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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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

The Bonifacio Asioli Public Theatre

The Bonifacio Asioli Public Theatre

Fashion, film and music recently joined together for a laudable purpose in Correggio, picturesque town of Emilia Romagna. The Bonifacio Asioli Public Theatre has been the place where was held the smashing multi-media event “Cine Marani”, ideated by the celebrated fashion designer Angelo Marani. of whose proceeds arising from that were given to the Correggio No-profit Association Gli Amici del Cuore, focused on the promotion of health care by a conscious lifestyle, made concrete by many initiatives and events. It was a suggestive display of art and fashion. The entering of theatre hosted the capsule collection created by Angelo Marani to celebrate thfilm, cult-movies as “Nightporter”, “Last tango in Paris” Cabaret”, “Eyes of Laura Mars”, “Out of Africa”, “One hundred and one Dalmatians”. Ten were the garments he made, embodying luxury, emphasized by a wise combinations of textures, high-end materials, care for details, precious decorations and accessories talking about the best tradition of made in Italy. Cine Marani turned the rooms of theatre into a stage, become part of multimedia installation which opened the live performance of the bright flautist Andrea Griminelli, Amii Stewart and the Octa Jazz Quartet. An awesome selection of music, classic, modern and coming from film, the one made by Ennio Morricone – which just only Amii Stewart is allowed to perform – along with tracks by Keith Jarreth, Nino Rota, Sting and the song “Knock on wood” who made the singer famous, featured in the show where the generosity (along with industriousness and warm-hearted attitude is a leitmotiv of people coming from Emilia Romagna, something I was so lucky to experience in life and work), spontaneity and understanding which was between the artists on the stage was the magic alchemy of a marvelous evening.

UNA SERA A CORREGGIO: L’ EVENTO MULTIMEDIALE“CINE MARANI”

The capsule collection by Angelo Marani, photo by N

The capsule collection by Angelo Marani, photo by N

Moda, cinema e musica recentemente si sono unite per una lodevole finalità a Correggio, pittoresca cittadina dell’ Emilia Romagna. Il Teatro Comunale Bonifacio Asioli è stato il luogo in cui si è tenuto il formidabile evento multimediale “Cine Marani”, ideato dal celebre fashion designer Angelo Marani, i cui proventi da esso derivanti sono stati donati alla Onlus Associazione Gli Amici del Cuore di Correggio, dedita alla promozione della cura della salute mediante uno stile di vita consapevole, concretizzata attraverso molteplici iniziative ed eventi. Suggestiva la rassegna di arte e moda. L’ entrata del teatro ha ospitato la collezione capsule creata da Angelo Marani per celebrare il cinema, cult-movies quali “Il portiere di notte”, “Ultimo tango a Parigi”,“Cabaret”, “Gli Occhi di Laura Mars”, “La mia Africa”, “La carica dei 101”. Dieci erano i capi da lui creati che racchiudono il lusso, enfatizzato da una sapiente combinazione di textures, materiali di alta qualità, cura per i dettagli, preziose decorazioni e accessori che parlano della migliore tradizione del Made in Italy. Cine Marani ha trasformato le stanze del teatro in un palcoscenico, divenute parte dell’ installazione multimediale che ha aperto l’ esibizione dal vivo del brillante flautista Andrea Griminelli, di Amii Stewart e dell’ Octa Jazz Quartet. Una fantastica selezione di musica, classica, moderna, proveniente dal cinema, quella realizzata Ennio Morricone – che è consentito unicamente ad Amii Stewart di interpretare -, i brani di Keith Jarreth, Sting e la canzone “Knock on wood” che ha reso famosa la cantante, é stata protagonista dello spettacolo in cui la generosità(che insieme all’ operosità e al calore umano è un leitmotiv della popolazione dell’ Emilia Romagna, qualcosa che per mia fortuna ho sperimentato nella vita e nel lavoro), spontaneità e armonia tra gli artisti sul palco è stata la magica alchimia di una meravigliosa serata.

The capsule collection by Angelo Marani, photo by N

The capsule collection by Angelo Marani, photo by N

The capsule collection by Angelo Marani, photo by N

The capsule collection by Angelo Marani, photo by N

The Bonifacio Asioli Public Theatre, photo by N

The Bonifacio Asioli Public Theatre, photo by N

The Correggio The Bonifacio Asioli Public Theatre becoming part of multimedia installation, photo by N

The Correggio The Bonifacio Asioli Public Theatre becoming part of multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

Angel0 Marani ft. in the multimedia installation, photo by N

 photo by N

Angelo  Marani ft. in the multimedia installation, photo by N

Angelo Marani ft. in the multimedia installation, photo by N

Angelo Marani ft. in the multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

The multimedia installation, photo by N

Andrea Griminelli and Amii Stewart, photo by N

Andrea Griminelli and Amii Stewart, photo by N

The Octa Jazz Quartet, Andrea Griminelli and Amii Stewart, photo by  N

The Octa Jazz Quartet, Andrea Griminelli and Amii Stewart, photo by N

The multimedia installation, photo by N

Amii Stweart and Andrea Griminelli, photo by N

Me, myself & I along with Titti, who created the multimedia installation, photo by N

Me, myself & I along with Titti, who created the multimedia installation, photo by N

www.angelomarani.it

Invito CINE MARANI

Different languages give rise to a dialogue under the sign of syncretism. Fashion, film and the music becomes a medium embodying a vibrant and suggestive universe. Signs, sounds and visions and the art of making, creating a new language by using many channels of communication. That is “Cine Marani”, multi-media event ideated by celebrated fashion designer Angelo Marani celebrating music and film, realm which is closely connected to the fashion designer, has impressed a relevant sign on his the creativity as it is evidenced by many creations paying homage to cult-movies as “Cabaret”, “Eyes of Laura Mars”, “Out of Africa”, “One hundred and one Dalmatians”. The not to be missed happening will be held today, at 8:00 pm, at the Correggio Bonifacio Asioli Public Theatre, will feature Amii Stewart – renowned artist, the only one being allowed to perform the music by Ennio Morricone – Andrea Griminelli and the Octa Jazz Quartet.

UN DIALOGO TRA MODA, CINEMA & MUSICA: “CINE MARANI” AL TEATRO COMUNALE BONIFACIO ASIOLI DI CORREGGIO

the creativity by Angelo Marani paying homage to film

the creativity by Angelo Marani paying homage to film

Diversi linguaggi danno vita a un dialogo all’ insegna del sincretismo. Moda, cinema e musica diventano un medium che racchiude in sé un vibrante e suggestivo universo. Segni, suoni, visioni e l’ arte del fare, creare un nuovo linguaggio avvalendosi di più canali di comunicazione. Questo è “Cine Marani”, evento multimediale ideato dal celebre fashion designer Angelo Marani che celebra la musica e il cinema, ambito strettamente connesso al fashion designer che ha impresso un segno rilevante sulla sua creatività come testimoniano molteplici creazioni che rendono omaggio a cult-movies quali “Cabaret”, “Gli Occhi di Laura Mars”, “La mia Africa”, “La carica dei 101”. L’ imperdibile happening di cui saranno protagonisti Amii Stewart –  rinomata artista che è l’ unica a cui è consentito di interpretare la musica di Ennio Morricone – Andrea Griminelli  e l’ Octa Jazz Quartet, si terrà oggi, alle ore 20:00 presso il Teatro Comunale Bonifacio Asioli di Correggio.

the creativity by Angelo Marani paying homage to film

the creativity by Angelo Marani paying homage to film

 

the creativity by Angelo Marani paying homage to film

the creativity by Angelo Marani paying homage to film

 

the creativity by Angelo Marani paying homage to film

the creativity by Angelo Marani paying homage to film

 

 

www.angelomarani.it

lament

 

It will be released on 7th November 2014, “Lament”, the new album  by the legendary band of industrial music Einstürzende Neubauten, headed by the iconic and genius Blixa Bargeld being a tale about the war(joining the audio records of the worldwide war prisoners made during 1914-1916 in one of the wider internment camps placed in the area of Berlin and including the music by the “Harlem Hell Fighters”, the first Afro-American combat battalion which supported the French soldiers). Music distortions arising from unusual, self-made music instruments, generating noise devices to evoke the terror of the industrialized 20th century world at war with himself. “The First World War never ended – the interwar and postwar periods essentially pauses for breath as the great military powers carry on their conflict”. This consciousness is embodied in “Lament”, genuine masterpiece which will be premiered on 8thNovember 2014 in Belgium, in Diksmuide. Later the band will come in Italy to present the album and will perform on 28th November 2014 in Bologna at the Manzoni Auditorium in Bologna, on 29th November in Turin at the RAI Auditorium and on 30th November in Rome at the Auditorium della Musica to present the new album. Three not to be missed happening.

“LAMENT”, IL NUOVO ALBUM DEGLI EINSTÜRZENDE NEUBAUTEN

Einstürzende Neubauten

Einstürzende Neubauten

Sarà pubblicato il 7 novembre 2014, “Lament”, il nuovo album della leggendaria band di musica industrial Einstürzende Neubauten, guidato dall’ iconico e geniale Blixa Bargeld che è un racconto sulla guerra(unisce le registrazioni audio dei prigionieri di guerra di tutto il mondo effettuate nel 1914-1916 in uno dei più ampi campi di internamento situato nei dintorni di Berlino e include la musica degli “Harlem Hell Fighters”, il primo battaglione di combattimento afro-americano che ha supportato i soldati francesi). Distorsioni musicali che nascono da insoliti strumenti musicali auto-costruiti, dispositivi che generano rumore per evocare il terrore del mondo industrializzato del 20° secolo in guerra con sé stesso. “La Prima Guerra Mondiale non è mai finita – il periodo interbellico e il dopoguerra essenzialmente sono una pausa per riprendere fiato poiché i grandi poteri militari continuano il loro conflitto”. Questa consapevolezza è racchiusa in “Lament”, autentico capolavoro che sarà presentato in anteprima l’ 8 novembre 2014 in Belgio, a Diksmuide. Successivamente la band giungerà in Italia per presentare l’ album e si esibirà il 28 novembre 2014 a Bologna presso l’ Auditorium Manzoni a Bologna, il 29 novembre a Torino all’ Auditorium RAI ed il 30 novembre a Roma all’ Auditorium della Musica. Tre eventi imperdibili.

Einstürzende Neubauten

Einstürzende Neubauten

 

 

www.neubauten.org

Contemporary art, avant-garde  and non-conventional aesthetics dialogue. It’ s a synthesis of elements and combinations, creativity and contemporary time meeting fashion. An open tale, told by “Shit and Die”, exhibition project by One Torino, produced by Artissima and organized by Maurizio Cattelan, Myriam Ben Salah and Marta Papini which is held in the Turin Palazzo Cavour from  6th November 2014 to 11th January 2015, enriching of a smashing showcase of fashion, featuring Carmina Campus, brand of accessories, jewelry and furniture created by  the pioneer fashion designer and social activist Ilaria Venturini Fendi. The bookshop – temporary space managed by OOLP Bookshop – of exhibition, will showcase a selection of bags, accessories and jewelry by the brand resulting from the re-use of materials and embodying a new luxury under the sign of refinement and sustainability. A not to be missed event to enjoy contemporary art and fashion.

ARTE & MODA: “SHIT & DIE”  E  CARMINA CAMPUS AL PALAZZO CAVOUR DI TORINO

L’ arte contemporanea, l’ avanguardia e un’ estetica non convenzionale dialogano. Una sintesi di elementi e combinazioni, creatività e contemporaneità che incontrano la moda. Un racconto aperto, narrato da “Shit and Die”, progetto espositivo di One Torino, prodotto da Artissima ed organizzato da Maurizio Cattelan, Myriam Ben Salah e Marta Papini che si tiene presso il Palazzo Cavour di Torino dal 6 novembre 2014 all’ 11 gennaio 2015 che si arricchisce di una formidabile selezione di moda di cui è protagonista Carmina Campus, brand di accessori, gioielli e componenti d’ arredo creato dalla pionieristica fashion designer e attivista del sociale Ilaria Venturini Fendi. La libreria – spazio temporaneo gestito dalla Libreria OOLP – della mostra ospiterà una selezione di borse, accessori e gioielli del marchio che sono il risultato del riuso di materiali e racchiudono in sé un nuovo lusso all’ insegna di raffinatezza e sostenibilità. Un evento imperdibile per apprezzare l’ arte contemporanea e la moda.

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

c4

Carmina Campus, condom holder ft. in “Shit and die”

Carmina Campus, Pan bracelet ft. in "Shit & Die"

Carmina Campus, Pan bracelet ft. in “Shit & Die”

Carmina Campus, Soft drink bracelet, ft. in "Shit & Die"

Carmina Campus, Soft drink bracelet, ft. in “Shit & Die”

Carmina Campus, Space Waste brooch ft. in "Shit & Die"

Carmina Campus, Space Waste brooch ft. in “Shit & Die”

Carmina Campus, One way pictogram shopping bag ft. in "Shit & Die"

Carmina Campus, One way pictogram shopping bag ft. in “Shit & Die”

Carmina Campus, Respect life bag ft. in "Shit & Die"

Carmina Campus, Respect life bag ft. in “Shit & Die”

www.carminacampus.com

Penelope, photo by Alessandro Boccingher

Penelope, photo by Alessandro Boccingher

It will be held tomorrow in Brescia at the celebrated cathedral of conceptual fashion Penelope, created by the one and only Roberta Valentini, a workshop on “Fashion image, developing and increasing personal style and self-image”, by the Bejing Institute Lantao Culture. The workshop, which will host the Chinese students and will last for one week, is focused on exploring the theme of fashion, connected to the experience of Penelope as trend setter and cool hunter. A successful initiative under the sign of fashion culture – that precious source of knowledge coming from who chooses and sells fashion, the buyer – and the sign of Penelope, an essential place embodying the pioneer and bright work by its soul, Roberta.

UN WORKSHOP SULL’ IMMAGINE DELLA MODA DA PENELOPE, LA CATTEDRALE DI MODA CONCETTUALE DI BRESCIA

Roberta Valentini, photo by N

Roberta Valentini, photo by N

Si terrà domani a Brescia presso la celebre cattedrale di moda concettuale Penelope, creata dalla sola e unica Roberta Valentini, un workshop su “Fashion image, developing and increasing personal style and self-image”, organizzato dall’ Istituto Lantao Culture di Pechino. Il workshop, che ospiterà gli studiosi cinesi e durerà una settimana, è volto a esplorare il tema della moda, legato all’ esperienza di Penelope quale trend setter e cool hunter. Una felice iniziativa all’ insegna della cultura della moda – quella preziosa risorsa di conoscenza che proviene da chi la moda la seleziona e la vende, il buyer – e del segno di Penelope, luogo imprescindibile che racchiude in sé la pioneristica opera della sua anima, Roberta.

www.lantao.net

www.penelope-store.it

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

The bright fashion designer Marco Grisolia will feature as guest designer in the Riga Fashion Week and present on 1st November 2014 the Spring/Summer 2015 collection he made where dream-like visions inspired by Moldavia artist Alexander Tinei overlap to Maghreb landscapes. Contemporary urban-folk suggestions meet sporty-chic architectures made of cotton piquet, poplin, silk shantung, nylon, organza, tulle, silk satin. Over-fit and tight lines, paisley prints and geometric decorations enriches the creations. A dynamism emphasized by a palette of colors including natural colors, metal nuances, ivory, nude and pink. The mood of collection is emphasized by the accessories shoes and bags designed by Federica Bernardelli for Marco Grisolia.

MARCO GRISOLIA PROTAGONISTA DELLA RIGA FASHION WEEK

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Il brillante fashion designer Marco Grisolia sarà protagonista nelle vesti di guest designer della Riga Fashion Week e presenterà l’ 1 novembre 2014 la sua collezione primavera/estate 2015 in cui visioni oniriche che si ispirano all’ artista Alexander Tinei si sovrappongono a paesaggi maghrebini. Suggestioni urban-folk contemporanee incontrano architetture sporty-chic di piquet di cotone, popeline, shantung di seta, nylon, organza, tulle, raso di seta. Linee over-fit e aderenti, stampe paisley e decorazioni geometriche arricchiscono le creazioni. Un dinamismo enfatizzato da una palette di colori che include colori naturali, nuances metalliche, avorio, nudo e rosa. Il mood della collezione è sottolineato dagli accessori, scarpe e borse disegnate da Federica Bernardelli per Marco Grisolia.

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

Marco Grisolia Spring/Summer 2015

www.marcogrisolia.it

Cara Delevingne

Cara Delevingne

The iconic British top-model Cara Delevingne who  recently recorded her fist music track with Pharrell Williams, also debuted as fashion designer, making a capsule collection for the New York  brand DKNY. A fun, sporty-chic elegance embodied in 15 items she created which now features in the shop windows of Boysloft, the renowned and exclusive Brescia boutique of casual-chic clothing and accessories.

LA CAPSULE COLLECTION SPORTY-CHIC DI CARA DELEVINGNE X DKNY PROTAGONISTA DI BOYSLOFT

L’ iconica top-model inglese Cara Delevingne che ha recentemente registrato il suo primo brano con Pharrell Williams, ha anche debuttato nelle vesti di fashion designer, realizzando una capsule collection per il brand newyorkese DKNY.  Una divertente eleganza sporty-chic racchiusa in 15 pezzi da lei create che è adesso protagonista delle vetrine di Boysloft, la rinomata ed esclusiva boutique di Brescia di abbigliamento ed accessori casual-chic.

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft,  photo courtesy Boysloft

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft, photo courtesy Boysloft

 

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft,  photo courtesy Boysloft

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft, photo courtesy Boysloft

 

 

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft,  photo courtesy Boysloft

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft, photo courtesy Boysloft

 

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft,  photo courtesy Boysloft

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft, photo courtesy Boysloft

 

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft,  photo courtesy Boysloft

The capsule collection by Cara Delevingne x DKNY ft. in Boysloft, photo courtesy Boysloft

 

 

www.dkny.com

www.boysloft-penelope.it

iuav 4

It enriches the training path of Fashion Design Faculty of Iuav University of Venice the second edition of advanced course in “Bag design and product development”, made in collaboration with the brand Bottega Veneta which will be held from January to April 2015.The course is open to 12 candidates coming from all over the world. The deadline to present the admission form is on 27th November 2015. A laudable initiative by a bright public institution to train young people who are interested in working in the fashion industry.

MODA & FORMAZIONE: IL CORSO DI PERFEZIONAMENTO IN BAG DESIGN AND PRODUCT DEVELOPMENT DELL’ UNIVERSITÀ IUAV DI VENEZIA

The  final work by students featuring in "Fashion at Iuav 2014", photo by N

The final work by students featuring in “Fashion at Iuav 2014″, photo by N

 

Arricchisce il percorso di formazione della Facoltà di Design della Moda dell’ Università Iuav di Venezia la seconda edizione del corso di perfezionamento in “Bag design and product development”, realizzato in collaborazione con il brand Bottega Veneta che si terrà da gennaio ad aprile 2015. Il corso è aperto a 12 candidati provenienti da tutto il mondo. La scadenza per presentare la domanda di ammissione è il 27 novembre 2015. Una lodevole iniziativa di una brillante istituzione pubblica per formare i giovani interessati a lavorare nel mondo nell’ industria della moda.

A categorical imperative impressed in the final work by students of Iuav University showcased during "Fashion at Iuav 2014", photo by N

A categorical imperative impressed in the final work by students of Iuav University showcased during “Fashion at Iuav 2014″, photo by N

 

A summer memory from "Fashion at Iuav 2014": me, myself & I along with Simone Sbarbati at the Treviso Fashion Design Faculty  of Iuav University of Venice, photo by Elda Danese

A summer memory from “Fashion at Iuav 2014″: me, myself & I along with Simone Sbarbati at the Treviso Fashion Design Faculty of Iuav University of Venice, photo by Elda Danese

 

 

 

www.iuav.it   

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It successfully runs in Athens at the Kappatos Gallery through 1st November  2014“Innervotexta”, the solo exhibition, curated by Sozita Goudana, presented in cooperation with Art Professionals in Athens Residency and Present Future Films, showcasing the work by American filmmaker Griffin, including a 16-minute art-film. It’s an exploration of digital perimeters and physical parameters, investigating on the criteria and structure of “Subjective Truth” based on the sensory perception. Innervotexta intersects the concepts of Inner (internal, self) and Vortex (referring to electromagnetic energy fields and space) and attempts to express the dual reality of existence and the tension between the internal (sensory) and the material experience of contemporary humanity. This search is emphasized by different artistic media (film, photography, constructions) and metaphysical elements such as tarot cards and botanology, artworks created by the artist in order to translate the mood of film into a more lasting moment. A not to be missed happening to enjoy the work of a bright artist.

“INNERVOTEXTA”, LA PERSONALE DI GRIFFIN ALLA KAPPATOS GALLERY DI ATENE

Griffin & Masha, photo courtesy Present Future Film

Griffin & Masha Rudenko, photo courtesy Natalia Tsoukala

Prosegue felicemente ad Atene presso la Kappatos Gallery fino all’ 1 novembre 2014 “Innervotexta”, la  personale, curata da Sozita Goudana, presentata in cooperazione con la Art Professionals in Athens Residency e Present Future Films che espone il lavoro del regista americano Griffin e include una pellicola artistica di 16 minuti. Un’ esplorazione dei perimetri digitali e parametri fisici che investigano sui criteri e la struttura della “Verità Soggettiva” che si basa sulla percezione sensoriale. Innervotexta intreccia i concetti di Interiorità (l’ interiore, il sè) e Vortice (che si riferisce ai campi di energia elettromagnetica e allo spazio) e cerca di esprimere la realtà duale dell’ esistenza e la tensione tra l’ esperienza interiore (sensoriale) e l’ esperienza materiale dell’ umanità al giorno d’ oggi.  Questa ricerca è enfatizzata da diversi media (film, fotografia, costruzioni) ed elementi metafisici quali le carte dei tarocchi e di botanica, opere d’ arte create dall’ artista al fine di tradurre lo spirito della pellicola in un momento più durevole. Un evento imperdibile per apprezzare l’ opera di un brillante artista.

"Innervotexta" at the Athens Kappatos Gallery, photo courtesy Present Future Film

“Innervotexta” at the Athens Kappatos Gallery, photo courtesy Natalia Tsoukala

Athens, photo courtesy Present Future Film

Athens, photo courtesy Natalia Tsoukala

http://athensartresidency.org

www.presentfuture.net

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

“Nothing is created, nothing is destroyed, everything transforms”. The principle of conservation of matter by Antoine Lavoisier becomes a successful metaphor to talk about Carmina Campus and the creative alchemies featuring in the Spring/Summer 2015 collection. Plastic, recycled paper, leather scraps and color samples join, transform, becoming little, big masterpieces of design. Waste becomes fashion. That is the result arising from the creative flair Ilaria Venturini Fendi, bright fashion designer, farming businesswoman and social activist, made concrete by Carmina Campus, brand of accessories, jewelry and furniture she created, promoting the culture of re-use. It’s a new luxury, made of craftsmanship, irony and consciousness. Bags, clutch bags, wallets, mobile phone-cases – condom cases, laudable initiative being part of a campaign to prevent HIV – Ipad cases, jewelry talking about a conscious lifestyle and a healthy ethic. The beautiful and good, the kalokagathia, a political and poetic idea starts to be part of everyday life through fashion and fashion product which is the medium. Refined lines, fun combination of colors and materials under the sign of lightness, comfort and elegance give rise to genuine passé-partout.

ARTIGIANALITÀ, IRONIA E CONSAPEVOLEZZA: IL NUOVO LUSSO DI CARMINA CAMPUS

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

“Nulla si crea, nulla si distrugge, ma tutto si trasforma”. Il principio di conservazione della materia di Antoine Lavoisier diviene una felice metafora per parlare di Carmina Campus e delle alchimie creative della collezione primavera/estate 2015. Plastica, carta riciclata, cascami di pelle e palette colori si uniscono e si trasformano,diventando piccoli, grandi capolavori di design. Lo scarto diventa moda. Questo il risultato dell’ estro creativo di Ilaria Venturini Fendi, brillante fashion designer, imprenditrice agricola e attivista del sociale, concretizzato da Carmina Campus, brand di accessori, gioielli e componenti d’ arredo da lei creato che promuove la cultura del riuso. Un nuovo lusso, fatto di artigianalità, ironia e consapevolezza. Borse, clutch, portafogli, porta-telefonini – porta preservativi, lodevole iniziativa che fa parte di una campagna per la prevenzione dell’ HIV – porta-Ipad, gioielli che parlano di uno stile di vita consapevole e di un’ etica salubre. Il bello e il buono, la kalokagathia, un pensiero politico e poetico entra a far parte della quotidianità mediante la moda e il prodotto moda che ne diventa il medium. Linee raffinate, divertenti combinazioni di colori e materiali all’ insegna di leggerezza, comfort ed eleganza danno vita ad autentici passé-partout.

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

The fashion blogger Vincent Law wearing a Carmina Campus bag, photo by N

The fashion blogger Vincent Law wearing a Carmina Campus bag, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Carmina Campus Spring/Summer 2015, photo by N

Carmina Campus Spring/Summer 2015, photo by N

 

Me, myself & I wearing the collar by Carmina Campus, photo by N

Me, myself & I wearing the collar by Carmina Campus, photo by N

 

 

 

www.carminacampus.com

Mila Schön Spring/Summer 2015, photo by N

Mila Schön Spring/Summer 2015, photo by N

Flowers, romanticism and sartorialism features in the Spring/Summer 2015 collection by Mila Schön, celebrated brand designed by Alessandro De Benedetti, which has presented during the Milan Fashion Week. Floral patterns are embodied in the prints and interpreted in volumes of clothes. Luxury becomes lightness and weight subtraction. The lines are short and clean. Cloths are precious (organza, cady, brocade, cotton and silk). It’s a delicate femininity, emphasized by light colors as salmon, azure, light blue, pink, white along with bright nuance of coral, a leitmotiv of fashion show.

MILA SCHÖN: FIORI, ROMANTICISMO & SARTORIALITÀ

Mila Schön Spring/Summer 2015, photo by N

Mila Schön Spring/Summer 2015, photo by N

Fiori, romanticismo e sartorialità sono i protagonisti della collezione primavera/estate 2015 di Mila Schön, celebre marchio disegnato da Alessandro De Benedetti, che è stata presentata durante la settimana della moda milanese. Motivi floreali sono racchiusi nelle stampe e reinterpretati nei volumi degli abiti, Il lusso diventa leggerezza e sottrazione di peso. Le linee sono corte e pulite. I tessuti sono preziosi (organza, cady, broccato, cotone e seta). Una delicata femminilità, enfatizzata da colori tenui quali, salmone, azzurro, celeste, rosa, bianco unitamente a un’ accesa nuance di corallo, un leitmotiv della sfilata.

Mila Schön Spring/Summer 2015, photo by N

Mila Schön Spring/Summer 2015, photo by N

 

Mila Schön Spring/Summer 2015, photo by N

Mila Schön Spring/Summer 2015, photo by N

 

Mila Schön Spring/Summer 2015, photo by N

Mila Schön Spring/Summer 2015, photo by N

 

Mila Schön Spring/Summer 2015, photo by N

Mila Schön Spring/Summer 2015, photo by N

 

The backstage of Mila Schön fashion show, photo by N

The backstage of Mila Schön fashion show, photo by N

 

The backstage of Mila Schön fashion show, photo by N

Mila Schön Spring/Summer 2015, photo by N

 

The backstage of Mila Schön fashion show, photo by N

The backstage of Mila Schön fashion show, photo by N

 

The backstage of Mila Schön fashion show, photo by N

Mila Schön Spring/Summer 2015 photo by N

 

Alessandro de Benedetti, photo by N

Alessandro De Benedetti, photo by N

 

 

www.milaschon.com

photo by  N

photo by N

The Spring/Summer 2015 collection of Piazza Sempione, presented in the Milan Spazio Bigli, is inspired by the artwork “Rotation of ballerina and parrots” by the celebrated Futurist artist Fortunato Depero. The canvas becomes the medium embodying the prints depicting ballerina, parrot and palm. An alchemy made of basic colors, black, white along with beige, cotton, crêpe de chine, minimal lines of dresses, shirts, shirt-dresses, skirts, enriched by bright, hand-made, three-D embroideries decorating the refined creations, being a genuine passé-partout.

PIAZZA SEMPIONE: L’ ICONOGRAFIA DI DEPERO SU TESSUTO

 “Rotation of ballerina and parrots”, Fortunato Depero, photo by N

“Rotation of ballerina and parrots”, Fortunato Depero, photo by N

La collezione primavera/estate 2015 di Piazza Sempione, presentata presso lo Spazio Bigli di Milano si ispira all’ opera “Rotazione di ballerina e pappagalli” del celebre artista futurista Fortunato Depero. Il canvas diventa il medium che racchiude le stampe che ritraggono la ballerina, il pappagallo e la palma. Un’ alchimia fatta di colori basici, bianco e nero unitamente a beige, cotone, linee minimali di abiti, camicie, chemisier, gonne, arricchiti da luminosi, ricami a mano tridimensionali che ornano le creazioni, autentici passé-partout.

Piazza Sempione, Spring/Summer 2015

Piazza Sempione, Spring/Summer 2015. photo by N

Piazza Sempione, Spring/Summer 2015. photo by N

Piazza Sempione, Spring/Summer 2015. photo by N

 

 

Piazza Sempione, Spring/Summer 2015. photo by N

Piazza Sempione, Spring/Summer 2015. photo by N

 

Piazza Sempione, Spring/Summer 2015. photo by N

Piazza Sempione, Spring/Summer 2015. photo by N

 

Piazza Sempione, Spring/Summer 2015. photo by N

Piazza Sempione, Spring/Summer 2015. photo by N

 

Piazza Sempione, Spring/Summer 2015. photo by N

Piazza Sempione, Spring/Summer 2015. photo by N

 

Piazza Sempione, Spring/Summer 2015. photo by N

Piazza Sempione, Spring/Summer 2015. photo by N

 

 

Xiao Li x Diesel x 10 Corso Como, photo by N

Xiao Li x Diesel x 10 Corso Como, photo by N

It was presented during the Milan Fashion Week at the renowned concept store 10 Corso Como created by Carla Sozzani, the capsule ollection by young fashion designer Xiao Li – winner of Diesel Award at the talent scouting award ITS (International Talent Support) – she made with Diesel exclusively for 10 Corso Como, featuring clothes and accessories – two necklaces and a shopping bag -, enriched by floral details. that are under the sign of fluid lines and pastel colors, experimentation and innovation. It’s the result of a research focused on matter, the cloth, giving rise to a nice combination of denim, cloth joining to pre-modeled silicon.

LA SPERIMENTAZIONE DI XIAO LI x ˬDIESEL x 10 CORSO COMO

Xiao Li x Diesel x 10 Corso Como, photo by N

Xiao Li x Diesel x 10 Corso Como, photo by N

É stata presentata durante la settimana della moda milanese presso il rinomato concept store creato da Carla Sozzani 10 Corso Como, la capsule collection della giovane fashion designer Xiao Li – vincitrice del Diesel Award al concorso di talent scouting ITS (International Talent Support) – da lei realizzata per Diesel in esclusiva per 10 Corso Como di cui sono protagonisti abiti e accessori – due collane e una shopping bag -, arricchiti da motivi floreali che sono all’ insegna di linee fluide e colori pastello, sperimentazione e innovazione. Il risultato di una ricerca incentrata alla materia, al tessuto che dà vita a una simpatico combinazione di denim, tessuti che si uniscono al silicone pre-modellato.

 

Xiao Li x Diesel x 10 Corso Como, photo by N

Xiao Li x Diesel x 10 Corso Como, photo by N

 

Xiao Li x Diesel x 10 Corso Como, photo by N

Xiao Li x Diesel x 10 Corso Como, photo by N

 

Xiao Li x Diesel x 10 Corso Como, photo by N

Xiao Li x Diesel x 10 Corso Como, photo by N

 

Xiao Li x Diesel x 10 Corso Como, photo by N

Xiao Li x Diesel x 10 Corso Como, photo by N

 

Xiao Li x Diesel x 10 Corso Como, photo by N

Xiao Li x Diesel x 10 Corso Como, photo by N

 

Xiao Li, photo by N

Xiao Li, photo by N

 

www.10corsocomo.com

www.diesel.com

 

Vivetta Spring/Summer 2015, photo by N

Vivetta Spring/Summer 2015, photo by N

Glamourama”, the Spring/Summer 2015 collection by Vivetta, brand created by the bright fashion designer Vivetta Ponti, has presented during the Milan Fashion Week in the suggestive rooms of Fioraio Bianchi, renowned Milan restaurant and coffee bar. It is a diorama of new contemporary glamour, successful reinterpretation of the visions impressed in “Natural Stories”, book by Jules Renard, illustrated by Luigi Serafini, the botany teaching tables from early 900’s, the art by Pablo Picasso and tapestry from the 60’s. Creations revisiting the silhouette from 50’s, 60’s and 70’s under the sign of fluidity and sartorialism. Lines are soft and pulled over, short, long and oversize. An alchemy embodied in the cloths, made of precious details and colored prints. Dresses, trench, shirts and bomber jackets, enriched by enchanting embroideries, talk about fine craftsmanship. Tradition joins to experimentation featuring canvas, mixed to jersey, brocade, leather, poplin, the softness of cotton, viscose knitwear and refined creased evanescence of “cloud” organza. A playful atmosphere emphasized by the palette of colors – including red, azure, pink, orange, green, light blue, white, black, silver – and the prints featuring polka dots, appearing in dresses and shirts, hats (resulting from a collaboration with the genius milliner Francesco Ballestrazzi) and are combined to hand-shaped collars and dresses depicting the shapes of female faces. A colored and fun portrait of femininity where it shines a refined research in terms of design, high-end materials and irony becomes weight subtraction, a lecture arising from Italo Calvino which moves from literature realm and finds a new context in fashion.

IL DIORAMA DEL GLAMOUR DI VIVETTA

Vivetta Spring/Summer 2015, photo by N

Vivetta Spring/Summer 2015, photo by N

Glamourama”, la collezione primavera/estate 2015 di Vivetta, brand creato dalla brillante fashion designer Vivetta Ponti, è stato presentato durante la settimana della moda milanese presso le suggestive stanze del Fioraio Bianchi, rinomato ristorante di Milano. Un diorama del nuovo glamour contemporaneo, felice reinterpretazione delle visioni impresse nelle “Storie Naturali”, libro di Jules Renard, illustrato da Luigi Serafini, delle tavole di botanica dei primi ‘900, dell’ arte di Pablo Picasso e delle tappezzerie degli anni ‘60. Creazioni che rivisitano la silhouette degli anni ‘50, ‘60 e ’70 all’ insegna di fluidità e sartorialità. Le linee sono morbide e accostate, corte, lunghe e oversize. Un’ alchimia racchiusa nei tessuti, fatta di dettagli preziosi e stampe colorate. Abiti, trench, camicie e bomber, arricchiti da incantevoli ricami, parlano di fine artigianalità. La tradizione si unisce alla sperimentazione di cui è protagonista il canvas, mixato alla maglina, il broccato, la pelle, il popeline, la morbidezza del jersey, della maglieria di cotone, viscosa e la raffinata, stropicciata evanescenza dell’ organza “nuvola”. Un’ atmosfera ludica, enfatizzata dalla palette di colori – che include rosso, azzurro, rossa, arancio, verde, celeste, bianco, nero, argento – e le stampe con i pois che appaiono negli abiti e nelle camicie, nei cappelli (risultato di una collaborazione con il geniale designer di cappelli Francesco Ballestrazzi) e sono abbinati a colletti a forma di mani ed abiti che ritraggono le sagome di volti femminili. Un divertente e colorato ritratto della femminilità in cui splende una raffinata ricerca in termino di design e l’ ironia diventa sottrazione di peso, una lezione di Italo Calvino che si sposta dall’ ambito della letteratura e trova un nuovo contesto nella moda.

Vivetta Spring/Summer 2015, photo by N

Vivetta Spring/Summer 2015, photo by N

Vivetta Spring/Summer 2015, photo by N

Vivetta Spring/Summer 2015, photo by N

Vivetta Spring/Summer 2015, photo by N

Vivetta Spring/Summer 2015, photo by N

 Elisa Nalin, photo by N

Elisa Nalin, photo by N

Margherita Ranocchia, Vivetta's mother, photo by N

Margherita Ranocchia, Vivetta’s mother, photo by N

Francesco Ballestrazzi, photo by N

Francesco Ballestrazzi, photo by N

Vivetta, photo by N

Vivetta, photo by N

http://www.vivetta.it

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Luxury, structure and lightness, the alchemy of Spring/Summer 2015 collection by the brand Aquilano Rimondi – created by Tommaso Aquilano and Roberto Rimondi – which has presented in Milan during the Milan Fashion Week. It shines a bright craftsmanship, embroideries, decorations, precious applique where the complexity becomes lightness. Lace, the silk of satin, organza, georgette and voile caress the silhouette. Short lines and patterns inspired by the nature, flowers and dragonflies, give rise to a delicate reinterpretation of oriental patterns. Bright colors as green, pink, red, burgundy along with blue, a leitmotiv of collection, white, black and cream are impressed in floral prints and feature in self-colored version. Dresses and shirt-dresses, constructions enriched by a wise game of drapes, pleats, transparencies and details that are under the sign of a sophisticated elegance. A smashing fashion show which has accompanied by sound suggestions in electro versions of celebrated tracks by Depeche Mode(“Personal Jesus” and “Enjoy the silence”).

LUSSO, STRUTTURA & LEGGEREZZA: L’ ELEGANZA DI AQUILANO RIMONDI

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Lusso, struttura e leggerezza, l’ alchimia della collezione primavera/ estate 2015 del brand Aquilano Rimondi – creato da Tommaso Aquilano e Roberto Rimondi – che  è stata presentata a Milano durante la settimana della moda milanese. Splende una brillante artigianalità, ricami, decori, preziose applicazioni in cui la complessità diventa levità. Pizzo, seta di raso, organza, georgette e voile  accarezzano la silhouette. Linee corte e motivi che si ispirano alla natura, fiori e libellule, danno vita a una delicata rivisitazione di motivi orientali. Colori accesi quali verde, rosa, rosso, bordeaux unitamente al blu, un leitmotiv della collezione, bianco, nero e crema sono impresse in stampe floreali ed appaiono in versione monocolore. Abiti e chemisiers, costruzioni arricchite da un sapiente gioco di drappeggi, plissé, trasparenze e dettagli preziosi all’ insegna di una sofisticata eleganza. Una formidabile sfilata che è stata accompagnata dalle suggestioni sonore in versione electro di celebri brani dei Depeche Mode(“Personal Jesus” ed “Enjoy the silence”).

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

Aquilano Rimondi Spring/Summer 2015, photo by N

The backstage of Aquilano Rimondi fashion show, photo by N

The backstage of Aquilano Rimondi fashion show, photo by N

The mood-board and patterns of the Aquilano Rimondi Spring/Summer 2015 collection photo by N

The mood-board and patterns of the Aquilano Rimondi Spring/Summer 2015 collection photo by N

The backstage of Aquilano Rimondi fashion show, photo by N

The backstage of Aquilano Rimondi fashion show, photo by N

Tommaso Aquilano, photo by N

Tommaso Aquilano, photo by N

Me, myself and I along with Beppe Angiolini after the fashion show of Aquilano Rimondi, photo by N

Me, myself and I along with Beppe Angiolini after the fashion show of Aquilano Rimondi, photo by N

www.aquilanorimondi.it

photo by N

photo by N

Emotion is everything”, pearl of wisdom impressed in a t-shirt by Arthur Arbesser featuring in the marvelous presentation of Spring/Summer 2015 collection he made. Art meets fashion in a Sunday morning in Milan, caressed by sun lights. Industrial suggestions, a sublime alchemy, the art by Carlo Valsecchi, a tribute to Walter Keller and  the sporty-chic minimalism by the bright Austrian fashion designer  Arthur Arbesser, a highly evocative path, curated by Luca Cipelletti, which has held in an old garage. It was a silent and intense dialogue, emphasized by the interiors and its details. Matter, transformations, research and emotion. That is embodied in the creations by Arthur, resulting from a bright work of experimentation. Red, black, blue, white, beige, light blue, light grey, colored prints, geometric patterns, a smashing combination of cloths – cotton, canvas, alcantara, technical cloths and organza – and minimal architectures successfully make concrete the paradigm “Less is more” by Mies van Der Rohe. Overalls, suits, bermuda shorts, sweatshirts and dresses of whose fluid  and clean lines talk about elegance and contemporary times.

L’EMOZIONE É TUTTO: IL MINIMALISMO SPORTY-CHIC DI ARTHUR ARBESSER

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

L’ emozione è tutto”, perla di saggezza impressa in una t-shirt di Arthur Arbesser protagonista della splendida presentazione della sua collezione primavera/estate 2015. L’ arte incontra la moda una domenica mattina a Milano, accarezzata dai raggi di sole. Suggestioni industrial, una sublime alchimia, l’ arte di Carlo Valsecchi, un tributo a Walter Keller e il minimalismo sporty-chic del brillante fashion designer austriaco  Arthur Arbesser, un percorso altamente evocativo, curato da Luca Cipelletti, che si è tenuto in un vecchio garage. Un silente e intenso dialogo enfatizzato dagli interni e i suoi dettagli. Materia, trasformazioni, ricerca ed emozione. Questo è ciò che è racchiuso nelle creazioni di Arthur, risultato di un brillante lavoro di sperimentazione. Rosso, nero, blu, bianco, beige, celeste, grigio chiaro, stampe colorate, motivi geometrici, trasparenze, una formidabile combinazione di tessuti – cotone, canvas, alcantara, tessuti tecnici ed organza – e architetture minimali concretizzano felicemente il paradigma “il meno è più” di Mies van Der Rohe. Tute, tailleurs, bermuda, felpe e abiti, le cui linee fluide e pulite parlano di eleganza e di contemporaneità.

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Details from the knitwear featuring in the Arthur Arbesser Spring/Summer 2015, photo by N

Details from the knitwear featuring in the Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artwork by Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artwork by Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artwork by Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artwork by Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Athur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

photo by N

photo by N

Arthur Arbesser Spring/Summer 2015 & the artworks by Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015 & the artwork by Carlo Valsecchi, photo by N

Carlo Valsecchi, Dalmine, Bergamo, 2002, private collection, courtesy Carla Sozzani, photo by N

Carlo Valsecchi, Dalmine, Bergamo, 2002, private collection, courtesy Carla Sozzani, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Ladies & gentlemen...The Doors, photo by N

Ladies & gentlemen…The Doors, photo by N

Carlo Valsecchi, photo by N

Carlo Valsecchi, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

photo by N

The silent lyricism of objects, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser Spring/Summer 2015, photo by N

Arthur Arbesser and Tommaso Aquilano, photo by N

Arthur Arbesser and Tommaso Aquilano, photo by N

Me, myself & I and Arthur Arbesser, photo by N

Me, myself & I and Arthur Arbesser, photo by N

www.arthurarbesser.com

Cinzia Malvini, Furio Francini, Frida Giannini, photo by N

Cinzia Malvini, Furio Francini, Frida Giannini, photo by N

A celebration, the 50th birthday of Rome Costume & Fashion Academy, which coincided with the opening of its new academic year and with the launch of book “Accademia Costume & Moda 1964-2014” by Maria di Napoli Rampolla and Antonio Mancinelli, was recently held in Rome at the Rome Costume & Fashion Academy. The afternoon event was under the sign of fashion. There were many celebrated personas from the fashion realm as Beppe Modenese, Anna Fendi, Piero Tosi, Adriano Franchi, Fabiana Balestra, Fabio Quaranta, Deanna Ferretti Veroni, Laura Lusuardi, Donata Sartorio, Alessandra Spalletti, Maria Luisa Frisa, the ex-alumni of Academy Tommaso Aquilano, Maurizio Galante and Sylvio Giardina. Here it was hosted a talk moderated by Cinzia Malvini which featured the creative director of Gucci fashion house Frida Giannini, who was a student of Academy. The fashion designer talked about creativity as “result of a team work”. Concerning young creatives she is focused on “observing the hand, the way they draw, as the instinct and vision of free hand makes the difference”. She talked about her experience made working at Fendi fashion house “where she learnt to be in place as today it’s important how to approach”, considering there is a Wikipedia culture today in many realms”. A video, introduced by Cinzia Malvini told about the Women association she launched and an live music event featuring Beyonce, Rita Ora, Jessie J, Florence & the Machine and many others. The association made concrete over 390 projects supporting the women. The talk with Frida Giannini ended with her suggestion for the student: let’s study, work hard and have fun”. Later, another ex-alumnus, the fashion journalist Antonio Mancinelli talked about his experience. He wanted to work as fashion designer and during the study at the Academy he changed his path and came to the journalism. He considered the wearability as value and result of a suggestion given him in the form of a question by Rosana Pistolese, the founder of Academy, arising from the view of a creation he made: “is it wearable?”, she asked him. Antonio said yes, it was, but naturally it was not. And since this experience, that became a paradigm to look at fashion, “something which always features in the Gucci collections Frida made, the wearability, their being wearable and super glamourous”. He considered “Rosana Pistolese as a kind of human Facebook, as she catalysed a series of important personas”. Later it was told about the book celebrating the fifty years of Academy, a book made with the support and collaboration with Altaroma and Alcantara along with the initiatives of Academy as the creations of the ex-alumni Association in order to give them working opportunities. A successful event depicting the laudable work of a bright Institution.

UNA CELEBRAZIONE & L’ INAUGURAZIONE DELL’ ANNO ACCADEMICO DELL’ ACCADEMIA DI COSTUME & MODA DI ROMA

Cinzia Malvini, Antonio Mancinelli and Beppe Modenese, photo by N

Cinzia Malvini, Antonio Mancinelli and Beppe Modenese, photo by N

Una celebrazione, il 50° compleanno dell’ Accademia di Costume & Moda di Roma, in concomitanza con l’ apertura del suo nuovo anno accademico e la presentazione del libro “Accademia Costume & Moda 1964-2014” a cura di Maria di Napoli Rampolla e Antonio Mancinelli, si è recentemente tenuta a Roma presso l’ Accademia di Costume e Moda di Roma. L’ evento pomeridiano è stato all’ insegna della moda. Presenti molteplici celebri personaggi della moda quali Beppe Modenese, Anna Fendi, Piero Tosi, Adriano Franchi, Fabiana Balestra, Fabio Quaranta, Deanna Ferretti Veroni, Laura Lusuardi, Donata Sartorio, Alessandra SpallettiMaria Luisa Frisa, gli ex-allievi dell’ Accademia Tommaso Aquilano, Maurizio Galante e Sylvio Giardina. Ivi è stato ospitato un talk moderato dalla giornalista Cinzia Malvini di cui è stato protagonista il direttore creativo della casa di moda Gucci Frida Giannini, che è stata una studentessa dell’ Accademia. La fashion designer ha parlato di creatività come “risultato di un lavoro di gruppo”. Riguardo ai giovani creativi si è concentrata sull’ “osservare la mano, il modo in cui disegnano, perché l’ istinto e la visione della mano libera fà la differenza”. Ha raccontato la sua esperienza di lavoro presso la casa di moda Fendi “dove ha imparato a stare al proprio posto, poiché oggi è importante come comportarsi”, considerando che “oggi c‘ è una cultura da Wikipedia un po’ su tutti i fronti”. Un video, presentato da Cinzia Malvini parlava dell’ Associazione per le Donne da lei lanciata e di un evento musicale con  Beyonce, Rita Ora, Jessie J, Florence & the Machine e molti altri. L’ associazione ha concretizzato più di 390 progetti a sostegno delle donne. Il talk con Frida Giannini si è concluso con un simpatico monito da lei dato  agli studenti: “studiate, impegnatevi e divertitevi”. Successivamente, un altro ex-allievo, il giornalista di moda Antonio Mancinelli ha parlato della sua esperienza all’ Accademia. Voleva lavorare come fashion designer e durante gli studi all’ Accademia ha cambiato il suo percorso ed è approdato al giornalismo. Costui ha preso in considerazione la portabilità come valore e risultato di un suggerimento a lui dato in forma di domanda da Rosana Pistolese, la fondatrice dell’ Accademia, derivante dalla visione di una sua creazione: “lo indosseresti?”, chiese a lui. Antonio rispose di si, ma naturalmente il capo non era indossabile. E a partire da questa esperienza, ciò è divenuto un suo paradigma per guardare la moda e qualcosa che appare sempre nelle collezioni Gucci realizzate da Frida: la indossabilità, l’ esser portabili e super glamourous. Riteneva “Rosana Pistolese una sorta di Facebook umano, perché catalizzava una serie di personaggi importanti”. A seguire si è parlato del libro che celebra i cinquanta anni dell’ Accademia, un libro realizzato con il sostegno e la collaborazione di Altaroma ed Alcantara unitamente alle iniziative dell’ Accademia quali la creazione di un’ Associazione di ex-alunni al fine di offrire opportunità lavorative. Un felice evento che ritrae il lodevole lavoro di una brillante istituzione.

Beppe Modenese, Fiamma Lanzara, Maria Luisa Frisa, photo by N

Beppe Modenese, Fiamma Lanzara, Maria Luisa Frisa, photo by N

Piero Tosi and Anna Fendi, photo by N

Piero Tosi and Anna Fendi, photo by N

Two Adrien: Adriano Franchi and Adrien Roberts, photo by N

Two Adrien: Adriano Franchi and Adrien Roberts, photo by N

Fabiana Balestra and Lupo Lanzara, photo by N

Fabiana Balestra and Lupo Lanzara, photo by N

Details talking about the Academy and its founder, Rosana Pistolese, photo by N

Details talking about the Academy and its founder, Rosana Pistolese, photo by N

Me, myself and I along with Alessandra Spalletti, photo by N

Me, myself and I along with Alessandra Spalletti, photo by N

www.accademiacostumeemoda.it

Ilaria Venturini Fendi talking about the event before its start, photo by N

Ilaria Venturini Fendi talking about the event before its start, photo by N

It was held yesterday in the Rome countryside, at La Storta, in the Casali del Pino, “Seminare il futuro”(meaning “Sowing the future”), a smashing initiative launched by the chain of organic supermarkets Naturasì and hosted by the organic farm by the fashion designer and social activist Ilaria Venturini Fendi. A return to nature, its rhythm, a gesture talking about humanity, sharing and connecting again the man to the earth: to sow the seeds, the seeds of grain. This event, come to its third edition, was held simultaneously held in many farms inside out Italy. Many people, families and children attended at at “Seminare il futuro” and started to sow at 11:00 am. It was the first time I attended at this event and it was a beautiful experience, framed by a sunny day, I enjoyed very much. Me along with many people – after having a delicious breakfast made of organic products which also featured the delicious bread made exclusively for the event by the Casali del Pino along with other organic products given by Naturasì – started to sow the wheat seeds, a special type of wheat, the “Claudio” wheat, existing since the age of ancient Roman emperor Claudio. A special emotion was embodied in this gesture – to bring the seeds and spread them on the ground -, representing the idea of sharing, giving something of ourselves to the ground, the place hosting us. A precious consciousness, connected to humanity, the respect and love for environment. Those are the values successfully made concrete by the nice people who featured in the event who enthusiastically joined and spent one day under the sign of nature. Silence, interrupted by voices of children, the bleats of sheep, light swish of trees and enriched by Epicurean interludes (including a selection of organic cheeses made by using vegetal rennet and cold cuts by the Casali del Pino).

“SEMINARE IL FUTURO”: LA CULTURA DELLA NATURA COME STILE DI VITA

Me, myself and I ready to sow, photo by N

Me, myself and I ready to sow, photo by N

Si è tenuta ieri presso la campagna romana, a La Storta, ai Casali del Pino, “Seminare il futuro”, una formidabile iniziativa lanciata dalla catena di supermercati biologici Naturasì e ospitata dall’ azienda agricola biologica della fashion designer e attivista del sociale social Ilaria Venturini Fendi. Un ritorno alla natura, al suo ritmo, a un gesto che parla di umanità, condivisione e ricollega l’ uomo alla terra: piantare i semi, i semi del grano. L’ evento, giunto alla sua terza edizione, si è tenuto simultaneamente in molteplici aziende agricole dentro e fuori dall’ Italia. Molta gente, famiglie e bambini hanno partecipato a “Seminare il futuro” hanno iniziato a seminare alle ore 11:00. Era la prima volta che partecipavo a questo evento, una bella esperienza, incorniciata da una giornata di sole che ho apprezzato molto. Io e molte persone – dopo una deliziosa colazione fatta di prodotti biologici di cui è stato protagonista anche un delizioso pane preparato esclusivamente per l’ evento dai Casali del Pino unitamente ad altri prodotti offerti da Naturasì – abbiamo cominciato a piantare i semi di grano, una varietà speciale di grano, il grano Claudio” che esiste sin dall’ epoca dell’ imperatore Claudio dell’ antica Roma. Una particolare emozione era racchiusa in questo gesto – prendere i semi e spargerli nel terreno – che rappresenta l’ idea della condivisione, del dare qualcosa di noi alla terra, il luogo che ci ospita. Una preziosa consapevolezza, legata all’ umanità, al rispetto e all’ amore per l’ ambiente. Questi i valori felicemente concretizzati dalle simpatiche persone protagoniste dell’ evento che hanno aderito ad esso con entusiasmo e hanno trascorso una giornata all’ insegna della natura. Silenzio, interrotto dalle voci di grandi e piccini, dai belati delle pecore, dal lieve fruscio degli alberi e arricchito da interludi epicurei(comprensivi di una selezione di formaggi biologici realizzati avvalendosi di caglio vegetale e salumi dei Casali del Pino).

Mother and daughter: Anna Venturini Fendi and Ilaria Venturini Fendi, photo by N

Mother and daughter: Anna Venturini Fendi and Ilaria Venturini Fendi, photo by N

People going to sow, photo by N

People going to sow, photo by N

People going to sow, photo by N

People going to sow, photo by N

Delfina Delettrez going to sow, photo by N

Delfina Delettrez going to sow, photo by N

People going to sow, photo by N

People going to sow, photo by N

Anna Venturini Fendi along with friends going to sow, photo by N

Anna Venturini Fendi along with friends going to sow, photo by N

Anna Venturini Fendi along with friends sowing, photo by N

Anna Venturini Fendi along with friends sowing, photo by N

People sowing, photo by N

People sowing, photo by N

People sowing, photo by N

People sowing, photo by N

The walk of a pioneer: Ilaria Venturini Fendi, photo by N

The walk of a pioneer: Ilaria Venturini Fendi, photo by N

Ilaria Venturini Fendi and the people sowing, photo by N

Ilaria Venturini Fendi and the people sowing, photo by N

Delfina Delettrez ready to sow, photo by N

Delfina Delettrez ready to sow, photo by N

Ilaria Venturini giving the grain to the people, photo by N

Ilaria Venturini giving the grain to the people, photo by N

Ilaria Venturini giving the wheat seeds to the people, photo by N

Ilaria Venturini giving the wheat seeds to the people, photo by N

A selfi(esh) afternoon moment ft me, myself & I and Roberto Palagetti, photo by N

A selfi(esh) afternoon moment ft me, myself & I and Roberto Palagetti, photo by N

Silvia Venturini Fendi and me, myself and I, photo by N

Silvia Venturini Fendi and me, myself and I, photo by N

Me, myself & I  along with the people sowing, photo by Enea Roveda

Me, myself & I along with the people sowing, photo by Enea Roveda

Seminare il futuro at the Casali del Pino, photo by N

Seminare il futuro at the Casali del Pino, photo by N

www.seminareilfuturo.it

Bea Bongiasca  jewelry seen by Giovanni Gastel at 10 Corso Como, photo by N

Bea Bongiasca jewelry seen by Giovanni Gastel at 10 Corso Como, photo by N

Bea Bongiasca, very young and bright creative debuted during the Milan Fashion Week, presenting at the celebrated Milanese concept store “10 Corso Como, “No rice for life”, the first jewelry collection she made. A catchy set-up, ideated by the designer Christoph Radl and enriched by the photography by Giovanni Castel, presented the fun and refined jewelry, successfully making concrete the connection between Eastern and Western culture. That is the idea which has inspired the work by jewelry designer. Her fine craftsmanship, is embodied in the creations reinterpreting the rice, its shape and what it evokes, an iconic food representing East, being a need and becoming something being much more precious. A pleasing lightness to tell about two different cultures meeting themselves. A tale about the contemporary times and globalization under the sign of freshness and innovation, featuring pearls, gold and silver, necklaces, earrings, cuffs and rings having smashing interchangeable enamel decorations, symbols, words and nice slogans.

UN DIALOGO TRA LA CULTURA ORIENTALE & OCCIDENTALE: “NO RICE FOR LIFEE” DI BEA BONGIASCA

Bea Bongiasca at 10 Corso Como, photo by N

Bea Bongiasca at 10 Corso Como, photo by N

Bea Bongiasca, giovanissima e brillante creativa ha debuttato durante la Settimana della moda di Milano, presentando presso il celebre concept store milanese10 Corso Como, “No rice for life”, la sua prima collezione di gioielli. Un accattivante allestimento, ideato dal designer Christoph Radl e arricchito dalla fotografia di Giovanni Castel, presentava divertenti e raffinati gioielli che felicemente concretizzano il legame tra la cultura orientale e occidentale. Questa l’ idea che ha ispirato il lavoro della designer di gioielli. La sua maestria artigianale è racchiusa in creazioni che reinterpretano il riso, la sua forma e ciò che esso evoca, iconico alimento che rappresenta l’ Oriente, è un bisogno e diventa qualcosa ancora più prezioso. Una soave leggerezza per parlare di due culture che si incontrano. Un racconto sulla contemporaneità e globalizzazione all’ insegna di freschezza e innovazione di cui sono protagonisti le perle, oro e argento, collane, orecchini, bracciali e anelli dalle formidabili decorazioni smaltate intercambiabili, simboli, parole e simpatici slogan.

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

Bea Bongiasca, photo by N

Bea Bongiasca, photo by Giovanni Gastel

Bea Bongiasca, photo by Giovanni Gastel

Bea Bongiasca, photo by Giovanni Gastel

Bea Bongiasca, photo by Giovanni Gastel

Bea Bongiasca and me, myself & I, photo by N

Bea Bongiasca and me, myself & I, photo by N

www.beatricebongiasca.com

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

Modernism, avant-garde, refinement and experimentation, symmetry and lightness, an elegance talking about the art of made in Italy and culture, this is the core of Spring/Summer 2015 collection by Fendi, paying homage to the architecture, the Rome Palazzo della Civiltà Italiana ( Rationalist building – hosting the brand Headquarters – which has drawn inspiration by the metaphysical painting by De Chirico) and its arches. Colors are light, natural and basic(black and white).  A wise game of cuts and transparencies enhances the silhouette along with marvelous prints and unusual reinterpretations in sophisticated way of cloths as denim. It features the orchid-motif  being embroidered in the invitation of fashion show and is impressed on shirts, trousers, dresses and accessories, bags ( as the legendary Baguette bag, enriched by many decorations and Peekaboo bag) and shoes, sandals, genuine masterpieces.

L’ ARTE DEL MADE IN ITALY & LA CULTURA: IL MODERNISMO, L’ AVANGUARDIA & LA RAFFINATEZZA DI FENDI

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

Modernismo, avanguardia, raffinatezza e sperimentazione, simmetria e leggerezza, un’ eleganza che parla dell’ arte del made in Italy e di cultura, questo, il cuore della collezione primavera/estate 2015 di Fendi che rende omaggio all’ architettura, al Palazzo della Civiltà Italiana di Roma (costruzione razionalista – e sede centrale del marchio – che ha tratto ispirazione dalla pittura metafisica di De Chirico) e alle sue arcate. I colori sono tenui, naturali e basici (bianco e nero). Un sapiente gioco di tagli e trasparenze esalta la silhouette unitamente a splendide stampe e insolite reinterpretazioni in chiave sofisticata di tessuti quali il denim. Protagonista, il motivo a orchidea che è ricamato nell’ invito alla sfilata ed è impresso su camicie, pantaloni, abiti e accessori, borse( quali la leggendaria Baguette, arricchita da plurime decorazioni e la Peekaboo) e le scarpe, i sandali, autentici capolavori.

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Fendi Spring/Summer 2015, photo by N

Fendi Spring/Summer 2015, photo by N

 

Silvia Venturini Fendi and Karl Lagerfeld, photo by N

Silvia Venturini Fendi and Karl Lagerfeld, photo by N

 

The backstage of Fendi fashion show, photo by N

The backstage of Fendi fashion show, photo by N

 

Silvia Venturini Fendi and Bianca Brandolini D' Adda, photo by N

Silvia Venturini Fendi and Bianca Brandolini D’ Adda, photo by N

 

Carla Fendi, photo by N

Carla Fendi, photo by N

 

Delfina Delettrez, photo by N

Delfina Delettrez, photo by N

 

Mother and daughter: Silvia Venturini Fendi and Leonetta Luciano Fendi, photo by N

Mother and daughter: Silvia Venturini Fendi and Leonetta Luciano Fendi, photo by N

 

Nina Pons Fendi and me, myself and I, photo by N

Nina Pons Fendi and me, myself and I, photo by N

 

 

www.fendi.com

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

Colors, stripes, polka dots and smashing prints depicting Haitian landscapes featured in the Spring/Summer 2015 collection by the bright fashion designer Stella Jean, presented during the Milan Fashion Week. A smart development of a concept, made of an unique combination of different signs and pattern where it shines a detailed work of styling, successfully made concrete by joining retro volumes of skirts, fun shorts and dresses, reinterpreting many decades of fashion history (from Fifties to Eighties). A joyful alchemy talking about talking about freshness and contemporary times, enriched by catchy accessories as bags and shoes along with marvelous swimsuits.

LE COLORATE & DIVERTENTI ALCHIMIE DI STELLA JEAN

Stella Jean Spring/Summer 2015, photo by N

Stella Jean Spring/Summer 2015, photo by N

Colori, righe, pois e formidabili stampe che ritraggono paesaggi Haitiani sono i protagonisti della collezione primavera/estate 2015 della brillante fashion designer Stella Jean, presentata durante la settimana della moda milanese. Un intelligente consolidamento di un concept, fatto di una combinazione unica di diversi segni e motivi in cui splende una fine opera di styling, felicemente concretizzata unendo volumi retro di gonne, divertenti shorts e abiti che reinterpretano molteplici decadi della storia della moda(dagli anni Cinquanta agli anni Ottanta). Una gioiosa alchimia che parla di freschezza e contemporaneità, arricchita da accattivanti accessori quali borse e scarpe unitamente a meravigliosi costumi da bagno.

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

 

The journalist Angelo Flaccavento and me, myself & I, photo by N

The journalist Angelo Flaccavento and me, myself & I, photo by N

A model at the backstage wearing the swimsuit by Stella Jean, photo by N

A model at the backstage wearing the swimsuit by Stella Jean, photo by N

 

The backstage of Stella Jean's fashion show, photo by N

The backstage of Stella Jean’s fashion show, photo by N

 

The backstage of Stella Jean's fashion show, photo by N

The backstage of Stella Jean’s fashion show, photo by N

 

The backstage of Stella Jean's fashion show, photo by N

The backstage of Stella Jean’s fashion show, photo by N

 

The backstage of Stella Jean's fashion show, photo by N

The backstage of Stella Jean’s fashion show, photo by N

 

A model at the backstage wearing the swimsuit by Stella Jean, photo by N

A model at the backstage wearing the swimsuit by Stella Jean, photo by N

The backstage of Stella Jean's fashion show, photo by N

The backstage of Stella Jean’s fashion show, photo by N

 

Adriano Franchi in Napoleonesque version, photo by N

Adriano Franchi in Napoleonesque version, photo by N

 

 

The fashion soldier, Suzy Menkes at work, photo by N

The fashion soldier, Suzy Menkes at work, photo by N

 

Simonetta Gianfelici and Simone Cipriani, photo by N

Simonetta Gianfelici and Simone Cipriani, photo by N

 

 

Stella Jean along with the models at the backstage, photo by N

Stella Jean along with the models at the backstage, photo by N

 

 

www.stellajean.it

Pietro Viganò hardwarestore, photo by N

Pietro Viganò hardware store, photo by N

It featured during the Milan fashion week “The charm of uniform”, event which was held in a suggestive place, the old Milanese hardware store Pietro Viganò where it was presented the capsule collection by Gentucca Bini, a smashing unisex reinterpretation of coverall, joining the magic of simplicity and the poetry of minimalism. Industrial suggestions that were emphasized by the sounds coming from a cult album of industrial music “Strategies against architecture” by Einstürzende Neubauten. The atmosphere was very evocative, as it usually happens when Gentucca makes something, also a simple dinner turns into a kind of magic. Thus it happened during the evening at her house, where it was held a dinner which celebrated the tenth year of her two friends’ marriage.

“THE CHARM OF UNIFORM”: LE SUGGESTIONI INDUSTRIAL DI GENTUCCA BINI

Pietro Viganò hardwarestore, photo by N

Pietro Viganò hardware store, photo by N

É stato protagonista della settimana della moda milanese “The charm of uniform”, evento che si è tenuto in un luogo suggestivo, presso l’ antico negozio di ferramenta milanese Pietro Viganò in cui è stata presentata la collezione capsule di Gentucca Bini, una formidabile interpretazione unisex della tuta che unisce la magia della semplicità e la poesia del minimalismo. Suggestioni industrial che sono state enfatizzate dalle sonorità provenienti da un album di culto della musica industrial “Strategies against architecture” degli Einstürzende Neubauten. L’ atmosfera era estremamente evocativa, come solitamente accade quando Gentucca fà qualcosa, anche una semplice cena si trasforma in qualcosa di magico. Così è accaduto in serata a casa sua, in cui si è tenuta una cena che ha festeggiato i dieci anni di matrimonio di due suoi amici.

Pietro Viganò hardwarestore, photo by N

Pietro Viganò hardware store, photo by N

 

Luca Cipelletti wearing the coverall by Gentucca Bini, photo by N

Luca Cipelletti wearing the coverall by Gentucca Bini, photo by N

 

Pietro Viganò hardwarestore, photo by N

Pietro Viganò hardware store, photo by N

 

Gentucca Bini, photo by N

Gentucca Bini, photo by N

Pietro Viganò hardwarestore, photo by N

Pietro Viganò hardware store, photo by N

 

Gentucca Bini, photo by Vincent Law

Gentucca Bini, photo by Vincent Law

 

Pietro Viganò hardwarestore, photo by N

Pietro Viganò hardwarestore, photo by N

Gentucca Bini, photo by N

Gentucca Bini, photo by N

 

Gentucca Bini, photo by Vincent Law

Gentucca Bini, photo by Vincent Law

 

Pietro Viganò hardwarestore, photo by N

Pietro Viganò hardware store, photo by N

 

Gentucca Bini and me, myself and I, photo by Vincent Law

Gentucca Bini and me, myself and I, photo by Vincent Law

 

Gentucca's house, photo by N

Gentucca’s house, photo by N

 

Gentucca's house, photo by N

Gentucca’s house, photo by N

 

The charm of uniform by night at Gentucca's house, photo by N

The charm of uniform by night at Gentucca’s house, photo by N

 

The maître chef: Gentucca's father, photo by N

The maître chef at work: Gentucca’s father, photo by N

 

This doll featuring in the cake represents st best the way I was during the Milan fashion week, photo by N

This doll featuring in the cake represents at best the way I was at the end of the day during the Milan fashion week, photo by N

 

The charm of uniform featuring the couple which celebrating its tenth anniversary of marriage, photo by N

The charm of uniform featuring the couple which celebrating its tenth anniversary of marriage, photo by N

 

 

www.gentuccabini.it  

Gentucca Bini

Gentucca Bini

It comes today in the renowned multi-brand virtual boutique Yoox the smashing capsule collection by the brilliant fashion designer Gentucca Bini reinterpreting in a sartorial way, a casual-chic garment, the sweatshirt. Eleven are the unisex sweatshirts she created exclusively for Yoox, embodying catchy and fun patterns, prints, embroideries and decorations under the sign of poetry, irony, and emotion, a leitmotiv of Gentucca’ s work.

GENTUCCALAND: LE FELPE COUTURE DI GENTUCCA BINI SU YOOX

Gentucca Bini  & me, myself & I wearing the sweatshirts she made

Gentucca Bini & me, myself & I wearing the sweatshirts she made

 

Arriva oggi nella rinomata boutique virtuale Yoox la formidabile collezione capsule della brillante fashion designer Gentucca Bini che reintepreta un capo casual-chic, la felpa. Undici sono le felpe unisex da lei create in esclusiva per Yoox che racchiudono accattivanti e divertenti motivi, stampe, ricami e decorazioni all’ insegna di poesia, ironia ed emozione, un leitmotiv del lavoro di Gentucca.

 

www.yoox.com

www.gentuccabini.it

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