In the human creative field, body image has expressed itself in different shapes, becoming an inspirational muse from the past up until its new artistic manifestations. Its representation, once glued to geometric and symmetric standards, has undergone more than one change. In art, the human body distanced itself from being a mere passive subject of representation and became active, embodying a reality that goes beyond apparent tangibility. This transformation is visible in the recent fashion show of the Artisanal collection by Maison Margiela, designed by John Galliano, which constituted an epochal change in the contemporary history of fashion. Its emotional impact disrupted the standardized female proportions through the use of padding that enhanced the luxurious and dramatic essence of the body, with an almost creepy allure. The fashion garments, choreographed by Pat Boguslawski, walked the catwalk through a dance that challenged existing standards, naturally evoking Brassaï’s photographic mood, which depicted cocktail bars’ customers and prostitutes. Opposing itself to the fashion industry standard, often criticized for a fake inclusivity, Galliano’s casting stood out for its ability to represent authentic diversity, showing a potential detachment from the obsession with empty and commercial aesthetic uniformity.
HUMAN BODY AS A BATTLE VESSEL
This project intersects with the interesting exhibition scheduled for this Fall at Oslo National Museum, Beyond Bodies, supported by the ALPHA platform, which empowers emerging talents. The exhibition promises to be an exploration of the borders of emerging Nordic fashion, in which the installation becomes the frame through which four fashion designers will introduce their innovative visions, blending craftsmanship with art to provide a new design perspective. In the same way, the Festival of National Photography Cortona On The Move, in its 2024 edition, lends its support against the temporality of life, exploring the body as a character in a more vulnerable, yet at the same time potent way. Photography becomes the means for studying and celebrating the body in all its forms. In the artistic area, Anna Uddenberg tackles the topic of the body through sculptures that recall a contemporary and hyper-normalized female ideal. Her works, often contorted into uncommon and suggestive poses, reflect the tension of the standards imposed by mass culture. These sculptures transform into a critical mirror for a neoliberal female identity, which has been shaped and distorted by celebrity culture, influenced by social media, and the accessibility to erotic subcultures, highlighting in this way the madness of the unrealistic expectations imposed on the female body. “Fashion bodies” offers a deep and multidisciplinary analysis that ranges from art to photography, and from fashion to philosophy, exploring how the human body has become the vessel for identity, gender, and political struggles, a symbol of freedom, and a field of research in constant dialogue with the limits of life itself.
■ Alessia Caliendo
Your gray body, unchanged.
I refer to you as a lover
Valerio Eliogabalo Torrisi
Gucci-Featured Artist Valerio Eliogabalo Torrisi
Unveils Manifestos for Artribune Focus Moda
The artist Valerio Eliogabalo Torrisi has put his name on six manifestos for Artribune’s Focus Moda. Characterized by intimate and impactful red sentences, his works were recently chosen by Gucci for art walls in various cities around the globe and for fashion show invitation cards. Torrisi explains how his art, born from personal reflection, can transform private feelings into collective experiences. On this occasion, Gucci’s Creative Director, Sabato de Sarno, provides an exclusive quote on their collaboration.
Your sentences have become part of public projects. How are you able to turn your thoughts into a universal message?
There is no precise goal or structured order. I live in the present moment, and by doing so, I share the same feelings as everyone else. My words are always focused on emotions. I do not just speak about love, even though it is probably the only language capable of overcoming cultural and temporal barriers. I strongly believe that artists should concentrate on what they deeply know. For this reason, I have always claimed that I would not create political art, or at least that’s what I believed.
Did something change?
Being part of the present, I have realized that everything has a political meaning. Every artist has the responsibility, whether they want it or not, to fight some battles through their voice. The most effective way to do so, in my opinion, is by starting from oneself. That’s how I do it: I begin with my personal story, from what I live and feel.
Please, tell us more about the collaboration between Gucci and creative director Sabato De Sarno.
During the first fashion show of the new Gucci in September 2024, originally scheduled in the Brera district, Sabato De Sarno decided to collaborate with the Accademia, an important historical institution, honoring it through the contribution of four exstudents, myself included. There was
synergy and mutual respect. I like to think that it’s possible to recognize each other by sharing the same sensitivities. As an artist, the choice to use one of my already existing works for the art walls was a sign of great respect for my work. It would have been easier to ask me to create something customized, but I am very grateful to Sabato, the Gucci team, and in particular to Beniamino Marini, for always having supported me without trying to denature my work, allowing me to express myself in the best possible way. As Sabato stated, we went from imagination to reality.
The manifestos you created for Artribune explore the Focus Moda’s theme: the body. What was the creative process?
As with all my textual works, there is no structured process. My notes are full of single words, started sentences, and small pieces that I deconstruct and then reconstruct. When I write notes on my phone, they are often full of mistakes because they arise spontaneously and could suddenly disappear. Two nights ago, I was about to fall asleep, and two sentences came to mind. One in particular seemed beautiful to me at that moment, but by the next morning, I had forgotten it, leaving me with a feeling of emptiness. My sentences sometimes originate from reflections or conversations I have with myself. Since I started working more with words, I have been continuously listening, even without realizing it. These words blend and rearrange themselves into a simple yet powerful composition. Simple words that tell complex stories.
What meaning does the body have in the manifestos?
The body is part of our story. One of the sentences, “I felt small under his hands, however, I was great,” talks about the person I love; I remember creating it while thinking about us. It’s about sharing our relationship with someone else. Another sentence, “Your gray body, unchanged. I refer to you as a lover,” speaks about Milan: the cities where we live can be seen as a form of
love, either reciprocated or not. Through the body, one speaks, loves, and lives in space. Often, it becomes an expression of a feeling, as the grayness of the city becomes a metaphor for a cold body unable to love, and large hands symbolize emotional protection.
Is there any link between these works and those created for Gucci?
Everything is part of one large project. Each manifesto takes inspiration from my first project Devozione nulla, which has clearly developed over time. The captions are always “Without any title.” There are some particular cases, however, such as the sentences written for Pride Month in Teramo, collected under the title È stato un fulmine, or the ones I am currently composing for a future exhibition in Korea. In these cases, the sentences conceal stories external to me, which I then assimilate: for Teramo, I focused on the love story of Bruno and Orlando, expanding the reflection to topics of visibility and the LGBTQIA+ community, whereas for Seoul, I investigated coming out stories collected by Chingusai, an association for the rights of the Korean community. Words are part of a single interior dialogue that develops over time.
The collection Ancora con tutte queste poesie puts the accent on hate comments on social media. In what way do you think art may contribute more to cyberbullying awareness?
Art has the power to provoke thought and spark conversations. My role is to create spaces for dialogue, challenging the normalization of hate by confronting it directly. By removing references to the sources of hateful comments, I aim to break the cycle of indifference and make people truly engage with the issue, pushing them to reflect on the pervasive nature of hate in our society.
■ Alessia Caliendo
SABATO DE SARNO for Artribune
Focus Moda
“I found Valerio’s art among the portfolios of former students from the Accademia di Brera. His work on words immediately caught my attention: poetry, including just imagined lines, on blind walls of buildings. We did an exhibition together featuring young Milanese artists, on the occasion of the first Gucci catwalk. The collaboration then continued, and on these blind walls, once just imagined, we could actually write something.”
Aunique visual universe where the human body becomes a living sculpture: this is the world that internationally renowned photographer Paul Kooiker invites us into. Characterized by a style that exaggerates body shapes and challenges conventional views, his work explores the boundaries of identity and gender, creating images that evoke surrealism. From his studio in Amsterdam, he has worked for brands such as Dior, Hermés, Louis Vuitton, and Valentino, and his works have been featured in several industry magazines. Despite his connection to fashion, his photographs transcend trends, introducing a timeless aesthetic. Thanks to this, Kooiker gifts Artribune with exclusive images focused on the “Focus Moda” theme: the body, which, through reflections on anonymity and mystery, invites us to redefine concepts such as diversity and body positivity, providing a provocative and intellectual vision of modern photography.
THE BODY AS SCULPTURE
At the heart of Kooiker’s photography lies the human body, which he transforms into surreal living sculptures. He views the body as raw material, capable of being shaped and reconstructed to explore new meanings. This approach reflects his belief that the body is more than just a physical entity; it is a symbol rich with interpretative possibilities. Kooiker is particularly fascinated by the idea of taking something familiar and reimagining it through his camera, sometimes resulting in unsettling images. By deconstructing and reconstructing the body, he seeks to explore how it can exist in an alternate reality, where traditional functions are overturned and meanings are questioned. This visual deconstruction allows him to reflect on identity and corporeal perception, offering viewers a fresh perspective on the human form.
PLAY WITH IDENTITY
Kooiker’s work often challenges traditional gender roles and plays with
the concept of identity, blurring the line between human and object. He aims to create an interaction between the human body and surrounding objects, prompting viewers to question where one ends and the other begins. The interplay between humans and objects serves as fertile ground for creativity, where traditional roles and norms are subverted. By using everyday objects to obscure the subject’s identity, Kooiker suggests that identity itself is fluid and constantly evolving. His intention is not to provide definitive answers but to pose questions, encouraging viewers to engage in a visual experience that is open to multiple interpretations. The blurring of boundaries between identity, gender, and objects becomes a starting point for broader reflection.
THE CONCEPT OF ANONYMITY
image. The tactile quality of these materials contrasts with the elegance typically associated with traditional photography. For instance, dust becomes part of the narrative, adding texture and depth to his images. These materials create a dialogue between the subject and the environment, adding layers of meaning and contributing to a unique atmosphere in his work. The choice to use technological devices like the iPhone is also central to Kooiker’s artistic vision. These common tools enable him to explore photography in a more spontaneous and accessible way, breaking down the boundaries between high and low forms of art. Through these seemingly simple devices, Kooiker is able to create a visual language that is both immediate and complex, offering a multifaceted approach to modern photography.
Anonymity plays a significant role in Kooiker’s photography, offering a way to explore the body in a more universal manner. By concealing a person’s face, he removes the element of personal recognizability, allowing the body to take on an almost abstract quality. The mystery inherent in this approach invites viewers to fill in the gaps with their imagination, making the viewing experience more personal and immersive. Anonymity amplifies the tension between what is visible and what is hidden, compelling viewers to seek meaning beyond the surface of the image.
SIMPLE MATERIALS AND IPHONE FOR THE CREATIVE PROCESS
His creative process is heavily influenced by his use of simple materials such as cardboard, dust, and even an iPhone. These elements are fundamental to his work, allowing him to focus on the essence of the
“FASHION” AS A PROVOCATIVE VIEW ON FASHION PHOTOGRAPHY TODAY
Kooiker’s book and exhibition titled “FASHION” present a provocative take on the role of fashion photography today. Although his work appears to oppose traditional fashion standards, the title itself is deliberately provocative. Kooiker is interested in critically exploring the concept of fashion, questioning its conventions and exaggerations. While fashion photography remains a powerful medium, it often confines itself to representing standardized models of beauty and success. With “FASHION,” Kooiker confronts these standards by presenting images that, while related to fashion, distance themselves from its established rules. His photographs challenge conventional notions of beauty and desirability, inviting viewers to reconsider their relationship with fashion.
■ Alessia Caliendo
“The
Stars’ shoemaker” Exhibition in Florence in Between Aesthetic Value
and Storytelling
From Italy to America, Salvatore Ferragamo has represented the best of Hollywood’s partners. In addition to this, he has also been one of the most virtuous examples of Made in Italy, celebrated by the museum that bears his name in the Tuscan capital.
In the first scenes of the 1928 movie Show People by King Vidor, we see Marion Davies adorned with bows and embellishments, under the sky of the Cinema Industry’s Mecca. In awe, confused, and overexcited, she walks along Hollywood Boulevard, her eyes flitting from one banner to another: cafés, offices, ateliers, and the Hollywood Boot Shop. This shoe shop, opened in 1923 by an Italian dreamer who had emigrated to the United States a few years earlier, was owned by Salvatore Ferragamo. From that moment, as Los Angeles solidified its economic and cultural importance, with a massive advertisement white plate permanently imprinted on Mount Lee, Ferragamo’s shoe production evolved alongside the seventh art, earning him the title of the Stars’ Shoemaker.
SALVATORE FERRAGAMO 1898-1960 EXHIBITION
A hundred years after that turning point, the Salvatore Ferragamo 1898-1960 exhibition offers a new perspective on the designer’s work, inside the spaces of the Ferragamo Museum at Palazzo Spini Feroni in Florence. Opened on October 27, 2023, with an expected closing in
November 2024, and a subsequent extension until April 27, 2025, the exhibition covers the same period of Ferragamo’s life, from his birth to his death. The exhibit recalls the retrospective itinerary first presented in 1985 at Palazzo Strozzi. This groundbreaking mise en scène portrays fashion as a carrier of polysemic cultural meaning and contributed to the creation of Ferragamo’s Archive and, ten years later, the Museum itself.
BETWEEN AESTHETIC VALUE AND STORYTELLING
Today, however, the curatorial perspective and selection of content differ: the focus does not stop at the aesthetic value of the pieces but extends to the storytelling of the company and its key figures. Analyzing the spatial-temporal context between the two wars and the cities of Florence and Los Angeles, we can appreciate Ferragamo’s contribution to Made in Italy. Photographs and chalk studies highlight his deep anatomical knowledge of the human foot, exemplified by the introduction of the shank, a supporting metal foil, and its patent in 1931.
SALVATORE FERRAGAMO AS A HOLLYWOOD ARTIST
First perfectly embodying the Zeitgeist, Ferragamo then showcased his intuitive and innovative entrepreneurial talent by blending his successful, ante litteram liaison with the Golden Age of the Cinematic Industry. Finally, his almost futuristic design courage, as described by the artist and designer Thayaht in his journals, manifested through his savoir-faire, materials, and originality. Consider the Rainbow platforms designed for Judy Garland, the cork skewed heels adorned with fake pearls for Gloria Swanson, or the Tavernelle lace-up shoes for Anna Magnani, a material previously used only for lingerie. Additionally, the Kimo sandals, inspired by Japanese tabi socks, were presented during the first fashion show dedicated to Italian fashion, organized by Giovanni Battista Giorgini in 1951 at Villa Torrigiani in Florence.
EXHIBITION AS MEMORY
The Salvatore Ferragamo 1898-1960 exhibition presents itself as a reel of memories, with objects, documents, and thoughts unfurling in an osmotic
correlation with the original exhibition project of the permanent museum institution. This retrospective inevitably intersects and reflects the museum’s mission: while the Ferragamo Museum is the perfect place to preserve the founder’s story, its walls are alive and dynamic, promoting meetings, publications, and workshops that aim to foster dialogue between companies and the public, the past and the present, in “an eternal never-ending tide”, as Ferragamo would say. It offers visitors new perspectives on fashion-related curation techniques and fresh food for thought.
■ Aurora Mandelli
1923
Salvatore Ferragamo opens his first shop in Hollywood
1927
Salvatore Ferragamo founds his first company in Florence (Santa Croce district)
1933
After bankruptcy, Ferragamo reestablished the company. Laboratory and shop move to Palazzo Spini Feroni (purchased in 1942, now Museumʼs headquarters)
1937
Ferragamo patents one of his most well-known pieces, the cork wedge
1947
Salvatore Ferragamo receives the Fashion OscarNeiman Marcus Award in Dallas
1960
Salvatore Ferragamo died in Florence
1965
Presentation of the first womenʼs leather and clothing ready-to-wear lines
1985
he first retrospective exhibition about Salvatore Ferragamo is presented at Palazzo Strozzi
Ferragamo Archive is established
1995
Opening of Ferragamo Museum
1999
The company Salvatore Ferragamo receives the Enterprise and Culture Guggenheim Award
2011
Salvatore Ferragamo goes public
2015
Ferragamoʼs Museum becomes the first green museum in Italy
2016
The Museum officially joins ICOM (International Council of Museums)
The Act of Dressing and Undressing
Becomes The Theme of a Photo Book
Apersonal experience developed over time, a creative practice that the author engages in twice a year: shooting a roll of film every day for an entire month. From this, the project (UN)dressing by Eugene Shishkin, published by Badlon Edition, emerged. The project delves into the intimacy of the daily act of changing clothes, captured within the homes of its subjects, transforming the ordinary into an extraordinary visual journey. This ritual, which serves as the foundation of the concept, represents a return to pure creativity for Shishkin—away from the pressures of institutional work—compelling him to remain committed to the practice even on days when inspiration wanes.
A VISUAL EXPLORATION TURNED BOOK
Shishkin decided to experiment with one of his favored techniques: creating a panorama composed of multiple overlapping, deliberately misaligned frames to capture the daily act of dressing and undressing. What began as a simple exploration took on a more concrete form after the first test. When printed and arranged in a vertical sequence, the result captivated the author, prompting him to further explore and expand the idea into a comprehensive body of work. One of the defining features of (UN) dressing is the context in which the subjects were photographed—their own homes. This adds a profound layer of intimacy to the work, as the seemingly mundane act of dressing or undressing becomes a deeply personal and vulnerable moment, made even more poignant by occurring within the domestic sphere.
THE BEAUTY OF EVERYDAY LIFE
At home, we reveal our authentic selves, free from the constructed image we present to the world, especially on social media. Through details such as a tidy kitchen or a cluttered bedroom, Shishkin captures the genuine essence of his subjects, showcasing
the hidden beauty within routines that often go unnoticed. The project comprises five series of images, each offering a sort of “peephole” through which the viewer can observe an intimate and unusual moment. Shishkin invites us to reconsider how the ordinary—like dressing or undressing—can become extraordinary when viewed from a fresh perspective. This paradox is what makes (UN) dressing such a fascinating and unique work.
SHISHKIN’S ARTISTIC TRIUMPH
Upon completing the project, Shishkin shared the images with Ksenia Chilingarova, the director of Badlon Maga-
zine and a longtime friend. Moved by the strength of the work, Chilingarova suggested turning the project into a book, thus inaugurating the first publication of Badlon Edition, an independent publishing house that merges photography, fashion, and art in an innovative and open dialogue. The book, which debuted at MIA Photo in 2024, marks a significant milestone for both Shishkin and Badlon Edition, underscoring the artist’s ability to elevate the everyday into an extraordinary visual experience.
■ Alessia Caliendo
Intimacy of a Sex Worker
The eyes chosen for
Elettra Arazatah opens the door of her London apartment and shares with Artribune Focus Moda the intimate moments preceding an appointment
5:30 p.m. Elettra Arazatah, sex worker and activist, takes a look at the seasonal menu offered by the restaurant she has chosen for dinner, in the Covent Garden district, London, which has become a special place for her and the client she is about to meet. The search for the most suitable location, as well as attention to her look and style, are preliminary steps of her job. These are the most interesting ones for Elettra, as they allow her to explore her behavior according to the client’s needs and elevate herself to some kind of idealized version of herself. The pointed foot placed on the bedside is enclosed by Elettra in a sheer sock that discreetly covers all of her toes.
LEGS AND FEET
“Feet, to me, are an important part and an extremely erogenous area. I really enjoyed it when two of my friends painted my toes, but
it was only afterwards that I discovered foot fetishism, which was one of the first steps I took into the sex work industry,” she says, delicately putting on some black high socks. “Since I was a child, I have always dressed in black, and growing up, I was mesmerized by discovering the various stylistic shades of this non-color. Having the possibility to work with the high class sprouted in me a style evolution, moving from grunge to glam, balancing minimalism and finesse.” The lower limbs allow the upright position and movement of the entire human body, responding to the mind’s instructions and being the primary means of emancipation.
NON-ROMANTIC TALES OF SEX WORK
Intimacy of a Sex Worker are those of Ludovica
Anzaldi
The photographic work of Anzaldi, in analog medium format, explores through intimate storytelling topics such as gender inequality and integration. The Italian artist, with a Parisian education, has exhibited her works, among other places, at 15martel in Paris, the Biwako Biennale in Japan, The International Photographic Center in Palermo, and the PhotoVogue Festival. Additionally, her work has been featured multiple times in institutional media. She is one of the photographers featured in the docu-series “Le Fotografe” by SkyArte.
A romanticized tale of sex work can lead to the idea of female empowerment; however, practically, this concept must be carefully nuanced. Sex work allows for quick earnings, being a non-violent potential source of income. On the other hand, however, the peculiar industry in which it is situated must be taken into consideration, as it can involve states of vulnerability regarding gender and sexual identity, socio-economic condition, legal status, race, ethnicity, or migration status. The Report on the Regulation for Prostitution in the EU of the European Parliament, dated 30th August 2023, emphasizes that “ensuring that people in prostitution situations are not criminalized is highly effective in developing their trust towards authorities and support institutions.” Additionally, it asserts that the measures taken must not cause harm or generate negative repercussions for those in prostitution situations and must provide sufficient guarantees regarding the elimination of discrimination.
BELLY AND BREAST
6:00 p.m. Elettra hooks the high socks to the garters, an old-style lingerie item, capable of evoking the past. “I have always been fascinated by the figure of the courtesan. Women are historically depicted as mothers or victims—Virgin Mary on one side and Susanna and the Elders on the other. The prostitute, however, is a third character, free, who exploited the system against itself in order to build her own independence. I found my roots in this heritage.” With her arms bent behind her and her back slightly arched, she hooks the bra in one move. Hiding and revealing the erogenous zones of the body, underwear is the symbol of the seduction game. Its variations are an integral part of many sexual acts, becoming the playground for erotic experimentation, from BDSM to the dynamics of domination
Legislative Situation of Prostitution in the World
and bondage. The contemporary idea of a sex worker can find its expression in a specialized profile—a freelancer able to guide along a path of pleasure and fantasy exploration, free from any emotional complexity and social superstructure. “The intimacy that is born with some clients is often incredibly immediate. An intentional connection arises from it, through the obligation of payment, but it is completely free from fear and expectation.”
LIPS AND EYES
6:30 p.m. Just the final touches are missing; it is almost time to go. While drawing a fine, pointed line with eyeliner at the end of her eye, Elettra looks up. The strong and firm red lipstick ensures a stylistic recall of Dita von Teese. The mouth of activists and sex workers constitutes the primary vehicle for the fight for the human rights of the category: their voice articulates a political dialogue with the goal of being recognized as workers, with the protections that come with it, but it cannot be confused with the reclaiming of choice. The Amnesty International Document of 26th May 2016, POLICY ON STATE OBLIGATIONS TO RESPECT, PROTECT AND FULFIL THE HUMAN RIGHTS OF SEX WORKERS, states that besides the reasons that lead a person to enter the sex work industry, “Authorities have the obligation, according to international rights, to provide an appropriate and safe social network and to address crosssectoral discriminations in order to ensure that people are not forced to approach sex work as a means to survive.” However, Elettra claims that “referring to a choice is not realistic: in each life journey, events, variabilities, and conditions come into play, often leading to results
● Decriminalization no criminal penalties for prostitution
● Legalization
prostitution is legal and regulated
● Abolitionism
prostitution is legal, but organized activities like facilitation and exploitation are illegal; "unregulated" prostitution
● Neo-Abolitionism it is illegal to purchase sexual services, facilitate, or exploit, but selling sexual services is legal
● Prohibitionism prostitution is illegal
● Legality varies depending on local laws
beyond our decisional power. The figure of the prostitute goes against traditional female standards, constrained by the ideas of care and motherhood. Public opinion does not recognize the role of women in this alternative character, and thus opens a debate on the topic of choice, seeking a comforting justification for what is perceived as a dysfunction in socially accepted female behavior.”
■ Elena Canesso
Underwear Sustainability
Panties, bras, and bodysuits were hidden for too long. They have now gained their space and acquired a sustainable charm, brought to the forefront by independent brands
The sign of freedom, achieved through the contemporary and inclusive use of bodies and the acceptance of their limits, finds its expression in fashion through underwear, which has always been a non-negotiable element in female clothing. In the past, it represented the foundation and structure of the “constructions” used to force, exaggerate, or reshape the desired body shapes, in order to convey an idea of femininity that, depending on the period, had to emphasize either a smaller waist or a larger bust. However, today underwear is no longer kept beneath the surface: it is carefully selected alongside other pieces of clothing. Its sustainable version is free from any kind of constriction, discomfort, or artificiality, focusing on its primary goals: support and protection. It contributes to environmental care when made from organic materials, perfectly crafted to stay in contact with the most sensitive parts of the body. It also does so when its style aims to represent different body types, breasts, and hips and is designed to be deconstructed and recycled. Today’s underwear is certified. Sustainable in the short or controlled production chain.
THE NEW DEPICTION OF THE BODY
Acceptance of all body shapes, imperfections, and inequalities are key concepts that manifest in products as much as in their representation. Images, fiction, advertising, present new bodies that are real and more akin to the majority of consumers of both sexes. Bodies that are finally accepted and can be find in the public sphere of billboards, magazines, and on the web, contribute to create a new cultural imaginary, critical, and free of stereotypes. Many brands offer underwear that aligns with these values. Organic Basics, for example, a certified unisex company founded in Copenhagen, chose to disclose all the
companies with which it collaborates and stands out for Made2Flow, a utility that measures the environmental footprint of products. Another Spanish artisanal brand, Afrika Project, adopts a completely customized and on-demand policy. Born to provide a different vision of artisanal knitting techniques, a traditionally women’s activity, that takes inspiration from tablecloths and blankets, which are redesigned to be worn as tops and sexy lingerie.
MADE IN ITALY UNDERWEAR
The list goes on with other brands, including Chitè, the first B Corpcertified lingerie company in Italy. It promotes a short supply chain by collaborating with small and medium Italian ateliers, preserving the tradition of craftsmanship while using sustainable materials. Their main focus is on women’s shapes: their underwear is completely customizable, allowing you to choose the sizing, the colors, and the embroideries. Also EmBRAce, an online and in-store questionnaire, helps women understand their breasts and make the most suitable bra choice. Another standout brand is Bulsara Studio, which, with its simplicity and sporti-
ness, aims to embrace natural body shapes. Its unique features include fabrics made from seaweed fibers and 100% vegetable dyes, as well as a supply chain that cooperates with local craftsmen, entirely made in Italy with limited production to reduce environmental impact and waste.
BODYSUIT IN ITS TOTALITY
Last but not least, Casa GiN—an acronym for Genuine, Innovative, and Natural—is a family company that started in a garage and now has 80 shops in Italy and abroad, offering a clothing line for both sexes. Additionally, it stands out for its “period collection,” which includes panties and swimsuits, both one-piece and bikinis. Speaking of bodysuits, we can also mention Fantabody, which started with this item and expanded to include basic pieces such as panties and bra sets, leggings, and shorts designed to fit different body shapes, providing both essentials and fashionable garments. Everything is handmade in small factories in Milan’s neighborhoods. What women wear under their clothes can tell us a lot about the evolution of society; it represents a new harmony between the body and the environment and a rediscovered care for personal intimacy.
■ Margherita Cuccia
The dimensions of sustainable fashionʼs global market $
The selected photograph for Uderwear sustainability is by
Carolina Amoretti
Since her teenage years, Carolina Amoretti has nurtured a strong passion for photography. In 2010, she won a scholarship to Fabrica,the Benetton Group’s communication research center founded by Oliviero Toscani, where she studied and specialized in communication through photography. Shortly thereafter, Carolina began collaborating with various magazines, brands, and musicians. Her interest in photography, art, and fashion, with a focus on the vibrant world of women, led Carolina to create the project Fantabody in 2015 and the creative hub Fantastudio in 2022.
In this third edition of Spazio Espositivo we offer an exploration of the human body through a selection of exclusive images. It creates a visual journey that not only highlights technical and artistic abilities but also stimulates critical reflection on the role and perception of bodies in modern society. Titled “Bodies in Frames,” this philanthropic project aims to showcase the talent and creativity of some of the most interesting contemporary photographers worldwide. Moreover, it seeks to initiate an innovative dialogue on the transformation of human identity in the modern world, during a time when the body is composed of both physical and virtual elements, influenced by biological and psychological dynamics.
■ Alessia Caliendo
Bodies in Frames
Body in contemporary photography
Isabelle Wenzel
Amy Woodward
Ana Marti
Giulio Michelini
Ebbesen
Henriette Sabroe
WHO IS WHO
Marta Blue
Born and raised between Como and Lugano, and now based in Milan, Marta Blue works as a creative director in the city. She is best known for her dark and surreal images, which focus on themes such as the body, nature, and the occult. She collaborates with agencies and magazines worldwide and has received numerous awards, participating in international events and exhibitions. Her latest exhibition, curated by Alex Urso, was hosted by Fiuto Art Space.
Isabelle Wenzel
A German artist and photographer with an acrobatic background, Isabelle Wenzel often uses her own body as the central figure in her work. In the few seconds allowed by the self-timer, she assumes an impossible pose, holding it just long enough to capture the shot. In her photography, the body is viewed more as a physical form than as a person, and each image freezes a pose in time, emphasizing the sculptural qualities of the body. To achieve the desired result, Wenzel repeats her movements multiple times, engaging in an experimental performance in front of the camera, which is then “frozen” through photography.
Amy Woodward
A photographer residing in Kabi Kabi/ Gubbi Gubbi land (Sunshine Coast), Australia, Amy Woodward’s work focuses on different maternity experiences, exploring intimacy, chaos, strength, and fragility. Initially inspired by her own challenging pregnancy journey, her goal is to honestly and sensitively document the physical and emotional transformations of the women she is honored to photograph.
with her personal artistic vision. Her photographs, characterized by strong visual impact and refined aesthetic sense, create original universes that are unafraid to challenge conventional thinking.
Giulio Michelini
A visual artist living in Tuscia, Giulio Michelini’s art is strongly influenced by biophilia and the exploration of ecosystems. Since 2023, he has been working on the “Bloom Forever” project, the first and only botanical Instaseries. This project is a captivating crossover of fashion, music, and new trends, exploring the dreamy, erotic, psychedelic, and bizarre aspects of the botanical and animal realms. With “Bloom Forever,” Michelini sheds light on the deep connection between humans and the natural world, emphasizing the vital interdependence that links them.
@giulio_michelini
Henriette Sabroe Ebbesen
A self-taught photographer based in Copenhagen, Henriette Sabroe Ebbesen is interested in the intersection of science and art. Conceptually, her work often addresses topics of identity and the subconscious. Ebbesen states, “My goal is to play with our sense of reality through distortions. Using these effects, I try to surprise and confuse, keeping the question of what is real and what is not in suspense.”
Yis Kid
Ana Martí
A photographer who lives and works between Milan and Madrid, Ana Martí explores themes such as sexuality, femininity, and texture, combining her experience in the fashion world
Born in Spain but now based in London, Yis Kid explores the unnaturalness of the human condition through his work, using dehumanized figures that transform into ethereal and
digital symbols. His art suggests a disconnection between people and their environment, creating a haunting visual tension that fluctuates between the surreal and the impossible. Each photograph opens a door to a parallel reality, reminding us that what we perceive can be as uncertain as what we imagine.
Stylist Ada Matylda
Model Julia
Photography assistant Jake Bonnell
Stylist assistant Katarina Levinska
Brands C RITTER and Untitlab
LUIGI GHIRRI PASSAGE ZONES
UNTIL
Mario Airò
Gregory Crewdson
Paola De Pietri
Paola Di Bello
Stefano Graziani
Franco Guerzoni
Armin Linke
Amedeo Martegani
Awoiska van der Molen
The Charm of Hands in Art and Fashion
On September 19, 1951, architect Gio Ponti published an article in Corriere della Sera offering advice on home decoration. He emphasized that modern interiors should feature a mix of antique and contemporary objects to reflect the simultaneity of our culture. Ponti encouraged readers to collect modern objects and artworks, noting that, unlike antiques, it is possible to personally connect with their creators by attending exhibitions or visiting studios.
Seventy-three years later, we embraced his invitation by launching the Wunderkammer column, where we collect and curate objects inspired by the main theme of the printed Artribune Focus Moda. For this issue, dedicated to the body, we focused on hands and the fascination they evoke in the collective imagination.
THE HAND BETWEEN ANCIENT AND MODERN TIMES
A noteworthy antique item to mention is the Hand of Sabazius, a bronze liturgical object shaped like a blessing hand and associated with the worship of the god Sabazius. The most well-known examples, dating from the 1st century AD, are adorned with animals such as snakes, lizards, and turtles–symbols of protection and generative forces. For a modern visual analogy, we turn again to Gio Ponti, who in 1935 designed the Mano della fattucchiera (Witch’s Hand) and the Mano con simboli in oro (Hand with Gold Symbols). Both were created from ceramic molds produced by the Richard Ginori manufactory for the rubber glove industry, but they became works of art thanks to the esoteric-inspired gold decorations crafted with an agate-tipped tool.
HUMAN BEINGS AND NATURE
Valerie Hammond’s Traces series offers further reflections on the bond between human beings and nature. In her works, hand and arm prints incorporate circulatory systems made of ferns, leaves, and flowers, fixed on paper with layers of wax, embroidery, and glass beads. The results are delicate shadows infused with vital energy, existing in a suspended dimension between dream and reality. Nature is also an essential element in Andreas Senoner’s works. He perceives wood as a material that can collect memories. In his bodily fragments, ancient inner wounds resurface through the exposure of the cavities hollowed out by woodworms or the disturbing presence of thorns that become defensive weapons.
OLD BEAUTY PRACTICES
It is intriguing to observe how the memory of the past influences the poetics of artists across different periods. Sculptor Fabio Viale exemplifies this by adorning the white marble hand of Constantine’s Colossus with criminal tattoos, provocatively challenging the presumed inviolability of classical beauty. Meanwhile, in the 1950s, the decorator Piero Fornasetti, known for his unmistakable graphic style, featured archaeological fragments of hands and arms on plates and trays, seeking to reintroduce the elegant custom of presenting objects on a salver into everyday life.
THE GLOVES IN FASHION
Now, let us now turn to gloves–fashion accessories that, in addition to protecting hands, become instruments of seduction. In 1881, the German symbolist Max Klinger published a successful series of engravings depicting the story of a glove lost by an enchanting woman at an ice rink. Although these images belong to another era, they evoke certain archival pieces from Sermoneta Gloves, the artisanal glove-making workshop established in Rome, in 1965, thanks to Giorgio Sermoneta’s innovative idea of dyeing leather in the shades of colored pencils. To capture the contemporary spirit, our Wunderkammer also features recent fashion, such as the emerging brand T Label, founded in London by Taylor-Bea Gordon in March 2020. Her romantic style, self-described as “romantic wear”, is evident in the ruched volumes and pleated textures of the tulle gloves, which are produced sustainably in limited quantities using high-fashion textile remnants.
SCHIAPARELLI AND SCOTT
No tribute to gloves would be complete without mentioning Elsa Schiaparelli, the Italian-born French designer who, in the 1930s and 1940s, delighted in wrapping her clients’ hands in gloves that mimicked feline claws, red enamel nails, or even golden crests.
Today, her experimental creativity is embodied by Daniel Roseberry, the artistic director who, through jewelry and accessories shaped like hands and feet, continues to renew the aesthetic vocabulary of the historic Parisian maison, while staying true to its founder’s boldness. We conclude our collection with a touch of irony, recalling Jeremy Scott’s audacious style for the brand Linda Farrow. In 2011, inspired by pop and surrealist influences, the American designer revolutionized sunglasses by replacing the lenses with two stylized hands that shield the wearer’s gaze, creating one of the world’s most iconic streetstyle accessories.
■ Alessandro Masetti
With the visual curation of Alessia Caliendo
From top left, clockwise: Hand of Sabazius, plate from the book Alcuni monumenti del Museo Carrafa in Napoli, 1778; Fabio Viale, Door release, 2021 - courtesy of the artist; Max Klinger, The Action, from the etching series A Glove, 1881; Andreas Senoner, Fear, 2020 - courtesy of the artist; Piero Fornasetti presenting the iconic Mano tray, 1950s - courtesy of Fornasetti; Valerie Hammond, Anemone, 2011 - courtesy of the artist and Littlejohn Contemporary Art, Inc.
From top left, clockwise Leather gloves with buttons, Sermoneta Gloves; Lula Black tulle gloves, T Label; Mano Trionfo Italiano, inspired by Gio Ponti’s Mano con simboli in oro (1935), Ginori 1735; Mano, Ginori 1735; Hand-shaped sunglasses in metallic gold, Jeremy Scott for Linda Farrow; Articulated finger ring, Schiaparelli
Fashion now has the potential to represent bodies not only through clothes but also via photography, books, and exhibitions that explore various aspects of human nature. These mediums, which are featured here in no particular order, are part of the primary news categories that shed light on the current state of the entire fashion system.
■ Giulio Solfrizzi
EXHIBITIONS
THE ALAÏA/KURAMATA DUO’S LIGHTNESS SHINES IN PARIS
Aurora Mandelli ■ An exploration of the relationships between levity and gravity, material and the ethereal—that is the essence of the Alaïa/ Kuramata: la légèreté en création exhibition at the Azzedine Alaïa Foundation in Paris, open until January 12, 2025. Twenty pieces of furniture and objects by the Japanese designer Shiro Kuramata (1934–91) intertwine with an equal number of creations by the Tunisian couturier Azzedine Alaïa. Curated by Carla Sozzani and Olivier Saillard, the incredibly lightweight forms of the exhibited works reflect their shared goal of abstraction, achieved through a radical balance of cuts, materials, and transparencies. The exhibition offers visitors a contemplative experience suspended between time and space.
FASHION HISTORY THROUGH SMALL FORGOTTEN OBJECTS
Lara Gastaldi ■ Until November 30, at the Oslo National Museum, you can visit the exhibition Ephemeral Matters. Into the Fashion Archive, which focuses on often-overlooked objects within the fashion industry. Public and private collectors have come together to share items like catalogs, invitation cards, notices, and drawings from the 16th century to the present. For the first time, visitors will also see a selection of documents and objects
from the National Museum’s private archive. Additionally, more than 800 ephemeral documents and items from fashion houses like Chanel and Balenciaga, as well as designers like Patrick Kelly and Paul Poiret, will be on display. Curated by Marco Pecorari and Renata Hernández, the exhibition includes contributions from collectors and institutions such as Palais Galliera and the Queer Zine Archive Project, underscoring the historical significance of these objects.
JAMES ENSOR AND CONTEMPORARY MASKS IN ANTWERP
Aurora Mandelli ■ Why do we feel the
urge to wear a mask? Why are human beings so afraid of visible aging? How do we deal with beauty standards that are constantly changing and seem impossible to attain? These are some of the questions raised by the work of the draughtsman and printmaker James Ensor (1860–1949), concerning insecurities, seduction, and impermanence—things we all share as humans. From Septem-
VENICE BIENNALE DRESSES IN RED CAMPARI ONCE AGAIN
Lara Gastaldi ■ For the seventh consecutive year, the Italian liquor Campari is the main sponsor of the Venice Film Festival, reaffirming its enduring connection with the seventh art. Highlights include the Campari Party at Nicelli Airport on the Venice Lido, which will be adorned in red for the occasion, and the Campari Lounge, a space dedicated to the key figures of the contemporary film industry, including Sveva Alviti, the festival’s hostess. Numerous Campari Ambassador activities are planned, including a masterclass by Pierfrancesco Favino for the Generazione Do project, celebrating new Italian cinema talents, and a talk hosted by Stefano Accorsi with the winners of Young Blood, a showcase of acting talent. The Campari Passion for Film Award, dedicated to freelancers who, alongside directors, have contributed to unforgettable films, will also be presented. Last year’s winner was set designer and costume designer Paola Comencini.
ber 28, 2024, to February 2, 2025, at the MoMu in Antwerp, the multimedia exhibition Masquerade, Make-up & Ensor will focus on these themes, combining art, fashion, and makeup through the eyes of artists like Issy Wood, Cindy Sherman, Tschabalala Self, Genieve Figgis, Martin Margiela, Christian Lacroix, Walter Van Beirendonck, Cyndia Harvey, and many others.
SOPHIE CALLE: OVERSHARE
Aurora Mandelli ■ On display at the Walker Art Center in Minneapolis from October 26 to January 26, 2025, and later at the Orange County Museum of Art in Costa Mesa from March 7 to June 1, 2025, the exhibition Sophie Calle: Overshare brings the voyeuristic works of one of France’s most provocative and celebrated conceptual artists to North America for the first time. Through photographs, videos, essays, and objects, the exhibition highlights Calle’s talent for exploring the human condition, blurring the boundaries between public and private spaces. Her early works, in particular, seem to have anticipated the rise of social media, prompting reflections on self-identity and how we represent ourselves externally.
LUIGI GHIRRI’S PHOTOGRAPHY AND THE EXPLORATION OF LIGHT AND DARKNESS
Giulio Solfrizzi ■ A reflection on night and darkness—this is how we could summarize Luigi Ghirri’s exhibition Passage Zones at Palazzo dei Musei in Reggio Emilia, open until March 2, 2025. Curated by Ilaria Campioli, the exhibition stems from Ghirri’s nocturnal masterpieces, which explore the interplay of light and darkness. Intermittent flashes and highlights contribute to maintaining a perception of darkness that is often over-
looked. Starting with Ghirri’s experiments with mediums and visibility, in collaboration with artists like Franco Guerzoni and photographer Franco Vaccari, the exhibition also includes works by other artists, offering effects of micro-tears created by sudden lights. This invites a reevaluation of our relationship with darkness, with contributions from Mario Airò, Gregory Crewsdon, Paola De Pietri, Paola di Bello, and Awoiska van der Molen.
BOOKS
A PHOTOGRAPHY VOLUME EXPLORING NEW REPRESENTATIONS OF THE HUMAN BODY
Lara Gastaldi ■ What kind of knowledge can arise from the interaction between different bodies? In the book The Body is a Revelation as is Landscape, photographer Sofia Masini attempts to answer this question and others visually, pushing the boundaries of her photography to create a fictional, timeless space. Here, the human body is seen as a guide to navigating between internal sensitivity and the external world. The project, which began in 2019, explores new ways of representing the human body in connection with natural elements, movement, sculptures, and performances. The book, enriched by essays from Elisa Medde, is a visual narrative where human bodies are fragmented and deconstructed, almost appearing to undergo a process of mutation.
AN EXCLUSIVE VOLUME ON THE WORKS OF TEXTILE DESIGNER OTTI BERGER
Lara Gastaldi ■ Following the Berlin exhibition dedicated to Otti Berger, the Bauhaus-Archiv has released an illustrated book, Otti Berger – Weaving for Modernist Architecture, which exclusively showcases the works of the textile designer. Judith Raum, visual artist and exhibition curator,
has cataloged Berger’s fabrics based on their function in relation to different architectural elements such as furniture, windows, and walls. Textile designer Katja Seltz and photographer Uta Neumann collaborated on the creation of the volume, offering a visual interpretation of Berger’s weavings through photographs and tapestry restorations. The book allows readers to rediscover a pioneering artist whose work, blending aesthetics with functionality and innovation, continues to inspire designers and architects today.
DEBUNKING ABORTION THROUGH CARMEN WINANT’S PHOTOGRAPHY
Lara Gastaldi ■ Winner of the Author Book Award at the Rencontres d’Arles Book Awards 2024, Carmen Winant’s volume The Last Safe Abortion offers an intimate and powerful visual narrative that challenges the usual discourse around abortion. Through a carefully curated selection of images from Midwest institutional archives, including those in Minnesota, Iowa, and Ohio, Winant depicts the universe of abortion clinics, revealing a daily routine composed of simple acts and human interactions. These images, which may seem to represent ordinary gestures, such as sterilizing medical tools or making appointment calls, unveil an unexpected complexity. Winant’s photography celebrates support for abortion as an act of care and women’s empowerment, countering the negative portrayal often propagated by anti-abortion activists.
THE BEAUTY IN THE SIMPLICITY OF A PACKAGE
Lara Gastaldi ■ 25 Photographs in a Box and a 32-Page Booklet is a project born from the collaboration between London photographer Andreas Klassen, designer Colin Doerffler, and bookbinder Piotr Jarosz. The limited edition (approximately 100 pieces) contains a 32-page booklet that collects 25 portraits from Klassen’s latest photographic session, which are also presented separately. The project was born after several days of shooting, during which 60 people shared a private, authentic, and personal moment with Klassen, choosing to appear before the camera without makeup, elaborate hairstyles, or styling. This introspective journey invites the viewer to remove the mask and reflect on the complexity and beauty of the human being.
EARTH AND FIRE BY JIJIDE’S ARTISTIC PERFUMERY
Giulio Solfrizzi ■ Jijide, an artistic perfumery born from a conversation between three friends, focuses on diversity and inclusivity. The Dialogue Collection includes two standout fragrances: Earth and Fire. These scents aim to convey shared happiness, enhancing the beauty of this feeling. Both fragrances are gender-fluid and were created by Adill Ali (Kenya) and Boris Barzut (Bosnia). Sustainability is a key focus, with a preference for natural or synthetic materials that avoid aggressive exploitation of resources and reduce carbon emissions. The use of recycled or semi-recycled glass bottles and beech and cork caps further underscores this commitment to sustainability.
Fragrances Meet Sound A Multisensory Installation at Pitti Fragranze
Pitti Fragranze returns at Stazione Leopolda in Florence. The curators Paola Gariboldi and Susanna Macchia are in charge of the installations for the second year in a row of the installations of the exhibition dedicated to fragrances. This project represents a step forward in enhancing of artistic perfumery, where the scent is at the core of the sensory storytelling. Moreover, it takes the opportunity to deepen once more the original dialogue between fragrances and sound through the installation The Sound of Fragrance.
Why did you choose to explore for the second time the existing relationship between fragrances and sound?
The decision to explore the relationship between scents and sound once again was born from an interest in exploring the senses beyond sight, usually a predominant aspect in our culture. Last year the installation aroused great interest, convincing us to develop the idea further. This year we decided to completely eliminate the visual element and to concentrate on the sense of smell and hearing. The goal is to investigate how the musical language can become an olfactory experience, using common words such as “note” and “chord” used to describe both the fragrance and the sound.
Which was the process of selection of the music tracks?
The tracks were exclusively recorded for the installation, with three musical pieces for each theme, noise and silence. Each master perfumer chose the track most in tune with their olfactory vision, collaborating then with the composer to finish off the details. Music links sound and scent, allowing visitors to live a unique multi sensorial journey.
How the idea behind the fragrances Silence and Noise come up?
The fragrances were created thanks to a tight collaboration with the perfumers Sonia Constant and Cristiano Canali. We provided them specific tracks, produced by Alessandro Maestro, regarding silence and noise. Perfumers chose the tune which best represented their concept of fragrance and asked for some adjustments to better adapt it to the scents. This process allowed them to create unique olfactory compositions, tightly connected to music.
What reaction do you expect from the visitors?
The installation wants to produce two extreme sensorial experiences: silence and noise. The fragrance of silence should provide a quiet sensation and overall well-being, whereas the noise one aims to provide energy and strength. We want visitors to experience two of the current trends in the perfumery world, wellness and empowerment, offering them with an emotional journey between these two extremes.
■ Alessia Caliendo
The Style of Tuscan Gardens
Enclosed in a Jar
Ascent can be transmitted from generation to generation, as Giardini di Toscana does. Its fragrances “describe” the history of a charming area and a family whose main focus is the passion for essences. This Tuscan brand was born in Bibbiena, a medieval village in the Casentino Valley, founded by Giovan Piero Ducci, who opened a small shop with his wife Emma in 1942, which was later transformed into a fine boutique by their daughter Irma in the early ‘60s. Forty years later, Silvia, their granddaughter, was inspired by the family heritage and established the company Giardini di Toscana, a well-known artistic perfumery that stands out for its authenticity and its capacity to blend tradition and innovation. Giardini di Toscana collections are representative of the “Made in Italy artistic scent” concept: fine fragrances fully Made in Italy, respecting ethical and moral values such as the search for environmental sustainability. Artribune met Silvia Martinelli, the Founder, Chairwoman, and Fragrance Designer of Giardini di Toscana, to explore the world of artistic perfumery.
What are Giardini di Toscana’s leading values in the creation of its fragrances?
The ones that characterize my job as well—the centrality of relationships, so to speak. For years, in our boutique, I had the opportunity to listen to clients and witness their reactions when they found a fragrance that could remind them, out of the blue, of strong memories and unique sensations. The sense of smell is the king of the five senses and has a direct connection with our memories, giving us unexpected feelings. This leads to another fundamental value for us: the capacity to communicate, considering that a fragrance is certainly the fastest way we have to do it. Indeed, nothing is more communicative than the essence we choose to spray.
How would you define the art of perfumery?
We have five senses to interact with the external world; however, especially in this period of time, sight and hearing always play a dominant role. The sense of smell, on the other hand, is the most neglected one. I like to think of perfumery as the last means to ensure its survival, which I love to call nose. Perfumery becomes art when olfaction becomes beauty, which is possible by creating charm that leads to imagination, a fundamental emotion among humans. Creating an artistic perfume means making a product able to generate this sequence of events.
What role do the use of natural raw materials and attention to Italian tradition play in the creation of your fragrances?
Let me first of all dispel a common cliché: in the creation of an artistic perfume, both natural and synthetic components are used, depending on the specific case. The idea that it is better to use only natural raw materials does not hold up in reality. The Nose must be free to use all the fragrant molecules considered necessary for their creations. Respect for craftsmanship’s tradition, manufac-
tory, and creative flair are some of the company’s key elements. We choose zero-kilometer suppliers, Made in Italy, and are aware that you cannot create real beauty without a sense of responsibility towards others and the planet.
Could you please tell us more about the scent notes, the creative process, and the idea behind Bianco Latte, Giardini di Toscana’s bestseller?
Behind the creation of Bianco Latte was the search for a form of emotional and olfactory sweetness that could recreate the feeling of a hug. I was inspired by my personal experience and by interactions with customers. I spent years working on it. Technically, it is a very complex blend, composed of both liquid and powdery components. Once finished, there was no longer any doubt: even from the first customers’ feedback, we could claim that this fragrance had something magical in it.
■ Lara Gastaldi
Traveling Through Beauty
Patronage can be expressed in different ways and must adapt to the present moment. While in the past, the wealthy would host artists at their courts, today, patronage can be expressed through the support of Italian fine craftsmanship. This industry, in fact, significantly contributes to the foundations of Made in Italy. However, there is a lack of visibility regarding artisans and the education of the new generation of craftsmen. Here to help is the first Italian private hospitality company, Starhotels, a leader in the 4 and 5-star hotel mar-
ket, which aims to enhance Italian hospitality. They are in charge of various events, including, for example, La Grande Bellezza - The Dream Factory, in collaboration with Associazione Osservatorio dei Mestieri d’Arte, Fondazione Cologni dei Mestieri d’Arte, and Gruppo Editoriale.
PATRONAGE AND ITS NEW EXPRESSIONS
We will now focus on some practical initiatives that support this industry: a biennial Award dedicated to craftsmen participating in contests for the
creation of specific artworks for the hospitality world, for example, or the employment of master craftsmen in the renovation of the Company’s hotels, including their involvement in events, and lastly, the active support of young craftsmen’s education, just to name a few. Moreover, this can also come to life through the sale of a fine handcrafted home décor collection. All of this was strongly advocated by Elisabetta Fabri, Starhotels’ President and CEO, who regularly organizes craft experiences for the Group’s guests in Venice, Milan, Florence, and Rome’s most important craft shops. These activities range from Venetian masks to Milanese home décor, stopping by the Florentine silversmiths and ending with the oldest Roman hat workshop. One of the included ex-
periences takes place, for example, in the craft atelier Dezen Dezen, where a new approach to traditional foulard printing is used. Located in Trieste, the shop helps to preserve the history of the family company, which began specializing in this craft in 1938. Today, they hand-print items and accessories using the original screen printing frames while incorporating modern printing techniques.
PLACES TO SEE IN ITALY
The experiences curated by Starhotels present themselves as a discovery of beauty in its multifaceted totality, which includes elegance and mystery, symbolized, for example, by the costumes and masks of the traditional Venetian Carnival. Indeed, the Ca’ Macana atelier dedicates it-
self to creating traditional and artistic papier-mâché masks, completely handmade from plaster molds, decorated with a wide range of materials, and used in films such as Casanova by Lasse Hallström and Eyes Wide Shut by Kubrick. Additionally, it is important to highlight Daniela Vettori’s jewels, Fabscarte’s wallpaper, and Bronzetto’s bronze works.
THE XIX GREAT COMEBACK
These places’ traditions are at risk of being forgotten. To truly discover them, you must rely on local guides or inhabitants who can suggest the most authentic places to visit. Alternatively, considering that we live in an era dominated by the internet and especially social media, one might choose to consume content and videos from people who offer suggestions or document their experiences. The Grand Tour created by Starhotels, which is part of the project dedicated to Italian Beauty, aims to take their place. During the 19th century, it was common practice for the heirs of wealthy families to travel to the main European cultural capitals to discover art and culture, driven by the need to match their personal aesthetic taste with the choice of elegant accommodation. Some of the Starhotels Company’s properties were indeed once the destinations of choice for young travelers or beloved meeting spots for artists and writers who left their mark on history, such as the Helvetia & Bristol hotel in Florence and the Hotel d’Inghilterra in Rome. Now, you have the chance to live a similar experience by spending at least two nights in one of the accommodations provided by this Italian private hospitality company. It is outside the walls of historic mansions nestled in valuable architectural and artistic buildings that your stay can be enriched with immersive experiences inside the Italian craftsmanship ateliers, making it, in every sense, a journey in the name and honor of Italy and a celebration of La Grande Bellezza of luxury hotels and local activities too.
■ Giulio Solfrizzi
PLACES
Clothes dress up bodies; however, there is more than just pants’ legs, T-shirts’ sleeves, and shirts’ collars.
As the philosopher Emanuele Coccia, co-author, together with stylist Alessandro Michele, of the book La vita delle forme. Filosofia del reincanto (HarperCollins), claims: “When fashion was born, the body as a unique world was discovered.” If the art of styling can be considered the most successful of the historical avant-gardes, thanks to the merging of art and life, it is through the body that it “becomes a work of art, process, and nest of our soul.” Defining the body within the fashion world is difficult because “everybody makes everything and its opposite.” Moreover, as Coccia states, “fashion changes anatomy, appearance, and physiology: the different aspects of unique fashion designers merge together.” For this reason, the piece of clothing cannot distance itself from the body: this represents, indeed, “the place for fashion’s artistic training.”
Additionally, since fashion began to broaden its borders, as the philosopher Klause would claim and as Coccia reiterates, the body no longer ends with the skin: there are accessories, the house, the world. For this reason, the body itself becomes “an iridescence that lasts as long as the experience does.” Thus, it is clear that philosophy and fashion coincide. This is one of the theses of the already hugely appreciated book in bookshops. However, keep in mind that here we are not referring to abstract ideas, but to the fact that “everyone, once awake, can choose the shape of their experience. Deciding to wear a specific color or piece of clothing means establishing in a crystal-clear way one’s moral identity. Nobody can afford to define clothes as plain envelopes because they are not.”
The Body as the Soul's Nest
Throughout history, clothing has become a “radical speech act, which reveals who one is, or who one wants to be, before speaking. There is no form of exteriority, nor the possibility of saying ‘I dress up and communicate nothing about myself.’ The miracle of fashion is to have transformed the body into a place open to freedom of speech, which could not be found earlier.” It was certainly not the same before prêt-à-porter was born, when Haute Couture distinguished itself from other garments, and fashion was limited because it was associated with a few particular moments. Then, between the 1800s and 1900s, the clothes worn by everyone became similar to those of an élite group. Now, a lot of meanings can be found. Indeed, “you always have a display that has to communicate some message.” Specifically, the display is represented by the clothes, and the words by the bodies, which are areas that do not need envelopes and have immediate meaning.
■ Giulio Solfrizzi
ART-RITE AUCTION HOUSE LAUNCHES HIGH-END FASHION DIVISION
Giulio Solfrizzi ■ The new Luxury Fashion division of the Art-Rite auction house has been launched to meet the market demand for excellence in high-end brands. Division chief Sofia Zagari’s vision emphasizes the origin and authenticity of the items, coupled with meticulous research into their originality, quality, and longevity. As she explains: “How delightful it is to hold a 1950s Kelly bag that still retains all its quality and beauty.”
La prima ed unica casa d’aste italiana parte di un gruppo bancario
Con Art-Rite puoi vendere e acquistare in asta al miglior valore, richiedere perizie e autenticazioni, usufruire di servizi di art advisory e art consulting, accedere al servizio Art-Kredit per ottenere un prestito con la sola garanzia di opere d’arte.
La famiglia Art-Rite cresce!
Art-Rite ha inaugurato il nuovo dipartimento di Luxury Fashion dedicato agli oggetti più originali e ricercati delle maggiori case di moda.
La nuova divisione si aggiunge a quelle di arte moderna e contemporanea, arte antica, gioielli orologi e argenti, comic art, numismatica, filatelia e auto da collezione.
