BLENDING Magazine Fall-Winter 2017/18

T H E S E M E S T E R LY M A G A Z I N E O F F L O R E N C E U N I V E R S I T Y O F T H E A R T S / Y R . 7 I S S . 2 F W 2 0 1 7

FUA + SBU CONFERENCE

REVITALIZING FASHION

1968: Where Have All The Flowers Gone?

FLY Students Step Forward

PARALLELISMS

RIVOLUZIONE 9999

In Iconography

Radical Architecture

FLY

VESPA

Looks of the Season

ARTS

|

DESIGN

Modern Advertising

| COMMUNITY |

FASHION

| LITERATURE |

ALUMNI

Florence University of the Arts

Where studies transform

Culinary Arts

Advertising here

Fashion

into real-world GANZO* is a school but with non-traditional classrooms where the Apicius students and faculty develop seasonal menus and share them with the general public.

Via dei Macci, 85red tel +39 055 241076

FLY* Fashion Loves You supports the FAST fashion academics and collaborates

with emerging Italian designers.

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Publishing

INGORDA* The J School campus press creates books on gastronomy, design, travel, and lifestyle in collaboration with FUA students and faculty.

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experiences

* Ganzo, FLY and Ingorda are respectively the CEMI of the Apicius, FAST, J School academic divisions at FUA. CEMI stands for Community Engagement Member Institution, and represents integration projects that are a part of FUA’s academic campuses and open to the greater community. It is where students and faculty can put into practice and experiment with their academic coursework.

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LETTER FROM THE EDITORS

CONFERENCE SECTION: 9TH ANNUAL CONFERENCE – 1968: WHERE HAVE ALL THE FLOWERS GONE?

07

17

25

ARTS

DESIGN

PARALLELISMS IN ICONOGRAPHY AN ENCYCLOPEDIA OF REVOLUTION IN ART HISTORY: ITALIAN MANNERISM

DESIGNING THE BIRTHPLACE OF THE RENAISSANCE RIVOLUZIONE 9999: ARCHITECTURE WITH EYES OPEN TO THE FUTURE VESPA: AN ALARM CLOCK FOR 1960S TEENS

FASHION

FLY LOOKS OF THE SEASON REVITALIZING RETAIL

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LITERATURE

ALUMNI

Table of Contents

31 COMMUNITY IN LINE TO ONLINE: JOB HUNTING REVOLUTIONIZED MOBIKE A FIRENZE INTERVIEW WITH A REVOLUTIONARY WOMAN: THE KUNDA PROJECT

WOMEN WRITERS IN ITALY: TWO REVOLUTIONARY VOICES IN LITERATURE

DISRUPTING WINE TRADITIONS REMNANTS: TRANSFORMING DISCOURSE THROUGH PHOTOGRAPHY

Blending is a semesterly magazine created with and for students of Florence University of the Arts. The magazine is published by FUA’s campus press Ingorda, a member of the Fondazione di Partecipazione Palazzi - FAIE. For information contact blending@fua.it.

Semestrale / Semesterly Magazine Reg. Trib. di Firenze n° 5844 del 29 luglio 2011 ISSN 2284-063X Anno 7 – Numero 2 – Autuno 2017 / Year 7 – Issue 2 – Fall 2017 Direttore Responsabile / Editor-in-chief Matteo Brogi Caporedattore / Editorial Director Grace Joh Coordinamento editoriale / Managing Editor Lauren Pugh In redazione / Masthead Team di studenti / Student Magazine Teams led by Andrea Mancini Layout project by the students of the Special Project Experiential Learning in Visual Communication - Graphic Design course: Noah Gouldhauss Articles by students of the Magazine Editing and Publishing I Course: Bethany Barrant, Shanelle Bonilla, Yu-Chuan Cheng, Isabella Gutierrez, Fe Hmelar, Ting-An Lai, Alma Limon, Sydney Mason, Shannon Murphy, Erika Pistor, Margarita Poroshina, Gina Valentino Copertina e pagine di apertura sezione / Cover and Section Openers Noah Gouldhauss Illustratore / Illustrator Andrea Mancini Redazione / Copy Editors Alice Cini, Chrystalla Christodoulou, Lauren Pugh Pubblicità seconda e terza di copertina / Inside Front and Back Cover Advertisement Pages Concept and Design by Paola Carretero Photographs by Thakorn Jantrochot Ringraziamenti / Special Thanks To Martina Franci, Andrea Mancini, Gianno Rossiello, Nicoletta Salomon Editore / Publisher Florence Campus per INGORDA Editore Via Alfonso La Marmora 39 50121 Firenze Sede editoriale / Editorial Headquarters Corso Tintori 21 50121 Firenze Tel. 055-0332745 Stampa / Printer Artigraf-Toccafondi Via Palestro 11 50013 Campi Bisenzio (FI) Il numero è stato chiuso in redazione nel mese di dicembre 2017 / This issue was completed in December 2017 Copyright © 2017 by Florence Campus, Firenze All rights reserved

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BLENDING

Letter From The Editor

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e are excited to share with you the culmination of a semester-long collaboration between FUA VWXGHQWV LQVWUXFWRUV DQG VWD̆ $V DOZD\V RXU )DOO SXEOLFDWLRQ WDNHV LQVSLUDWLRQ IURP WKH DQnual FUA conference cohosted by SUNY Stony Brook University. This year’s conference title, :KHUH +DYH $OO WKH )ORZHUV *RQH" 5HÀHFWLRQV RQ WKH V 5HYROXWLRQV, invited conferHQFH JRHUV WR UHÀHFW RQ WKH V IRU WKHLU VZHHSLQJ VRFLR SROLWLFDO PRYHPHQWV Blending Magazine takes LWV FXH IURP WKH FRQFHSW RI UHYROXWLRQ DQG KRZ JURXQGEUHDNLQJ FKDQJHV D̆HFW WKH SDVW DQG SUHVHQW DV we look towards the future.

The writers of this issue examine both big and small revolutions in various disciplines and areas of interest, including Italian design and architecture as well as the post-Renaissance Mannerist period. In DGGLWLRQ WR WKH FUHDWLYH ¿HOGV RXU ZULWHUV RI WKH &RPPXQLW\ VHFWLRQ DVN WKH TXHVWLRQ RI KRZ HYHU\GD\ OLIH FDQ EH UHYROXWLRQL]HG 7KH )DVKLRQ VHFWLRQ H[SUHVVHV WKH GDLO\ H̆RUWV RI \RXQJ LQGLYLGXDOV KRQLQJ their skills at FLY in preparation for the next step into the industry.

Revolutions can come in the shape of happenings heard across the world and they can also be quiet undercurrents that bring about transformation in seemingly subtle ways. Florence as a constant backdrop to the content we publish is especially relevant for the Fall 2017 theme, considering the city’s role in revolutionary thought throughout history in the spheres of politics, science, the arts, and economy.

3HUKDSV QRZ PRUH WKDQ HYHU WKH FXUUHQW WLPHV ZH OLYH LQ FDOO IRU ¿HOGV VXFK DV HGXFDWLRQ WR SURYLGH WKH tools for opportunity, change, and a vision that is not simply global but capable of seeing and reasoning across cultures. On this note we are proud to include in every issue a special Alumni feature in which we recount the stories of those whose lives and professional journeys have been impacted by a study experience in Florence.

With our sincerest auguri that something in the following pages will inspire revolutionary thoughts in our readers, we wish you...

Happy Reading, Grace Joh and Lauren Pugh

F A L L W I N T E R 2 0 1 7 - 05

CONFERENCE

By Amanda Torrisi

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ARTS

F A L L W I N T E R 2 0 1 7 - 07

ARTS

PARALLELISMS IN ICONOGRAPHY

BY ISABELLA GUTIERREZ AND MARGARITA POROSHINA 08

BLENDING

“THE PASSION ENDURES. WE GAZE IN AWE AT THESE REFLECTIONS AS REVOLUTION REMAINS AS PERTINENT AND COMPELLING AS IT HAS IN PAST CENTURIES. “ Revolution, the muse of eternity. A catalyzation of like-minds who desire change and the betterment of the systems that surround them.

Paralleled through the centuries, it takes on many forms. And like those who it inspires, it has its faces, its phases, its moods. In its dignity, it is an artistic rendering of social reform. It boasts a temperament fixed in its desire for equality, yet remains mutable enough to remain eternal in how it inspires our kind. As abstract as it is concrete, it is as relevant now as it was before. We see this illustrated by the creative minds of past centuries, and theorized by the classical and contemporary greats of philosophy.

Systems rise and fall. They are reflections of the times we live in and the societies that oversee us. These reflections have endured, becoming crystallized through art and literature. We’ve seen expressions of this through the centuries, but most clearly in times when history saw an urgency for such changes. From the Renaissance to the French and American Revolutions, and even in modern history as conflicts between civilizations escalated into monumental warfare. Injustices inspired protests and an outward expression of human rights. The passion endures. We gaze in awe at these reflections as revolution remains as pertinent and compelling as in past centuries. Modern history in the Western world boasts a prosperous collection of art that reflects its revolutionary nature.

ARTS

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The Lamentation of Christ, c. 1490, by Andrea Mantegna

The Death of Marat, 1793,

by Jacques-Louis David

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"MODERN HISTORY IN THE WESTERN WORLD BOASTS A PROSPEROUS COLLECTION OF ART THAT REFLECTS [REVOLUTION AND] ITS ILLUSTRIOUS NATURE." LMW YWI SJ JSVIWLSVXIRMRK E YWI SJ I\XVIQI TIVWTIGXMZI WS XS QEOI XLI ZMI[IV JIIP EW XLSYKL XLI] EVI E TEVX SJ XLI WGIRI *YVXLIVQSVI MRXS LMW MRRSZEXMZI QMRH [I WII ER MRXIVTVIXEXMSR SJ .IWYW 'LVMWX XLEX XVERWGIRHW LYQER WYJJIVMRK ,MW LYQERMX] MW MPPYWXVEXIH JSV XLI Ƽ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Photo By Gustavo Villoldo, CIA operative - CIA, National Security Archive, Public Domain

The Lamentation Over the Dead Christ, 2008,

by Kehinde Wiley Oil on canvas 131” x 112”

QSZIH QMPPMSRW MR E XMQI [LIVI MRJSVQEXMSR [EW FIGSQMRK IZIV QSVI EGGIWWMFPI [LIVI XLI EYXSRSQ] ERH MQTSVXERGI SJ XLI MRHMZMHYEP [EW FIGSQMRK EFWSPYXI MR MXW REXYVI ;MXL XLMW WLMJX 'LI +YIZEVE [SYPH FIGSQI ER MGSR MR GSPPIGXMZI GSRWGMSYWRIWW SFWIVZMRK XLI VIEPMX] SJ QEWW MRIUYEPMX] MR 7SYXL %QIVMGE ERH XEOMRK TIVWSREP EGXMSR XS GLERKI MX ,MW QIWWEKIW WTVIEH MR TEVX HYI XS EHZERGIQIRXW QEHI MR EVXMWXMG XIGLRSPSK] ERH LMW QIWWEKI [SYPH IVIGX ERSXLIV TEVEPPIP JSV VIZSPYXMSREV] MGSRW 8LI TLSXSKVETLW XLEX [SYPH WYVJEGI EJXIV 'LI +YIZEVEƅW I\IGYXMSR GVIEXIH WSGMEP YTLIEZEP [LEX LMWXSV] GSMRIH EW XLI W ƈ'SYRXIVGYPXYVI Ɖ ,IVI [I WII ER LSQEKI XS 1ERXIKREƅW 6IREMWWERGI XIQTIVE SR TERIP %R I\TPMGMX MQEKI XLI MGSRƅW FSH] PEMH SYX EJXIV I\IGYXMSR TEVEPPIPW MR FSXL XLI EVXMWXMG GSQTSWMXMSR ERH XLI WYFNIGXƅW QEVX]VWLMT JSV LMW GEYWI % QSVI VIGIRX VIWTSRWI XS KPSFEP IZIRXW GER FI GMXIH MR /ILMRHI ;MPI]ƅW TSVXJSPMS QSVI WTIGMƼGEPP] MR LMW WIVMIW ƈLamentations Ɖ %R I\TPSVEXMSR SJ GPEWWMGEP GSQTSWMXMSRW [MXL GSRXIQTSVEV] WYFNIGXW ERH E VIWTSRWI XS XLI MRWXMXYXMSRW XLEX STTVIWW XLIQ WLS[GEWIH EX 4IXMX 4EPEMW 4EVMW MR

"THE REPRESENTATION OF ICONS [WILL] SEE A GROWTH TOWARDS SEEING THEM BECOME MORE LIKE US, STRESSING THE IMPORTANCE AND DIGNITY OF THE INDIVIDUAL."

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ƅW ZMWMSR MW MQQIHMEXIP] VIZSPYXMSREV] ER EIWXLIXMGEPP] TIVJIGX I\TVIWWMSR SJ XLI EHZERGIQIRXW [I LEZI ]IX XS QEOI MR WSGMIX] ERH GMZMP VMKLXW YWMRK GPEWWMGEP XIGLRMUYIW PMOI SMP SR GERZEW ERH WXEMRIH KPEWW -X [EW GVMXMGEP XLEX LI KMZI MQTSVXERGI XS XLI IZIV]HE] MRHMZMHYEP ;I WII E TEVEPPIP MR ER YRI\TIGXIH [E] 8LI YWI SJ ƈMGSRƉ MR XLMW WIRWI MW QIERX XS WLMJX MQTSVXERGI JVSQ XLI HMZMRI ƼKYVIW WXYHMIH F] EVX LMWXSVMERW XS XLSWI XLEX [SYPH ƈJYPƼPP E TIVWSREP TVIWIRGIƉ MR LMW [SVO -X GSYPH RSX LEZI GSQI EX E QSVI TIVJIGX XMQI IMXLIV 4ISTPI SJ GSPSV MR XLI WX GIRXYV] EVI WXMPP JEGMRK I\XVIQI MRIUYEPMX] ERH QMWVITVIWIRXEXMSR MR QER] [E]W 4IVJIGXP] I\TPEMRIH F] ;MPI] LMQWIPJ ƈEX MXW FIWX [LEX EVX HSIW MW MX TSMRXW XS [LS [I EVI EW LYQER FIMRKW ERH [LEX [I EW LYQER FIMRKW ZEPYI -J &PEGO 0MZIW 1EXXIV XLI] HIWIVZI XS FI MR TEMRXMRKW Ɖ Lamentations WIVZIW EW E YRMZIVWEPP] XVERWPEXEFPI QIWWEKI SJ XLI XVYXLW XLEX WSGMIX] RIIHW XS JEGI [LIR MX GSQIW XS XLMW MRIUYEPMX] % VIZSPYXMSR MR MXW S[R VMKLX PMOI ER EIWXLIXMG IWTIVERXS JSV GSRXIQTSVEV] XMQIW

F A L L W I N T E R 2 0 1 7 - 11

ARTS

An Encyclopedia of Revolution in Art History: Italian Mannerism

T

he students in the Fall 2017 Travel Writing course were given the task of examining the fundamental óĞÖūÖóŹĀūű Öŀù óĞÖūÖóŹĀūġűŹġóű ƕĞġóĞ ùĀƭŀĀ ňŀĀ ňĕ Italy’s most reactionary artistic movements, Mannerism.

Starting from the roots of the theme “revolution,” which derives from the Latin revolvere, or “to revolve,” students considered how movements – cultural, political, and, in this case, artistic – tend to be cyclic, where one is a reaction, or counter-reaction, to what preceded it. This holds especially true for the Mannerist movement, in which artists sought to break free from the realistic precision which distinguished the art of the Italian Renaissance.

Characteristics: Unnatural proportions: ,YQER ƼKYVIW EVI SJXIR WXVIXGLIH SYX [MXL IPSRKEXIH PMQFW XS GVIEXI LIMKLXIRIH IQSXMSR MRXIVIWXMRK TIVWTIGXMZI ERH HVEQEXMG XIRWMSR XLEX EVI WIIR EW FIMRK ƈ%RXM 6IREMWWERGI Ɖ

8LI VIWYPXW SJ XLI WXYHIRXWƅ VIWIEVGL EVI GSQTMPIH LIVI EW E WSVX SJ IRG]GPSTIHMG MXMRIVEV] SJ 1ERRIVMWQ MRGPYHMRK XLI ER EREP]WMW SJ XLI QSZIQIRX XLI EVXMWXW EVX[SVOW ERH IZIR XLI PSGEXMSR [LIVI XLI] EVI I\LMFMXIH [MXL XLI MRXIRX SJ TVSZMHMRK XLI VIEHIV [MXL ER MR HITXL YRHIVWXERHMRK SJ XLI JSVGIW EX TPE] MR XLMW ƈTEMRXIH VIZSPYXMSR Ɖ Name origin: *VSQ 1ERMIVE QIERMRK ƈWX]PIƉ MR -XEPMER Where and When: 3VMKMREXMRK MR XLI GSYVXW SJ -XEP] HYVMRK XLI W XLI WX]PI XLIR WTVIEH EGVSWW )YVSTI IRHMRK EVSYRH [MXL XLI TSTYPEVMX] SJ XLI &EVSUYI WX]PI Background: %JXIV XLI ,MKL 6IREMWWERGI ERH XLI HIEXL SJ 1MGLIPERKIPS XLI EVXMWXMG GLEPPIRKIW EWWSGMEXIH [MXL VIEPMWQ WIIQIH XS LEZI FIIR WSPZIH XLVSYKL XLI QEWXIV] SJ TIVWTIGXMZI ERH KISQIXV] %VSYRH XLI WEQI XMQI XLI 4VSXIWXERX 6IJSVQEXMSR GEYWIH QER] TISTPI XLVSYKLSYX )YVSTI XS LEZI HSYFXW VIKEVHMRK XLI LSRIWX] SJ XLI GLYVGL ERH MXW WIPPMRK SJ MRHYPKIRGIW 1ERRIVMWQ VIƽIGXIH XLI YRGIVXEMRX] XLEX TISTPI JIPX HYVMRK XLMW XMQI EW [IPP EW E TEVEHMKQ WLMJX E[E] JVSQ LYQERMWX XLMROMRK 8LI 1ERRIVMWX QSZIQIRX HITMGXIH EVXMWXWƅ VIEGXMSRW EKEMRWX XLI TIVJIGXMSR ERH WXEFMPMX] SJ XLI 6IREMWWERGI EW XLI] [IVI WIIOMRK XS GVIEXI E RI[ WX]PI XLEX [EW VIƽIGXMZI SJ XLI GLERKMRK XMQIW GYPXYVEPP] WSGMEPP] ERH VIPMKMSYWP]

Madonna with the long neck, Parmigianino (1534-1540)

Exaggeration: %VXMWXW XIRHIH XS GVIEXI FM^EVVI WGIRIW XLEX [IVI SJXIR EQFMKYSYW 8LIWI WGIRIW XIRH XS IGLS WXVERKIRIWW ERH VIFIP EKEMRWX WXEFMPMX] ERH GPEVMX] XLEX [EW GSQQSR HYVMRK XLI 6IREMWWERGI %VXMWXW SJXIR YWIH LYQSV XS HMWTPE] XLIMV MRZIRXMZIRIWW ERH XS EQYWI TEXVSRW %R EHETXEXMSR SJ XLI REXYVEP [SVPH XLVSYKL XLMW OMRH SJ EVXMWXMG GVIEXMZMX] [EW EPWS TSTYPEV

Ten Thousand Martyrs, Pontormo (1529-1530) 12

BB LL EE NN DD II NN GG

Excessive Decoration: .EVVMRK GSPSV WGLIQIW XLEX [IVI YRREXYVEP ERH SJXIR TEWXIP SV FVMKLX [IVI GSQQSR MR 1ERRIVMWX TEMRXMRKW 'SQTSWMXMSRW [IVI SJXIR FYW] [MXL RS JSGEP TSMRX ERH PEGOIH E GPIEV TIVWTIGXMZI 1ER] TEXXIVRW ERH QSXMJW XLEX [IVI HIGSVEXMZI ERH WIGYPEV GSYPH FI JSYRH [LMGL GSRXVMFYXIH XS XLI SVREXI REXYVI SJ XLI TEMRXMRK WX]PI

'SQTMERXS WYP 'VMWXS QSVXS MW ER SMP TEMRXMRK XLEX HMWTPE]W E HIEH 'LVMWX FIMRK QSYVRIH SZIV F] LSP] QIQFIVW SJ XLI GLYVGL 8LI TEMRXMRK MPPYWXVEXIW E VIPMKMSYW TLIRSQIRSR FYX EPWS HITMGXW XLI VIPEXMSRWLMTW FIX[IIR XLI GLEVEGXIVW 'LVMWXƅW VMKLX EVQ MW LIPH YT F] XLI :MVKMR [LMPI 7EMRX .SLR WYTTSVXW LMW YTTIV FSH] 8LIMV LERHW GEVIWW LMW RIGO ERH EVQW I\IQTPMJ]MRK E WIRWI SJ XIRHIVRIWW ERH VIPMERGI 8LI X[S [SQIR MR XLI GSVRIV GER FI MHIRXMƼIH EW 7EMRX 'EXLIVMRI SJ %PI\ERHVME ERH 1EV] 1EKHEPIRI 8LMW TEMRXMRK MW E ZIV] MQTSVXERX TMIGI JVSQ XLI 1ERRIVMWX IVE EW [LMPI MX HSIW JSGYW SR 'LVMWX LMQWIPJ MX EPWS JSGYWIW SR XLI )YGLEVMWX MR XLI FSXXSQ QMHHPI SJ XLI TEMRXMRK LMKLPMKLXIH F] 1EV] 1EKHEPIRIƅW MRXIRWI KE^I 8LMW EPP GVIEXIW XLI ETTIEVERGI SJ E ƽS[ JVSQ XLI SXLIV ƼKYVIW XS 'LVMWX ERH ƼREPP] XS XLI )YGLEVMWX

ROSSO FIORENTINO The Annunciation, Bronzino (1540-1545)

Terminology: -RWXEFMPMX] VIWXPIWWRIWW HMWWSRERGI IVYHMXI EVXMƼGMEPMX] IPIKERGI MRHIXIVQMREXI HMQIRWMSRW MRXIRWI EFRSVQEPMXMIW MVVEXMSREP LIGXMG SVREXI IQSXMSREPMWQ I\TVIWWMZI YRGIVXEMRX] VIZSPYXMSR

ANDREA DEL SARTO

%RHVIE HIP 7EVXS [EW FSVR MR *PSVIRGI SR .YP] ,I WTIRX LMW PMJI ERH GEVIIV QSWXP] MR *PSVIRGI %RHVIE [EW RSX SRP] E TEMRXIV FYX EPWS E WOMPPIH KSPHWQMXL ERH [SSHGEVZIV ERH MW VIGSKRM^IH QSWX RSXEFP] JSV LMW I\TVIWWMZI YWI SJ GSPSV XS GSRZI] IQSXMSR %RHVIE HIP 7EVXSƅW JEQI VSWI HVEWXMGEPP] FIX[IIR ERH XLVSYKLSYX LMW IEVP] GEVIIV [LIR LI [SVOIH [MXL RYQIVSYW RSXEFPI TEMRXIVW 8LIWI GSPPEFSVEXMSRW EPPS[IH LMW S[R WX]PI XS IQIVKI [LMGL [EW VIGSKRM^IH F] XLI 'LYVGL JSV [LSQ LI GVEJXIH JEQSYW TMIGIW MRGPYHMRK 8LI 0MJI SJ *MPMTTS &IRM^^M, and 8LI :S]EKI SJ XLI 1EKM ;LIR E TPEKYI LMX *PSVIRGI MR %RHVIE HIP 7EVXS ERH LMW JEQMP] ƽIH RSVXL SJ XLI GMX] [LIVI XLI] VIWMHIH [MXL %RXSRMS &VERGEGGM 2SX PSRK EJXIV PIEZMRK XLI GMX] ERH EX XLI VIUYIWX SJ EFFIWW 'EXIVMRE HM 8IHEPHS HIPPE 'EWE %RHVIE FIKER [SVOMRK SR LMW JEQSYW TEMRXMRK 'SQTMERXS WYP 'VMWXS QSVXS for XLI RYRW EX E GSRZIRX MR 7ER 4MIXVS %RHVIE HMIH SR 7ITXIQFIV MR *PSVIRGI

Compianto sul Christo morto, Del Sarto (1523-1524)

+MSZERRM &EXXMWXE HM .EGSTS QSVI JEQSYWP] ORS[R EW 6SWWS *MSVIRXMRS [EW FSVR MR *PSVIRGI MR *EQSYW JSV QSVI XLER LMW ƼIV] VIH LEMV JVSQ [LMGL LI KSX LMW QSRMOIV LMW [SVO [EW HIWGVMFIH EW ƈYRWYVTEWWEFPIƉ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ƅW PMJI IZIR IRHIH MR GSRXVSZIVW] [LIR LI XSSO LMW S[R PMJI

Depositon from the Cross, Fiorentino (1521) F A L L W I N T E R 2 0 1 7 - 13

ARTS

-R 6SWWSÆ…W (ITSWMXMSR JVSQ XLI 'VSWW 'LVMWX MW FIMRK PMJXIH SJJ SJ XLI GVSWW ERH MW WYVVSYRHIH F] QSYVRIVW 8LI WSJX FPYI FEGOKVSYRH LMKLPMKLXW XLI KVIIR XMRX SJ 'LVMWXÆ…W FSH] ,MW FSH] ETTIEVW XS FI JVS^IR SJJIVMRK YT E ZMWYEP SJ WMGORIWW TIVLETW E WMGORIWW XLEX LI JIPX XS[EVHW XLSWI [LS TIVWIGYXIH LMQ -R XLI FSXXSQ PIJX GSVRIV XLIVI MW E [IITMRK 1EV] ,IV LYRGLIH SZIV FSH] ERH ETTEVIRX RIIH JSV WYTTSVX WLS[W XLI KVMIJ LIV FSH] XSSO SR MR XLEX I\EGX QSQIRX 7LI MW YREFPI XS PSSO EX LIV WSR 8LI QIR MR XLI FSXXSQ VMKLX GSVRIV EVI EPWS XSVQIRXIH F] XLI 7EZMSVÆ…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

PONTORMO .EGSTS 'EVYGGM PEXIV ORS[R EW .EGSTS HE 4SRXSVQS [EW FSVR SR 1E] MR 4SRXSVQI RIEV )QTSPM 4SRXSVQS GEQI JVSQ E PSRK PMRI SJ TEMRXIVW FYX WTIRX LMW ]SYRKIV ]IEVW EW ER SVTLER PIEVRMRK XS TEMRX JVSQ QEWXIVW WYGL EW 0ISREVHS HE :MRGM ERH 4MIVS HM 'SWMQS %X XLI EKI SJ IMKLXIIR LI [SVOIH ZIV] GPSWIP] YRHIV %RHVIE HIP 7EVXS [LS XSHE] MW WEMH XS FI LMW QSWX SFZMSYW MRƽYIRGIV

% JI[ ]IEVW PEXIV 4SRXSVQS FIGEQI JEQSYW EW E TEMRXIV MR LMW S[R VMKLX [LS LEH TIVJIGXIH XLI EVX SJ HITMGXMRK EKMXEXIH IQSXMSRW )ZIR XLSYKL QYGL SJ LMW [SVO LEW FIIR PSWX SV HEQEKIH [LEX MW [MHIP] GSRWMHIVIH XS LMW KVIEXIWX QEWXIVTMIGI WYVZMZIW XS XLMW HE] 'SQTPIXIH MR 8LI (ITSWMXMSR JVSQ XLI Cross MW ER EPXEVTMIGI QEHI JSV XLI 'ETTSRM 'LETIP MR *PSVIRGI 4SRXSVQSƅW EPXEVTMIGI HITMGXW XLI QSQIRX MR [LMGL 'LVMWXƅW FSH] LEW FIIR XEOIR HS[R JVSQ XLI GVSWW ERH MW FIMRK GEVVMIH E[E] JVSQ LMW QSXLIV 8LI GLEVEGXIVW ƼPP YT XLI TEMRXMRK PIEZMRK RS WTEGI JSV XLI GVSWW 8LMW [E] XLI ZMI[IV JSGYWIW SR XLI PMJIPIWW FSH] SJ 'LVMWX WYVVSYRHIH F] XLI TISTPI [LS PSZIH LMQ XLMW IQTLEWM^IW LMW WEGVMƼGI 8LI [E] XLI X[S QIR GEVV] XLI FSH] IGLS XLI VIWTSRWMFMPMX] XLEX FIJEPPW XLSWI [LS FIPMIZI MR 'LVMWX XS PMXIVEPP] GEVV] 'LVMWXMERMX] XLVSYKL XLI XIWXMRK XMQIW SJ XLI 6IJSVQEXMSR ERH 'SYRXIV 6IJSVQEXMSR 'LVMWXƅW PIKW JEPP SZIV XLI WIGSRH QER ERH ZMWYEPP] JEPP MRXS XLI EPXEV XLYW GVIEXMRK XLI IWWIRXMEP GSRRIGXMSR FIX[IIR 'LVMWXƅW FSH] ERH XLI GSQQYRMSR 8LI YRREXYVEP GSPSVMRK PMOI XLI KVIIR ERH FPYI WOMR XSRIW ERH EFRSVQEP [E] MR [LMGL XLI JEFVMGW ƽS[ MR EPP HMVIGXMSRW TIVLETW WYKKIWXW XLEX PSKMG MW MVVIPIZERX [LIR MX GSQIW XS VIPMKMSR %PWS MQTSVXERX EVI XLI HIIT IQSXMSRW SJ XLI WIGSRHEV] GLEVEGXIVW WXVMOMRKP] HMJJIVIRX XS 'LVMWXƅW WIVIRI I\TVIWWMSR 8LI XMIW GVIEXIH FIX[IIR 'LVMWX ERH LMW JSPPS[IVW EVI TPIRXMJYP ERH QIERX XS IRXMGI XLI ZMI[IV MRXS [ERXMRK XLEX ZIV] WEQI GSRRIGXMSR

BRONZINO %KRSPS &VSR^MRS QSWX GSQQSRP] ORS[R EW -P &VSR^MRS [EW FSVR SR 2SZIQFIV MR 1SRXMGIPPS -XEP] FYX WTIRX QSWX SJ LMW PMJI MR *PSVIRGI % WXYHIRX SJ .EGSTS HE 4SRXSVQS &VSR^MRS HIZIPSTIH ER YRIQSXMSREP ]IX YRMUYI TSVXVEMX XIGLRMUYI XLEX [EW ZIV] [IPP VIGIMZIH -R LI [EW LMVIH F] XLI 1IHMGM 'SYVX EW XLIMV SƾGMEP GSYVX TEMRXIV 8LI TSVXVEMXW LI TEMRXIH SJ XLI VYPMRK JEQMP] QIQFIVW FIGEQI LMW KVIEXIWX GSRXVMFYXMSR XS -XEPMER 1ERRIVMWQ &VSR^MRS EPWS GVIEXIH E WIVMIW SJ VIPMKMSYW [SVOW MRGPYHMRK 8LI -WVEIPMXIW 4EWWMRK 8LVSYKL XLI 6IH 7IE ERH 8LI 6IWYVVIGXMSR SJ XLI :MVKMR 1EV]

-R &VSR^MRS LIPTIH IWXEFPMWL XLI %GGEHIQME HIPPI %VXM HIP (MWIKRS EPSRKWMHI +MSVKMS :EWEVM ERH &EVXSPSQQIS %QQERREXM %QSRKWX LMW QER] WXYHIRXW LI JEZSVIH %PIWWERHVS %PPSVM [LS LI PEXIV EHSTXIH EW LMW WSR &VSR^MRS HMIH SR 2SZIQFIV ERH XLI QENSVMX] SJ LMW QSWX [IPP VIWTIGXIH [SVOW EVI WXMPP MR *PSVIRGI XSHE]

Deposizione, Pontormo (1525-1528) 14

&VSR^MRS FIKER XLI 8LI (ITSWMXMSR SJ 'LVMWX MR ERH ƼRMWLIH MX MR 8LI TEMRXMRK [EW SVMKMREPP] KSMRK XS FI PSGEXIH MR XLI XS[IV SJ )PISRSVE SJ 8SPIHS MR 4EPE^^S :IGGLMS MR *PSVIRGI ,S[IZIV JSV TSPMXMGEP TYVTSWIW 'SWMQS - HIƅ 1IHMGM HIGMHIH XS KMJX XLI TEMRXMRK XS XLI *VIRGL 'EVHMREP 2MGLSPEW 4IVVIRSX HI +VERZIPPI XLI GLERGIPPSV XS XLI *VIRGL )QTIVSV 'LEVPIW : -XW TIVQERIRX LSQI MW MR XLI 1YWʢI HIW &IEY\ %VXW &IWERʡSR MR *VERGI

BLENDING

The Deposition of Christ, Bronzino (1540-1545)

-R XLMW TEMRXMRK 'LVMWXƅW TEWWMSR ERH HIEXL EVI FSXL VITVIWIRXIH F] WYFXPI HIXEMPW &ILMRH 7X .SLR XLIVI MW E ORIIPMRK ERKIP LSPHMRK E GLEPMGI ERH TVIWIRXMRK MX MR E TVMIWXP] QERRIV &ILMRH 1EV] 1EKHEPIRI XLIVI MW ERSXLIV ERKIP LSPHMRK E ZIMP MRXIRHIH XS GSZIV XLI GLEPMGI 8LIWI KIWXYVIW LMKLPMKLX XLI TEVEQSYRX VIPMKMSYW TVMRGMTPIW XLEX XLI EPXEVTMIGIƅW W]QFSPMWQ MW YWIH XS WYTTSVX .SWITL SR XLI VMKLX LSPHW XLI REMPW YWIH MR XLI GVYGMƼ\MSR ERH XLI ERKIPW EFSZI GEVV] E[E] XLI GVSWW 8LIVI MW E [SQER MR ER E[O[EVH TSWMXMSR HIPMGEXIP] WYTTSVXMRK 'LVMWXƅW LIEH FILMRH .SLR [LS WYTTSVXW LMW FSH] 8LMW [SQERƅW WQEPP GSRXVMFYXMSR MW MRXIRHIH XS FI E GPIEV VIQMRHIV SJ NYWX LS[ QYGL 'LVMWX WEGVMƼGIH JSV QEROMRH

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

The Allegory of the Immaculate Conception, Vasari (1540-1541)

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ARTS

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Photo by Peter beim Graben

CONTRIBUTING AUTHORS: MATTHEW BERNARD, SHANELLE BONILLA, JESSE BORGESE, ERICKA BRODERICK, JORDYN BURNS, KRISTEN CARROLL, CHRYSTALLA CHRISTODOULOU, MICHAEL DORMAN, EMILY DUGAN, CHRISTINA FALSO, BRIAN GINISE, CELIA GRAY, MARGARET HARTOFILIS, RACHEL KUENY, EMILY LALUNA, OCEANA MINTHORNE, GWEN OVER, LIZ PETERSON, HOLLIS POCH, MICHAELA RAFFAELE, ALEXUS SAXTON, MADELINE STUART, ANDREW WHITE COORDINATING FACULTY MEMBER: NICOLETTA SALOMON

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F A L L W I N T E R 2 0 1 7 - 17

DESIGN

Designing the Birthplace of the Renaissance

BY GINA VALENTINO AND CHENG YU-CHUAN

S

tefano Rovai is the owner of RovaiWeber Design and has created graphics, signage and typography for some of the most well known museums and exhibitions in Florence.

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WALK INTO STEFANO ROVAI’S STUDIO AND YOU WILL BE GREETED BY A WALL LENGTH BOOKSHELF, RESEARCH FOR HIS LATEST PROJECTS, WHICH SPAN THE LAST FOUR DECADES. THE FLORENTINE PHOTOGRAPHER-TURNED GRAPHIC DESIGNER-SITS BEHIND A GIANT MICROSOFT DESKTOP COMPUTER READY TO SHOW HIS LATEST WORK,

BB LL EE NN DD II NN GG

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“USE YOUR HEAD, NOT THE COMPUTER”

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Courtesy of RovaiWeber Design

% TVSJIWWSV EX XLI 9RMZIVWMXʚ HIKPM 7XYHM HM 7ER 1EVMRS 6SZEM LEW WSQI EHZMGI JSV ]SYRK KVETLMG HIWMKRIVW ƈ&I ORS[PIHKIEFPI ERH GYVMSYW 9WI ]SYV LIEH RSX XLI GSQTYXIV Ɖ ;LIR EWOIH [LIVI LI WIIW XLI WXYHMS MR ƼZI ]IEVW LI WE]W MX HITIRHW SR LMW GPMIRXWƅ RIIHW ERH XLIR WLS[W E TMGXYVI SJ LMW WXEJJ XIR ]SYRK HIWMKRIVW ƈ8YXXM KMSZERM Ɖ F A L L W I N T E R 2 0 1 7 - 19

DESIGN

RIVOLUZIONE 9999 Architecture with eyes open to the future, by Fe Hmelar and Alma Limon

T

he year was 1968, student revolutions demanding social and political change exploded throughout the Renaissance city of Florence. Scholars and creatives alike used their talents to give voice to their ideas and opinions about the time, and so emerged a group of radical architects - Giorgio Birelli, Carlo Caldini, Fabrizio Fumi, and Paolo Galli - who came together and created a group known as the 9999. Together, they revolutionized the world of contemporary Italian architecture.

To commemorate the group and their contributions, art historian and artist, Marco Ornella curated the first monographic exhibition about the group for the Museo Novecento. Especially for the occasion, the Museo Novecento and the Palazzo Strozzi have established joint entrance to access the concurrent exhibitions “Radical Utopias,” both of which focus on the movement.

“My intention was to fill an information gap,” Ornella shared. “(I) researched texts on the 9999, in part thanks to an increased interest posed by curators and historians of the movement interested in more politicized artists.” They aimed to physically capture the social and political revolutions occurring in Florence at the time.

“The 9999 decided at that time not to adopt a policy matrix, they made the choice to use their skills as architects to implement their own personal revolution.

Drawing from their personal and professional lives, they went on to design and construct the Space Nightclub Electronic (1969), a space of freedom that allowed one to freely experiment with their own theories about space and give space to music and experimental theatre,” Ornella said when asked about the relevance

of the movement in regards to the political and social climate.

The exhibition includes many unpublished photos, footage and interviews of all the individuals involved in this movement which came out of Ornella’s initial research. The exhibit also gives viewers the opportunity to comprehend the events that led to the group’s beginning in ‘68 with the name 9999. Remarkable events are documented, such as THE HAPPENING PROJECT on the Ponte Vecchio, a project in which overlapping informational layers, visual projections and light effects on the bridge’s sides were employed by 9999 architects to redefine perception of the monument.

The show does not attempt to change perceptions, but rather inform museum goers of this important moment in Florentine and Italian artistic, social and political history. “I do not think that the show will change the perception of the subject, but I think that it will add another crucial chapter to one of the most important movements in Italy,” Ornella concluded.

But one thing is certain: whether you are an artist yourself, or perhaps your interests lie in some other field, you are sure to leave the exhibit motivated to use your skills as a means of expressing your individual values and opinions.

OPEN HOURS AND PRICING COMPLESSO DELLO SPEDALE DELLE LEOPOLDINE PIAZZA SANTA MARIA NOVELLA 10, FLORENCE EXHIBITION DATES: 28 OCTOBER 2017 – 28 JANUARY 2018 OPENING HOURS: MON – TUE – WED – FRI – SAT – SUN | 11:00 A.M. TO 7:00 P.M. THURSDAY: 11:00 A.M. TO 2:00 P.M. TICKETS: MUSEUM, FULL PRICE € 8.50; MUSEUM, REDUCED PRICE € 4; FREE OF CHARGE FOR VISITORS UNDER 18, SCHOOL GROUPS AND ACCOMPANYING TEACHERS.

Space Nightclub Electronic, 1969

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An Alarm Clock for 1960’s Teens

By Sydney Mason and Erika Pistor

H

aving a narrow center and creating a constant buzzing sound, this little moped got the name Vespa which in translation means “wasp.” Italy’s economy was crippled after World War ll, but Piaggio with its new Vespa design quickly boosted the waning industrial economy and forever shaped Italy’s pop culture images. The product was inspired by Cushman Airborne motorcycles that were used by troops after having parachuted down during WWll. The Vespa was the ľňűŹ ľňùĀūŀ Öŀù ÖƨňūùÖñķĀ ƕÖƛ Źň travel in the years after the war, and most Italians owned one.

Leader is a large scale full-service advertising and marketing agency whose team is made up of designers, creative graphic artists and executives from Florence and central Italy.

Since shortly after War World II, Piaggio has been a producer and vendor of scooters, mopeds, and three-wheeled motor vehicles. In 1965, the Florentine-based firm Leader stipulated a contract with Piaggio for the planning, management, and realization of publicity campaigns for Piaggio products.

Above is one of the posters of the campaign: “Chi Vespa mangia le mele”.

Luca Checchi is a graphic designer from Florence. During his first years with Leader, he worked as a “cartellonista,” which is the name given to those who created hand-drawn advertising images of products. During the years around 1968, Checchi took on the role of art production manager and was responsible for turning creative concepts into something suitable for publishing in the variety of outlets and formats necessary for a particular ad campaign.

F A L L W I N T E R 2 0 1 7 - 21

DESIGN

T

ĞĀ ƭūűŹ óÖľŧÖġėŀ ŹĞÖŹ cĀÖùĀū ŧūňùſóĀù ĕňū ġÖėėġň was centered on the theme “con Vespa si può,” which translates more or less to “with Vespa, you can (do

anything).” The idea behind the campaign was meant to be rational yet poignant, pointing out the myriad of possibilities and advantages that came with riding a Vespa.

AN INNOVATIVE SLOGAN: LUCA CHECCHI

In the picture MW XLI ƼVWX 'VIEXMZI 8IEQ SJ 0IEHIV Pubblicità. Sitting: Gilberto Filippetti, the Creative Director.

(Courtesy of Luca Checchi)

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After two years, Checchi and the team at Leader felt there was a need to make the campaign even more relatable, modern, and attractive. They thought about using lingo that was fresh and unique, and images that stepped outside of the typical “look-tothe-future” box which was prevalent in those years. They sought imagery that left room for interpretation, and that bestowed on the name Vespa the power to transform into whatever was in the eye of the beholder. These were times in which there started to be more artistic movements that drew from everyday life, such as pop art, and that employed very simple graphics with bright, basic colors.

This gave rise to a simple, colorful style, which however was not explicit in its meaning, allowing each the pleasure of interpretation.

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The slogan “chi Vespa mangia le mele” is difficult to translate, due to the unique combination of wordplay and allusions in the Italian language. It can be literally translated as “he who rides a Vespa eats apples.” However the true essence is something much subtler and spirited. The action – eating, or biting, an apple – is a sensual one, even perhaps a bit sinful. There is an underlying sense of freedom, which was inextricably linked to the name Vespa.

Thus the design of the apple, the king of fruits, with two missing bites, became an easily recognizable and memorable symbol.

The new campaign was approved by the most elite members of the Piaggio team, including the Agnelli family, and was launched w ith few obstacles.

The reaction to the campaign was somewhat perplexed, yet curious – people were asking what it meant, but they took to it immediately and in fact, af ter a while, many started to adopt the slogan to explain concepts that were other w ise difficult to understand. It became a synonym for and a declaration of the indiv idual’s power of imagination and fantasy.

DESIGN

An Alarm Clock for 1960’s Teens

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FASHION

F A L L W I N T E R 2 0 1 7 - 25

FASHION

FLY LOOKS OF THE SEASON BY BREANA DIAZ, EDEN ANDREWS, AND HANIYYAH DIXON

26

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T

Ğġű űĀÖűňŀȲ ňſū ƭŀÖķ ķňňĴű ÖūĀ ġŀűŧġūĀù ñƛ a professional, sleek, and bold woman.

Casual-chic and fresh street-style are combined to create a revolutionary look, ÖŧŧūňŧūġÖŹĀ ĕňū ùġƨĀūĀŀŹ ňóóÖűġňŀűȷ §ĞĀ ķňňĴű űĞňƕóÖűĀ ŹĞĀ Źƕň ùġƨĀūĀŀŹ űŹƛķĀű Öŀù Ğňƕ ŹĞĀƛ ėň ŹňėĀŹĞĀūȷ uſū ƭūűŹ ķňňĴ ĕĀÖŹſūĀű Ö ġÖƤƤÖ Sempione grey blazer dress with black Ferdinandi shorts. The look is complete with a green and yellow cross body bag crafted by FUA student Veronica Pimentel Faria, along with black Lori Blue pointed heels. Lastly, a Dolce and Gabbana scarf is added to complement the professional yet relaxed style. Our second look features a House of AmZ “Femininity is…” T-shirt paired with overalls by Girbaud. This bold pairing speaks to edgy-street fashionistas. The Gucci shoes and Pinko fur coat give this look a sleek professional twist making it doable for both a business day and a day out on the go.

F A L L W I N T E R 2 0 1 7 - 27

FASHION

REVITALIZING

RETAIL

FLY Fashion Loves You FLY is the creative learning lab of the students of Fashion and Accessories Studies and Technology at Florence University of the Arts.

By Shanelle Bonilla and Shannon Murphy

FLY Fashion Loves You

fly_fashionlovesyou

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A

common question FLY manager Gaia Poli receives from curious customers is, “What is FLY? A school or a store?” In reality, it’s both.

In the front of the house, it is a retail store featuring consignment, vintage clothing from designers such as Gucci and Dolce & Gabbana, and pieces from emerging fashion designers. The back of the space, however, holds the labs where students handcraft their own products, which include apparel, handbags, accessories and straw hats that are put on display in the front of the store, as well as classrooms where they study the skills necessary to run a retail business.

FLY is described as the heart of FUA’s school of Fashion and Accessory Studies and Technology (FAST). Through a revolutionary concept known as experiential learning, which FUA employs in all its schools, students are able to combine their academic experience with a real, professional

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“I HOPE WE WILL BECOME A HUB OF NEW IDEAS.” environment. FLY is able to shape future fashion professionals by training them in a real store, something Poli says is unusual, especially in Italy. Students run the daily operations of the store, which includes arranging displays, interacting with customers, and hosting events that provide visibility both for FLY and its emerging designers.

October 2017 to January 2018, the featured emerging designer at FLY is Alexandra Zofcin with her brand, The House of AmZ. Alexandra, a former FUA student, conceived and created a capsule collection of ready-to-wear garments, Femininity Is…, which seeks to open up the discourse on what it means to be “feminine” in today’s society.

These emerging designers are sometimes alumni of FAST themselves who are given the opportunity to design and create their own collections that FLY consigns and promotes to the community. Through social media, word of mouth, and events, FLY provides visibility for these designers that allows them to enter the fashion world when other retail stores look to FLY for new merchandise. In fact, from

Other retail stores look to FLY for the next up-and-coming designer or product, which shows just how influential FLY is within the Florentine community. One experiential learning student, Ella DiPietro, says what sets FLY apart from the other high-end consignment shops on Borgo Pinti, where FLY is located, is that the collections are more unique.

“Our emerging designers,” states DiPietro, “usually make their

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FASHION

FLY IS A NON-PROFIT STORE SO ALL PROCEEDS GO TOWARD THE FASHION PROGRAM.

debut here and then go to other consignment shops after.” The collections created by student designers are displayed at the store for three to four months and, in the meantime, FLY develops social media content and tests the products, and then, gives feedback to retailers.

Poli describes this work as a “pre-selection.”

“Whoever happens to have a collection in FLY,” she says, “is a person with whom it is possible to work.

At times, emerging designers are difficult. They are not always flexible, and if I were a full-time retailer, I would be hesitant to work with someone who is not able to accommodate my requests. Therefore, we let other retailers know that a kind of selection has already been made, that there is a good collection, and behind it all, there is a person who is able to collaborate well.”

FLY also provides feedback directly to the emerging designers themselves. If there is a product that is not selling, this is shared with the designer so they can alter the collection to meet the needs of the market.

According to Poli, “after the experience here, they know what sells and what doesn’t. They know that if their collection is beautiful and receives high praise, but then someone tries something on and doesn’t buy it, we can tell them why. Maybe the fitting is poor, the price is too high, or the quality is not perceived as good for the asking price. We give them a first opportunity for evaluation that then makes them more appealing to other stores.”

Aside from its relationship with students and the community, FLY is revolutionary to Poli because part of its mission is to promote the concept of sustainability in fashion. FLY upcycles and collects vintage pieces, giving garments that are still in great shape, or brands that are no longer produced, a second life. By reusing and selling these items, FLY and its customers avoid wasteful shopping through fastfashion chains that sell primarily throw-away clothes.

One could also say FLY is revolutionary in the way the work being done here seems to come back full circle. Students learn in the classrooms, create in the labs, then eventually produce authentic collections for FLY that earn profits the store is able to turn into scholarships for future students who may end up being future emerging designers themselves.

The students working in FLY also feel they gain valuable experience they did not have before. As another experiential learning student, Lexis Gervais, says, “I think what’s special about this class is it’s not just focused on the retail. It’s focused on all the aspects of managing and promoting a store. It goes into visual merchandising, running events, social media promotion, all of that, which is basically every aspect of running a store, like a manager, and I haven’t had such a complete 360° experience until now.”

When asked why Florence is the best location for a store like this, Poli responded, “because in Florence we are ingenious people.” In the past, Florence had been known as an important place for Italian fashion, and both FLY and FAST work to re-establish Florence as a place of creativity by bringing back hand-crafted arts and bridging the gap between design and manual skills in fashion and accessories.

So what’s next for FLY? How will it continue to revolutionize retail? Poli reveals this will be done through more specialization in the vintage selections, more student creations, and by getting as close as possible to its mission, which is to foster the academic experience with the professional environment. “I hope we will continue to be a hub of new ideas with a solid archive of vintage pieces,” says Poli.

FLY began as the dream of FUA President Gabriella Ganugi and today, it is an influential business teaching students how to be professionals in the fashion world.

FLY FASHION LOVES YOU Borgo Pinti 20r, 50121 Firenze Ph.+39 055 2633190 fly.fashionlovesyou.it Info@fashionlovesyou.it

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TO ONLINE: Job Hunting Revolutionized

by BETHANY BARRANT and LAI TING AN t is no secret that technology has revolutionized job hunting in many ways. In combination with technological developments, the improvement of the social and political climate over the past century has granted greater access to education, more political freedom, and more wide-spread ƼRERGMEP STTSVXYRMXMIW JSV QER] 8LIWI VEHMGEP social, political, and technological changes have all contributed to increased competition, with a number of people with similar credentials applying to the same jobs. In a world of QMRYXI SRPMRI ETTPMGEXMSRW XLEX GER FI ƼPPIH out from the comfort of one’s home, it has become harder and harder to stand out. Indeed, much has changed in the world since 1968, when “back in the day” personal connections in combination with eagerness and ability to perform were the factors that most helped TISTPI ƼRH NSFW

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hat is the key to success?

8SHE] SRI GSQQSR ERW[IV XS XLEX UYIWXMSR is “networking.” What holds to be true is that a personal connection is what seems to score TISTPI NSFW 8LEX GSRRIGXMSR GER FI QEHI HYVMRK XLI interview, on LinkedIn, in a social setting, a professional organization, or through a colleague. In a world where WGVSPPMRK ERH W[MTMRK XLVSYKL TVSƼPIW GER WSQIXMQIW lead to judgements about an individual’s online selfprojection, we have taken away the need for a personal connection. Yet this can actually be a mistake for both the employers and potential employees. Often, employers give the job pool the sole contact option of sending a direct message through a professional social site because the application process has moved entirely online. Potential employees often do not make the time to visit the possible future place of employment and therefore leave it to the employer to make assumptions about their capabilities and personality based off a single uploaded document.

Communicating your skill set and personality in person, whether you are job hunting or not, makes a greater impression on people than a resume or CV. 8LMW GER PIEH XS NSF SJJIVW ERH STTSVXYRMXMIW MR XLI JYXYVI SV IZIR MQQIHMEXI LMVI ɸ

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here have been many key changes to the workforce since the 1960s beyond the introduction to the internet. We conducted an interview with Andrea Mancini, Florence University of the Arts – FUA professor with a Fine Arts degree and an extensive professional history. *VSQ LMW ƟVWX NSF SFXEMRIH MR EX ER EHZIVXMWMRK agency to his current job at FUA started two years ago, Mancini shared that he found most of his jobs through networking with the people that he knew.

While Mancini is a professor, he is also a professional freelance concept artist for advertising and editorial.

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8LI MHIE SJ PS]EPX] LEW GSQTPIXIP] FIIR EPXIVIH MR XLI sense of being loyal to a doctor or even your boss.

He believes that in the future, there will be universal mobile applications connecting people to skilled workers, such as doctors, graphic designers, fashion stylists, and lawyers - immediately connecting people to the services they need, when they need them.

Current and future generations no longer remain PS]EP XS XLI WEQI GSQTER] XLIMV IRXMVI PMZIW MX MW UYMXI normal to constantly be on the lookout for the next best thing, or feel the need to change your current work environment.Mancini feels that to thrive in the workforce in the future, it will become necessary to

HOWEVER, WITH JOBS BECOMING SO LIQUID, THE LACK OF GUARANTEED BENEFITS WILL MAKE IT EXTREMELY HARD TO SAVE AND PLAN FOR THE FUTURE.

have a plethora of skills which one has masteredB L E N D I N G at some level. People will most likely be changing NSFW UYMGOP] XS QEOI QSVI QSRI] MR ER I\XVIQIP] specialized position. Not only will this be important to increase your pay, but also for job security, as many times employers view employees as expendable and VITPEGIEFPI ,S[IZIV [MXL NSFW FIGSQMRK WS PMUYMH E PEGO SJ KYEVERXIIH FIRIĆźXW FVMRKW [MXL MX E RIKEXMZI WMHI Ć MX QE] FI QSVI HMĆžGYPX XS WEZI ERH TPER JSV XLI future. ,S[ MW XLMW EPP VIZSPYXMSREV]# 8LI MRXVSHYGXMSR SJ the internet along with many other technological EHZERGIW LEZI FIRIĆźXIH TISTPI MR QER] [E]W [LIR YWIH ETTVSTVMEXIP] 4ISTPI LEZI FIRIĆźXIH ERH TVSĆźXIH JVSQ XLMW MR XLI X]TI SJ NSFW XLI] EVI RS[ EFPI XS SFXEMR =SY8YFI TIVWSREPMXMIW ERH -RWXEKVEQ promoters) without a formal education. More and QSVI TISTPI GER ĆźRH SYX EFSYX WIVZMGIW ERH TVSHYGXW through online portfolios and business websites.

However, the people that truly thrive are the ones that can market themselves both online and in person. In the past decade or so, many people have made an added effort to improve their social skills online while forgetting to maintain their social skills in person. .SF LYRXMRK XIGLRMUYIW [MPP GSQI JYPP GMVGPI [LIR NSF seekers are able to evolve with technology to employ self-marketing and networking skills both online as well as in person.

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Mobike è una piattaforma di bike-sharing lanciata a Firenze negli ultimi mesi che mira a ridurre l’inquinamento atmosferico e a risolvere il problema dei collegamenti a corto raggio all’interno della città.

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Photos by Noah Gouldhauss

Mobike is a bike-sharing platform that was introduced in Florence this year.

It seeks to reduce air pollution and to reduce the difficulty of short-distance travels within the city center.

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STORIA E CENNI Mobike è la prima piattaforma di bike-sharing del mondo che non richiede postazioni fisse e utilizza una tecnologia di bloccaggio intelligente. Mobike è arrivata a Firenze nel mese di luglio 2017 e dopo 5 mesi ci sono più di quattromila biciclette che circolano in tutta la città. Mobike è stata fondata e dal gennaio 2015 è di proprietà di Beijing Mobike Technology. In soli due anni, Mobike si è espansa per operare in 160 città all’interno della Cina; a Singapore; a Manchester, Regno Unito; e a Firenze e Milano, Italia.

Al momento Mobike non è ancora disponibile negli Stati Uniti. In città come New York e Jersey City sono già attivi servizi molto diffusi come Citibike ma ci sono dei costi fissi o delle tariffe annuali, mentre Mobike richiede solo il costo dell’utilizzo singolo. Oltretutto il sistema attuale di Mobike viene messo in forte discussione negli Stati Uniti per via di una funzione antifurto che dà una scossa elettrica a chiunque cerchi di rubare una bicicletta bloccata. Ci sono opinioni diverse sul merito di questa funzione che bloccano per adesso l’approdo di Mobike negli Stati Uniti.

DESIGN E FUNZIONE Mobike è stato creato non solo per aiutare l’ambiente, ma anche per risolvere il problema per chi rimane bloccato da qualche parte che è un po’ troppo lontano a piedi, ma non abbastanza da prendere un taxi, Uber, servizio automobile o cose del genere.

Ci sono tre diversi tipi di Mobike: Classic, Lite (Leggera), e Seconda Generazione. La differenza tra la versione classica e la versione leggera è nel titolo - il peso è diverso.

Inoltre, Mobike Lite ha un cestino in alluminio nella parte anteriore, mentre quella classica non lo ha. La seconda generazione non è ancora diffusa ma si dice che abbia un cavalletto di alluminio in contrapposizione a quello di plastica dura che hanno invece le due versioni attuali.

Per utilizzare una Mobike bisogna scaricare l’applicazione gratuita dall’AppStore Apple o da Google Play. Dopo aver scaricato l’applicazione, Mobike chiede agli utenti di creare un account e registrarsi con il loro numero di telefono e numero di passaporto di identificazione mobile per gli utenti non cinesi. Dopo aver creato un account e averlo registrato con successo, si può iniziare a pedalare. L’applicazione utilizza la posizione dell’utente e la tecnologia di localizzazione in bici per aiutarvi a trovare la baci più vicina. All’interno dell’app, è possibile selezionare la bici che si vuole prenotare per 15 minuti in modo che nessun altro possa prenderla. Una volta arrivati alla bici si esegue la scansione del codice QR sulla bici con il telefono e la bici produrrà tre suoni brevi e un fruscìo, che significa che la bici è stata sbloccata.

Una volta aperta, si può pedalare per tutto il tempo che si desidera, e parcheggiare, in sostanza, ovunque si desideri.

Mobike specifica che le biciclette dovrebbero essere parcheggiate nelle Mobike Preferred Locations (MPL) o qualsiasi altro punto di parcheggio pubblico. Quando si arriva a destinazione e si parcheggia la bici, è sufficiente far scorrere la serratura ed i dettagli del viaggio si presentano sullo smartphone.

BACKGROUND Mobike is the first bike-sharing service to offer a dockfree parking system thanks to an intelligent lock system.

It was introduced in Florence in July 2017 and now counts over 4,000 bikes in the city. The company was founded by Beijing Mobike Technology in January 2015, and in just two years its services have expanded to over 160 cities within China as well as in Singapore, Manchester in the UK, and Florence and Milan in Italy.

BIKE DESIGN AND FUCTIONALITY Mobike was created to not only reduce pollution but to fulfill the travel gap for getting to places too far to reach on foot but too close for a cab or car service. There are currently three types of Mobikes: Classic, Lite, and Second Generation. The differences are indicated by these names that each stand for varying weights. The Lite version has an additional aluminum basket that the Classic doesn’t, and the Second Generation that has yet to be released is said to have a more advanced and wear-proof kickstand.

To access Mobike, it’s sufficient to download the free app and create an account, which requires a phone number and passport ID for non-Chinese users. The app tracks the user’s position, signals the nearest available bikes, and allows users to reserve bikes for up to 15 minutes. To start a ride, users can scan the QR code and after emitting a brief warning beep the bike is unlocked and can be used at the rider’s leisure and parked in either Mobike Preferred Locations or in any public parking space. To lock the bike, it’s as simple as closing the lock handle and verifying the rental details on the app.

COST It’s free to download the app. Mobike requires a refundable deposit for the first ride. The base cost is 50 eurocents for every 30 minutes of usage, and riders can refill/top up their account credit as they wish. Credit never expires, and riders also have the option of choosing Mobike passes

COSTO L’applicazione Mobike è gratuita in App Store e nel negozio di Google Play, tuttavia c’è un deposito rimborsabile per la prima corsa. La tariffa base è 50 centesimi ogni 30 minuti e gli utenti possono ricaricare i propri account quando

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vogliono. I crediti non scadono mai e c’è anche la possibilità di acquistare i pass che hanno varie durate e consentono corse illimitate di due ore nel periodo selezionato. Una volta superate le due ore di una corsa effettuata con il pass, le tariffe standard vengono applicate al costo totale. Un grafico completo e la descrizione è disponibile all’interno della pagina delle FAQ sul sito web Mobike.

COME SI SENTONO LE PERSONE SU MOBIKE? Dopo aver fatto alcune ricerche, abbiamo deciso di uscire e condurre un paio di interviste con alcuni utenti Mobike.

Per svolgere le nostre interviste, abbiamo fatto ai nostri intervistati otto domande: • Quanto spesso usi Mobike?

• È facile da usare?

• Quanto costa?

• È affidabile?

• Cosa ti piace e/o ti piace maggiormente di Mobike?

• L’app funziona bene?

• Ti capita mai di avere problemi a trovare una bici?

• Prevedi eventuali effetti negativi della Mobike sulla città di Firenze?

I nostri colloqui erano con due studenti: uno di FUA, Cameron Cipolla, e uno dell’Università di Firenze, Emelina Virga:

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valid for varying lengths. Passes allow for unlimited rides of two hours each, after which regular time-based charges are applied. For updated costs and regulations, it’s important to review the FAQ section of the Mobike webiste.

REAL REACTIONS TO MOBIKE After initial research on Mobike services and regulations, we conducted a few interviews with real Mobike users who responded to eight questions: • How often do you use Mobike?

• Is it easy to use?

• Tell us about the cost.

• Is it reliable?

• What do you like most about Mobike?

• How efficient is the app?

• Do you ever experience difficulty finding a bike?

• Do you foresee any negative effects of Mobike on Florence?

Our interviewees were Cameron Cipolla, an FUA student, and Emelina Virga, a student from the local Italian university in Florence.

Emelina: “Mobike è senz’altro affidabile e facile da usare.

Se sei fuori città forse ci metti più tempo a trovare le bici ma in centro ci vogliono al massimo cinque minuti”. Le impressioni di Emelina erano per la maggior parte positive ma in risposta all’ultima domanda ha condiviso questo pensiero: “Anche se Mobike ha un basso impatto sull’ambiente, potrebbe influire sul turismo perché molti turisti si rendono conto che possono vedere più zone della città in maniera autonoma e a costi bassi. Insieme al problema ricorrente del degrado urbano, forse questo aspetto di Mobike sarà percepito negativamente col tempo”.

Anche la studentessa di FUA Cameron Cipolla ha espresso commenti positivi su Mobike. “Adoro Mobike e la sua facilità di utilizzo. Mi piace che il parcheggio non sia legato a una stazione fissa, ed è comodo soprattutto per le donne quando rientrano a casa la sera. E’ un nuovo modo per esplorare la città e soprattutto divertente”. In risposta all’ultima domanda, Cameron ha continuato a spiegare che “l’unica nota negativa di Mobike sono le bici stesse.”

Il problema principale che ha sottolineato sono le gomme sottili e la difficoltà di guida sui sanpietrini. Ogni tanto quando c’è poco segnale l’applicazione si blocca e rallenta lo sblocco della bici. Dato che Firenze è già complicata da attraversare con le automobili, chissà se con l’aumento di utenti diventerà difficile anche andare in bici”.

“Mobike is definitely reliable and easy to use. If you are out of the city it may take a little bit longer to find a bike, but if you are within the city center, it will take no longer than 5 minutes,” said Emelina. Although Virga had mostly positive comments about her experience with Mobike, in response to the last question that was asked, she did share a downside to Mobike: “Mobike does little to negatively impact the environment but it is changing the tourist industry. Tourists are realizing they can see more of the city for a small price and become more autonomous. This might be seen as a negative thing in addition to degradation, obviously with time.”

Carmen also had positive things to say: “I love Mobike, and I love that it is so easy. I like that you do not have to walk to a certain point to a get a bike and return it there.

As a woman, this is very convenient when returning to my apartment later in the evening. I feel that it’s a new way to explore the city, and it’s really fun.” In terms of any negative perceptions, Carmen mentioned the bikes themselves. The bike tires are on the thinner side and it can get difficult to drive over cobblestone streets. “Also, there will be times when the app will glitch and it can take you a long time to unlock your bike, especially if you don’t have very good cellular service. It is hard to get around Florence with any vehicle, so if many people start using Mobike it may get even more difficult to ride through Florence,” Carmen shared.

CONCLUSIONE Complessivamente, nonostante alcuni difetti della piattaforma bike-sharing, Mobike sembra avere un impatto positivo sulla città di Firenze. Sulla base della qualità del servizio e di come le persone hanno reagito a questa iniziativa, concludiamo che Mobike sarà in giro per parecchio tempo.

CONCLUSION Overall, Mobike seems to contribute a positive impact on the Florentine cityscape despite some minor issues experienced by users. Based on the app quality and how users have been responding to this new initiative, it looks like Mobike is here to stay.

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Interview with a Revolutionary Woman: The Kunda Project

By Blending Staff

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What is the project “Kunda La Vagina” about?

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Who is involved in this project?

Why is she called Kunda?

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FACEBOOK: WWW.FACEBOOK.COM/KUNDAWOMENSCOMMUNITY FACEBOOK ITALIA: WWW.FACEBOOK.COM/KUNDAITALIA YOUTUBE: WWW.YOUTUBE.COM/KUNDALAVAGINA INSTAGRAM: KUNDA_LAVAGINA CONTACT INFORMATION: INFO@KUNDALAVAGINA.COM WWW.KUNDALAVAGINA.COM

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LITERATURE

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WOMEN WRITERS IN ITALY Two Revolutionary Voices in Literature

By Chrystalla Christodoulou

W

hen trying to conceptualize the connection between literature and revolution, the relationship of parent and child comes to mind. A child cannot come into being without the parent, and a person becomes a parent only when there is a child. In a parallel way, revolution and the written word seem to exist only with and because of the other. We write when we are in need of a revolution, or when we are in the midst of one, when we are trying to make sense of one. Likewise, it seems impossible for a revolution to take place without its purpose being examined, supported or negated through literary analysis.

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QYWX I\MWX MR XLI [SVPH [MXLSYX LIV ;LMPI WLI YRHSYFXIHP] VIETW XLI WYGGIWWIW SJ LIV FSSOW JMRERGMEPP] WLI VINIGXW XLI KPSV] SV JEQI XLEX WS QER] EVXMWXW WTIRH XLIMV IRXMVI PMZIW TYVWYMRK -J XLEX MW RSX VIZSPYXMSREV] MXWIPJ RSX QYGL MW *IVVERXI MW FIWX ORS[R for her 2IETSPMXER 2SZIPW, a series of four FSSOW XLEX I\TPSVI JVMIRHWLMT FIX[IIR X[S [SQIR JVSQ GLMPHLSSH XS EHYPXLSSH -R XVEHMXMSREP PMXIVEXYVI JIQEPI JVMIRHWLMT MW SJXIR HITMGXIH EW X[S HMQIRWMSREP JPMQW] ERH TIXX]

“BORN IN DIFFERENT COUNTRIES OVER A CENTURY APART, ELIZABETH BARRETT BROWNING AND ELENA FERRANTE ARE STILL INEXTRICABLY CONNECTED, AS BOTH WERE REVOLUTIONARY WOMEN AUTHORS WHO LIVED IN AND WROTE ABOUT ITALY.”

Photos by Noah Gouldhauss

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F A L L W I N T E R 2 0 1 7 - 45

LITERATURE

DISRUPTING WINE TRADITIONS Apicius Alum Devin Parr on the Next Revolutions in the Wine Industry By the FUA Alumni Association

DEVIN WAS RECENTLY NAMED ONE OF WINE ENTHUSIAST’S “TOP 40 UNDER 40” TASTEMAKERS IN THE WINE INDUSTRY, AND WE CAUGHT UP WITH HER TO FIND OUT WHAT SHE HAS BEEN UP TO, AND MORE IMPORTANTLY, WHERE SHE IS GOING NEXT

Photo by Scott McDermott

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FUA and Apicius alumna Devin Parr defines herself as So-Cal wine gal, a culinary enthusiast, an aspiring ninja, and the mother of two boys, two Shih-Tzus, and one grown man, who, teasing aside, is her very supportive and capable husband.

Though she grew up between Toronto and New York City, Devin ended up at UC San Diego for college. It was there that her love affair with Southern California began, and after completing the wine expertise program at Apicius International School of Hospitality in 2007 - 2008, studying under professors such as Massimo Coppetti and Lapo Bartalesi, this love affair was what led her to return there in 2015 to serve as the Director of Marketing for Temecula Valley Southern California Wine Country.

What made you decide to come to Florence to study wine at Apicius? Why wine? %JXIV KVEHYEXMRK JVSQ 9'7( - QSZIH XS 0% ERH FIKER E GEVIIV MR ZMHIS KEQI TYFPMG VIPEXMSRW &YX WM\ ]IEVW MRXS MX - LEH XLMW MXGL] JIIPMRK XLEX WSQIXLMRK [EW QMWWMRK - [EWRĆ…X YRLETT] VIEPP]Ć? - NYWX ORI[ XLIVI [IVI SXLIV XLMRKW MR Q] PMJI XLEX FVSYKLX QI KVIEX NS] 3RI SJ XLSWI XLMRKW [EW GSSOMRK - LEH KVS[R YT MR XLI OMXGLIR MRWTMVIH F] Q] KVERHQSXLIV ERH Q] QSXLIV [LS XEYKLX QI WSQI SJ Q] QSWX MQTSVXERX GYPMREV] ERH PMJI PIWWSRW - FIKER PSSOMRK EX GYPMREV] WGLSSP EW ER STXMSR %X XLI WEQI XMQI - EPWS LETTIRIH XS FI VIEHMRK E FSSO GEPPIH Ćˆ,IEX Ɖ [VMXXIR F] &MPP &YJSVH [LMGL HIWGVMFIH E KEWXVSRSQMG PMJI MR -XEP] ERH Q] JEXI [EW WIEPIH - FPEQI ERH XLERO &MPP JSV XLI XYVR Q] PMJI [EW EFSYX XS XEOI - VIWMKRIH JVSQ Q] NSF EX )HIPQER MR 0SW %RKIPIW ERH IRVSPPIH EX %TMGMYW -RXIVREXMSREP 7GLSSP SJ ,SWTMXEPMX] 1] QSQ Ć˝I[ SYX [MXL QI XS LIPT QI QSZI MRXS Q] PSZIP] PMXXPI ETEVXQIRX SR &SRMJEGMS 0YTM 8LSWI [IVI WSQI QEKMGEP HE]W ɸ ɸ ;LMPI WXYH]MRK - JIPP JEV QSVI MR PSZI [MXL XLI [MRI GPEWWIW - [EW XEOMRK XLER XLI EGXYEP GSSOMRK GPEWWIW WS - XVERWMXMSRIH XS XLI [MRI I\TIVXMWI GYVVMGYPYQ ;MRI XS QI LEW EP[E]W FIIR EFSYX EPP XLI XLMRKW XLEX LMX QI MR XLI LIEVX Ć JEQMP] ERH WXSVMIW ERH XVEHMXMSRĆ?XLI IEVXL KVMX -XĆ…W FSXL TSIXV] ERH WGMIRGI ERH ZIV] ZIV] EGEHIQMG -XĆ…W FIIR NYWX WL] SJ XIR ]IEVW WMRGI - FSEVHIH XLEX TPERI XS -XEP] ERH - LEZI RIZIV SRGI VIKVIXXIH XEOMRK XLEX PIET

ɸ Tell us about your experience as the Wine Country Marketing Director for Visit Temecula Valley and the Temecula Valley Winegrowers Association. What are some SJ XLI QSWX I\GMXMRK EWTIGXW SJ XLI NSF# 'LEPPIRKIW#ɸ ɸ - GSRWMHIV Q]WIPJ I\XVIQIP] PYGO] XS LEZI XLI TSWMXMSR XLEX - HS - VITVIWIRX ER I\XVESVHMREV] VIKMSR JYPP SJ TISTPI ERH TIVWSREPMXMIW [LS TSYV XLIMV LIEVXW ERH WSYPW MRXS QEOMRK HIPMGMSYW XST UYEPMX] [MRIW ERH GVIEXMRK QIQSVEFPI I\TIVMIRGIW JSV [MRI PSZIVW ERH XVEZIPIVW EPMOI -XĆ…W ER I\GMXMRK VSPI FIGEYWI MX WTERW XLI [SVPH SJ [MRI XSYVMWQ XLVSYKL :MWMX 8IQIGYPE :EPPI] Ć YRHIVWXERHMRK XLEX [MRI MW E QENSV TMPPEV MR XLI QMPPMSR XSYVMWQ MRHYWXV] MR 8IQIGYPE :EPPI] Ć É¸EW [IPP EW XLI [SVPH SJ UYEPMX] KVETI KVS[MRK ERH [MRIQEOMRK XLVSYKL XLI 8IQIGYPE :EPPI] ;MRIKVS[IVW %WWSGMEXMSR ɸ 8LI QSWX I\GMXMRK EWTIGX SJ Q] NSF MW KIXXMRK XS VITVIWIRX EFSYX HMJJIVIRX [MRIVMIW [MXLMR XLI VIKMSR IEGL [MXL HMJJIVIRX TLMPSWSTLMIW ERH YRMUYI ZEPYI TVSTSWMXMSRW ERH [SVOMRK GPSWIP] [MXL XLIQ EPP XS XIPP XLI WXSV] SJ 8IQIG YPE :EPPI] 7SYXLIVR 'EPMJSVRME ;MRI 'SYRXV] EW E [LSPI )ZIV] HE] MW GSQTPIXIP] HMJJIVIRX JVSQ XLI RI\X 3HHP] IRSYKL LS[IZIV XLMW MW EPWS XLI KVIEXIWX GLEPPIRKI SJ Q] TSWMXMSR -XĆ…W PMOI LEZMRK HMJJIVIRX FSWWIW 8LERO +SH JSV [MRI VMKLX#

“WINE TO ME HAS ALWAYS BEEN ABOUT ALL THE THINGS THAT HIT ME IN THE HEART – FAMILY AND STORIES AND TRADITION‌THE EARTH...GRIT.â€?

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Courtesy of Devin Parr

F A L L W I N T E R 2 0 1 7 - 47

ALUMNI SYXPIXW QEOMRK [MRI PIWW EFSYX NYWX WGSVIW ERH JYXYVIW ERH QSVI TEVX SJ E FMKKIV PMJIWX]PI TMGXYVI Ɓ EVI EPP WTEGIW XS [EXGL - GSYPH KS SR - KIX EPP ƼVIH YT XEPOMRK EFSYX XLMRKW PMOI XLMW What is one thing you learned in Florence, about wine or something else, that has stuck with you throughout the years?

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courtesy of devin parr

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COURTESY OF DEVIN E V IIN EV N PARR PA PAR P AR A RR

- PIEVRIH XLI XVYI ZEPYI SJ KIRYMRI LSWTMXEPMX] [LMPI MR -XEP] -XEPMERW LEZI QEWXIVIH XLMW EVX FIXXIV XLER ER]SRI MR XLI [SVPH ;LIVIZIV ]SY KS ]SY EVI XVIEXIH EW JEQMP] [LMGL GVIEXIW QIQSVMIW ERH QIERMRKJYP I\TIVMIRGIW XLEX WXMGO [MXL ]SY JSV E PMJIXMQI ;LIXLIV MXƅW FIMRK KVIIXIH [MXL E WQEPP KPEWW SJ 4VSWIGGS [LMPI ]SY [EMX JSV ]SYV XEFPI SV IRNS]MRK E KPEWW SJ :MR 7ERXS ERH FMWGSXXM [MXL XLI GLIJ PSRK EJXIV XLI VIWXEYVERX LEW GPSWIH IEGL QSQIRX JIIPW LERH TMGOIH NYWX JSV ]SY ɸ ɸ What advice do you have for an Apicius student studying wine today?

8EOI IZIV] STTSVXYRMX] EZEMPEFPI XS ]SY [LMPI WXYH]MRK XS EXXIRH XVEHI XEWXMRKW ERH [MRI IZIRXW 8LSWI STTSVXYRMXMIW GER FI LEVH XS GSQI F] IZIR [LIR ]SY EVI E QIQFIV SJ XLI XVEHI ]SYVWIPJ - VIGEPP EXXIRHMRK &IRZIRYXS &VYRIPPS %RXITVMQE 'LMERXM 'PEWWMGS :MRMXEP] ER MRGVIHMFPI *VERGMEGSVXE XEWXMRK EPP [LMPI E WXYHIRX EX %TMGMYW 8LIWI [IVI PMJI GLERKMRK [MRI I\TIVMIRGIW JSV QI ERH - GERƅX WE] XLSWI STTSVXYRMXMIW TVIWIRX XLIQWIPZIW XS QI XLEX SJXIR ER]QSVI IZIR [MXL ]IEVW SJ MRHYWXV] I\TIVMIRGI YRHIV Q] FIPX %PWS - ORS[ MXƅW LEVH FYX IQFVEGI XLI WTMXXSSR 7IVMSYWP] -XƅW ]SYV JVMIRH ɸ

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Remnants: Transforming Discourse through Photography

MISTY, 16 YEARS SINCE ASSAULT, 2017

INTERVIEW BY THE STUDENTS OF THE FUA FALL 2017 GALLERY AND EXHIBITION CURATING COURSE

1IPMWWE /VIMHIV MW ER %QIVMGER TLSXSKVETLIV [LSWI [SVO JSGYWIW SR KIRHIV FEWIH ZMSPIRGI 8LMW WIQIWXIV /VIMHIV Ɓ E *PSVIRGI 9RMZIVWMX] SJ XLI %VXW EPYQRM Ɓ VIXYVRIH XS *9% JSV XLI I\LMFMXMSR SJ LIV SRKSMRK TVSNIGX XMXPIH 6IQRERXW [LIVI WLI MRZIWXMKEXIW XLI ZEVMSYW [E]W MR [LMGL XLI %QIVMGER NYWXMGI W]WXIQ HIEPW [MXL XLI ZMGXMQW SJ WI\YEP ERH HSQIWXMG EFYWI 7LI LEW HMZMHIH XLI [SVO MRXS ƼZI WIGXMSRW -R ,IV 3[R ,SQI 8LI /MXW 8LI &EGOPSK 8LI 0EFW ERH 8LI %JJIGXIH 6IQRERXW HIFYXIH MR *PSVIRGI MR E X[S TEVX IZIRX ƼVWX SR 2SZIQFIV EX %TIVM%VX EX +ER^S *9%ƅW 'VIEXMZI 'YPMREV] 0EF SR ZME HIƅ 1EGGM V ERH XLIR EX *9%ƅW KEPPIV] WTEGI 'SVVMHSMS *MSVIRXMRS SR 2SZIQFIV At this second encounter, Florence 'MX] 'SYRGMP[SQER JSV ;IPJEVI ,IEPXL ERH +IRHIV 4SPMXMGW 7EVE *YREVS EW [IPP EW 8IVIWE &VYRS XLI 4VIWMHIRX SJ XLI %WWSGME^MSRI %VXIQMWME ERXM ZMSPIRGI GIRXIV JSV [SQIR ERH GLMPHVIR [LS WTSOI XS XLI MQTSVXERGI SJ WSPMHEVMX]

ERH STIR HMWGSYVWI EQSRK individuals, institutions and local KSZIVRQIRXW EW E [E] JSV[EVH XS[EVHW E ZMSPIRGI JVII JYXYVI JSV EPP [SQIR ERH GLMPHVIR -R /VIMHIVƅW TLSXSKVETLW [LMGL MRGPYHI FPERO OMXW ERH FEGOPSKW SJ VETI OMXW E PMKLX MW WLIH SR XLI GSQTPMGEXIH ERH MRZEWMZI TVSGIWW SJ VITSVXMRK VETI SV EWWEYPX ERH IQTLEWM^IW XLI I\TIVMIRGI SJ WYVZMZSVW [LIR XLI] JIIP XLI W]WXIQ [LMGL XLI] XVYWXIH XS TVSXIGX XLIQ LEW RSX HSRI WS /VIMHIV EPWS TLSXSKVETLW XLI WYVZMZSVW XLIQWIPZIW 'SRXVEV] XS XLI ƽE[IH W]WXIQ XLIMV TSVXVEMXW LEZI SZIVXSRIW SJ LIEPMRK ERH IQTS[IVQIRX -R XLI ƼKLX EKEMRWX ZMSPIRGI XS[EVHW [SQIR TLSXSKVETL] MW ER MRXIVIWXMRK XSSP -R XLMW GSPPIGXMSR /VIMHIV EXXIQTXW XS VIƽIGX LS[ XLI TEMR GER GSRXMRYI EJXIV ER EWWEYPX XLVSYKL XLI W]WXIQEXMG HMWQMWWEP SJ WI\YEP ERH KIRHIV FEWIH ZMSPIRGI 4IVLETW QSVI MQTSVXERXP] F] TLSXSKVETLMRK XLIWI TPEGIW ERH JEGIW /VIMHIV [SVOW XS VIQSZI XLI XEFSS XLEX [IMKLW HS[R HMWGYWWMSRW EVSYRH WI\YEP EWWEYPX

%W XLI TLSXSKVETLIV WLEVIW XLMW [SVO HSIW RSX EMQ XS XVMKKIV SV GVIEXI E RIKEXMZI VIWTSRWI VEXLIV MX I\MWXW EW TLSXSKVETLMG IZMHIRGI SJ XLI VIEPMX] QER] WYVZMZSVW JEGI

JENNY, 18 YEARS SINCE ASSAULT, 2016 F A L L W I N T E R 2 0 1 7 - 49

ALUMNI

When did you get started in photography?

MK: - [EW E TLSXSKVETL] QENSV XLVSYKLSYX YRHIVKVEH EX XLI 9RMZIVWMX] SJ %OVSR MR 3LMS ERH GYVVIRXP] - EQ KIXXMRK Q] QEWXIVƅW HIKVII EX XLI 9RMZIVWMX] SJ -S[E - XSSO EPP FIKMRRIV TLSXSKVETL] GPEWWIW EX *9% MR Q] JVIWLQER ]IEV SJ GSPPIKI *SV Q] XL FMVXLHE] - KSX E &EVFMI TSPEVSMH GEQIVE ERH FIGEQI LSSOIH SR MX - UYMX IZIV]XLMRK IPWI Ɓ HERGI IXG MR Q] life and focused solely on TLSXSKVETL]

EHHVIWW JSV - [EW IMXLIV MKRSVIH SV XSPH RS -X XSSO EPQSWX E ]IEV XS KIX PIX MRXS SRI IZMHIRGI VSSQ - [EW OMGOIH SYX SJ XLI -S[E 7XEXI 4SPMGI (ITEVXQIRX ERH RIZIV IZIR KSX MRXS XLI IZMHIRGI VSSQ FIGEYWI XLIVI [IVI SZIV OMXW [EMXMRK XS FI TVSGIWWIH 4ISTPI Ɓ PMOI XLI GLMIJ SJ TSPMGI Ɓ [SYPH SJXIR XV] XS XIPP QI XLI] HMHRƅX LEZI EGGIWW XS XLI IZMHIRGI VSSQ [LMGL MW RSX E ZIV] FIPMIZEFPI PMI

What were your experiences studying in Italy like? Have XLI] MRƽYIRGIH ]SYV GYVVIRX photography projects at all?

1] I\TIVMIRGI [EW YRJSVKIXXEFPI - WXE]IH JSV IMKLX QSRXLW .ERYEV] XS %YKYWX *PSVIRGI [EW FIEYXMJYP ERH - XSSO MRGVIHMFPI GPEWWIW XLEX WLETIH Q] TVEGXMGI -ƅZI FIIR FEGO UYMXI E JI[ XMQIW - EQ EP[E]W HVE[R XS *PSVIRGI [LIR SR ZEGEXMSR - EQ I\GMXIH XS WXEVX E GSRZIVWEXMSR EFSYX XLI GYVVIRX WMXYEXMSR VIKEVHMRK WI\YEP EWWEYPX MR *PSVIRGI

GRACE, 3 YEARS SINCE ASSAULT, 2016

- FIKER GSRXIQTPEXMRK ER MHIE FMK IRSYKL XS GVIEXI GLERKI WMRGI - [EW ER YRHIVKVEHYEXI WXYHIRX - GEQI XS MX REXYVEPP] EJXIV FIMRK TIVWSREPP] WI\YEPP] EWWEYPXIH 8LI TVSGIWW SJ HIZIPSTMRK XLI MHIE JSV XLI TVSNIGX XS EGXYEPP] WXEVXMRK XSSO EX PIEWX E ]IEV ERH E LEPJ How long did you work on the Remnants project?

- EQ GYVVIRXP] WXMPP [SVOMRK MR MX FYX FIKER MX MR XLI WYQQIV SJ - [MPP EPWS I\TERH MX MRXS XLI -XEPMER W]WXIQ [LMPI ZMWMXMRK LIVI

,S[ HMH ]SY ƼRH WYFNIGXW FSXL the individuals in the portraits and the locations from “In Her Own Home”?

1SWX 97 GMXMIW LEZI E TSPMGI PSK SR XLI MRXIVRIX [MXL TSPMGI VITSVXW ERH EHHVIWWIW [LMGL MW LS[ - JSYRH XLI LSYWIW - KSX YT VIEPP] IEVP] XS EZSMH VYRRMRK MRXS ER]SRI ERH TLSXSKVETLIH SR XLI WXVIIX *SV XLI WYVZMZSVW - WXEVXIH [MXL KSMRK XS [SQIRƅW WLIPXIVW FYX - VIEPM^IH EWOMRK XLIQ XS FI TEVX SJ ER EVX TVSNIGX [EW RSX ETTVSTVMEXI 7S - QEHI E TSWX SR *EGIFSSO ERH EWOIH TISTPI XS WLEVI MX ERH GSRXEGX QI

;LEX [EW XLI QSWX HMƾGYPX aspect of this project?

50

- EQ I\TERHMRK Q] [SVO MRXS XLI -XEPMER W]WXIQ SJ HIEPMRK [MXL WI\YEP EWWEYPX ERH [MPP FIKMR TLSXSKVETLMRK WYVZMZSVW - LEZI E GSRXEGX EX 9RMZIVWMX] SJ &SPSKRE JSV ERGMIRX (2% XIWXMRK 8LMW TVSNIGX GSYPH KS SR JSVIZIV FYX XLIVI [MPP FI E TSMRX [LIVI MX [MPP RIIH XS IRH -X XEOIW EPQSWX E ]IEV SJ WIRHMRK IQEMPW ERH QIIXMRK TISTPI XS KIX TIVQMWWMSR XS XEOI TMGXYVIW What kind of feedback have you received thus far from Remnants? Were they responses that you were expecting?

How long did you consider this subject matter as a possible exhibition before starting the project?

- LEH E HMƾGYPX XMQI KIXXMRK XLI TSPMGI XS GSSTIVEXI ERH STIR XLIMV HSSVW - WIRX EFSYX IQEMPW IZIV] HE] GSRXEGXMRK IZIV] TSPMGI TVIGMRGX MR XLI GSYRXV] - GSYPH ƼRH ER IQEMP

You have decided to continue this work in Italy. How has that unfolded?

-ƅZI VIGIMZIH QSWXP] TSWMXMZI JIIHFEGO 8LIVI HIƼRMXIP] LEZI FIIR XMQIW [LMPI QEOMRK XLI [SVO XLEX - JIPX - [EW HSMRK WSQIXLMRK WSVX SJ TVSFPIQEXMG ERH [SYPH LEZI XS WXIT FEGO ERH EREP]^I XLI QSVEP ERH IXLMGEP MWWYIW SJ MX ERH EHNYWX XLI QIXLSHSPSK] %PP MR EPP XLIVI LEZI FIIR RS FEH VIEGXMSRW NYWX KSSH GSRZIVWEXMSRW 4VMZEG] ERH WEJIX] EVI XLI QEMR GSRGIVRW [LIR QEOMRK XLI [SVO -ƅZI JSYRH XLEX E GSQQSR VIEGXMSR XS HSQIWXMG EWWEYPX MW XLI UYIWXMSR ƈ;L] HSRƅX XLI] NYWX PIEZI LMQ#Ɖ 8LI] SJXIR GERƅX PIEZI FIGEYWI SJ ƼRERGMEP HITIRHIRGI GLMPHVIR SV FIGEYWI XLI] EVI MR PSZI ERH FIPMIZI XLIMV EFYWIV [MPP GLERKI 8LMW MW [L] [I EVI LEZMRK XLMW GSRZIVWEXMSR XS GLERKI XLEX UYIWXMSRW XLEX [I EWO MRWXIEH SJ XV]MRK XS GLERKI XLI ERW[IVW XLEX YRJSVXYREXIP] LEZIRƅX ERH EVI RSX PMOIP] XS GLERKI YRPIWW [I VIHMVIGX XLI GSRZIVWEXMSR What do you hope people will take away from this exhibition?

-J XLMW [SVO WTEVOW IZIR NYWX SRI TVSHYGXMZI GSRZIVWEXMSR -ƅZI HSRI [LEX - WIX SYX XS HS

ANGELA, 21 YEARS SINCE ASSAULT, 2016

Florence University of the Arts

encourages students

to keep

a MIND & BODY

balance

LA PALESTRA OFFERS FREE CLASSES WITH GYM EQUIPMENT FOR FUA STUDENTS

LA PALESTRA - FUA Corso Tintori, 21 - FLORENCE contact: sld-studentservices@fua.it