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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

 

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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.

flyer

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Tony  Viramontes, photo by Alice Springs, 1986, courtesy of Galleria Carla Sozzani

Tony Viramontes, photo by Alice Springs, 1986, courtesy of Galleria Carla Sozzani

The illustrations of celebrated fashion illustrator Tony Viramontes will feature in the exhibition “Tony Viramontes, bold beautiful and damnedwhich will be held from 5th September to 3rd November 2013 in Milan at the renowned Carla Sozzani Gallery. Here it will be told the creative path of the artist, his unique, hard and direct style which has been a great contrast which the soft pastel school of fashion illustration which prevailed during the late Seventies, age where the Los Angeles fashion illustrator debuted. A smashing showcase of his work, including works resulting from collaborations with brands as Valentino, Jean Paul GaultierClaude Montana and portraits of personas as Duran Duran, Janet Jackson and Paloma Picasso, evidencing and imagery depicting an age, the New wave age and its shining vibrations and successfully telling avout the idea, guideline of Tony Viramontes: “it is essential to capture an image, not a detail, not a garment or an expression, but an impression”. A not to be missed happening to enjoy a vibrant creative who marked an age.

TONY VIRAMONTES, BOLD BEAUTIFUL & DAMNED ALLA GALLERIA CARLA SOZZANI DI MILANO

Valentino Haute Couture, 1984, courtesy of Galleria Carla Sozzani

Valentino Haute Couture, 1984, courtesy of Galleria Carla Sozzani

Le illustrazioni del celebre illustratore di moda Tony Viramontes saranno protagonisti della mostra “Tony Viramontes, bold beautiful and damnedche si terrà dal 5 settembre al 3 novembre 2013 a Milano presso la rinomata Galleria Carla Sozzani. Ivi sarà raccontato l’ iter creativo dell’ artista, il suo unico stile ruvido e diretto che ha rappresentato un grande contrasto con la scuola del leggiadro pastello prevalente durante la fine degli anni Settanta, epoca in cui l’ illustratore di moda Los Angeles ha debuttato. Una formidabile esposizione della sua opera che include lavori derivanti dalle collaborazioni con Valentino, Jean Paul GaultierClaude Montana e ritratti di personaggi quali Duran Duran, Janet Jackson e Paloma Picasso, un immaginario che dipinge un’ epoca, l’ epoca della New wave e le sue splendide vibrazioni e racconta felicemente l’ idea, la linea guida di Tony Viramontes: “è essenziale catturare un’ immagine, non un dettaglio, non un capo o un’ espressione, ma un’ impressione”. Un evento imperdibile per apprezzare un vibrante creative che ha segnato un’ epoca.

Jean Paul Gaultier by Tony Viramontes, 1984, courtesy of Galleria Carla Sozzani

Jean Paul Gaultier by Tony Viramontes, 1984, courtesy of Galleria Carla Sozzani

Janice Dickinon in a hat by Montana by Tony Viramontes, 1984,  courtesy of Galleria Carla Sozzani

Janice Dickinson in a hat by Montana by Tony Viramontes, 1984, courtesy of Galleria Carla Sozzani

Paloma Picasso by Tony Viramontes, 1984, photo courtesy of Galleria Carla Sozzani

Paloma Picasso by Tony Viramontes, 1984, photo courtesy of Galleria Carla Sozzani

www.galleriacarlasozzani.org

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


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

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

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


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

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

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

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

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

Gattinoni Spring/Summer 2013

Gattinoni Spring/Summer 2013, photo by Giorgio  Miserendino

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

fashion tr 4

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

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

Antica Manifattura cappelli

Antica Manifattura cappelli

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

Vincenzo Montini

Vincenzo Montini

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

MODA, TRADIZIONE & INNOVAZIONE IN MOSTRA AD ALTAROMA

Rocchetti at the Howtan Space

Rocchetti at the Howtan Space

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

Going to the Hadrian's Temple

Going to the Hadrian’s Temple

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

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


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

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

Sylvio Giardina

Sylvio Giardina at the Hadrian’s Temple

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

Gucci

Gucci at the Hadrian’s Temple

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

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


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

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

Angelos Bratis

Angelos Bratis at the Hadrian’s Temple

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

Andrea Splisgar and Sergio Zambon

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

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

Galitzine by Sergio Zambon

Galitzine by Sergio Zambon

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

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

Valentino Haute Couture

Valentino Haute Couture

Goga Ashkenazi talking with Angelos Bratis

Goga Ashkenazi talking with Angelos Bratis

Marco de Vincenzo

Marco de Vincenzo

www.altaroma.it

www.ashadedviewonfashion.com

d1

Storia della moda a Roma”(Donzelli Editions, Euros 30, 00), book by the fashion historian Cinzia Capalbo, which explores Italian fashion and its history, focusing on the Italian capital as cornerstone of haute couture, a suggestive path depicted by the author which starts in late nineteenth century was released recently.

Valentino

Valentino

Like the work of Silvia Venturini Fendi (fashion designer of brand Fendi) as President of Altaroma: art, fashion and craftsmanship are together with emerging talents in order to showcase, celebrate and support the made in Italy and made in Rome(a purpose which has made concrete and evidenced by the facts: the sharing of talents showcased and supported by Altaroma which recently featured in relevant Italian trade show events as the Milan White and Florence Pitti, successful evidence of the laudable talent-scouting work made and promoted by Altaroma).

Renato Balestra Fall/Winter 2011-2012

Renato Balestra Fall/Winter 2011-2012

Thus I am very pleased of getting her words, embodied in the preface of book by Cinzia Capalbo. on loan: “Rome is my city, the city where I was born and raised, where I started considering the craftsmanship as a great heritage and where, once I had the chance, I started to support it as value of Italian culture. Rome is a city full of history and traditions which is considered all around the world as the cradle of those trades that join with themselves, giving rise to the concept of fashion.

Brioni 1964

Brioni 1964

This book very clearly explains how a series of social, political and economic conditions contributed to the rise of a forerunner melting-pot, laying the basis for the contemporary made in Italy. Rome has always played the part of fascinating all of the human perceptions and because of that it has attracted many masters artisans who came here from every land of country, contributing to create a centre of excellence.

Irene Galitzine at her home in Rome

Irene Galitzine at her home in Rome

Rome has been a destination for celebrated authors for the Grand Tour they made in the nineteenth century, a cornerstone of film in the golden years of last century: a huge source to draw on. A city made of places to enjoy, cues to learn, paths to discover and trades that have fitted together and inspired the future. “A time machine”, as Cinzia Capalbo defines the book she wrote, which upsets and gives a detailed account of Rome as ideal seat of high-end craftsmanship.

Dress by Irene Galitzine featuring in Vogue America, December issue 1949

Dress by Irene Galitzine featuring in Vogue America, December issue 1949

An idea which is naturally connected to Altaroma, which represents the means to re-discover and protect those ancient professions, those manual skills that are always more rare. How many masters artisans don’t know anyone to pass on him their art?. I really think all that is a challenge and an opportunity. The creativity is an unlimited heritage which, joint to the recovery of this wide range of professions, can give infinite chances to work.

Silvia Venturini Fendi and me during the press conference for the launch of Galitzine capsule collection by Sergio Zambon

Silvia Venturini Fendi and me during the press conference for the launch of Galitzine capsule collection by Sergio Zambon

I think about a pied microcosm of arts and trades that is doomed to create dynamism in an industry which requests new incentives and energies. Holding and passing on the know-how of tradition and implementing the crossover with experimentation, il made in Italy really will find again its leading role in the realm of international fashion. A lively and dynamic campus for contributing to recognize the depth and relevance of made in Italy and “made in Rome”, so as fashion and all goes around this field becomes discipline of contemporary times, recognized as genuine art”.

 

LA STORIA DELLA MODA A ROMA, UN LIBRO DI CINZIA CAPALBO

Fendi Spring/Summer 2012

Fendi Spring/Summer 2012

Storia della moda a Roma”(Donzelli Editore, Euro 30, 00), libro della storica della moda Cinzia Capalbo, che esplora la moda italiana e la sua moda, soffermandosi sulla capitale italiana quale fulcro dell’ alta moda, un percorso suggestivo dipinto dall’ autrice che inizia alla fine del diciannovesimo secolo, è stato recentemente pubblicato.

From the left to the right: sketches featuring in the Brioni Spring/Summer collection 1956 by Luigi Tarquini for the magazine Costume, Angelo Litrico and Vittorio Gassman

From the left to the right: sketches featuring in the Brioni Spring/Summer collection 1956 by Luigi Tarquini for the magazine Costume, Angelo Litrico and Vittorio Gassman

Come l’ opera di Silvia Venturini Fendi (fashion designer del brand Fendi) nelle vesti di Presidente di Altaroma: arte, moda e artigianato sono insieme ai talenti emergenti al fine di esporre, celebrare e sostenere il made in Italy e il made in Rome(una finalità che è stata concretizzata e dimostrata dai fatti: la condivisione dei talenti esposti e sostenuti da Altaroma che è stata recentemente protagonista di importanti eventi fieristici di moda quali il White di Milano e il Pitti di Firenze, felice dimostrazione del lodevole lavoro di talent-scouting realizzato e promosso da Altaroma).

The model Ivy Nicholson wearing a dress by Sartoria Fabiani, 1955, photo by Pasquale de Antonis


The model Ivy Nicholson wearing a dress by Sartoria Fabiani, 1955, photo by Pasquale de Antonis

Pertanto sono molto lieta di prendere a prestito le sue parole, racchiuse nella prefazione del libro di Cinzia Capalbo: “Roma è la mia città, la città dove sono nata e cresciuta, dove ho imparato a considerare l’ artigianato un grande patrimonio e dove, appena ne ho avuto la possibilità, ho cominciato a sostenerlo come valore della cultura italiana. Roma è una città intrisa di storia e di tradizioni che viene percepita nel mondo come culla di tutti quei mestieri che si uniscono, fino a formare il concetto di moda.

The artist Maria Grazia Mariani wearing a dress by Capucci, 1955, photo by Pasquale de Antonis


The artist Maria Grazia Mariani wearing a dress by Capucci, 1955, photo by Pasquale de Antonis

Questo libro spiega con grande chiarezza in che modo una serie di condizioni sociali, politiche ed economiche hanno fatto sì che si venisse a creare un “melting-pot” ante litteram, gettando le basi del made in Italy contemporaneo. Roma ha sempre giocato la sua fascinazione su tutte le percezioni umane, ed è anche per questo che qui sono stati attratti molti maestri artigiani da ogni angolo del paese, finendo per creare un polo di eccellenza.

Dress by the Fontana sisters at the Baths of Diocletian Museum, 1948 photo by Pasquale de Antonis


Dress by the Fontana sisters at the Baths of Diocletian Museum, 1948 photo by Pasquale de Antonis

Meta di celebri scrittori per il loro Grand Tour nell’ Ottocento, fulcro del cinema negli anni d’oro del secolo scorso: in breve, un bacino immenso al quale attingere. Una città fatta di luoghi da ammirare, spunti per imparare, percorsi da scoprire e mestieri che hanno finito per intrecciarsi con la storia e ispirare il futuro. “Una macchina del tempo”, come Cinzia Capalbo definisce il suo libro, che capovolge e circostanzia con estrema lucidità l’ idealizzazione di Roma come sede ideale dell’ alto artigianato.

Simonetta Visconti wearing a hat at her atelier, 1949, photo by Pasquale de Antonis


Simonetta Visconti wearing a hat at her atelier, 1949, photo by Pasquale de Antonis

Un concetto che si lega in maniera naturale ad Altaroma, che rappresenta lo strumento per riscoprire e salvaguardare quei mestieri antichi, quelle abilità manuali che sono sempre più rare. Quanti maestri artigiani non sanno a chi tramandare la loro arte? Sono fermamente convinta che questo rappresenti una sfida e un’ opportunità. La creatività è un patrimonio inesauribile, che unito al recupero di questo immenso bacino di mestieri potrà offrire infinite occasioni di lavoro.

Fashion Palace, illustration by Filippo Omegna, 1910

Fashion Palace, illustration by Filippo Omegna, 1910

Penso a un variegato microcosmo di arti e mestieri destinati a creare movimento in un’ industria che richiede nuovi stimoli e nuove energie. Conservando e tramandando tutto il know-how della tradizione e implementando il crossover con la sperimentazione, il made in Italy ritroverà certamente il suo ruolo da protagonista nel panorama della moda internazionale. Un campus vivo e dinamico per far riconoscere la vastità e l’ importanza del made in Italy e “made in Rome”. Affinché la moda, e tutto quanto ruota intorno a questo settore diventi disciplina della contemporaneità riconosciuta come vera e propria arte”.

The fashion house Magazzini Fratelli Pontecorvo and Giovanni Gilardini in the early Nineties


The fashion house Magazzini Fratelli Pontecorvo and Giovanni Gilardini in the early Nineties

The actress Paola Borbone as testimonial of textiles and autarchic fashion, 1934


The actress Paola Borbone as testimonial of textiles and autarchic fashion, 1934

The actress Paola Borbone as testimonial of textiles and autarchic fashion, 1934

Audrey Hepburn and Anita Ekberg at the set of movie “War and peace” by King Vidor, wearing dresses by Fernanda Gattinoni, designed by Maria de Matteis, 1956

www.altaroma.it

www.ashadedviewonfashion.com

Gareth Pugh

 

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

LIMITED/UNLIMITED, UNA MOSTRA CHE OMAGGIA LE SUGGESTIONI SCULTOREE 

Arnoldo Battois

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

Sylvio Giardina

 

Fendi

 

Sergio Zambon

 

 

Andreia Chaves

 

Minky Jaemin Ha

 

 

Mary Katrantzou

Maison Michel by Laetitia Crahay

 

Marco De Vincenzo

 

Roberto Capucci

 

 

Pierre Hardy

 

Katsuya Kamo

Hellen van Rees

 

Sandra Backlund

 

Valentino

 

Aquilano Rimondi

 

www.altaroma.it

Portrait of Diana Vreeland by Cecil Beaton

It has opened the exhibition “Diana Vreeland after Diana Vreeland” in Venice at the Fortuny Museum, curated by Maria Luisa Frisa and Judith Clark, telling with fashion – exclusive creations of couturiers as Cristobal Balenciaga, Elsa Schiaparelli and Mariano Fortuny, Jean Cocteau -, magazines, books, catalogues and artworks about the legendary Diana Vreeland who changed the way of thinking, seeing  and talking about fashion. A smashing event celebrated with a cocktail, organized by Francesca Bortolotto Possati, President of Bauer’s, at Palazzo Moncenigo where I was pleased of seeing friends as Gabriele Monti featuring as panelist as well as Mario Lupano and many other celebrated experts in the international meeting “The discipline of fashion between museum and fashion curating” which will be held on 10th March 2012 in Venice at Ca’ Badoer from 9 am to 7 pm. A not to be missed happening to think about the museum and the museology and culture of fashion.

LA INAUGURAZIONE DELLA MOSTRA “DIANA VREELAND AFTER DIANA VREELAND” AL MUSEO FORTUNY DI VENEZIA

Portrait of Diana Vreeland by Christian Berard

È stata recentemente inaugurata la mostra “Diana Vreeland after Diana Vreeland” a Venezia presso il Museo Fortuny, curate da Maria Luisa Frisa e Judith Clark che racconta con la moda – creazioni esclusive di couturier quali Cristobal Balenciaga, Elsa Schiaparelli e Mariano Fortuny, Jean Cocteau -, riviste, libri e opere d’ arte sulla leggendaria Diana Vreeland che ha cambiato il modo di pensare, vedere e parlare di moda. Un formidabile evento celebrato con un cocktail, organizzato da Francesca Bortolotto Possati, Presidente del Bauer’s, a Palazzo Moncenigo in cui sono stata lieta di vedere amici come Gabriele Monti, protagonista nelle vesti di relatore come anche Mario Lupano e molti altri celebri esperti del contegno internazionale“La ‘discuiplina della moda tra museo e fashion curating” che si tiene oggi a Venezia presso Ca’ Badoer dalle 9:00 alle ore 19:00. Un evento imperdibile per riflettere sulla museologia e cultura della moda.

Chanel

Mariano Fortuny

Elsa Schiaparelli

Jean Cocteau

Elsa Schiaparelli

Balenciaga

Leon Baskt costume for a bayadere for Diaghilev’s Le Dieu Bleau 1912 and dress by Valentino Haute Couture Fall/Winter 1981-1982 made for Diana Vreeland

Books, catalogues and editorials by Diana Vreeland

Maria Luisa Frisa

Hair wig by Jharold Koda, hair-styling by angelo Seminara

Beppe Modenese

                                                                       Cecilia Lavarini Matteucci at Palazzo Moncenigo

Cesare Cunaccia

Tapestry at Palazzo Moncenigo

me at Palazzo Moncenigo

Gabriele Monti and me

www.museiciviciveneziani.it

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

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

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

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

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

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

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

Are there an satellite events you organized around the exhibition?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hai organizzato altri eventi collaterali ad essa?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

www.ashadedviewonfashion.com

www.museiciviciveneziani.it

Albertina Marzotto area on Yoox.com

The countess Albertina Marzotto, icon of Milanese style presents a selection of her favourite vintage clothes on the virtual multi-brand boutique Yoox.com, featuring over 200 items, including creations by legendary brands as Chanel, Gucci, Gianfranco Ferrè, Valentino, Helmut Lang, Comme des Garçons, Dries van Noten and Marni.

 

LA SELEZIONE DI ABBIGLIAMENTO VINTAGE DI ALBERTINA MARZOTTO SU YOOX.COM

Albertina Marzotto

La contessa Albertina Marzotto, icona dello stile Milanese presenta una selezione dei suoi abiti vintage preferiti sulla boutique virtuale multi-brand Yoox.com in cui sono protagonisti più di 200 pezzi che includono creazioni di marchi leggendari quali Chanel, Gucci, Gianfranco Ferrè, Valentino, Helmut Lang, Comme des Garçons, Dries van Noten e Marni.

www.yoox.com

The atelier of Valentino, photo by Agostino Fabio

The awesome atelier of Valentino in Rome at Piazza Mignanelli 22 opened the doors to public during the latest edition AltaRomaAltaModa, joining art and fashion, living the chance of visiting the factories of maison – where the tailors, pattern makers and embroideresses create artisanally masterpieces that made celebrated the legendary couturier – and showcasing the work made by  artist Michelangelo PistolettoPrima Scena–La Presentazione”, an artistic manifesto of Cittàdellarte FashionBiella factory created by him promoting the development of a fashion based on the principle of ethics and sustainability – depicting the young creatives who feature in the talent-scouting award Who’s On Next. An initiative which successfully made concrete the dialogue and synergy between two channels of communication, art and fashion, under the sign of tradition and innovation.

UN POMERIGGIO ALL’INSEGNA DI ARTE E MODA CON MICHELANGELO PISTOLETTO E VALENTINO

A dress by Valentino at the atelier, photo by Agostino Fabio

Lo splendido atelier di Valentino a Roma in Piazza Mignanelli 22 ha aperto le porte al pubblico in occasione dell’ultima edizione di AltaRomaAltaModa, unendo arte e moda, dando la possibilità di visitare i laboratori della maison – dove le sarte, modelliste e ricamatrici creano artigianalmente i capolavori che hanno reso celebre il leggendario couturier – ed esponendo l’opera realizzata dall’artista Michelangelo PistolettoPrima Scena–La Presentazione”, un manifesto artistico della Cittàdellarte Fashion – factory di Biella da lui creata che promuove lo sviluppo di una moda basata sui principi dell’etica e sostenibilità – che ritrae i giovani creativi protagonisti del talent-scouting award Who’s On Next. Un iniziativa che ha felicemente concretizzato il dialogo e la sinergia tra due canali di comunicazione, l’arte e la moda, all’insegna di tradizione e innovazione.

Tailors working at the atelier of Valentino, photo by Agostino Fabio

Tailor working at the atelier of Valentino and me, photo by Agostino Fabio

The rise of a dress by Valentino, photo by Agostino Fabio

Michelangelo Pistoletto and a particular of his work “Prima Scena–La Presentazione”, photo by Agostino Fabio

“Prima Scena–La Presentazione” by Michelangelo Pistoletto, photo by Agostino Fabio

A moment of relax enjoying the photographs of Valentino's adv campaign, photo by Agostino Fabio

Photographs of Valentino's adv campaign featuring Claudia Schiffer and Jean Shrimpton, photo by Agostino Fabio

www.valentino.com

www.altaroma.it

http://www.cittadellarte.it

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