagnella and Bruna Casella, photo by Anna Porcu

Me, myself & I, Roberta Valentini, Nicola Paccagnella and Bruna Casella, photo by Anna Porcu

 

SH-Jewels, photo by N

SH-Jewels, photo by N

Essenzialità, forme che incorporano il gusto e la cultura della tradizione e dell’ artigianalità italiana sono il leitmotiv di Mia D’arco, brand di gioielli che nasce nel 2013 dalla fusione tra lo spirito imprenditoriale dell’attore Luca Argentero con la sua casa di produzione Inside productions e la passione innata per la moda della moglie Myriam Catania e sua sorella Giulia. Una femminilità assertiva e cosmopolita, enfatizzata da un’ accattivante combinazione di segni e culture, è celebrata dalla designer di calzature Susana Traça, la quale ha presentato la “Running strike”, protagonista della collezione autunno/inverno 2015-2016 del marchio che porta il suo nome, una divertente reintepretazione della sneaker che unisce il calzino di camoscio al cavallino stampato unitamente ad altri raffinati materiali.

Mia D' Arco, photo by N

Mia D’ Arco, photo by N

 

Susana Traça, photo by N

Susana Traça, photo by N

Il misticismo, il concetto del mantra è invece rivisitato in chiave pop da Svetlana Schmidt, geniale designer e artista che ha realizzato collages i cui motivi sono stati trasposti su foulard e cuscini di seta di manifattura comasca. Tali creazioni saranno presenti all’ edizione del 2015 della fiera d’ arte contemporanea milanese MIART. Un lusso senza tempo, preziosi dettagli e una continua ricerca di forme e volumi abbinate a una fine artigianalità sono i paradigmi di Arnoldo Battois, marchio di borse creato da Silvano Arnoldo e Massimiliano Battois. Questi, i protagonisti dell’ evento, che si è aperto venerdì 27 febbraio 2015, è proseguito fino al primo pomeriggio di domenica 1 marzo 2015 ed è stato celebrato dal party “Beyond the lines, 5 Vie” tenuto in serata il 28 febbraio 2015 con il DJ set del noto personaggio televisivo, radiofonico e attivista nel sociale Andrea Pellizzari. Un interludio all’ insegna di concetti e idee in movimento che rendono omaggio al made in Italy ed ai suoi segni più vibranti che parlano di eccellenza, contemporaneità e unicità, arricchito dal suadente gusto dei vini della casa vinicola Antonutti.

Svetlana Schmidt, photo by N

Svetlana Schmidt, photo by N

 

Svetlana Schmidt, photo by N

Svetlana Schmidt, photo by N

 

Svetlana Schmidt, photo by N

Svetlana Schmidt, photo by N

 

Arnoldo Battois, photo by N

Arnoldo Battois, photo by N

 

Elisa Pervinca Bellini and the set-designer Giovanni Ottonello, photo by N

Elisa Pervinca Bellini and the set-designer Giovanni Ottonello, photo by N

 

Me, myself & I along with Stephan Hamel and Monica Re, photo by N

Me, myself & I along with Stephan Hamel and Monica Re, photo by Nicola Paccagnella

 

Me, myself & I along with Angelo Cruciani, photo by N

Me, myself & I along with Angelo Cruciani, photo by N

 

Me, myself & I along with Anna Porcu and Roberta Valentini, photo by N

Me, myself & I along with Anna Porcu and Roberta Valentini, photo by N

 

Me, myself & I along with Bea Bongiasca and Andreina Longhi, photo by N

Me, myself & I along with Bea Bongiasca and Andreina Longhi, photo by N

 

Me, myself & I along with Giovanni Ottonello, photo by N

Me, myself & I along with Giovanni Ottonello, photo by N

 

Lines strategy, photo by N

Lines strategy, photo by N

 

Roberto Paolini

Roberto Paolini

 

“Identity in the difference” is the exhibition project – coinciding with the Arte Fiera art tradeshow event which will be held from 21st to 26th January 2015 in Bolognafeaturing Roberto Paolini which will be previewed on 20th January 2015,  opened on 24th January 2014 at 6:00 pm and will runs through 26th January 2015  at the Bologna Gucci in Galleria Cavour 90(from 10:00 am to 7:30 pm). Here it will be showcased the series of works by the celebrated artistI Riquadri, successful chance to think again about the idea of producing identity in the difference, a concept which connects art and fashion and  evokes the idea by Gilles Deleuze, embodied in the book he madeDifference and Repetition. The philosopher considers “identity” as the being itself or rather the inner nature of subject and “difference” as the contrast between the pure identity and its concrete expression or its making physical object in the world. It’s a difference connected to the being, which is also an aesthetic difference. That is the field where the art by Roberto Paolini and Gucci meets themselves. A smashing event to enjoy different channels of communication dialoguing between themselves.

“IDENTITÀ NELLA DIFFERENZA”: L’ ARTE DI ROBERTO PAOLINI AL GUCCI STORE DI BOLOGNA

Roberto Paolini

Roberto Paolini

“Identità nella differenza” è il progetto espositivo – che coincide con l’ evento fieristico d’ arte Arte Fiera che si terrà dal 21 al 26 gennaio 2015 a Bologna di cui sarà protagonista Roberto Paolini che sarà presentata in anteprima il  20 gennaio 2015, inaugurata il 24 gennaio 2014 alle ore 18:00 e proseguirà fino al 26 gennaio 2015 presso il Gucci store di Bologna, in Galleria Cavour 90( dalle ore 10:00 alle ore 19:30). Ivi sarà esposta la serie di opere del celebre artistaI Riquadri, felice occasione per ripensare all’ idea di produrre identità nella differenza, un concetto che lega l’ arte e la moda ed evoca il pensiero di Gilles Deleuze, racchiuso nel suo libro Differenza e ripetizione. Il filosofo considera “l’ identità” come l’ essere o meglio la natura interiore del soggetto e la “differenza” come lo stacco tra l’ identità pura e la sua espressione pratica o il suo farsi oggetto fisico nel mondo. Una differenza collegata all’ essere che è anche una differenza estetica. Questo è l’ ambito in cui l’ arte di Roberto Paolini e Gucci si incontrano. Un formidabile evento per apprezzare diversi canali di comunicazione che dialogano tra di loro.

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

White is the main feature of “White noise”, the Spring/Summer 2015 collection by Sylvio Giardina, depicting all of the audible frequencies as well as all of the colors. The art of noise, a search impressed in different textures shining in the dresses, enriched by other colors as acid green and light green along with pink flesh and black. A play of cuts and geometries on cloth – made by using silk organza, satin, tulle, brocade, cotton twill – gives rise to unusual constructions, successfully joining asymmetries to couture details, creating a never-ending movement and enhancing the silhouette. A search combining sartorialism to experimentation which pays homage to the femininity as it evidences the marvelous white dress where the fringes, decorating it emphasize the idea of movement, a leitmotiv of creativity by the bright fashion designer.

“RUMORE BIANCO”: LA SARTORIALITÀ, LE ASIMMETRIE & LA SPERIMENTAZIONE DI SYLVIO GIARDINA

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

Il bianco è il protagonista principale di “Rumore bianco”, la collezione primavera/estate 2015 di Sylvio Giardina che dipinge tutte le frequenze udibili come anche i colori. L’ arte del rumore, una ricerca impressa in diverse textures che splendono negli abiti, arricchiti da altri colori quali verde acido e verde acqua unitamente a rosa carne e nero. Un gioco di tagli, geometrie su tessuto – realizzato avvalendosi di organza, raso di seta, tulle, broccato, twill di cotone – dà vita a insolite costruzioni che uniscono felicemente asimmetrie a dettagli couture, creando un movimento perpetuo che rende omaggio alla femminilità come dimostra il meraviglioso abito bianco in cui le frange che lo decorano enfatizzano l’ idea del movimento, un segno ricorrente nella creatività del brillante fashion designer.

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

Sylvio Giardina Spring/Summer 2015

Sylvio Giardina Spring/Summer 2015

 

 

www.sylviogiardina.com

charlie

Yesterday in Paris it has been the massacre at the headquarters of satirical magazine Charlie Hebdo, a heinous slaughter made by a group of Islamic terrorists, who killed 12 people “in the name of God” It’s always the same bad story, featuring the use and abuse of religion, combined to fanaticism, ignorance and violence. 12 innocent people died, who were just liable to work and release some comics making fun of terrorists. The moral, social, condemnation for this sad happening – which concerns the freedom every individual has to express oneself – stays, as well as my wish to Charlie Hebdo for continuing to do what it did. I join with the bright songwriter and visual artist France De Griessen who asserted (through by the art I am glad sharing) “the right to poetry, to laugh, to contest, to freely express oneself is such important as the air we breathe”. This unhappy happening also made me think about the meaning of religiosity as spiritual tension to God and consider again a precious consciousness embodied in the Vangel by Thomas (apocryphal Vangel reporting the words by Jesus): “The kingdom of God is inside you and all around you. It’s not in the buildings of stone and cement. Split a wood and I will be, lift a stone and you will find me there”.

“JE SUIS CHARLIE”: TERRORE E VIOLENZA CONTRO LA LIBERTÀ

Drawing by France de Griessen

Drawing by France de Griessen

 

Ieri a Parigi c’ è stata la strage alla sede del giornale satirico Charlie Hebdo, un efferato massacro effettuato da un gruppo di terroristi islamici che hanno ucciso 12 persone “nel nome di Dio”. È sempre la stessa brutta storia di cui è protagonista l’ uso e abuso della religione, abbinato a fanatismo, ignoranza e violenza. 12 innocenti sono morti, colpevoli soltanto di lavorare e pubblicare alcune vignette che beffeggiavano i terroristi. La condanna morale, sociale per questo triste accadimento – che riguarda la libertà che tutti gli individui hanno di esprimersi – resta, come anche il mio augurio a Charlie Hebdo affinché continui a fare ciò che ha fatto. Mi unisco alla brillante cantautrice e artista France De Griessen, la quale ha affermato (attraverso l’ arte che mi rallegra condividere) che “il diritto alla poesia, a sorridere, a contestare, a esprimersi liberamente è così essenziale come l’ aria che respiriamo”. Questa infelice circostanza mi ha fatto pensare al significato della religiosità quale tensione verso Dio e riconsiderare una preziosa consapevolezza racchiusa nel Vangelo di Tommaso( Vangelo apocrifo che riporta le parole di Gesù): “Il regno di Dio è dentro di te e tutto intorno a te. Non è negli edifici di pietra e cemento. Spezza un legno e io ci sarò, alza una pietra e lì mi troverai”.

charlie 2

OZMO,  "Big Fish Eats Small Fish", made in the area of Shoreditch, London, 2011

OZMO, “Big Fish Eats Small Fish”, made in the area of Shoreditch, London, 2011, photo courtesy of Paolo Sala

 

Rise-up, the city which does not sleep” is a laudable initiative joining art and charity ideated by Giorgia Baruffaldi Preis and Giulia Solaro del Borgo, volunteers of CISOM (Order of Malta Relief Corps) which will feature the live painting by OZMO which will be held on 5th February 2015 in Milan at the main room of MUBA Museum – the Children Museum – at the 6:30 pm. The celebrated artist, during this event, organized by Nicoletta Rusconi Art Projects, will create an artwork which, about one hour after its making, will be sold during an auction sale which will be held during the same day, at 8:00 pm and will be directed by Clarice Pecori Giraldi, the Senior Director, Private Sales of Christie’s. The auction sale will also include other 2 paintings, donated by OZMO, that are part of  project “About Jesus Christ”, focused on the iconography of Jesus Christ. The proceeds arising from the sale will be given to support the work by Milan Group of CISOM and help the volunteers of the CISOM’s Street Units to manage and organize the emergency work – as the purchase of food, drinks, clothing, thermos, blankets, sleeping bags and other consumer staples – for fighting against the poverty circumstances, emphasized also by the cold weather (a sad landscape, misery and the growing poverty, increased by the economic crisis which unfortunately is part of many cities, many people’s life, the invisible ones, the many people who exist, survive and just few people care of them) the many people being homeless live. A not to be missed happening under the sign of art and solidarity.

“RISE-UP, LA CITTÀ CHE NON DORME”: IL LIVE PAINTING DI OZMO AL MUSEO MUBA DI MILANO PER IL CISOM

OZMO, Voi Valete Più Di Molti Passeri!( meaning: you are more worth than many sparrows!)  MACRO MUSEUM, Rome, 2012

OZMO, Voi Valete Più Di Molti Passeri!( meaning: You Are More Worth Than Many Sparrows!) MACRO MUSEUM, Rome, 2012,  photo courtesy of Paolo Sala

 

Rise-up, la città che non dorme” è una lodevole iniziativa che unisce arte e beneficienza, ideata da Giorgia Baruffaldi Preis e Giulia Solaro del Borgo, volontarie del CISOM (Corpo Italiano di Soccorso dell’ Ordine di Malta) di cui sarà protagonista il live painting di Ozmo che si terrà il 5 febbraio 2015 a Milano presso la sala centrale del Museo MUBA – il Museo dei bambini -, alle ore 18:30. Il celebre artista, durante questo evento, organizzato da Nicoletta Rusconi Art Projects, creerà un opera d’ arte, la quale, circa un’ ora dopo la sua realizzazione sarà venduta presso una vendita all’ asta che si terrà il giorno stesso, alle ore 20:00 e sarà diretta da Clarice Pecori Giraldi, il Senior Director, Private Sales di Christie’s. La vendita all’ asta includerà anche altri due dipinti, donati OZMO, che fanno parte del progetto are “About Jesus Christ”, incentrato sull’ iconografia di Gesù Cristo. I proventi derivanti dalla vendita saranno donati per sostenere l’ opera dell’ Gruppo di Milano del CISOM e aiutare i volontari delle Unità di Strada del CISOM a gestire e organizzare il lavoro di emergenza – come l’ acquisto di cibo, bevande, vestiario, thermos, coperte, sacchi a pelo e altri generi di prima necessità – per combattere le condizioni di disagio, enfatizzate anche dal freddo (un triste scenario, la miseria e la crescente povertà, acuita dalla crisi economica, che sfortunatamente fa parte di molte città e della vita di tanti, gli invisibili, i molti che esistono, sopravvivono e di cui pochi si curano), in cui molte persone che sono senza fissa dimora versano. Un evento imperdibile all’ insegna dell’ arte e della solidarietà.

OZMO, Il PreGIUDIZIO UNIVERSALE (meaning: The UNIVERSAL Prejudice), Museo del '900, Milano, 2012, photo courtesy of Paolo Sala

OZMO, Il PreGIUDIZIO UNIVERSALE (meaning: The UNIVERSAL Prejudice), Museo del ‘900, Milan, 2012, photo courtesy of Paolo Sala

 

 

www.riseup-cisom.com

Mustafa Sabbagh, atwork ft. in "Identità Migrante", exhibition curated by Sabrina Zannier at the Gemona del Friuli Palazzo Elti Civic Museum, running through 1st February 2015.

Mustafa Sabbagh, atwork ft. in “Identità Migrante”, exhibition curated by Sabrina Zannier at the Gemona del Friuli Palazzo Elti Civic Museum, running through 1st February 2015.

2014, year which was going to end, has been a year under the sign of tale by Mustafa Sabbagh, impressed in the photographs he made, exploring ancestral forces and the dark side, connected to the human being. Lights and shades, rarefied atmosphere, a lyrical sense of tragic gives rise to a story, which is born to be an open dialogue, covering and revealing the individual and its essence. Sacrality of individual, death, sanctifying the being and its own life, are signs embodied in his work where the eroticism is one of the forces depicting humanity along with a reflection on the idea of identity, concept marvelously subverted by the artist and emphasized by the dialectics of veil and mask. “Identità migrante (“Migrant identity”) and “100 mq” are some of exhibitions featuring the work by Mustafa which successfully runs in the Gemona del Friuli Palazzo Elti Civic Museum( through 1st February 2015) and in Lugano at the Contact Zone Contemporary Gallery (through 16th January 2015). A poetry singing the individual and celebrating the grotesque as unconventional aesthetic standard which recently has also enriched the Farnesina Collection of Italy Foreign Affairs Ministry, as two works became part of that, considered as one of the works most significant from contemporary times. A new year soon will start and I am sure I will find myself to talk again in 2015 and announce other amazing events and initiatives involving this vibrant artist and fine, precious individual.

IL CULTO DEL GROTTESCO & IL LATO OSCURO DELL’ UMANITÀ DI MUSTAFA SABBAGH CHE SPLENDE DENTRO E FUORI L’ ITALIA

Mustafa Sabbagh ft. in "100 mq", exhibition curated by Guido Cabin which runs at the Contact Zone Contemporary Gallery through 16th January 2015.

Mustafa Sabbagh ft. in “100 mq”, exhibition curated by Guido Cabib which runs at the Contact Zone Contemporary Gallery through 16th January 2015.

Il 2014, anno che sta per volgere al termine, è stato un anno all’ insegna di Mustafa Sabbagh e del suo racconto su fotografia che esplora forze ancestrali, legate all’ essere umano. Luci e ombre, atmosfere rarefatte, un lirico senso del tragico danno vita a una storia, nata per essere un dialogo aperto che copre e svela l’ individuo e la sua essenza. La sacralità dell’ individuo, la morte che santifica l’ essere e la sua stessa vita sono i segni racchiusi nella sua opera in cui l’ erotismo è una delle forze trainanti che dipingono l’ umanità unitamente a una riflessione sull’ idea di identità, concetto meravigliosamente sovvertito dall’ artista ed enfatizzato dalla dialettica del velo e della maschera. “Identità migrante e “100 mq” sono alcune delle mostre di cui è protagonista Mustafa che proseguono felicemente presso il Museo Civico Palazo Elti di Gemona del Friuli( fino al 1° febbraio 2015) e a Lugano alla Contact Zone Contemporary Gallery (fino al 16 gennaio 2015). Una poetica che canta l’ individuo e celebra il grottesco quale parametro estetico non convenzionale che recentemente ha anche arricchito la Collezione Farnesina del Ministero Italiano degli Affari Esteri, entrando due lavori dell’ artista a far parte di essa, poiché ritenute opere d’ arte più significative della contemporaneità. Un nuovo anno presto inizierà e son certa che mi troverò a parlare nuovamente nel 2015 e annunciare altri formidabili eventi e iniziative che coinvolgono questo vibrante artista e fine, preziosa individualità.

One of the works by Mustafa Sabbagh ft. in the Farnesina Collection

One of the works by Mustafa Sabbagh ft. in the Farnesina Collection

One of the works by Mustafa Sabbagh ft. in the Farnesina Collection

One of the works by Mustafa Sabbagh ft. in the Farnesina Collection

www.mustafasabbagh.com

For Love & Lemons

For Love & Lemons

Comfort joins with elegance, gives rise to a sensual romanticism, embodying retro suggestions, where lace is the main feature, shining in Skivives, the lingerie collection made by the Los Angeles brand For Love & Lemons – created by Gillian Rose Kern and Laura Hall–  in co-branding with the brand Free People.

PIZZO, ROMANTICISMO & SENSUALITÀ: SKIVIVES, LA COLLEZIONE DI LINGERIE DI FOR LOVE & LEMONS

For Love & Lemons

For Love & Lemons

Il comfort si unisce all’ eleganza, dà vita a un sensuale romanticismo che racchiude in sé suggestioni retrò di cui è protagonista il pizzo, che splendono in Skivives, la collezione di lingerie realizzata dal brand For Love & Lemons – creato da Gillian Rose Kern e Laura Hall – in co-branding con il marchio Free People.

For Love & Lemons

For Love & Lemons

 

For Love & Lemons

For Love & Lemons

 

For Love & Lemons

For Love & Lemons

 

For Love & Lemons

For Love & Lemons

 

For Love & Lemons

For Love & Lemons

 

For Love & Lemons

For Love & Lemons

 

 

www.forloveandlemons.com

"The pale emperor", by Marilyn Manson

It will be released on 19th January 2015 “The pale emperor”(Hell, etc. Records), the new album by Marilyn Manson, a work which is very cinematic” – as it says the iconic artist – and embodies many old blues sounds suggestions, combined with the catchy hard rock elements that are a leitmotiv of his work and made his famous. The album will be presented in UK during the Download Festival on 14th June 2015.

“THE PALE EMPEROR”, IL NUOVO ALBUM DI MARILYN MANSON

Sarà pubblicato il 19 gennaio 2015 “The pale emperor”(Hell, etc. Records), il nuovo album di Marilyn Manson, un lavoro che è “molto cinematografico – come dice l’ iconico artista – e racchiude varie sonorità del vecchio blues, abbinate ad accattivanti elementi hard rock che sono un leitmotiv della sua opera e lo hanno reso famoso. L’ album sarà presentato in Inghilterra durante il Download Festival il 14 giugno 2015.

www.marilynmanson.com

Yo-Landi Vi$$er, still image from the music video of "Ugly boy" by Die Antwoord, directed by Ninja

Yo-Landi Vi$$er, still image from the music video of “Ugly boy” by Die Antwoord, directed by Ninja

It has released time ago the smashing music video “Ugly boy” by the South Africa hip-hop music band Die Antwoord, a track included in its third album “Donker Mag”(Zef Records). A surreal and grotesque universe is depicted on film by Njnja, one of the members of band (including the charming Yo-Landi Vi$$er and DJ Hi-Tek), who directed this video, featuring many celebrated personas from music and fashion scene as Jack Black, Flea from the band Red Hot Chili Peppers, Aphex Twin, Marylin Manson, the iconic top- model and singer Cara Delevingne and the burlesque performer Dita von Teese.

“UGLY BOY”, IL FANTASTICO VIDEO DEI DIE ANTWOORD

Dita von Teese and Ninja,  still image from the music video of "Ugly boy" by Die Antwoord, directed by Ninja

Dita von Teese and Ninja, still image from the music video of “Ugly boy” by Die Antwoord, directed by Ninja

È stato pubblicato tempo fa il formidabile video musicale “Ugly boy” della band sudafricana di musica hip-hop Die Antwoord, brano includo nel loro terzo album “Donker Mag”(Zef Records). Un universo surreale e grottesco è ritratto su pellicola da Njnja, uno dei membri della band ( che include l’ affascinante Yo-Landi Vi$$er e DJ Hi-Tek), che ha diretto questo video di cui sono protagonisti vari celebri personaggi provenienti dalla scena della musica e moda quali Jack Black, Flea della band Red Hot Chili Peppers, Aphex Twin, Marylin Manson, l’ iconica top- model e cantante Cara Delevingne e la burlesque performer Dita von Teese.

Yo-Landi Vi$$er and Marilyn Manson, still image from the music video of "Ugly boy" by Die Antwoord, directed by Ninja

Yo-Landi Vi$$er and Marilyn Manson, still image from the music video of “Ugly boy” by Die Antwoord, directed by Ninja

 

Ninja and Yo-Landi Vi$$er, still image from the music video of "Ugly boy" by Die Antwoord, directed by Ninja

Ninja and Yo-Landi Vi$$er, still image from the music video of “Ugly boy” by Die Antwoord, directed by Ninja

 

Ninja and Cara Delevingne, still image from the music video of "Ugly boy" by Die Antwoord, directed by Ninja

Ninja and Cara Delevingne, still image from the music video of “Ugly boy” by Die Antwoord, directed by Ninja

 

www.dieantwoord.com

The fashion blog Binzento Vincente by Vincent Law

The fashion blog Binzento Vincente by Vincent Law

Having been a part of the fashion circle in Italy is a great honor, and what an amazing way to end the year when being asked to be a part of the #IostoconAltaroma (“I am with Altaroma“) campaign.

This is the hastag of a digital campaign gathering professionals, institutions and friends of the Italian fashion community to be a part of a neo movement supporting all fashion “Made In Italy” – honoring the profound history of Italian fashion and believing in the vibrant energy and innovative ideas of young talents as the source for thriving the future of Italian fashion culture and productivity.

Rome is one of the amazing cities of Italy that connects contemporary fashion, art and craftsmanship. It’s the house where talents are discovered, and eventually succeed their dreams of becoming the icon of fashion. The development of Altaroma is the driving force behind Italian haute couture and a new platform for emerging designers. It provides 100% support and protection for all works of art that are made in Italy.

The work of Altaroma holds dearly to my heart as I was given the opportunity to understand Italian young fashion talents’ ideas, listen to their stories and experience their work. The #IostoconAltaroma campaign has united many outlets related to Italian fashion: Vanity Fair Italy, Huffingtonpost.it, and Elle.it to name a few that have answered their call. And as per calling from Rome – Binzento also supports Altaroma – #IostoconAltaroma!

#IOSTOCONALTAROMA – IL MOVIMENTO CHE AFFERMA: “IO STO CON ALTAROMA”

Vincent Law

Vincent Law

 

Aver fatto parte del circuito della moda in Italia è un grande onore, ed è modo davvero meraviglioso di concludere l’ anno il momento in cui mi è stato chiesto di partecipare alla campagna #IostoconAltaroma.

Questo è l’ hashtag di una campagna digitale che riunisce professionisti, le istituzioni e gli amici della comunità della moda italiana per far parte di un nuovo movimento che sostiene l’ intera moda del “Made In Italy” – onorando l’ abissale storia della moda italiana e credendo nella vibrante energia e nelle idee innovative dei giovani talenti quale risorsa per render florido il futuro della cultura della moda italiana e della produttività.

Roma è una delle fantastiche città dell’ Italia che connette la moda contemporanea e l’ artigianato.  la dimora in i talenti sono scoperti, e capita che riescano a realizzare il proprio sogno di diventare un’ icona della moda. Lo sviluppo di Altaroma è la forza motrice dietro l’ alta moda e una nuova piattaforma di designers emergenti. Essa fornisce il supporto per tutte le opere d’ arte che sono made in Italy.

L’ opera di  Altaroma mi è oltremodo cara, avendo avuto la possibilità di comprendere le idee dei giovani talenti della moda italiana, ascoltare le loro storie e sperimentare il loro lavoro. La campagna #IostoconAltaroma ha unito diversi media che si occupano della moda in Italia, Vanity Fair, Huffingtonpost.it, and Elle.it per citarne alcuni name e sono solo alcuni di quelli che hanno argomentato il loro intervento. E ovviamente anche Binzento sostiene Altaroma – #IostoconAltaroma!

www.binzento.com

photo by N

photo by N

Sharing and activism in the name of fashion, this is a call to act for all the ones who think Made in Italy is a source of culture and productivity. To join with me it’s very simple, take a picture, a selfie, like I did to assert “I am with Altaroma” and post it on Instagram and Facebook. Dear FBFers, you are asking: why? That is part of the digital campaign “# IostoconAltaroma” to support Altaroma – event promoting young creativity made in Italy and presenting fashion in its vibrant alchemies with art, craftsmanship and design, showcasing also the works by the students from the fashion schools – and the work done until now by this public institution. It has spent many years and alternated different presidencies ( headed yesterday by Nicoletta Fiorucci and now by Silvia Venturini Fendi) that have driven fashion, the haute fashion existing in Italy and having in Rome its main house to a work of relaunch and renewal, connected to contemporary fashion, art and craftsmanship, precious mastership which is very thriving in Rome.

It exists the concrete risk all was done until now to promote and showcase the Made in Italy internationally could be deleted and a city, Rome, the capital of Italy, bringer of a legendary past and many experiences on the art of making, falls again into the darkness, oblivion. That is not fair and offences all of the people working, very much and good, in this realm. It’s a modest action what I am asking you for, but modest actions, ideas, value produce big changes, that is what I am wishing for. This is a spontaneous reaction to the news I knew some days ago. I discovered the Winter edition of Altaromawhich should be held from 24th to 27th January 2015 – could be shelved “due to the lack of decisions from the partners concerning the annual contribute”( as it was written in the press release which has informed me of this fact). The lack of funds is an issue in Italy, unfortunately experienced by many productive realms, due to a crisis which is hard to cross, along with other pathologies, the diabolical cocktail made of policy, its corruption and mafia, as it evidences the latest news regarding the City of Rome and the operation “Mafia Roma”.

That exists unfortunately, but it’s not the only Italy existing, there is an Italy working and dreaming of a better Italy, a Country welcoming its citizens, instead of making them escape abroad to look for a chance to express their skills. At this time there are a lot of Italians living in Italy, facing with the problems due to the crisis and working, giving their contribution to change this status quo. And fashion is one of its most productive areas. Industries, companies, institutions as Altaroma are currently bringers of productivity and give a big contribution to Italy in terms of GNP. GNP is not all, as it has evidenced yesterday by Adriano Olivetti and the development of his company (from which it has arisen a model of company “The Olivetti model”, which was successfully implemented as a whole by the Food company Ferrero known worldwide for its celebrated “Nutella”, a company which was not victim of the negative effects arising from the crisis). “There is beyond the apparent rhythm “- as he asserted – “something more fascinating, a destination, a vocation also in the life of a company”. That something more is made of values. Spiritual values that are more precious of GNP, though it needs. Fashion is a productive field and embodies different values that were the purposes got by Altaroma as the culture of fashion, the support of emerging creativity and the synergies between high fashion and ready to wear, realms that give to work to many people and can give working to many other people. Fashion is a source, a source of productivity and culture. Thus I ask to myself why public institutions could delete what it was built until know, what made Rome more international and known?

The funds lack, but they can be raised. I am skeptical behind the public institutions’ myopia – even if they have recently, widely experienced generosity coming from privates. I am talking about the gala dinner of the exhibition “Bellissima”, organized in collaboration with Altaroma and in main partnership with Bulgari, which was held at MAXXI Museum giving rise and hosted a fund raising amounting to 600,000 Euros, resulting from the generosity of fashion which joined art to support a museum which is experiencing a hard time. It’s easy when the contributes come from the private entities, but it becomes hard when it regards public institutions. I consider the absence of City of Rome’s officers which is a partner of Altaroma and never appeared at the meeting to fix the annual contribution – to the risk to miss a chance of developing and just break down, though I wish there is a positive change. Therefore it’s important you join with me and express your support to this campaign, spreading the word and paying attention to that. I also ask to my fellows, fashion bloggers and journalist for talking about that in order to avoid the news ends like those news, tragic news concerning Italy and its citizens, creating noises lasting for one day only. Thus please let’s do that, by sharing this post and/or writing other. Living in a Middle Age time, very dark, where everything, good and beautiful there is, breaks down, it’s important to fight against ignorance and inertia, reacting vertically to save culture and fashion.

IO STO CON ALTAROMA: SOSTENIAMO  LA CAMPAGNA DIGITALE #IOSTOCONALTAROMA!

photo by N

photo by N

Condivisione e attivismo nel nome della moda, questa è una chiamata all’ azione per tutti coloro che ritengono che il Made in Italy sia una fonte di cultura e produttività. Unirsi a me è molto semplice, scattare una foto, un selfie, come io stessa ho fatto, per affermare “Io sto con Altaroma” e postarla su Instagram e Facebook. Cari FBFers, vi state chiedendo: perché? Ciò fa parte della campagna digitale “# IostoconAltaroma” per sostenere Altaroma – evento che promuove la creatività emergente, il Made in Italy e presenta la moda nelle sue vibranti alchimie con l’ arte, l’ artigianalità e il design, esponendo anche i lavori degli studenti delle scuole di moda – e l’ opera che questa istituzione pubblica ha fatto finora. Sono passati tanti anni e si sono avvicendate diverse presidenze ( ieri alla guida di Nicoletta Fiorucci e da un paio di anni di Silvia Venturini Fendi) che hanno guidato la moda, l’ alta moda che esiste in Italia e ha a Roma la sua principale dimora verso un’ opera di rilancio e rinnovamento, legata alla  moda contemporanea, all’ arte e all’ artigianato, preziosa maestranza che è oltremodo fiorente a Roma.

Esiste il rischio concreto che tutto ciò che è stato fatto finora per promuovere ed esporre il Made in Italy a livello internazionale sia cancellato e che una città, Roma, la capitale d’ Italia, portatrice di un leggendario passato e copiose esperienze nell’ arte del fare, ricada nelle tenebre, nel dimenticatoio. Ciò non è giusto e offende tutta la gente che lavora, tanto e bene, in questo ambito. È un’ azione modesta quella ciò che vi sto chiedendo, ma le azioni modeste, le idee, i valori, producono grandi cambiamenti, questo, ciò che mi auguro. Questa è una reazione spontanea alle notizie di cui sono venuta a sapere giorni fa. Ho scoperto che l’ edizione invernale di Altaromache dovrebbe tenersi dal 24 al 27 gennaio 2015potrebbe essere congelata “in assenza di decisioni dei soci sul contributo annuale”( come era scritto nel comunicato stampa che mi informava dell’ accaduto). La mancanza di fondi è una problematica in Italia, sfortunatamente sperimentata da suoi vari ambiti produttivi a causa di una crisi che è difficile superare unitamente ad altre patologie, il cocktail diabolico fatto di politica, la sua corruzione e mafia, come si evince dalle ultime notizie che riguardano il Comune di Roma e l’ operazione “Mafia Roma”.

Ciò purtroppo esiste, ma non è l’ unica Italia che c’è, c’è un’ Italia che lavora e sogna un’ Italia migliore, un Paese che accoglie e valorizza i suoi cittadini, invece di farli fuggire via all’ estero a cercare un’ occasione per esprimere i loro talenti. In questo momento ci sono molti italiani che vivono in Italia, si confrontano con i problemi derivanti dalla crisi e lavorano, dando il loro contributo per cambiare questo status quo. E la moda è una delle sue aree più produttive. Industrie, aziende, istituzioni come Altaroma sono attualmente portatrici di produttività e danno un grande contributo all’ Italia in termini di PIL. Il PIL non è tutto, come è stato dimostrato ieri da Adriano Olivetti e dallo sviluppo della sua azienda (da cui è nato un modello aziendale “Il modello Olivetti” che è stato felicemente attuato per intero dall’ azienda alimentare Ferrero, nota in tutto il mondo per la sua celebre “Nutella”, un’ azienda che non è stata vittima degli effetti negativi derivanti dalla crisi). “C’è qualcosa al di là del ritmo apparente – come costui affermava – di più affascinante, una destinazione, una vocazione anche nella vita di un’ azienda”. Quel qualcosa in più è fatto di valori, i valori spirituali che sono molto più preziosi del PIL, anche se esso serve. La moda è un settore produttivo e racchiude in sé diversi valori che sono stati gli obiettivi raggiunti da Altaroma quali la cultura della moda, il sostegno alla creatività emergente e le sinergie tra alta moda e prêt à porter, ambiti che offrono lavoro a tante persone e che possono dar lavoro ad altrettante persone. La moda è una risorsa, una fonte di produttività e cultura. Perciò mi chiedo perché le istituzioni pubbliche potrebbero cancellare ciò che è stato costruito finora, ciò che ha reso Roma più internazionale e nota?

I fondi mancano, ma possono essere raccolti. Sono scettica dinanzi alla miopia delle pubbliche istituzioni – anche se esse stesse hanno recentemente, ampiamente sperimentato la generosità proveniente dai privati. Mi riferisco alla cena di gala per la mostra “Bellissima”, organizzata in collaborazione con Altaroma e in main partnership con Bulgari, che si é tenuta al Museo MAXXI ed ha ospitato una raccolta di fondi per il Museo pari a 600.000 Euro, derivante dalla generosità della moda che si è unita all’ arte per supportare un museo che sta vivendo un momento difficile. È facile quando i contributi provengono da organismi privati, ma diventa difficile quando si ha a che fare con le pubbliche istituzioni. Prendo in considerazione l’ assenza dei rappresentanti del Comune di Roma che è un socio di Altaroma e non si è mai presentato al meeting per fissare il contributo annuale – al rischio di perdere un occasione di sviluppo e fallire, benché speri che ci sia un cambiamento positivo. Pertanto è importante che vi uniate a me ed esprimiate il vostro sostegno a questa campagna, spargendo la parola e prestando attenzione a essa. Inoltre chiedo ai miei colleghi, fashion bloggers e giornalisti di parlarne al fine di evitare che la notizia faccia la fine di tante notizie, quelle notizie tragiche che riguardano l’ Italia e i suoi cittadini e creano rumore che dura soltanto un giorno. Fatelo,condividendo questo post e/o scrivendo altro. Vivendo in un’ epoca medioevale, oltremodo oscura in cui tutto ciò che di buono e bello esiste cade a pezzi è importante combattere l’ ignoranza e l’inerzia, reagendo verticalmente per proteggere la cultura e la moda.

www.altaroma.it

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

Tradition, genuineness, craftsmanship and high quality is the alchemy impressed in the Spring/Summer 2015 collection by the German brand 1828 by Zoeppritz, designed by Jan Alt. A heritage developed in the realm of homewear finds a new context in the womenswear, holding the same care of details and precious manufacture which made famous the brand. A smashing combination of materials features in the collection: leather, linen, silk crêpe and cotton. A monochromatic palette of colors – made of black, white and grey – is enriched by finely woven jacquard patterns and refined prints. Fluidity and structure is the binomial embodied in the creations of brand – where the skirt in many versions is the main feature -, emphasizing and elegance made of details talking about simplicity.

SEMPLICITÀ, TRADIZIONE E ARTIGIANALITÀ: L’ ELEGANZA DI 1828 BY ZOEPPRITZ

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

Tradizione, autenticità, artigianalità e alta qualità è l’ alchimia impressa nella collezione primavera/estate 2015 del brand tedesco 1828 by Zoeppritz, disegnato da Jan Alt. Un’ eredità culturale consolidate nell’ ambito dell’ homewear trova un nuovo contest nell’ abbigliamento donna, mantenendo la medesima cura per i dettagli e la manifattura che ha reso famoso il marchio. Una formidabile combinazione di materiali è protagonista della collezione: pelle, lino, crêpe di seta e cotone. Una palette monocromatica di colore -fatta di nero, bianco e grigio – è arricchita da motivi jacquard finemente tessuti e raffinate stampe. Fluidità e struttura e il binomio incluso nelle creazioni del brand – che ha quale protagonista principale la gonna, realizzata in plurime varianti – che enfatizza un’ eleganza fatta di dettagli che parlano di semplicità.

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

1828 by Zoeppritz Spring/Summer 2015

1828 by Zoeppritz Spring/Summer 2015

 

 

http://zoeppritz.com

Alberto Burri, "Grande nero" cellotex, cellotex and acrylic on canvas (1975)

Alberto Burri, “Grande nero” cellotex, cellotex and acrylic on canvas (1975)

It will be opened on 20th December 2014, 6:30 pm, in Parma at the Salone delle Scuderie of Palazzo della Pilotta “Black fire: matter and structure around and after Burri”, exhibition which will be held from 21st December 2014 to 29th March 2015, curated by Arturo Carlo Quintavalle, organized by the Parma University’s Centre and Archive of Communication Studies(CSAC), which got as a gift “Cellotex“, a work he made of whose geometry embodies its core. Art in its many disciplines and photography joins to explore the poetry of celebrated artist Alberto Burri, required act, recurring on 2015 the centenary of his birth. This exhibition arises from a question on Burri and his work, asked during the last two years to contemporary artists – as Bruno Ceccobelli and Nunzio, Mimmo Paladino and Luca Pignatelli, Marcello Jori and Alberto Ghinzani, Pino Pinelli and Giuseppe Maraniello, Giuseppe Spagnulo and Emilio Isgrò, Attilio Forgioli and Mario Raciti, Medhat Shafik and Franco Guerzoni, Luiso Sturla and Renato Boero, Raimondo Sirotti and Davide Benati, Concetto Pozzati and Enzo EspositoGianluigi Colin and William Xerra – who answered by presenting works connected to the work of this famous master and using words to explain the connection existing between the works they made and the masterpieces by Burri, impressed also in the catalogue “Around Burri” (Skira Editions, 35. 00 Euros) by Gloria Bianchino, Maria Pia Bianchi and Carlo Arturo Quintavalle. The wide exhibition path, made of 172 works, is focused on two themes communicating between themselves: the search in terms of matter and structure that featured in the artistic path of Burri. The first theme, concerning the matter, is told by other relevant works by Lucio Fontana, Gastone Novelli, Toti Scialoja, Colla, Ballocco, Guerrini, Tavernari and Spinosa, Pierluca and Morlotti, Mandelli and Bendini, Arnaldo Pomodoro and Zauli, Mattioli and Padova, Zoni, Lavagnino and Ruggeri, Olivieri and Vago, Guenzi and Carrino, Ferrari, Repetto, Chighine. Instead the second theme, regarding the structure, is explored through the works by Perilli, Pardi, Garau, Toti Scialoja, Joe Tilson, Louise Nevelson, Nancy Martin. The photography, as the one by Aurelio Amendola from which the name of exhibition arises along with works by Nino Migliori, Mimmo Jodice, Giovanni Chiaramonte, Mario Cresci, Brigitte Niedermair and Gianni Pezzani is a relevant feature A not to be missed happening to celebrate the work of a legendary artist.

LA OPENING DI “FUOCO NERO: MATERIA & STRUTTURA INTORNO E DOPO BURRI” AL PALAZZO DELLA PILOTTA DI PARMA

 Aurelio Amendola shooting Alberto Burri who makes “Cellotex”( Città di Castello, 1976)


Aurelio Amendola shooting Alberto Burri who makes “Cellotex”( Città di Castello, 1976)

Sarà inaugurata il 20 dicembre 2014, alle ore 18:30, a Parma presso il Salone delle Scuderie del Palazzo della Pilotta “Fuoco nero: materia e struttura intorno e dopo Burri”, mostra che si terrà dal 21 dicembre 2014 al 29 marzo 2015, curata da Arturo Carlo Quintavalle, organizzata dal Centro e Archivio di Studi di Comunicazione (CSAC) dell’ Università di Parma, che ha ricevuto in dono “Cellotex”, una sua opera la cui geometria racchiude in sé il cuore della stessa. L’ arte nelle sue svariate discipline e la fotografia si uniscono per esplorare la poetica del celebre artista Alberto Burri, atto dovuto, ricorrendo nel 2015 il centenario della sua nascita. Questa mostra nasce da una domanda su Burri e il suo lavoro, fatta negli ultimi due anni a artisti contemporanei – quali Bruno Ceccobelli e Nunzio, Mimmo Paladino e Luca PignatelliMarcello Jori e Alberto Ghinzani, Pino Pinelli e Giuseppe Maraniello, Giuseppe Spagnulo e Emilio Isgrò, Attilio Forgioli e Mario Raciti, Medhat Shafik e Franco Guerzoni, Luiso Sturla e Renato Boero, Raimondo Sirotti e Davide Benati, Concetto Pozzati ed Enzo Esposito, Gianluigi Colin e William Xerra – che hanno risposto presentando lavori collegati all’ opera di questo famoso maestro e avvalendosi di parole per spiegare il legame esistente tra le loro opere e i capolavori di Burri, impresse anche nel catalogo “Intorno a Burri” (Skira, 35. 00 Euro) di Gloria Bianchino, Maria Pia Bianchi e Carlo Arturo Quintavalle. L’ ampio percorso espositivo, composto di 172 opere, è incentrato su due temi che comunicano tra di loro: la ricerca in termini di materia e struttura che è stata protagonista del percorso artistico di Burri. Il primo tema, inerente la materia, è raccontato da altre rilevanti opere di Lucio Fontana, Gastone Novelli, Toti Scialoja, Colla, Ballocco, Guerrini, Tavernari e Spinosa, Pierluca e Morlotti, Mandelli e Bendini, Arnaldo Pomodoro e Zauli, Mattioli e Padova, Zoni, Lavagnino e Ruggeri, Olivieri e Vago, Guenzi e Carrino, Ferrari, Repetto, Chighine. Il secondo tema, che invece riguarda la struttura, è esplorato attraverso le opere di Perilli, Pardi, Garau, Toti Scialoja, Joe Tilson, Louise Nevelson, Nancy Martin. La fotografia, come quella di Aurelio Amendola da cui deriva il nome della mostra unitamente alle opere di Nino Migliori, Mimmo Jodice, Giovanni Chiaramonte, Mario Cresci, Brigitte Niedermair e Gianni Pezzani è una presenza significativa. Un evento imperdibile per celebrare il lavoro di un artista leggendario.

Aurelio Amendola shooting Alberto Burri who makes “Cellotex”( Città di Castello, 1976)

Aurelio Amendola shooting Alberto Burri who makes “Cellotex”( Città di Castello, 1976)

Aurelio Amendola shooting Alberto Burri who makes “Cellotex”( Città di Castello, 1976)

Aurelio Amendola shooting Alberto Burri who makes “Cellotex”( Città di Castello, 1976)

  www.unipr.it

photo by Regina Relang featuring in the exhibition "Bellissima. The Italy of high fashion 1945-1968", courtesy of Rome MAXXI Museum

photo by Regina Relang featuring in the exhibition “Bellissima. The Italy of high fashion 1945-1968″, courtesy of Rome MAXXI Museum

It will be held on 13th December 2014, in Rome, 11:00 am, at the Auditorium of MAXXI Museum the first talk of program “The fashion stories”, a series of six talks accompanying the exhibition “Bellissima. The Italy of high fashion  1945-1968” – curated by Maria Luisa Frisa, Stefano Tonchi and Anna Mattirolo, organized in collaboration with Altaroma and in main partnership with Bulgari) to tell about fashion from early Nineties to contemporary times. The first talk, “1910-1943: fashion and modernism”, will be focused on early and mid-Nineties and will feature as panelists Mario Lupano, historian and critic of contemporary architecture and Alessandra Vaccari, associated professor of History and Theory of Fashion at the Iuav University of Venice. A not to be missed happening to discover and know the fashion culture.

LE STORIE DELLA MODA”: UN TALK SULLA MODA CON MARIO LUPANO & ALESSANDRA VACCARI

A creation by Galitzine, ft. in the exhibition "Bellissima. The Italy of high fashion 1945-1968",  photo by Musacchio & Ianniello, courtesy of Rome MAXXI Museum

A creation by Galitzine, ft. in the exhibition “Bellissima. The Italy of high fashion 1945-1968″, photo by Musacchio & Ianniello, courtesy of Rome MAXXI Museum

Si terrà il 13 dicembre 2014 a Roma, alle ore 11:00, presso l’ Auditorium del Museo MAXXI il primo talk del programma “Le storie della moda”, una serie di sei talk che accompagnano la mostra “Bellissima. L’ Italia dell’ alta moda 1945-1968” – curata da Maria Luisa Frisa, Stefano Tonchi e Anna Mattirolo, organizzata in collaborazione con Altaroma e in main partnership con Bulgari) per raccontare la moda dai primi del Novecento all’ epoca contemporanea. Il primo talk, 1910-1943: moda e modernismo”  sarà incentrato sui primi e sulla metà del Novecento e avrà quali protagonisti nelle vesti di relatori Mario Lupano, storico e critico dell’ architettura contemporanea e Alessandra Vaccari,professore associato di Storia e Teoria della Moda presso L’ Università Iuav di Venezia. Un evento imperdibile per scoprire e conoscere la cultura della moda.

Mario Lupano, photo by N

Mario Lupano, photo by N

 

Alessandra Vaccari, photo by N

Alessandra Vaccari, photo by N

 

 

www.fondazionemaxxi.it

photo by Paolo Gotti

photo by Paolo Gotti

It will be opened on 16th December 2014, 6:00 pmand will run through 16th February 2015at the foyer of Bologna Teatro Duse the exhibition “STORIES. A journey between photography and literatureby photograph Paolo Gotti. It’s a work inspired by literature, the stories of celebrated novels (as “Robinson Crusoe” by Daniel Defoe, “Wuthering heights” by Emily Bronte, “Anna Karenina” by Lev Tolstoj, “Treasure Island” by Robert Louis Stevenson, “South seas stories” by William Somerset Maugham, “On the road” by Jack Kerouac, “One hundred years of solitude” by Gabriel Garcìa Marquez, “The name of the rose” by Umberto Eco, “The Mexico dust” by Pino Cacucci, “Ocean Sea” by Alessandro Baricco, “Shame” by J. M. Coetzee, “The road” by Cormac McCarthy), 13 photographs for 12 novels loved by Paolo Gotti, that marked his life, travels and work. During the opening will be feature the actress  Giuseppina Morara, the journalist Roberto di Caro and the author and journalist Natascia Ronchetti. A not to be missed happening for all the ones who love art and literature.

“STORIE. UN VIAGGIO TRA FOTOGRAFIA E LETTERATURA” DI PAOLO GOTTI AL TEATRO DUSE DI BOLOGNA

photo by Paolo Gotti

photo by Paolo Gotti

 

Sarà inaugurata il 16 dicembre 2014, alle ore 18:00 e proseguirà fino al 16 febbraio il 2015presso il foyer del Teatro Duse di Bologna la mostra “STORIE. Un viaggio tra fotografia e letteraturadel fotografo Paolo Gotti. Un lavoro che trae ispirazione dalla letteratura, dalle storie di celebri romanzi (quali “Robinson Crusoe” di Daniel Defoe, “Cime tempestose” di Emily Bronte, “Anna Karenina” di Lev Tolstoj, “L’ isola del tesoro” di Robert Louis Stevenson, “Racconti dei mari del sud” di William Somerset Maugham, “Sulla strada” di Jack Kerouac, “Cent’ anni di solitudine” di Gabriel Garcìa Marquez, “Il nome della rosa” di Umberto Eco, “La polvere del Messico” di Pino Cacucci, “Oceano Mare” di Alessandro Baricco, “Vergogna” di J. M. Coetzee, “La strada” di Cormac McCarthy), 13 fotografie per 12 romanzi amati da Paolo Gotti che hanno segnato la sua vita, i suoi viaggi e il suo lavoro. Durante la opening saranno presenti l’ attrice Giuseppina Morara, il giornalista Roberto di Caro e la scrittrice e giornalista Natascia Ronchetti. Un evento imperdibile per tutti coloro che amano l’ arte e la letteratura.

photo by Paolo Gotti

photo by Paolo Gotti

 

photo by Paolo Gotti

photo by Paolo Gotti

 

 

www.paologotti.com

burroughs

The LP “Nothing here but the new recordings”(Dais Records) is a genuine masterpiece to have. This work arises in the 1980 when Genesis P-Orridge and Peter “Sleazy” Christopherson( there were the times they were part of band Throbbing Gristle) went to New York City to meet up at the fortified apartment, known as The Bunker, the celebrated author and pioneer cultural William S. Burroughs and compiled the experimental sounds work of Burroughs. During those visits Burroughs played his tape recorder experiments featuring is spoken word “cut-ups” and collaged fields recordings from his travels with EVP recording techniques (pioneered by the Latvian intellectual Konstantins Raudine). A work which involved all of these artists and gave rise in 1981 to the album which has never released until 1998 when the celebrated performer artist and poet John Giorno and John Giorno Poetry Systems included the album on a multi-disc retrospective CD box set. Now it comes back, during 2014, year when it recurs the centenary of legendary artist’s birth. The album will be available since January 2015, though it could be possible to make a pre-order of album on the website of Dais Records.

UN CAPOLAVORO DA AVERE: L’ LP “NOTHING HERE NOW BUT THE RECORDINGS” DI WILLIAM S. BURROUGHS

William S. Burroughs

William S. Burroughs

L’ LP “Nothing here but the new recordings”(Dais Records) è un autentico capolavoro da avere. Quest’ opera nasce nel 1980 quando Genesis P-Orridge e Peter “Sleazy” Christopherson( erano i tempi in cui facevano parte della band Throbbing Gristle) si sono recati a New York City per rivedere presso l’ appartamento fortificato, noto come Il Bunker, il celebre scrittore e pioniere della cultura William S. Burroughs e hanno redatto i lavori sonori sperimentali di Burroughs. Durante queste visite Burroughs riproduceva i suoi esperimenti con il registratore comprensivi dei suoi “cut-ups” a parole e registrazioni assemblate, tratte dai suoi viaggi effettuate con le tecniche di registrazione EVP( effettuate pioneristicamente dall’ intellettuale lituano Konstantins Raudine). Un lavoro che ha coinvolto tutti questi artisti e ha dato vita nel 1981 all’ album che non è stato mai pubblicato fino al 1998, quando il famoso performer artist e poeta John Giorno e la John Giorno Poetry Systems ha incluso l’ album in una retrospettiva a più dischi composta da un set di CD. Adesso ritorna, nel 2014, anno in cui ricorre il centenario della nascita del leggendario artista. L’ album sarà disponibile a partire da gennaio 2015, anche se esiste la possibilità di effettuare un preordine dell’ album sul sito web di Dais Records.

William S. Burroughs

William S. Burroughs

William S. Burroughs

William S. Burroughs

http://daisrecords.com

Move Roma, photo by N

Move Roma, photo by N

It has been a nice interlude to visit a magic place being in Rome, the factory of the millinery brand Move Roma, created by the bright milliner Massimiliano Amicucci. I was very pleased to see the place where the hats are made and enjoy the – hand-made – creations of brand, genuine passé-partout where it shines an alchemy made of craftsmanship, high-end materials and care for details, embodying refinement, incisiveness and a timeless elegance. I also enjoyed very much the companion of Massimiliano’ s warm-hearted working team which generously gave me further details concerning the making of hats. It’s a special place to visit and where to come back for all the ones who love the hats.

ARTIGIANALITÀ, ELEGANZA & SIMPATIA: IL MIO INTERLUDIO ALL’ OFFICINA DEL CAPPELLO DI MOVE ROMA

Move Roma, photo by N

Move Roma, photo by N

 

È stato un simpatico interludio visitare un luogo magico che si trova a Roma, il laboratorio del brand di cappelli Move Roma, creato dal brillante designer Massimiliano Amicucci. Lieta di vedere con i miei occhi il luogo in cui son fatti i cappelli e apprezzare le creazioni – realizzate a mano – del marchio, autentici passé-partout in cui splende una formidabile alchimia fatta di artigianalità, materiali di alta qualità e cura dei dettagli che racchiude in sé raffinatezza, incisività e un’ eleganza senza tempo. Mi ha oltremodo rallegrato la compagnia del caloroso team di lavoro di Massimiliano che mi ha generosamente dato plurimi dettagli inerenti la realizzazione dei cappelli. Un luogo speciale da visitare e in cui tornare per tutti coloro che amano i cappelli.

Gustavo and Cesira at work, photo by N

Gustavo and Cesira at work, photo by N

 

Move Roma, photo by N

Move Roma, photo by N

 

Mr. Big Smile at work, photo by N

Mr. Big Smile at work, photo by N

 

Move Roma, photo by N

Move Roma, photo by N

 

 

Me, myself & I along with Massimiliano Amicucci, photo by N

Me, myself & I along with Massimiliano Amicucci, photo by N

 

 

Move Roma, photo by N

Move Roma, photo by N

 

Me, myself & I in an  Anne of Green gables moment(https://www.youtube.com/watch?v=6ht5HiqDLO0 ), wering a Move Roma hat, photo by N

Me, myself & I in an Anne of Green gables moment, ft. a hat by Move Roma, photo by N

 

www.moveroma.it

Ludovica Amati Spring/Summer 2015, photo by N

Ludovica Amati Spring/Summer 2015, photo by N

A journey through femininity, was the tableaux vivant set up at the Milan Giacomo Guidi Art Gallery where it was presented – during the latest edition of Milan Fashion Week – the Spring/Summer 2015 collection by Ludovica Amati. A tale about of female complicity and sensuality, which talked about that connection existing between women, made of feelings and gesture. A catchy atmosphere, enriched by the creations by bright fashion designer that featured light colors along with black, fluid lines caressing the silhouette, transparencies and precious details – as the ones that are impressed in the jackets where it shines a fine manufacture made in Italy – depicting a femininity delicate, languid, solemn and at the same time assertive.

A RITROSO: LA LANGUIDA FEMMINILITÀ DI LUDOVICA AMATI

Ludovica Amati Spring/Summer 2015, photo by N

Ludovica Amati Spring/Summer 2015, photo by N

Un viaggio attraverso la femminilità è ciò che era racchiuso nel tableaux vivant allestito presso la Galleria Giacomo Guidi di Milano in cui è stata presentata – in occasione dell’ ultima edizione della settimana della moda milanese – la collezione primavera/estate 2015 di Ludovica Amati. Un racconto sulla complicità femminile fatto di sensualità, che parlava di quel legame che esiste tra le donne fatto di sentimenti e gesti. Una accattivante atmosfera, arricchita da dalle creazioni della brillante fashion designer di cui erano protagonisti colori tenui insieme al nero, linee fluide che accarezzano la silhouette, trasparenze e dettagli preziosi – come quelli impressi nelle giacche in cui splende una fine manifattura made in Italy – che ritrae una femminilità delicata, languida, solenne e al tempo stesso assertiva.

A model wearing Ludovica Amati Spring/Summer 2015, photo by N

A model wearing Ludovica Amati Spring/Summer 2015, photo by N

The awsome jacket featuring in the Ludovica Amati Spring/Summer 2015, photo by N

The awsome jacket featuring in the Ludovica Amati Spring/Summer 2015 collection, photo by N

Ludovica Amati Spring/Summer 2015, photo by N

Ludovica Amati Spring/Summer 2015, photo by N

Ludovica Amati, Spring/Summer 2015, photo by N

Ludovica Amati, Spring/Summer 2015, photo by N

The models along with Ludovica Amati, photo by N

Ludovica Amati along with the models, photo by N

Ludovica Amati along with the models, photo by N

Ludovica Amati along with the models, photo by N

Me, myself & I along with Concetta D' Angelo and Silvia Morani, photo by N

Me, myself & I along with Concetta D’ Angelo and Silvia Morani, photo by N

www.ludovicaamati.com

Patrizia Fabri

Patrizia Fabri

 

It was recently held at the Antica Manifattura Cappelli, the Rome atelier of milliner Patrizia Fabri, “Chocolhats”, event where it was showcased the catchy creations she made embodying a fine craftsmanship, where it was gave the chance to the audience to see her work and know more about the making of a hat. The happening was enriched by an Epicurean interlude, the chocolates by Castadiva.

CHOCOLHATS: ARTIGIANALITÀ & DOLCEZZA ALL’ ATELIER DI ROMA DI PATRIZIA FABRI

Patrizia Fabri

Patrizia Fabri

Si è recentemente tenuto presso l’ Antica Manifattura Cappelli, l’ atelier della designer di cappelli Patrizia Fabri di Roma, “Chocolhats”, evento in cui sono state esposte le sue accattivanti creazioni che racchiudono in sé una fine artigianalità, in cui è stata offerta la possibilità al pubblico di vedere il suo lavoro e conoscer meglio sulla realizzazione di un cappello. L’ happening é stato arrichito da un interludio epicureo, i cioccolatini di Castadiva.

The atelier of Patrizia Fabri

The atelier of Patrizia Fabri

 

The atelier of Patrizia Fabri

The atelier of Patrizia Fabri

 

The live making of a hat by Patrizia Fabri

The live making of a hat by Patrizia Fabri

 

The live making of a hat by Patrizia Fabri

The live making of a hat by Patrizia Fabri

 

The live making of a hat by Patrizia Fabri

The live making of a hat by Patrizia Fabri

 

The chocolate by Castadiva

The chocolate by Castadiva

 

 

www.antica-cappelleria.it

scumbag

Scumbag” is the new film by Mars Roberge – bright filmmaker who made the documentary film “The little house that could” on the famous costume designer Patricia Field -, a dramatic dark comedy, emphasized by a showcase of colorful characters, satirizing the teen angst and questioning about the existence and its meaning, trying to answer to the question “why I am here”. “It is a movie for anyone who has ever hated their job and would do anything to not be there”- thus the filmmaker asserts, telling the story about a young hipster wannabe-superstar dj, Phil, who takes on a day job at a telemarketing company, working with crazy people, ex-prisoners, drug addicts and murderers. The time on his life begins to tick as he battles addiction, fights the law and tries to maintain the only sane thing left in his life, his girlfriend. The film features in its cast celebrated personas as Alexis Arquette, John Lehr, Nina Hartley, the famous DJ Keoki who was yesterday part of Club Kids, the legendary party promoter, creator of Club Kids Michael Alig and many others. The virtual platform Indiegogo supporting independent projects hosts “Scumbag” or rather the fund-raising to finance the film, running through 17th December 2014. Thus dear FBFers, let’s join with me and give your modest contribution to develop this independent project!

“SCUMBAG”, LA DARK COMEDY DI MARS ROBERGE SU INDIEGOGO

Mars Roberge

Mars Roberge

Scumbag” è la nuova pellicola di Mars Roberge – brillante regista, autore del documentario “The little house that could” sulla famosa costumista Patricia Field -, una drammatica dark comedy, enfatizzata da una rassegna di bizzarri personaggi alquanto particolari che satireggia sull’ angoscia esistenziale e si interroga sull’ esistenza e il suo significato, provando a rispondere all’ interrogative “perché mi trovo qui”. “È un film per tutti quelli che abbiano sempre odiato il loro lavoro e vorrebbero far qualsiasi cosa per non esser là”- come afferma il regista – che racconta la storia di un giovane DJ aspirante-superstar, Phil, che accetta un lavoro diurno presso un’ azienda di telemarketing, lavorando con dei matti, ex-carcerati, drogati e assassini. Il tempo sulla sua vita comincia a ticchettare perché combatte contro la dipendenza, lotta contro la legge e prova a mantenere l’ unica cosa sana che gli è rimasta nella sua vita, la sua ragazza. Il film include nel suo cast celebri personaggi quali Alexis Arquette, John Lehr, Nina Hartley, il famoso DJ Keoki che è stato ieri parte dei Club Kids, il leggendario party-promoter, creatore dei Club Kids Michael Alig e molti altri. La piattaforma virtuale Indiegogo che sostiene progetti indipendenti ospita “Scumbag” o meglio la raccolta fondi per finanziare la pellicola che prosegue fino al 17 dicembre 2014. Perciò cari FBFers unitevi a me e offrite il vostro modesto contributo per consolidare questo progetto indipendente!

DJ Keoki

DJ Keoki

Michael Alig

Michael Alig

www.scumbag-movie.com

http://www.indiegogo.com/projects/scumbag-the-movie

Max Ingrand

Max Ingrand

 

The renowned Rome Galleria O features in the design event Miami Art Basel 2014running through 7th December 2014 – and here presents masterpieces of design made by celebrated masters as Campana Brothers, Gino Sarfatti, Max Ingrand and Andrea Anastasio. A not to be missed happening to discover and enjoy design.

LA GALLERIA O DI ROMA A MIAMI ART BASEL 2014

Campana Brothers

Campana Brothers

La rinomata Galleria O di Roma è protagonista dell’ evento di design Miami Art Basel 2014 – che prosegue fino al 7 dicembre 2014 – e ivi presenta capolavori del design realizzati da celebri maestri quali i Fratelli Campana Brothers, Gino Sarfatti, Max Ingrand e Andrea Anastasio. Un evento imperdibile per scoprire e apprezare il design.

Gino Sarfatti

Gino Sarfatti

 

Andrea Anastasio

Andrea Anastasio

 

Giò Ponti

Giò Ponti

 

 

www.galleriao.net  

ZITA

God save Zita” is the event which was recently held in Rome to celebrate the 51st anniversary of the renowned concept store of Zita Fabiani. A joyful atmosphere was enriched by the olfactive suggestions by the bright alchemist and aromatorius Meo Fusciuni – telling about his journeys, experiences and memories through the parfume – where he presented the new scent, “Narcotico”, a hypnotic scent , giving rise to the Mystic cycle(. It’s all about a backwards journey to deal with the future, a song of the everyday life’s holiness is what the perfume embodies. Strong emotions, arising with a silent and deep dialogue with the inner self, emphasized by the notes of incense, benjamin along with the tonka sweetening the olfactive pyramid, including a smashing play of contrast made of patchouli and agar wood, vanilla and musk). Genuineness and healthy ideas on the move, the ones by Ilaria Venturini Fendi, pioneer fashion designer and social activist, creator of brand of accessories, jewelry and furniture Carmina Campus, promoting the culture of re-use, also featured in the event. Here it was presented the “Pictogram bags”, bags inspired by the pictogram designs (made of beverage can bottoms, leather sample swatches and leather leftovers, scraps of PVC, nylon fabrics or other waterproof materials) along with the “Space waste bags” (made of black rubbish bag, flawed technical materials or job lots, the base of aluminum cans, leather leftovers or leather sample swatches) by the brand. It was a nice interlude under the sign of lightness, fun and spontaneity which gave the chance to customers and enthusiasts to know and talk directly with the creators about the products they made, making closer two realms that are usually far away: the creativity and the consumption.

“GOD SAVE ZITA”: MEO FUSCIUNI & CARMINA CAMPUS FESTEGGIANO IL CONCEPT STORE DI ROMA ZITA FABIANI

2

God save Zita” è l’ evento che si è recentemente tenuto a Roma  per festeggiare il 51° anniversario del rinomato concept store di Zita Fabiani. Una gioiosa atmosfera, arricchita dalle suggestioni olfattive del brillante alchimista e aromatario Meo Fusciuni – che parla di viaggi, esperienze e ricordi attraverso –  durante la quale ha presentato la nuova fragranza, “Narcotico”, un profumo ipnotico che dà vita al Ciclo della Mistica(. È un viaggio a ritroso per affrontare il futuro, un canto della sacralità del quotidiano. Forti emozioni che nascono da un dialogo silente e profondo con l’ interiorità, enfatizzato da note di incenso, benzoino unitamente alla fava tonka che addolcisce la piramide olfattiva, comprensiva di un formidabile gioco di contrasti fatto di patchouli and agarwood, vaniglia e muschio). Genuinità e salubri idee in movimento, quelle di Ilaria Venturini Fendi, pionieristica fashion designer e attivista del sociale, creatrice del brand di accessori, gioielli e componenti di arredo Carmina Campus che promuove la cultura del riuso è stata anche lei protagonista dell’ evento. Ivi è sono state presentate le “Pictogram bags”, borse che si ispirano alla grafica dei pittogrammi( realizzate con fondi di lattina, cartelle colori, ritagli di pelle, scarti di pvc, nylon o altri materiali waterproof) insieme alle “Space waste bags” (create con sacchi neri della spazzatura, tecno materiali difettati o fondi di magazzino, la base delle lattine di alluminio, ritagli di pelle e pelle recuperata da cartelle colori) del marchio. Un simpatico interludio all’ insegna di leggerezza, divertimento e spontaneità che ha offerto la possibilità ai clienti e agli entusiasti di conoscere e parlare direttamente con i creatori dei loro prodotti, avvicinando due ambiti che solitamente sono lontani: la creatività ed il consumo.

Meo Fusciuni along with the scents he made

Meo Fusciuni along with the scents he made

Meo Fusciuni

Meo Fusciuni

Meo Fusciuni

Meo Fusciuni

Carmina Campus

Carmina Campus, “Space waste bags”

Carmina Campus

Carmina Campus, “Pictogram bags”

Carmina Campus, "Pictograms bags"

Carmina Campus, “Pictograms bags”

Carmina Campus

Carmina Campus, “Space Waste bags”

www.zitafabiani.it

Bea Bongiasca

Bea Bongiasca

 

The Antonella Villanova Design Gallery presents in Miami during the design event Miami Art Basel( running through 7th December 2014) “Happy-go-Cola” the debut collection by the young jewelry designer Bea Bongiasca. Precious creations tell about the dialogue between two cultures, East and West, its values and non-values as the Western compulsive consumption, represented by the bottles of soft drink and symbols of Kawaii engravings, talking about that desire of happiness through the lightness which is part of contemporary youth. Bea gives rise through her work to a landscape where it these two cultures blends themselves, giving rise to a playful language, impressed on the surface of jewelry she makes, embodying deep and vibrant ideas.

“HAPPY-GO-COLA”: LA LEGGEREZZA, IRONIA & PROFONDITÀ DI BEA BONGIASCA PROTAGONISTA DI ART BASEL MIAMI 2014

Bea Bongiasca

Bea Bongiasca

 

La Galleria di Design Antonella Villanova presenta a Miami in occasione dell’ evento di design Miami Art Basel( che prosegue fino al 7 dicembre 2014) “Happy-go-Cola” la collezione di debutto della giovane designer di gioielli Bea Bongiasca. Preziose creazioni raccontano del dialogo tra due culture, Oriente e Occidente, i suoi valori e disvalori quali il compulsivo consumismo occidentale, rappresentato dalle bottiglie della bibita ed i simboli di incisioni kawaii che parlano di quel desiderio di felicità attraverso la leggerezza che è parte della gioventù contemporanea. Bea mediante il suo lavoro da vita a un terzo paesaggio in cui queste due culture si fondono, dando vita a un linguaggio ludico, impresso sulla superficie dei suoi gioielli, che racchiudono in sé profonde e vibranti idee.

Bea Bongiasca

Bea Bongiasca

 

Bea Bongiasca

Bea Bongiasca

 

Bea Bongiasca

Bea Bongiasca

 

Bea Bongiasca

Bea Bongiasca

 

Bea Bongiasca

Bea Bongiasca

 

Bea Bongiasca

Bea Bongiasca

 

Bea Bongiasca

Bea Bongiasca

 

 

 

www.beatricebongiasca.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

Liborio Capizzi

Liborio Capizzi

The genius fashion designer Liborio Capizzi, featured in Mercedes Benz Zurich Fashion Days, event which was recently held in Zurich, where it has presented the new collection of his brand Di Liborio being under the sign of rock suggestions – that were also emphasized by the live performance of a British band – and unusual architectures talking about sartorialism, incisiveness and experimentation. The vibrant alchemy made of fringes, transparencies, constructions and deconstructions (where it shines a successful reinterpretation of caftan becoming more dramatic for women and solemn for man), metallic appliqués, precious floral embroideries, red, grey and black monochromes, leather – being also in lame version – embodies Liborio’s sense of sartorialism, depicts an austere, feral, refined femininity and celebrates a sophisticated metropolitan predator.

LE INSOLITE ARCHITETTURE E SUGGESTIONI ROCK DI LIBORIO CAPIZZI PROTAGONISTE DI MERCEDES BENZ ZURICH FASHION DAYS

Di Liborio

Di Liborio

Il geniale fashion designer Liborio Capizzi, è stato protagonista di Mercedes Benz Zurich Fashion Days, evento che si è recentemente tenuto a Zurigo, durante il quale è stata presentata la nuova collezione del suo brand Di Liborio all’ insegna di suggestioni rock – enfatizzate anche dall’ esibizione dal vivo di una band inglese – e architetture insolite che parlano di sartorialità, incisività e sperimentazione. La vibrante alchimia fatta di frange, trasparenze, costruzioni e decostruzioni(in cui splende una felice reinterpretazione del caftano che diventa più drammatica per la donna e solenne per l’ uomo), decorazioni metalliche, preziosi ricami floreali, monocromie di rosso, grigio e nero, pelle – anche in versione laminata – e pelliccia racchiude il senso della sartorialità di Liborio, dipinge una femminilità austera, ferina, raffinata e celebra una sofisticata predatrice metropolitana.

www.diliborio.it

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

It was recently held at Penelope, the renowned Brescia cathedral of conceptual fashion of the one and only Roberta Valentini, a Christmas party, successful event to wish each other a happy Christmas wishes. It was celebrated the new entry, the brand Marques Almeida, as well as the heart-shaped jewelry by See me – embodying a vibrant message: a chain of love to stop the chain of violence against women. Each creation is handcrafted in Tunisia by women trained as artisans, coming for the shelter home run by the Amal Association – and a cornerstone of boutique, the brand of bags and accessories Carmina Campus promoting the culture of re-use , created by the bright fashion designer and social activist Ilaria Venturini Fendi who attended at the event. A smashing chance to enjoy signs and visions of contemporary fashion where ethics joins to aesthetic, giving rise to a new way to make fashion.

IL PARTY NATALIZIO DI PENELOPE A BRESCIA

The bags by Carmina Campus ft. in Penelope, photo by Alessandro Boccingher

The bags by Carmina Campus ft. in Penelope, photo by Alessandro Boccingher

Si è recentemente tenuto da Penelope, la rinomata cattedrale di moda concettuale di Brescia della sola e unica Roberta Valentini, un party natalizio, felice evento per scambiarsi gli auguri di Natale. Si è anche festeggiata la new entry, il brand Marques Almeida, come anche i gioielli a forma di cuore di See me – che racchiudono in sé un vibrante messaggio: una catena dell’ amore per fermare la catena di violenza contro le donne. Ogni creazione è realizzata a mano in Tunisia dalle donne avviate al lavoro di artigiano, provenienti dalla casa-rifugio gestita dall’ Associazione Amal –  e un caposaldo della boutique, il marchio di borse e accessori Carmina Campus che promuove la cultura del riuso, creato dalla brillante fashion designer e attivista del sociale Ilaria Venturini Fendi che ha presenziato all’ evento. Una formidabile occasione  per apprezzare segni e visioni di moda contemporanea in cui l’ etica si unisce all’ estetica, dando vita a un nuovo modo di fare moda.

The one and only Roberta Valentini along with Ilaria Venturini Fendi, photo by Alessandro Boccingher

The one and only Roberta Valentini along with Ilaria Venturini Fendi, photo by Alessandro Boccingher

 

The one and only Roberta Valentini at Penelope, photo by Alessandro Boccingher

The one and only Roberta Valentini at Penelope, photo by Alessandro Boccingher

 

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

 

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

 

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

 

The heart-shaped jewelry by See me

The heart-shaped jewelry by See me

 

The heart-shaped jewelry by See me

The heart-shaped jewelry by See me

 

 

www.penelope-store.it

Anna Magnani, still image from the movie "Bellissima" by Luchino Visconti

Anna Magnani, still image from the movie “Bellissima” by Luchino Visconti, 1951, courtesy National Film Library – Film Experimental Centre

Fashion dialogues with art, telling about the fashion in the atelier and the Italian fashion history, the haute couture from its rise to the late Sixties. That is the core of “Bellissima. The Italy of high fashion 1945-1968”, exhibition curated by Maria Luisa Frisa, Stefano Tonchi and Anna Mattirolo, organized in collaboration with Altaroma and in main partnership with Bulgari which will be opened on 30th November 2014  at 7:30 pm and will be held from 2nd December 2014 to 3rd May 2015 in Rome at the MAXXI Museum. The exhibition talks about high fashion, Italy and its creative synergies, by using photography and art, giving rise to an open dialogue between different disciplines.

A model at the Rome Capitol Museums, behind the Constantine monument,  wearing a dress by Fontana Sisters (1952), photo by Regina Relang (courtesy of Münchner Stadtmuseum, Sammlung Fotografie, Archiv Relang)

A model at the Rome Capitol Museums, behind the Constantine monument, wearing a dress by Fontana Sisters, 1952, photo Regina Relang (courtesy of Münchner Stadtmuseum, Sammlung Fotografie, Archiv Relang)

Fendi Fall/Winter 1967-1968

Fendi Fall/Winter 1967-1968

Original sketch by Karl Lagerfeld, Fall/Winter 1967-1968, photo   © Pierluigi Praturlon/Reporters Associati & Archivi

Original sketch by Karl Lagerfeld, Fall/Winter 1967-1968, photo © Pierluigi Praturlon/Reporters Associati & Archivi

The photography by Pasquale De Antonis, Federico Garolla, Ugo Mulas catchs the most important moments of this tale and the artworks by Lucio Fontana, Alberto Burri, Paolo Scheggi, Massimo Campigli, Getulio Alviani, Carla Accardi and Giuseppe Capogrossi – coming from the National Gallery of Modern Art – evidence the vital creativity which marked Italy and an age. The creations by couturiers as Germana Marucelli emphasizes the connection existing between art and fashion. It’s a detailed display of fashion, featuring the garnments by Maria Antonelli, Renato Balestra, Biki, Carosa, Roberto Capucci, Gigliola Curiel, Fendi, FontanaSorelle Sisters(as the “Pretino” dress they created in 1955 for Ava Gardner), Irene Galitzine, Fernanda Gattinoni, Mingolini-Guggenheim, Fausto Sarli, Mila Schön, Emilio Schuberth, Simonetta and Fabiani, Valentino, Jole Veneziani along with the accessories by Ferragamo, Fragiacomo, Gucci, Roberta di Camerino, jewelry by Bulgari – including the iconic creations “Snakes”- and fashion jewelry by Coppola and Toppo.

Model of Sorelle Botti, photo Pasquale De Antonis, 1947

Dress by Botti Sisters, photo Pasquale De Antonis, 1947

Two models wearing dresses by Valentino walking  in steps of Central State Archive, photo Federico Garolla, Rome, 1958

Two models wearing dresses by Valentino walking in steps of Central State Archive, photo Federico Garolla, Rome, 1958

Ugo Mulas, Lungo i Navigli, 1958 photo Ugo Mulas © Eredi Ugo Mulas,  courtesy Ugo Mulas Archive, Milao – Lia Rumma Gallery, Milan/Neaples

Ugo Mulas, Lungo i Navigli, 1958,
photo Ugo Mulas © Eredi Ugo Mulas, courtesy Ugo Mulas Archive, Milao – Lia Rumma Gallery, Milan/Neaples

The tale of exhibition is embodied in a marvelous catalogue (Electa, € 55.00) opening with a photograph by Garolla, combined with the words by Maria Luisa Frisa revealing what is the core of exhibition, the portrait of couturier and its role, being not just only “a creator, but an individual who observes the society where he lives, questions its many moods, …kneaded by the energy of his time” or bringer and interpret of “Volksgeist”, “The Spirit of people”, in a certain place and time.

Ivy Nicholson wearing a dress by Gattinoni at the Imperial Fora, photo Federico Garolla, Rome, 1954

Ivy Nicholson wearing a dress by Gattinoni at the Imperial Fora, photo Federico Garolla, Rome, 1954

 Giovannelli-Sciarra, photo Fortunato Scrimali published in the magazine Bellezza, n. 9, September 1953

Giovannelli-Sciarra, photo Fortunato Scrimali
ft. in the magazine “Bellezza”, n. 9, September 1953

 Ava Gardner wearing the  “Pretino"  dress, (created for her by the Sorelle Fontana  for a film the actress had to play but the film was never made. The  cassock apparel's idea was later taken over by director Federico Fellini for Anita Ekberg in "La Dolce Vita", 1960), 1955, photo Pierluigi Praturlon, courtesy of Historical Archive  Micol Fontana Foundation, Rome

Ava Gardner wearing the “Pretino” dress, (created for her by the Fontana Sisters for a film the actress had to play but the film was never made. The cassock apparel’s idea was later taken over by Federico Fellini for Anita Ekberg in  the movie “La Dolce Vita”, 1960), 1955, photo Pierluigi Praturlon,
courtesy Archive of Micol Fontana Foundation, Rome

Anita Ekberge ft. in "La dolce vita" by Federico Fellini, 1960, photo Pierluigi Praturlon, courtesy Archivio Fotografico della Cineteca Nazionale - Centro Sperimentale di Cinematografia. Fondo Reporters Associati

Anita Ekberg ft. in “La dolce vita” by Federico Fellini, 1960, photo Pierluigi Praturlon, courtesy  Photo Archive of National Film Library – Experimental Film Centre. Fondo Reporters Associati

Bulgari, snake bracelet watch gold, red and green enamel and diamonds, ca1965

Bulgari, snake bracelet watch gold, red and green enamel and diamonds, 1965

Salvatore Ferragamo, Damigella ankle boots (created for Sofia Loren), 1957, photo Christofer Broadbent

Salvatore Ferragamo, Damigella ankle boots (created for Sofia Loren), 1957, photo Christofer Broadbent

Bulgari, Tubogas gold bracelet-watch, ca 1965

Bulgari, Tubogas gold bracelet-watch, 1965

The binomial between art and fashion will be also enriched by VB74, the performance created by Vanessa Beecroft exclusively for the exhibition which will be held during its opening. That makes “Bellissima” a not to be missed event and precious, as it dignifies fashion as source of culture and art, bringing again it in the place where it has to be: the museum. I tell that, thinking that can be a first step towards the path giving rise to a Fashion Museum in Italy or – considering also what it happens in other museums as the New York MET Museum the London Victoria & Albert Museum – of specific areas focused on fashion being into a museum.

LA MODA NELL’ ATELIER: LA MOSTRA “BELLISSIMA. L’ ITALIA DELL’ ALTA MODA 1945-1968” AL MUSEO MAXXI DI ROMA

Still image from the movie "The Barefoot Countess" by  Joseph L. Mankiewicz, 1954, photo Osvaldo Civirani, courtesy Archivio Fotografico della Cineteca Nazionale - Centro Sperimentale di Cinematografia. Fondo Civirani

Still image from the movie “The Barefoot Countess” by Joseph L. Mankiewicz, 1954,
photo Osvaldo Civirani, courtesy Photo Archive from the National Film Library – Film Experimental Centre. Fondo Civirani

La moda dialoga con l’ arte, raccontando la moda nell’ atelier, la storia della moda italiana e l’ alta moda dalla sua nascita alla fine degli anni Sessanta. Questo è il cuore di “Bellissima. L’ Italia dell’ alta moda 1945-1968”, mostra curata da Maria Luisa Frisa, Stefano Tonchi ed Anna Mattirolo, organizzata in collaborazione con Altaroma e in main partnership con Bulgari che sarà inaugurata il 30 novembre 2014 alle ore 19.30 e si terrà dal 2 dicembre 2014 al 3 maggio 2015 al Museo MAXXI di Roma. Il percorso espositivo della mostra parla dell’ alta moda, dell’ Italia e delle sue sinergie creative avvalendosi della fotografia e dell’ arte, dando vita un dialogo aperto tra diverse discipline.

Creations by De Gasperi Zezza, Fernanda Gattinoni and Sorelle Fontana - Fontana Sisters -, photo Pasquale De Antonis, 1948,  published in the magazine I Tessili Nuovi. Estate, n. 37, July – August - September 1948

Creations by De Gasperi Zezza, Fernanda Gattinoni and Fontana Sisters,
photo Pasquale De Antonis, 1948,
ft. in the magazine I Tessili Nuovi. Summer, n. 37, July – August – September 1948

Fendi, vison, mink coat, 1960. photo © Pierluigi Praturlon/Reporters Associati & Archivi

Fendi, mink coat, 1960. photo © Pierluigi Praturlon/Reporters Associati & Archivi

Fendi, mink coat, 1960

Fendi, mink coat, 1960

La fotografia di Pasquale De Antonis, Federico Garolla, Ugo Mulas cattura i momenti più salienti di questo intenso racconto e le opere di Lucio Fontana, Alberto Burri, Paolo Scheggi, Massimo Campigli, Getulio Alviani, Carla Accardi e Giuseppe Capogrossi – provenienti dalla Galleria Nazionale di Arte Moderna – testimoniano la vitale creatività che ha segnato un’ epoca e l’ Italia. Le creazioni di couturiers quali Germana Marucelli enfatizzano il legame tra arte e moda. Una dettagliata rassegna di moda di cui sono protagonisti i capi di Maria Antonelli, Renato Balestra, Biki, Carosa, Roberto Capucci, Gigliola Curiel, Fendi, Sorelle Fontana (come l’ abito “Pretino” da loro creato nel 1955 per Ava Gardner), Irene Galitzine, Fernanda Gattinoni, Mingolini-Guggenheim, Fausto Sarli, Mila Schön, Emilio Schuberth, Simonetta e Fabiani, Valentino, Jole Veneziani unitamente agli accessori di Ferragamo, Fragiacomo, Gucci, Roberta di Camerino, i gioielli di Bulgari – comprensivi delle iconiche creazioni “Serpenti” – e la bigiotteria di Coppola e Toppo.

Two creations by De Gasperi Zezza at Museum of the  Baths of Diocletian, photo Pasquale De Antonis, Rome, 1948

Two creations by De Gasperi Zezza at Museum of the Baths of Diocletian, photo Pasquale De Antonis, Rome, 1948

Gina Lollobrigida,  still image from the movie "Come September" (1961) by Robert Mulligan, ©Universal Pictures

Gina Lollobrigida, wearing jewelry by Bulgari, still image from the movie “Come September” by Robert Mulligan, 1962
©Universal Pictures

Anita Ekberg, wearing Bulgari jewelry, still image from the movie "Call me Bwana" by Douglas Gordon, 1962

Anita Ekberg, wearing Bulgari jewelry, still image from the movie “Call me Bwana” by Douglas Gordon, 1962

Il racconto della mostra è racchiuso anche in uno splendido catalogo (Edizioni Electa, € 55.00) che si apre con una foto di Garolla, accompagnato dalle parole di Maria Luisa Frisa che svelano ciò che è il nucleo fondante della mostra, il ritratto del couturier e del suo ruolo, il quale non è soltanto “ un creatore, ma un individuo che scruta la società in cui vive, ne interroga i molteplici umori,..impastato dall’ energia del proprio tempo” ovvero portatore e interprete del “Volksgeist”, lo “Spirito del popolo, in un determinato luogo e tempo.

Creations by Fercioni, photo Elsa Robiola,  ft. in the magazine Bellezza, n. 5, May 1951

Creations by Fercioni, photo Elsa Robiola,
ft. in the magazine Bellezza, n. 5, May 1951

 'Azalea Rosa',  Roberto Capucci, first show: Sala Bianca Palazzo Pitti in Florence, 1961, photo Claudia Primangeli, Archive Roberto Capucci Foundation

“Azalea rosa”dress, Roberto Capucci, first show,  Florence Palazzo Pitti White, 1961, photo Claudia Primangeli, Archive of Roberto Capucci Foundation

1969 'Omaggio a Burri' "Homage to Burri", Roberto Capucci, first show at the Rome Capucci atelier in Via Gregoriana, photo Claudia Primangeli, Archive Roberto Capucci Foundation

“Homage to Burri”, Roberto Capucci, first show at the Rome Capucci atelier in Via Gregoriana, 1969, photo Claudia Primangeli, Archive of Roberto Capucci Foundation

Roberto Capucci, first show, Florence Palazzo Pitti White Room, photo Claudia Primangeli, Archive of  Roberto Capucci Foundation

Roberto Capucci, first show, Florence Palazzo Pitti White Room, photo Claudia Primangeli,  1959, Archive of Roberto Capucci Foundation

Salvatore Ferragamo, "Decolletè",shoes created for Maliryn Monroe in the movie “Bus Stop” by Joshua Logan, 1965, photo Roberto Quagli

Salvatore Ferragamo, “Decolletè”,shoes created for Maliryn Monroe in the movie “Bus Stop” by Joshua Logan, 1965, photo Roberto Quagli

Bulgari, necklace, earrings, gold and platinum with turquoises, sapphires, diamonds, 1961-1962

Bulgari, necklace, earrings, gold and platinum with turquoises, sapphires, diamonds, 1961-1962

Venice, 1966, photo Ugo Mulas © Eredi Ugo Mulas,  courtesy Ugo Mulas Archive, Milao – Lia Rumma Gallery, Milan/Neaples

Venice, 1966, photo Ugo Mulas © Eredi Ugo Mulas, courtesy Ugo Mulas Archive, Milao – Lia Rumma Gallery, Milan/Neaples

Il binomio tra arte e moda sarà anche arricchito da VB74, la performance creata esclusivamente per la mostra dall’ artista Vanessa Beecroft che si terrà durante la opening. Ciò rende “Bellissima” un evento imperdibile e prezioso, poiché dignifica la moda quale fonte di cultura e di arte, riportandola nel luogo in cui deve stare: il museo. Dico ciò, pensando che questo possa essere un primo passo per il cammino che dia luogo alla nascita di un Museo della Moda in Italia oppure – considerando anche ciò che accade in altre istituzioni museali quali il MET Museum di New York ed il Victoria & Albert Museum di Londra – di specifiche aree dedicate alla moda all’ interno di un museo.

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www.fondazionemaxxi.it

Teatro Argentina, photo by N

Teatro Argentina, photo by N

“To bring the film outside the cinema”, categorical imperative of Peter Greenaway, genius British filmmaker who recently featured in Rome in an afternoon event which was held at the Argentina Theatre and ended with the screening of the new film he made “Golzius & The Pelican Company”. The happening started with the screening of cult movie “Belly of an Architect”, set in Rome. Later the filmmaker featured in the talk “The Rome of Greenaway”, moderated by the art critic Alberto Crespi and the film critic Alberto Strinati where he told about this film and his experience during the making. Irony, sharpness and deepness, provocative assertions are the core of Greenaway’s thought and work.

He reminded the name of Costantino Dardi, the man who opened to him all of the gates of Rome ancient buildings and monuments that he couldn’t visit without him. He never met another Costantino in his life. That was a nice episode concerning this movie which “begins with a fuck” – as he said kidding with the shy translator, who had to translate exactly the word “fuck”, adding also that “all of the translators are liars”, another feature of Greenaway’s way of being and thinking, where there are no half measures. Therefore you can love or you can hate him, naturally who is writing that is one of the people who love his pioneer work also connected to technology- “and ends with a death”. The binomial love and death, Eros and Thanatos, was a cornerstone of Greenaway’s work along with a pictorial way of making film, telling stories. That is embodied in the colors of film, “the colors of Rome that are the colors of human body: black, white, ochre and green where green is the metaphor of naughtiness, decadence and death”.

Peter Greenaway during the talk along with Alberto Crespi, Claudio Strinati and the translator, photo by N

Peter Greenaway during the talk along with Alberto Crespi, Claudio Strinati and the translator, photo by N

Continuing to talk about the Ancient Rome he said “it’s rough as parvenu and wonderful”, though “there is no history and historians, there are the stories and who tells about them”. Filmmakers became historians, “we moved from Walter Scott” (who wrote “Ivanhoe”) “to Ridley Scott” ( who made movies as “The Gladiator”. Those are the other ideas impressed in the work( as well as in the books he made) by charismatic filmmaker who made the tableaux vivant, installations that animated masterpieces as the “Last Supper” and “The Wedding at Cana”. The sense of drama, the carnality are other signs embodied in his work on film. That it shines in his new film “Goltzius & the Pelican Company”, set in the papal Rome during the fifteenth century. The images tells about the baroque which is a feature of the city, “a city made of blood and money”. It’s the story on an engraver of erotic prints, who really existed, Henrik Goltzius, “prophet of future incredulity” who looks for financing his project, a book of illustrations depicting the most controversial stories from the Old Testament.

To do that he stages behind the Alsace Margrave a series of theatrical shows based on the Bible, “a catalogue of aberrations”. Here the stories told by Golzius, focused on a display of sins, dramatically blur with his reality, giving rise to extreme consequences. The film is a genuine masterpiece, a painting in motion, enriched by the music made by Archi Torti. I borrow Peter’s words subverting the first words from John’s Vangel “at the beginning it was word”, which is wrong for him and has to be replaced with “at the beginning it was image”, being that very eloquent to understand his idea of making film and telling stories, this story which eradicates the notion of taboo and translates the meaning of visual literature, A work involving Greenaway who also told about his forthcoming film project on the legendary artist Hieronymus Bosch, another announced success.

UNA GIORNATA GREENAWAYANA A ROMA: “GOLTZIUS & THE PELICAN COMPANY” AL TEATRO ARGENTINA

Peter Greenaway, photo by N

Peter Greenaway, photo by N

“Portare il cinema fuori dal cinema”, imperativo categorico di Peter Greenaway, geniale regista inglese che recentemente è stato protagonista a Roma di un evento pomeridiano che si è tenuto al Teatro Argentina e si è concluso con la proiezione della sua nuova pellicola “Golzius & The Pelican Company”. L’ happening è cominciato con la proiezione del cult movie “Il ventre dell’ architetto”, ambientato a Roma. Successivamente il regista è intervenuto nel talk “La Roma di Greenaway”, moderato dal critico d’ arte Alberto Crespi e dal critico cinematografico Claudio Strinati in cui ha parlato di questa pellicola e della sua esperienza durante la realizzazione. Ironia, acume e profondità, affermazioni provocatorie sono il cuore del pensiero e dell’ opera di Greenaway.

Ha ricordato il nome di Costantino Dardi, l’ uomo che gli ha aperto tutti i cancelli degli edifici e i monumenti di Roma che altrimenti non avrebbe potuto visitare. Non ha poi mai più incontrato un altro Costantino. Questo era un simpatico racconto che riguardava la realizzazione del film che “inizia con una scopata” – come diceva, scherzando con la timida traduttrice, la quale ha dovuto tradurre esattamente la parola “scopata”, aggiungendo anche che “tutti i traduttori sono bugiardi”, un altro tratto del modo di essere e pensare di Greenaway, in cui non ci sono mezze misure. Perciò lo si può amare o odiare, naturalmente chi scrive è una di coloro che amano il suo pionieristico lavoro legato anche alla tecnologia – “e finisce con una morte”. Il binomio amore e morte, Eros and Thanatos, è un caposaldo del lavoro di Greenaway unitamente a una modalità pittorica di fare i film, raccontare storie. Ciò è racchiuso nei colori della pellicola, “i colori di Roma che sono i colori del corpo umano: bianco, nero, ocra e verde, in cui il verde è la metafora della malignità, della decadenza e della morte”.

Continuando a parlare dell’ antica Roma diceva che “è volgare da parvenu e meravigliosa”, anche se “non esiste la storia e gli storici, ci sono le storie e chi le racconta”. I registi sono diventati storici,“siamo passati da Walter Scott” (che ha scritto “Ivanhoe”) “a Ridley Scott (che ha realizzato film quali “Il Gladiatore)”. Queste sono le altre idee impresse nell’ opera( come anche nei libri) del carismatico regista che ha realizzato tableaux vivant, installazioni che hanno animato capolavori quali “L’ ultima cena” e “Le nozze di Cana”. Il senso del dramma, la carnalità sono altri tratti racchiusi nel suo lavoro su pellicola. Ciò splende nel suo nuovo film, “Goltzius & the Pelican Company”, ambientato nella Roma papalina del quindicesimo secolo. Le immagini raccontano il barocco, un tratto della città, “una città fatta di sangue e denaro”. È la storia di un incisore di stampe erotiche, realmente esistito, Henrik Goltzius, “profeta dell’ incredulità futura” che cerca di finanziare il suo progetto, un libro di illustrazioni che ritraggono le storie più controverse del Vecchio Testamento.

Per fare ciò mette in scena dinanzi al Margravio d’ Alsazia una serie di spettacoli teatrali che si basano sulla Bibbia, “un catalogo di aberrazioni”. Ivi le storie narrate da Golzius, incentrate su una rassegna di peccati, si confondono drammaticamente con la sua realtà, dando vita a estreme conseguenze. Il film è un autentico capolavoro, un dipinto in movimento, arricchito da splendide musiche realizzate dagli “Archi torti”. Prendo in prestito le parole di Peter che sovverte le parole iniziali del Vangelo di Giovanni, “in principio era il verbo”, affermazione per lui erronea che va sostituita con “in principio era l’ immagine”, essendo ciò oltremodo eloquente per comprendere il suo modo di fare film e raccontare storie, questa storia che sradica la nozione di tabù e traduce il significato della letteratura visiva. Un lavoro che coinvolge Greenaway il quale ha anche parlato del suo prossimo progetto cinematografico sul leggendario artista Hieronymus Bosch, un altro successo annunciato.

Peter Greenaway, the translator, the actor Flavio Parenti and the director of Argentina Theatre after talking with the audience after the screening of "Goltzius and the Pelican Company, photo by N

Peter Greenaway, the translator, the actor Flavio Parenti and the director of Argentina Theatre talking with the audience after the screening of “Goltzius and the Pelican Company, photo by N

Me, myself & I at Argentina Theatre, photo by N

Me, myself & I at Argentina Theatre, photo by N

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