Blending Magazine Spring 2014

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YesToDay ...Not just the Renaissance

Paying homage to Italy's recent past and merging the contemporary present.

ROBERTO CAVALLI FLORENCE’S CONTEMPORARY DESIGNER YELLOW108 SUSTAINING THE COMMUNITY THROUGH ETHICAL FASHION GREENVILLE TECHNICAL COLLEGE CULINARY CHEFS AS FOOD COMMUNICATORS THE FIRST WOMEN VOTERS IN ITALY INTERVIEW WITH LUCIANA SANDRUCCI PEIGON FUA ALUMNI STRIKE OUT IN INTERNATIONAL FASHION

Ar t s e h t of y t i s r nive G U e N I c n N e r R Fl o LE A

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s e i d u t s e Wher into . s e c n e i m r r e o p f s x e n a d l tr r o w l a e r 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.

FLY* Fashion Loves You supports the FAST fashion academics and collaborates with emerging Italian designers.

INGORDA* Adding a new book to the J School publishing house: FLAIR, featuring the Florentine interior design company with outposts in Milan, Rome, and NYC.

Via dei Macci 85r tel +39055241076

Borgo Pinti 21r tel +390550333174 fly.fashionlovesyou.it

Corso Tintori 21 tel +390550332745 jschoolfua.com

* 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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Blending Magazine is a semesterly publication produced by the students and faculty members of Florence University of the Arts, the academic member of Palazzi Florence Association for International Education.

Semestrale / Semesterly Magazine Reg. Trib. di Firenze n° 5844 del 29 luglio 2011 Anno 4 – Numero 1 – Primavera 2014 / Year 4 - Issue 1 – Spring 2014 Direttore Responsabile / Editor-in-chief Matteo Brogi Caporedattore / Editorial Director Grace Joh

Pubblicità seconda e terza di copertina / Inside Front and Back Cover Advertisement Pages Concept and Design by Paola Carretero, Photographs by Thakorn Jantrachot

Coordinamento editoriale / Managing Editor Federico Cagnucci

Ringraziamenti / Special Thanks To Aldo Fallai, Roberto Cavalli Press, Luisa Bianconi.

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In redazione / Masthead

Editore / Publisher Florence Campus per INGORDA Editore Via Alfonso La Marmora 39 50121 Firenze

Redazione / Copy Editors Lauren Fromin, Jessica Volpe Progetto grafico e impaginazione Graphic design and layout Federico Cagnucci Team di studenti / Student Magazine Teams Led by Federico Cagnucci: Paola Carretero, Lauren Fromin, Vu Nguyen, Stephanie Schneider.

Led by Isabella Martini: Richard Alvarez, Mikaela Fortuny, Andrea Hringsdottir, Ramzi Maalouf, Olga Makarova, Sujani Munamalpe, Brian Potopowicz, Amanda Terbrueggen.

Fotografi / Photographers Adriano Bugliani, Federico Cagnucci, Castagnoli Fotografie Sportive, Lauren Fromin, GTC Student Group, Jerry Lee Ingram, Hannah Jakubek, Lama Kaddura, Bob Krieger, Olga Makarova, Silvia Mancini, Vu Nguyen, David Weiss.

Foto di copertina / Cover Photo By Jerry Lee Ingram Foto retro copertina / Back Cover Photo By David Weiss

Photograph by David Weiss

Sede editoriale / Editorial Headquarters Corso Tintori 21 50121 Firenze Tel. 055-0332745 Stampa / Printer Grafiche Gelli s.r.l., via G. Leopardi, 11 - Calenzano (FI) Il numero è stato chiuso in redazione nel mese di maggio 2014 This issue was completed in May 2014 Copyright © 2014

by Florence Campus, Firenze All rights reserved.

Letter from the Editor 5

Arts Aldo Fallai: Changing the Face of Fashion Photography 6 Arts vs (or “and”) Ads 10 Right Before I Was 12

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The Rippers 13 Collective Writing and the Historical Novel in the Information Age: The SIC method 14

community Trailblazing Italian Women Voters: Luciana Sandrucci 52 Only a Glass of Water: La Misericordia 54

fashion & style Roberto Cavalli: A Contemporary Florentine Emblem 16

Running for a Better Florence: Firenze Vivicittà 56

Beyond the City Walls 20

FUA for the Global Community: Academic Research 57

Yellow108: Write Your Own Story and Make it Yours 24 Backstage Pass: FUA@PittiUomo 28

voices

Pitti Immagine 85 – Rock Me Pitti: Up Close with Antony Morato 30

Local Celebrities: Florentines Today 58

Hipsters and Hippies 33

Sports: A Combination of Passion and Management 60

The Classroom, Revisited 59

A.N.G.E.L.O. – Vintage for Today’s Tastes 37 I Visionari: The Vision Inside Their Frames 38

Yes, Florence 61

alumni FUA Alumni: Graduate Voices Echo into the Present 62

Food Contemporary Perspectives of Italian Gastronomy 40 Apicius Professional Students Tip Off on Cooking Light with Seafood 43 Take Some Time to Get to Know Slow Food 44 Macelleria Falorni: The flavor lies in the history 46

places Times and Faces at Santa Maria Novella 48 Florentine Bridges: Past and Present Unite 50

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PeiGon: Fashion-Forward Accessories 62

The Senses and The News: A Contemporary Pairing 63

Photograph by Adriano Bugliani

Letter from the Editor A creative office is often solicited by other colleagues in search of inspiration.

The Communications and Publishing Office that houses Blending operations is a frequent stop for FUA staff members who are in search of the perfect title or a succinct blurb. Perhaps it’s the aura of brainstorming and collective minds ticking together to streamline an idea. Or the vibrant byproducts, often sacrificed for the sake of streamlining, that emerge like primordial matter from the attempt to tighten a concept. The latter is what we turned to for the Spring Issue, proving that not all creative scraps should remain unused. It was a quiet afternoon when a colleague from the FUA Fine Arts department dropped by for a chat. More precisely, for a title. She mentioned a future exhibition that would host the work of artists who were too young to participate in ground-shaking movements in recent decades. Italy in the 70s and 80s, with its radical architecture movements and fashion industry leaps, for example. The artists would thus examine the events of the recent past, from which they were separated by just a few years of adolescence, schooling, etc. We always leap at the chance to portray Florence in non-Renaissance terms and began discussing possible theme interpretations and titles. Before I Was and Before I Came (to Florence) were tossed around, along with the various philological and dialectic implications of these phrases. At a certain point, our team hit upon YesToDay, a play on a word that sounds like “yesterday” yet also means “yes to today.” The colleague decided on Right Before I Was. And we kept YesToDay, which was too teeming with potential stories to lock up in our creative cabinets. In a city like Florence where the remote past is often cited, an examination of the recent past is undoubtedly beneficial for the general public whether students, visitors, or residents. We interviewed the makers and shakers of today who have consolidated their success in recent decades, such as Roberto Cavalli. We spoke to a female voter who participated in the first elections open to women post-WWII. We asked our student and faculty writers to explore the terms yesterday and today, with varying results. In some instances, it was impossible to erase the traces of the Renaissance monuments, and rightly so. In others, we re-connected with recent FUA alums who are creating bright futures in their respective industries. But most importantly, we were able to (re)affirm that we are constantly making history, and sometimes it takes a few steps backwards instead of one hundred to refocus on the future. Our colleague’s exhibition inaugurated without a hitch. It was, in the end, a different project with a different aim. However, thanks to the brief cross-hybrid between our purposes and hers, we found a wide-reaching message that speaks across disciplines. Without further ado, our issue to you readers with whom we strongly hope to leave a compelling mark upon the cultural landscape of Florence today.

GRACE JOH & FEDERICO CAGNUCCI

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ANDREA HRINGSDÓTTIR

Aldo Fallai

Photographs by ALDO FALLAI

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Changing the Face of Fashion Photography

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Fashion Magazine Project students visited Aldo Fallai’s photography exhibition, From Giorgio Armani to the Renaissance, at Villa Bardini for research purposes related to this issue of the magazine. ur group and course instructor Isabella Martini, in addition to being amazed by the beauty of Villa Bardini, encountered at the entrance none other than Mr. Fallai himself. After an exchange of polite buonasera greetings, Mr. Fallai and an acquaintance asked us about what we were visiting. Upon our reply based on the intent to see the photography exhibition, Mr. Fallai immediately said, “Sono io!” Thus we were not only struck by the villa’s beauty but also starstruck, as we continued a pleasant chat with the renowned photographer and had our photos taken with him.

We continued with a guided visit of the exhibition to learn about Fallai’s work with famed Italian designer Giorgio Armani. The history of their collaboration dates from 1978 and lasted for 28 years. Fallai’s beautifully crisp, unedited black and white photos were on display and we began to enter into the interesting aspects of his career. What truly impressed our group was the powerful and influential message communicated by Arma-

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ni and Fallai, which in turn truly changed the way the world viewed the roles of men and women. Armani clearly had an immense influence due to his world-famous role as a designer. And during the early years of his collaboration with Fallai, the world mostly viewed the woman as a character who stayed at home and raised children, while the men got out and worked to provide financial support for the family. This was a common and longstanding traditionalist view of men and women, yet Armani decided to pose a challenge. Armani and Fallai captured a woman who was completely covered up and wore dress shirts, short leather gloves, manly jackets, etc., had short hair, and read newspapers in two languages. This woman had an ambitious look on her face. She was educated and had freedom. The males were depicted with pajamas, showered with rose petals, and held children’s hands in a show of parenting/ upbringing. The former male/female roles were completely reversed, a daring move was made for the equality of the sexes.

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Armani and Fallai truly changed the way the world viewed the roles of men and women.

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Fallai also had a deep interest in portraying couples in various scenarios depicting balance. In one particular campaign, the male is not shown as the protector of the delicate wife nor does the woman seduce her macho husband. Instead, both are fully and smartly dressed, and the woman goes about her business-like, a step ahead of her partner, what’s conveyed is a sense of total respect and mutual esteem between the two individuals.

Through an extremely meaningful and ambitious collaboration, Fallai and Armani were able to shape a revolutionary iconic message, and eventually share such a message to the entire world. Their start just a few decades ago is a clear answer to the need for a change in the perception of freedom and equality of the sexes that was felt during the 70s and has evolved since: originating from the world of fashion with the aim to influence everyday life, a message which is still valid to this day.

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Arts vs (or “and�)

Ads

TATYANA VALOVA Photographs by LAMA KADDURA

Since its inception and massively since the 1960s, advertising has become a part and parcel of our everyday life and an integral component of developed societies. Some say that in recent years, advertising has become an art form per se.

e can agree or disagree, but it is clear that nowadays it is impossible to imagine contemporary cities without billboards or brochures, and it is also natural to immediately recognize brands at first sight. But what is the connection between advertising and an older form of visual art, such as traditional oil painting? Or better yet, is it possible to establish any connections between them?

This was the question we tried to answer during our visit to the studio of the Italian painter Giuseppe Restano.

Using an unusual painting technique consisting of tracing a glowing line around his subjects, Giuseppe makes his works take on seem-

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ingly 3D forms. Originally from Puglia and a resident of Florence since the early 1990s, his past projects have been devoted to macro details of the worlds of school, sports, nature, etc. His latest enterprise, however, is different from the others. Still working on series, he is attracted to world-famous brands recognizable by everyone. In addition, he pays particular attention to logos that were extremely popular in Italy in the 1970-80s; every Italian from this generation can identify with the images. So far, Giuseppe has created around 50 works. His goal is to complete the series with 100 paintings of different brands.

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artist Giuseppe Restano at his studio.

It is incredible how a small logo can arouse people’s memories or associations. During the studio visit, we were naming the brands at loud: Barbie! Rolling Stones! Playboy! Camel! WWF! Apple! And many others. These images have become a bright link that connects people from one generation to another. We can be from different countries or even continents, we can speak different languages and, of course, we can have totally different cultures and ideologies. We can like advertising or condemn it, but the fact remains: at first sight, the images arrive deep in our minds and we are easily able to recognize them.

Even though some of the images are no longer on the market, they still remain a part of today’s imagination. Thus they simultaneously belong to the past and to the present and have a great influence on people’s lives. Whether we desire it or not, advertising makes us buy things for our homes, for example, and thanks to publicity we let goods enter into our lives where they remain for a long time. By suggesting them to our friends and relatives, we fuel the long chain of brand passing with all of the references this process holds, from one person to other.

Being of two different natures, advertising and art, the two are able to recall memories and shape ideas into society starting from the common ground of the visual field. The ideas can vary, of course, yet the stimuli to set them in motion are the same.

We can like advertising or condemn it, but the fact remains: at first sight, the images arrive deep in our minds...

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F_AIR EXHIBITION: RIGHT BEFORE I WAS

Photographs by SILVIA MANCINI

The final exhibition that took place at Florence Artist in Residence, the gallery space at FUA’s School of Fine Arts, provided one of the first inspirations for Blending Magazine. Entitled Right Before I Was, the exhibition presents three young artists from varying ages and backgrounds. Gaetano Cunsolo, Barbara Esposito, and Lori Lako developed their work starting from considerations of creative movements in Florence that took place in recent decades, right before they were old enough to actively participate in them. The artists’ visual imagery is interpreted as to indicate the contrast, or widening gap, between the recent visionary movements (Archizoom, Superstudio, the Radicals, etc.) and the persistent history and granitic architecture of the city that often leads to a sense of closure and provincialism.

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THE RIPPERS

SCHOOL OF FINE ARTS STUDENTS Works have been selected by Professor Paride Moretti Photographs by PARIDE MORETTI

FUA Foundation Sculpture students have created a project featuring strange creatures who scrounge information and move freely within history. Entitled The Rippers and led by Professor Paride Moretti, the group utilized techniques involving ceramics, salvaged items, and cloth for the artistic production. The origins of the creatures are not clearly known, their features are varied. They prefer to act in complete freedom within their habitat, that is the history of man. The rippers’ power is thus alimented primarily by written pages. They are extremely shy and like to hide the hidden corners of archives and libraries where they can easily raid newspapers and books. In appearance they may resemble evil pests, but scholars may attribute a theme and function based on the role of memory scavengers, as the rippers’ devouring of knowledge helps to clean up the weight of the past. (Paride Moretti) Featured students: Guadalupe Chavez, Brooke Collins, Juanita Gamboa Bonilla, Lama Marwan Kaddura, Alexandra Eva-Marie Kurnet, Chanel Metzler, Cristina Tirado, Liliandra Vivolo.

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Collective Writing and the Historical Novel in the Information Age: The SIC method

Global Perspectives of Journalism instructor Vanni Santoni shares an insider’s perspective of a highly regarded collective writing method he has helped to develop.

A recent published project involved 78 total writers in a plot about the Italian Resistance during the Second World War.

IC indicates a collective writing method and the open community that uses it. The project was first made public on May 12, 2007 at the Fiera del Libro in Turin. In the following years, six short stories and a novel – In territorio nemico, which was published by minimum fax in 2013 with huge commercial and critical success – were completed, with the overall participation of about 135 authors (115 for the novel alone).

The guiding principles of the SIC method were devised through the observation of the pros and cons of many collective writing practices. The most carefully studied cases were the so-called “round-robin” practices (where every part is written by a different author); crowdsourcing writing and novels by Luther Blissett and Wu Ming.

Every practice had its own advantages, but none seemed to be able to fully exploit the potential of teamwork. On one hand, we wanted to overcome the expressive limitations inherent to round-robin writing; on the other hand, to conjugate the creative freedom of crowdsourcing and wiki with the necessity of curbing the natural tendency of authors to control and determine every aspect of their work, which in a collective effort often damages the coherence and effectiveness of the result.

The first innovation introduced was to divide the narration in parts, not only sequences, but characters, places and so on, each one addressed in a specific file or “sheet”.

The second innovation was to divide the participants in two different roles: writers and composers. The latter edit, but don’t write.

They have a regulatory and organizational function, necessary to minimize the problems arising from group work as writers can have a tendency towards egocentrism. Since the composer doesn’t participate in writing, she is impartial, and can tie her judgment to parameters of quality and usefulness.

Each sheet is filled out by a group of three or more writers. The composer collects the individual sheets and “composes” them. The process of composition is the third and main innovation of the SIC method: it consists in the selection of the best, most useful or most coherent parts of each individual sheet, which are then all meshed

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Photo courtesy of VANNI SANTONI

VANNI SANTONI

Vanni Santoni e Gregorio Magini SIC founders

together in a new “final” sheet. When the composer completes a sheet, he forwards it back to the writers for reading.

When all the elements of the story have been written, composed and returned to the writers, the drafting begins, with the same procedure of individual sheets and their composition.

This mechanism ensures maximization of the two main benefits of having “many heads” available:

1. According to a purely quantitative principle, the more material is produced, the more good quality material is produced as well (whichever the quality standard employed). We call this “principle of redundancy”: in group work, it is better to have many different versions of the same thing to choose from, as well as many different options for the development of a story, than relying on a fixed path.

The principle is reflected by the SIC motto: “Tutti scrivono tutto” – no part of the text is ever written by a single person.

2. The second principle is qualitative. When a collective text undergoes a number of rounds of writing, revision, editing, a positive feedback cycle can arise that makes the participants more individually conscious and collectively attuned.

THE GREAT SIC NOVEL With the undertaking of In territorio nemico, which dates from November 2010, the method was modified to handle a much larger group of writers. While the short novels had four to six writers, the Great Novel would have at least fifty – eventually they would be more than twice as many. At first, we asked writers to send us stories and anecdotes of events occurred to their relatives and their acquaintances during World War II in Italy. They could send what they wanted, the only requirement was that they send stories passed down orally and not yet coded by historiography. We outlined a story based on these recounts: a historical drama that tells three parallel stories of an Italian naval officer dispersed after the armistice of September 8, 1943; of his sister, alone and in distress in a Milan sub-

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ject to devastating bombings, eventually becoming a factory worker and later a partisan; and of her husband, who spends the war hiding out in a garret in the countryside where he gradually loses his mind.

The sheets phase was accomplished through a system of reservations: every sheet had between four and eight available slots, depending on its importance. We prepared a staggered schedule for the delivery of the sheets, so that the ADs could handle the production of an average of four final sheets per week. First, we completed the sheets about characters and locations. Then, we focused on the “treatment” – a term borrowed from cinema – which consisted in an elaboration of the story aimed at providing us a detailed specification of every scene of the novel. Lastly, we proceeded to drafting.

The whole work process took fifteen months.

Some stats: 41 “war stories” inspired the plot.

8 composers 78 writers 20 proofreaders, historians and dialect translators 935 individual sheets delivered 170 final sheets: 24 characters, 35 locations, 18 treatments, 93 drafts

...we refused the idea that there is no intermediate territory between the extremes of “high” and “low” literature...

COLLECTIVE WRITING AND THE HISTORICAL NOVEL When, after two years of experimentation, we decided to test the SIC method in this complex endeavor, that is, the production of a novel written by one hundred people, the choice of the historical genre was almost automatic for a number of reasons. We were first and foremost struck by a glaring analogy: if writing a historical novel necessarily involves working with a system of external sources, one could say, taking the suggestion to the extreme, that every historical novel is by definition a form of “collective writing.” On the other hand, the SIC method is based on the creation of a system of literary sources. Indeed, the method leads the writers to a shared narrative vector, by referencing on each step to the final sheets already produced. When the writers complete the characters, the locations and the treatment, they are aligned, and can find the necessary shared vision. But this is not merely a “workflow”: the sheets remain, and during the production of the draft the writers are bound to what has been written. The final sheets become a source system of sorts, and it is not rare to find reworked parts of the sheets in the drafts, sometimes very similar to one another, because the writers quote the “useful” parts of a certain character or location sheet. The sheets are and remain the main focus of the writers during the whole process. The corpus defines the perimeter of the novel, in a way that is not at all dissimilar from how the choice of a certain set of historical sources defines the perimeter of an historical novel.

MEANING OF THE HISTORICAL NOVEL FOR THE CONTEMPORARY READER If one simply enters a bookstore and takes a look at the historical novels shelf, he or she understands that nowadays the genre is entirely inscribed in the category of popular fiction – of the most effusively commercial sort. In 2010 in Italy, the most popular subgenre seemed to be the historical thriller. At the same time, every Italian reader knows that the historical is a genre where scores of great old and new books are located. Faithful to our first declaration of intents (“scrivere innanzitutto un buon libro”), we refused the idea that there is no intermediate territory between the extremes of “high” and “low” literature, and wanted to take advantage of the forked nature of the genre in order to write a book that would be appealing to the average reader, without giving up complex and challenging content.

LITERATURE OF THE RESISTANCE AND THE ADVENTURE NOVEL The choice of the historical period originated another important second-tier motivation: in Italy, the literature of the Resistance – that is, the literature that deals with the armed resistance to nazi-fascism – was for a long time at the center of a debate on the possibility that a book (a novel) could be written that described the totality of that historical period, and simultaneously grasped the “spirit” of the time. The common school of thought wished for this novel to have never been written (with the notable exception of Italo Calvino’s opinion, who had found it in Beppe Fenoglio’s Una questione privata), even though Italian Resistance literature counts thousands of books and the commitment of many prominent postwar Italian authors such as Vittorini, Pavese, Calvino, Fenoglio, Eco, etc. This fact was often regarded as a “failure” for Italian literature, especially until the late seventies, in a time when literary engagement was seen by most as a particular sort of cultural and political militancy of the intellectual, in favor of the construction of a more “just” society. In particular, it was seen as a painful contradiction that the Resistance could nurture the democratic synthesis of the Italian Constitution, while at a literary level, even though many great works were produced, no comparable achievement was seen.

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Roberto Cavalli

Photos courtesy of ROBERTO CAVALLI PRESS Illustrations by SUJANI MUNAMALPE

PH. BOB KRIEGER

ANDREA HRINGSDÓTTIR

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FA S H I O N & S T Y L E

Florence has been regarded as the birthplace and earliest center of the modern fashion industry in Italy and serves today as the headquarters of some of the world’s most famous brands.

One of those brands is Roberto Cavalli, interviewed here for Blending Magazine.

Born in Florence in 1940, Roberto Cavalli began his education as a student of Florence’s local art institute.

Passion and talent are important, but drive and perseverance are everything.

What motivated you as an art student living in Florence? How did the city influence you and your design?

Florence has always greatly inspired and motivated me in all my collections. After all, it is my hometown, a city built around the cult of art, tradition and history, most of which is displayed in one of the most beautiful museums in the world, the Uffizi. My biggest desire has always been to represent this art and craftsmanship in my creations. I believe it is impossible not to be in awe of Florence.

As a student Cavalli focused on textile prints and at one point made a series of flower prints on knit that caught the attention of major Italian hosiery factories.

What was the turning point for you from being an art student to transform into a successful and well-known designer?

I have had many key turning points in my career, one of the biggest being when I decided to actually pursue a career as an art student.

I followed my instinct, my dreams, and my passion. I wanted the world to see my point of view and I was very driven to succeed.

That is what transformed me into a known designer. Passion and talent are important, but drive and perseverance are everything.

Cavalli’s next major move was in the 1970s when he invented and patented a printing procedure on leather that caught the attention of fashion companies such as Hermés. The young and ambitious artist then presented his first collection of printed leather in Paris in 1970. In 1972 he showed a demin and leather collection of patchwork, minidresses, and maxicoats on the catwalks of the Sala Bianca in Florence’s Palazzo Pitti. That fashion show went on to launch his name within the fashion industry and he subsequently opened his first boutique in Saint-Tropez and business started rolling.

What was fashion like in Florence in the 1980s?

Fashion was very different from how it is now, but one thing is for sure: Florence has always displayed an incredible amount of style, elegance, and effortless glamour. It is the essence of this city.

How was your design different from the ones before at that time?

My designs were never understated, minimal or flat. They have always been out-of-the-box and unique. The colors, the prints, the techniques were what set me apart from everything which was displayed at that time. It was a completely new approach to fashion and style.

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FA S H I O N & S T Y L E

My design gave women the idea that they could be free to experiment with colors, prints, and fashion.

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FA S H I O N & S T Y L E

The brand also works with wine, chocolate, perfumes, and vodka. After a faithful restoration of the original structure, in 2001 Cavalli reopened the historic Caffè Giacosa in Florence, close to Palazzo Strozzi and the famed birthplace of the Negroni cocktail.

Today, Cavalli products are sold worldwide.

Cavalli has always been an innovator, in the 1990s he introduced stretch and sandblasted jeans. In 1999, Cavalli launched menswear line and in 2000 the underwear line, timewear, eyewear, and the Angels & Devils children’s line. In 2001 the Just Cavalli line for a younger generation of shoppers was launched.

In what way would you say that your design shaped Florentine taste in fashion and style?

It shaped Florentine taste and style in many ways. It gave women the idea that they could be free to experiment with colors, prints, and fashion. They could play with clothing to display their personality and their image.

It is a method of self-expression.

Cavalli embraced the female body and revealed its beautiful shapes. He executed this in his design, for example with the plunging neck line and the backless dress. Cavalli often works with exotic animal and textile prints. The Cavalli style communicates that one doesn’t need to wear all black to be elegant, in fact exuberant colors and daring moves are often seen on the catwalk. Color is an important element, as well as that women can celebrate their personalities through color.

What do you think of today’s growing fashion trends?

There are many trends present in today’s fashion world and they are ever-changing.

That is why many times the success of a designer is dictated by his or her ability to set themselves apart from the others by designing something completely new and different.

What motivated you on your most recent design – the Cavalli vodka?

Cavalli isn’t just a brand, it is a lifestyle. Living Cavalli means also enjoying the finest pleasures in life such as cuisine and wine and spirits. The Roberto Cavalli Vodka is just one of the many examples of my love for the hospitality division for which I have great hopes in the future.

What motivated you to open a café in Florence?

Like I was saying, Florence is my hometown and holds a special place in my heart and one of my biggest desires is to enhance and develop my hospitality division. Caffè Giacosa is such a historical heart of Florence and even Italy’s hospitality: it is a landmark and it is an honor for me to accost my name and brand to it.

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STEPHANIE SCHNEIDER

Photographs by JERRY LEE INGRAM

Her: Firenze F27 black cashmere and silk foulards (combined into a dress) Immuro by Ri.Co; Sunglasses Dior; Black Caiman crocodile cuff with shape Claviceps Purpurea by Julien Garovia; Necklace Decorazione Militare by Alessandro Gaggio Him: Men’s cotton collard shirt F27 Immuro by Ri.Co; Trousers Sisley; Astrakhan fur and ostrich sartorial jacket Intuitive by Ri.Co; Iguana leather belt with buckle Intuitive by Ri.Co; Black nutria tail and snake flat carving cuff Claviceps Purpurea by Julien Garovia; Necklace Morte fra i glicini

by Alessandro Gaggio

The “Beyond the City Walls” editorial features designs from Alessandro Gaggio, and Riccardo Coppetta (Ri.Co), both based in Florence. The photographs were taken by fashion photographer Jerry Ingram, set in the contemporary interior of a historic Florentine palazzo, located in the trendy artisans’ quarter known as Oltrarno. The models’ complete looks were styled by Riccardo himself, using his current collection of Immuro foulard scarves of an intriguing beauty and amazing versatility. The foulards were draped into dresses, used as belts, and tied into the models hair. The scarves styled in the shoot include digital prints from real walls that were photographed on Burano Island, close to Venice, as well as here in Florence. Intricate necklaces, handcrafted by accessory designer Alessandro Gaggio, were thoughtfully layered on the garments and also used as belts. Photographs for this editorial were selected and arranged by Career Publishing student Stephanie Schneider, who, along with FAST student Betty Yi-Ju Lin, assisted with the fashion shoot.

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FA S H I O N & S T Y L E Him: Burano B10 red silk foulard Immuro by Ri.Co; Burano B8 brown men’s cotton t-shirt with prin, Immuro by Ri.Co; Trousers and black jacket Sisley Her: Burano B10 red cashmere and silk foulard (combined into a dress) Immuro by Ri.Co; Black crocodile cuffs all Claviceps Purpurea

by Julien Garovia; Necklaces Morte fra i glicini, Decorazione militare, Morte del guerriero, and clutch bag Quando compreranno le lacrime in molti saremo ricchi

by Alessandro Gaggio

Firenze F27 black cashmere foulard Immuro by Ri.Co; Trousers Sisley

Her: Burano B8 blue cashmere and silk foulard (combined into a dress) Immuro by Ri.Co; Necklace Morte del guerriero (used as belt) by Alessandro Gaggio Him: Burano B8 blue silk foulard Immuro by Ri.Co; Ostrich leather belt with bronze buckle Intuitive by Ri.Co; Trousers SPRING 2 0 1 4and 21 Sisley * Blazer

FA S H I O N & S T Y L E

Her: Burano V12 men’s cotton t-shirt with print, and Burano V12 brown cashmere and silk foulard (combined into a dress) Immuro by Ri.Co; Astrakhan fur and merino lamb leather with plastic jacket Intuitive by Ri.Co

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Credits Photographs: Jerry Lee Ingram Models: (her) Alice Taticchi, and (him) Cristi Isofii Hair/Make-up Artist: Ronnie Cosma Bigalli Assistants: Stephanie Schneider, Betty Lin Lu

Him (right): Men’s brown cotton collard shirt F27 Immuro by Ri.Co; Trousers Sisley; Vintage fur jacket; Iguana leather belt with buckle Intuitive by Ri.Co; Necklace Morte fra i glicini by Alessandro Gaggio; Sunglasses Dior

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YELLOW 108

ANDREA HRINGSDĂ“TTIR BRIAN POTOPOWICZ MIKAELA FORTUNY Photographs by OLGA MAKAROVA

Lindsey Bro & Lauren Lilly

Lauren Lilly, co-founder of Yellow108 and Lindsey Bro, company writer and FUA alum, visited the Florence campus and told us about their eco-friendly LA clothing company that uses only social media as a marketing strategy. But what are sustainable accessories and how do they create them?

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Write Your Own Story and Make it Yours

FA S H I O N & S T Y L E

“We designed this particular hat that was a white outburned hat that we called the Canyon Lady. It had a little ribbon on the side and it was one of the first hats to hit the store. In Southern California every dude was buying this hat and since it’s called The Canyon ‘Lady’ we thought ‘the name’s gotta change!’ Then we would see an old man with The Canyon Lady, with the ribbon, and then a little girl, and we finally concluded – this is just The Canyon Lady.”

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After being in the clothing industry for many years and seeing the wastefulness, Lauren got the idea of applying sustainability to the clothing industry. Her products would be designed with salvaged materials, have zero waste, and have no leftover scraps. The first Yellow 108 line was created in November 2010, and was accepted shortly thereafter by a major USA retailer. From that point on, the products were shipped to stores, and each year they grew to more stores and more countries.

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Lauren, how would you describe your brand and your role in the brand?

The brand’s visual content is always bright, dreamy, light flares, and cool stuff like that.

Yellow108 is owned by me and Jody Rollins.

Jody handles the pre-production, the sourcing, and the communication with our factories. She handles the overall design, and I am everything post-production. When the products are finished, I handle the sales, marketing, and administrative part. As a group we do design together, so we come up with ideas together. We fill voids that need to be filled. Jody does the labor involved in sourcing materials and assigning them to products.

How are your products sustainable?

The products are sustainable in the way that materials are purchased at a market price and then used to make a new product. Most of the materials that are salvaged come from eco-friendly textile mills in the USA but some are from China as well, like for example the sunglasses and some of the other textiles. The company is not only eco-friendly, but it also donates 2% of its profit to Global Creative, a non-profit organization focused on art, workshops, and extracurricular activities for the community.

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The company is not only eco-friendly, but it also donates 2% of its profit to Global Creative, a non-profit organization.

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8108 108 108108

FUA Alumni Lindsey Bro works for Yellow 108 as a writer, blogger, and last but not least, as their marketing guru.

They have never used traditional advertisement, but prefer social media channels such as Instagram, Facebook, and blogs to market their brand.

Lindsey, what were your studies here at FUA and how did that influence your future career?

“Back then FUA had only three campuses and now there are seven, so a lot has changed in those five or six years ago since I studied here. When I went to study abroad at FUA in Florence for one semester, I took a photography class, a food writing class, and a photoshop class along with other courses.”

Her passion being writing, she found herself having the experience of a lifetime here in Florence. From there on she got the opportunity through FUA, in the form of a book publishing project, that she needed to really get into writing professionally. During her studies she realized how she could use her craft of writing and push it towards many areas such as cookbooks, screenplays, writing for brands, etc. After her adventures in Italy, she continued traveling and became a travel writer. She has been a part of Yellow108 team for two years. Her work since FUA has been mostly in writing, including the roles of ghost writer, screen writer, travel writer, and currently marketing strategist and blogger for Yellow 108.

Lindsey have you published anything?

I have sold 5 screenplays and there are 2 more in the process of being sold. I have written 3 cookbooks. I have written many articles, magazines, and ghost writings. I write under a pen name because I like it to be a fun experience. I took 4 years to figure out what my voice is. Now I’m ready to write a book under my name. I am very inspired by the naturalist writers. I love the naturalism because I think that nature is a beautiful thing for us to study and to learn from, because nature has figured it all out. So as a storyteller or fashion designer you have to ask yourself, ‘Do I want to take the risk of working off of trends and roll the dice, or do I want to tell my story?’

You have noticed the many changes at FUA since your arrival. Would you come back to study?

I would be grateful to be a student nowadays, the way that it has expanded is a very humbling thing to see. When I was here the campuses were smaller, yes, but the resources we had then were the same and were amazing. The teachers we had then were amazing. Seeing the opportunities students have today is amazing. Especially coming from the real working world, coming here I can see that you are being set up for something really good.

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Backstage Pass: FUA@PITTI UOMO

Photographs by FEDERICO CAGNUCCI

STEPHANIE SCHNEIDER

From January 7th to 10th, 2014, Pitti Immagine held its 85th exhibition for men’s apparel, hosted at the Fortezza da Basso in Florence. The focus was menswear, with countless designers, labels, and vendors participating at this event and specifically showcasing what will be trending for the upcoming F/W 20142015 season. One of the most sought-out exhibitions held in Florence, Pitti attracts important industry professionals. The theme this year was was “Rock Me Pitti,” and the exhibition was complete with events and entertainment that had great rock ’n roll energy. The atmosphere was cool and extremely fashionable, naturally. See for yourself.

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Pitti Immagine 85 Rock Me Pitti I had the pleasure of joining Professor Federico Cagnucci at the Pitti Immagine exhibition, an 85-year-old event celebrating what’s new in fashion. We had the great opportunity to enjoy an aperitivo with a stunning view overlooking the city, along with great music spun by a DJ at the celebration of Antony Morato’s new collection. This year’s theme was rock n’ roll, and the collection fit this perfectly with gold, black, and silver elements. An interview with Marketing Director SAURO MARINI helped us to understand the great success of this stylish and affordable menswear megabrand.

Up close with STEPHANIE SCHNEIDER Photographs by FEDERICO CAGNUCCI

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As many famous Italian apparel brands before it, Antony Morato begins with family. Initiated by three siblings from Napoli, Tania, Giovanni, and Lello Caldarelli worked with textiles along with their father and gained familiarity as well as a business background. In 2007, the youngest of the siblings, Lello, started the menswear label at the age of just 18, and to this day remains Creative Director of the growing brand. Antony Morato has achieved an immense amount of success in its seven years of existence. As of 2012, it is available in over 50 countries, and consists of a full line of clothing, footwear, leather accessories, sunglasses, underwear, and beachwear as well as a full junior line.

Marketing Director Sauro Marini.

What makes Antony Morato so unique and competitive?

“There are two strong references that make the brand unique in the current market. One is a strong brand awareness, we have made a big impact with a commercially ‘out of home’ campaign as the Antony Morato brand is very well known outside of Italy. A strong visibility in the media in outside campaigns such as those in England and Spain make the brand very popular on an international level.

The other factor is a strong trade communication. Antony Morato is a novelty in men’s casual wear because of the combination of accessible price point mixed with high quality and great designs.”

What types of challenges does a growing brand like yours face?

“The Creative Director and driver of the brand (Lello) has the greatest challenge: to put together designs that stay current while maintaining and evolving the look of the brand. A combination of driving trends and sustainability – staying cutting edge and current in a competitive market.”

What are the trends that set the brand apart?

“Men are beginning to buy like women do (especially in France, Spain, and Italy) and

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this has become a trend over the last 10 years. Now you can see the store layouts have all changed, and everything in-store is arranged more according to a look, whereas before everything was arranged according to the product. Men are beginning to play with fashion as women do, and are paying more attention to their personal style and what they buy. Men have a fresh new attitude. In fact, Antony Morato is favored by fashion editors because of its accessibility – it is something they can recommend to their readers that is affordable but highly stylish.”

How important is being Italian to your Brand?

“There are two reasons: Italian style and attitude. We represent Italian style, however there is a representation on a different level because it is not luxury fashion. The style is still very Italian but the price is reasonable and the garments are made well.”

What can you suggest to students about breaking into the fashion industry?

There is no real direct line but always keep your eyes open for opportunity. I worked in TV and studied communications, so I definitely didn’t start in fashion. You have to be creative on how to enter this world. Always keep your ideal career idea in mind, but take a job that inserts you into the world even if it’s not exactly what you want. And remember to offer suggestions and always figure out what is needed, then sell your skills. www.antonymorato.it

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Fun Facts

- Antony Morato had a company revenue of €82.5 million in 2012.

- The menswear brand is available in more than 60+ countries worldwide.

- Their infamous “10 Seconds” TV commercial received numerous awards in Italy, including the Key Awards international prize in the “Luxury and Beauty” category.

- In 2011 Antony Morato ranked within the top 50 fashion and luxury companies quoted on the Italian Stock Exchange.

HIPSTERS Photo Essay Vintage wear is beginning to transform into a new fashion style. In the 60s and 70s, hippies were popular for their colorful wardrobe, and now we can see it happening again in the new sub-cultures of current generations. The first hipsters in the 1940s and 50s identified with counterculture states of mind. Rebellion. Since the 1990s, they began to intertwine with an emerging fashion trend with a distinct taste for styles from the past. Have Hipsters become the new Hippies today?

OLGA MAKAROVA

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Text by MIKAELA FORTUNY OLGA MAKAROVA

MODEL Tamari Giorgobiani

MAKE-UP & HAIR STYLE Consuelo Cardella

FA S H I O N & S T Y L E

A.N.G.E.L.O. Vintage for Today’s Tastes

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felt strange following somebody I didn’t know, fixated on his bright button-down shirt, patterned scarf and whirlwind of accessories. It didn’t make any sense. He wore Gucci sunglasses, but there was hardly any glare. His Cavalli slim-fit blazer was not heavy enough for the cool weather. I couldn’t help but wonder why he wore capri pants and Ferragamo dress shoes.

I felt guilty following this guy, but I couldn’t help myself. Fashion here was unlike anything I had ever seen and my wardrobe was far from fitting in. Maybe I could ask him where he had developed such unique style or if he had any trouble this morning getting dressed?

I remembered how nervous I was before coming to Florence. I spent a long time thinking about what should I pack in my suitcase. Something that made me go unnoticed. Something to make me look like I belonged. I felt confident that most of my dark clothing would blend and the lack of logos would go unnoticed.

We turned on Via dei Cimatori, a tiny side street and approached a vintage clothing shop. A.N.G.E.L.O. 25/r, was written in bold letters across the glass door. Old hats dangled like a chandelier in the centre of the store. I opened the door slowly and wandered in. I was greeted

by The Champ’s “Tequila” playing from a small stereo, and a young saleswoman named Indigo. It was a beautiful name, both vintage and unique like each item in the shop.

I climbed up to the men’s section first. It was slightly damp. I reached for a pair of shoes on the top shelf and was surprised by the worn

CHARLES DEFILIPPO Photographs by David Weiss

leather. I wondered why 20-year-old shoes were still popular or why people would want to buy the worn leather briefcases.

“Twenty years ago, these clothes were considered old,” Indigo told me.

Now, young Italians flood the tiny shop for “quality, hand-made, and one-of-a-kind items.” Bright tank tops from the early 80s, military boots, jean jackets and hats from the 40s. Each item to its own. The selection for women is even larger.

It was a paradox I could not understand. Indigo explained that Angelo has opened shops all over Italy, the largest in Lugo. I now know why it’s called “A.N.G.E.L.O.’s Vintage Palace.” Four floors of vintage clothing that had resurfaced in the fashion world. Three rooms dedicated to men, women and kids, recycled items and the historical archive on the top floor. Even cult items from the 40s and 50s can be found, including rare jeans and dresses from Chanel and Emilio Pucci.

The shop was proud to represent its culture and feature the designer brands that people come from all over the world to see. I had been in the city for a few months and Florence was like home. I wanted to buy the shoes because I wouldn’t have to worry about breaking them in. Then I could proudly walk home through the city’s streets and squares, feeling like a local.

A.N.G.E.L.O. Via dei Cimatori 25/R 50122 Firenze www.angelo.it

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“Open your mind, and open your eyes” is the concept conveyed by this unique eyewear store in Florence opened by siblings Elena and Emiliano. Through the contemporary brands sold and the community spirit shared, I VISIONARI offers a different perspective of fashion philosophy, one frame/lens at a time.

I VISIONARI

BRIAN POTOPOWICZ AMANDA TERBRUEGGEN

The Vision Inside Their Frames Photos courtesy of I VISIONARI

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How was the project launched?

Our project came from an idea to create something that would be contemporary and innovative in this city. Our purpose is to offer our clients diverse experiences when buying glasses. In addition, we offer them unusual accessories that are not only fashionable, but also derive from our thinking and ways of interpreting the current eyewear market. I am an optometrist and by brother, Emiliano, is a web designer. I take care of the shop’s activities, and I study new trends in eyewear that I come across during my travels and in my reading and research; Emiliano deals with public relations and with the image of our company on our website. After much consideration and consultations with our friends and family members, we eventually launched our idea with great expectations two years ago.

ant to interest them in experiences that can be new and creative.

This means that we are not only interested in designer creations, but we also pay attention to what the artisans are producing in their ateliers.

What’s your take on the eyewear industry and your decision to open in Florence?

Eyewear has become a very complex industry over the years.

In very recent years it has become a truly significant part of the fashion world. As Florence is a very important center for the fashion scene in the world, we decided to start out right here. We have chosen to offer our clients contemporary designer eyewear because we feel it is import-

In what direction are you taking your represented products?

Of course we use eco-friendly materials when it is possible. In fact, we are studying the possibility of increasing our offers of eyewear to satisfy the eco-friendly requirement of today. For example we are offering really interesting sunglass frames that are fabricated in wood.

Your location represents an interesting past, can you tell us why you’ve maintained certain elements from its previous life?

Originally, these premises belonged to a stationery store that was opened in the 1950s. Therefore, in keeping the sign that is above our storefront, we feel that we are maintaining a tradition that continues to bring back memories of the past. As a consequence, the effect is that of a dialogue that keeps mixing past and present, old and new.

www.ivisionari.com

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Contemporary Perspectives of Italian Gastronomy

THE CULINARY INSTITUTE OF THE CAROLINAS AT GREENVILLE TECHNICAL COLLEGE

One week, 13 chefs, the challenge of producing a compelling food story. This project is the result of an academic collaboration between the Culinary Institute of the Carolinas at Greenville Technical College and Florence University of the Arts. s students of the Culinary Institute of the Carolinas, coming to Florence has been a blessing. To be able to experience the city’s culture and landscape has been very educational, eye-opening, and life-changing. We learn from our grandparents, instructors, and peers to improve our techniques. By understanding and respecting ingredients through the foundations of Italian cuisine, we are able to use and apply these simple components. We have learned how to let beautiful ingredients stand alone and shine. Another important lesson gained is that fewer ingredients can be appreciated together instead of using many to mask lower quality. Looking at the different regional cuisines through a perspective as foreigners, we can see that the ingredients, techniques, and influence are a part of food evolution. As we develop, we are able to share our growth, backgrounds, and love for food and break bread together with our culinary communities. Ultimately, in our own countries and regions, we all have driving forces as a worldwide brigade to nourish the globe.

A

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THE ROOTS OF TUSCAN CUISINE Ingredients are the foundation of Italian cuisine, and the specific region of Tuscany is no exception. The ingredients and flavors complement each other because of the vicinity of products; things come from the same place. When using great quality local products like black cabbage or tomatoes, for example, there’s a high quality guarantee. Since the respect for the ingredients will always be there, Italian cuisine can stand up to innovation and globalization. Food is constant and stable thanks to tradition, yet dynamically in movement – ingredients change with the seasons, fresh herbs may vary from season to season. Yet although time changes, what’s in season is what’s used. Traditionally the reason for these specific ingredients was not a pre-conceived idea of how they would taste together but a matter of availability. Over time, culinary masterpieces emerged from what was at the disposal of each region. The local population utilized all that was available,

FOOD

Yesterday’s ways are referenced but the door is open to artistic expression with today’s contemporary cuisine.

Apicius Chef Andrea Trapani

novelties were introduced in the case of regions exposed to the world through trade. We visited the town of Pienza, which is the birthplace of the Renaissance and an example of how the past is perfectly preserved in the present. We went to a local cheese shop specialized in pecorino, the emblematic Tuscan sheep’s milk cheese. Livio Zazzeri is the owner, and we asked him why products such as a cheese remain a traditional product throughout generations. His personal take was, “I love my place, I love my tradition, I will do it forever. I will continue this tradition.” During our visit to Florence and beyond in the region of Tuscany that Florence belongs to, we have admired the amount of pride and respect held towards regional ingredients and roots. We have learned that chefs may use techniques that have been passed down from the chefs of the past to those of today, and that they were, and still are, all united by the concept of putting food and flavors first in their cuisine.

TASTES & TECHNIQUES Learning the technique of Italian cooking and its history has had an impact on all of us. Italian cuisine dates back to the time of the Romans. When cooking today, seeing and learning how to make pasta, sauces, and wine firsthand helps to plant the seed of how technique has developed. This important fact is witnessed even in the arrival of new equipment and culinary movements such as molecular gastronomy. Methods may change but foundation remains. Even though the method of making pasta is a single con-

cept, Northern Italy and Southern Italy make pasta differently.

Northern Italy features more pastas with all-purpose flour and eggs because of the climate conditions. Southern Italy uses more semolina flour and extra virgin olive oil. However the process is similar for most recipes: mix, blend/knead, shape. Arabs and Spaniards are credited with introducing pasta and tomatoes to Italy. One type that we worked with was hand-made pici, which originated in the town of Siena as shared by Apicius professor Cecilia Ricci. The pasta is rolled and then cut into strips. Then the strips are twisted together and rolled to make the noodle tighter.

It is similar to spaghetti. Though nowadays it can be easily made with kitchen equipment, as chefs, discovering the original method quickly became our group’s preference. Traditional tomato sauce sounds simple but we discovered that it is an Italian staple that can be made very easily but requires careful execution. Only four ingredients are required: tomatoes, garlic, basil, and olive oil.

Start a pot of boiling water and a separate ice bath. Crush a few cloves of garlic and add to a pan with olive oil, cook until golden brown. Remove the garlic and turn off the heat. Prepare the tomatoes in the concassè style by dropping them in boiling water for 30 seconds, then transfer to the ice bath to stop the cooking.

Remove the skins, deseed, and dice. Reheat the olive oil, add the tomatoes and cook until a puree consistency is reached. Remove from the heat. Season with salt and pepper. While still warm, add fresh basil, and serve.

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FOOD

CULTURAL INFLUENCES History. Regional identities. Nationalistic pride. Familial traditions.

Exquisite ingredients. Creative license. Technology. Travel and fluidity in global human movement. These are the ingredients that influence contemporary Italian gastronomy. An art form in its own right, Italian gastronomy is akin to a symphony. Each instrument’s input serves to make the final piece of music richer for its contribution to the larger piece. Each note of the composition, enhanced by and through the timbre that each unique instrument brings to the whole, provides harmony and satisfies the body and soul. The fundamental rules that the masters applied in music composition mirror those that chefs apply in the creation of their final product; the rules can be manipulated but never without incorporation of the basic principles. The curtain rose on this symphonic amalgam in ancient times and plays on without interruption through today: a timeless love affair of the Italian people with their heritage. When queried as to what Italian cuisine actually is, chefs have gone so far as to state that there is no such thing. Rather, gastronomy in Italy is comprised of a myriad of the heritages and histories of the people identify in the very diverse regions of this unified state their home; each having a different historical perspective and experiential background all leading them to the here and now. Each region is a different instrument in Italy’s collective orchestra. When tasting a glass of Sangiovese, as we did at the Salcheto winery, notes and melodies opened up with every sip. Wine is a living and breathing thing, as it open ups and is enjoyed with food, a symphony of flavors shine through on the palate. Which region is first chair, first violin?

They all are, just ask them…but despite the competition between the regional influences and pride, they do share a very common and unbroken bond, which is an exacting approach to their local cultures and cuisines. A common denominator that unites the whole of Italy. Ancient city-states situated on the highest topographies were designed to provide superior visual vantage points and protect from conquering armies. They now sit quietly to watch the terroir below as the lands are sown and harvested of the fruits that will nourish contemporary inhabitants while the winds of change are dispersing the seeds of creativity.

“The creative process is a beautiful thing.” – David Andre Weiss, FUA Photography Chair

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THE BUILDING BLOCKS OF CULINARY EVOLUTION The strength of Italian heritage acts as a reminder of an infrastructure able to withstand resistance. The passion for quality results in longevity and each foundational brick of Italian cuisine is formed to fit a particular format that is part of a master design. This concept extends beyond glass and mortar of buildings that arise and dot a country’s landscape. Each generation of chefs branches into new growth and transforms like a deeply rooted tree emerging from the ground. The seed is rooted in tradition, yet growth provides new and unique opportunities for creativity. Ancient stones and fresh saplings provide a constant reminder of the foundation for new growth and creativity in the hands of artisans. As with the groundbreaking artisans of yesterday, today’s chefs exemplify a fearless confidence to reach beyond known boundaries, taking comfort they have solid foundations to build upon. From the farming of simple ingredients to the plating of an intricate design, the goal is to awaken and entice all senses to enjoy. Fresh and aged ingredients are joined and presented through the hands of those dedicated to the culinary arts. The cuisine of Italy is as timeless as its art. Yesterday’s ways are referenced but the door is open to artistic expression with today’s contemporary cuisine. Passion is elevated, romance is renewed with each course. Food is not consumed simply as a means to survive but rather a method to enjoy the rich heritage of the cuisine presented.

Giovanni Rossiello, co-manager of Ganzo, the Apicius school restaurant, offers this perspective: “Food is to be enjoyed as a pleasure and not rushed out of necessity.” Life is renewed with every drop of rain and every ray of sunshine giving every ingredient new life. Each creation is a form of expression through a person’s love affair with food, transforming each sense into a memory. Such memories are experienced not only by the locals. The Greenville team has traveled from afar and landed on the shores here for the opportunity to directly create and experiment with them.

GTC writers and photographers: Lisa Akins, Kristy Carson, Sarah Dake, Burton East, Jason Gribick, Laurie Jax, Meghan Johnson, Erin Malone, Mary McIntosh, Bryan McKinnon, Maria Osorio, Heather Page, Henry Vega.

GTC Coordinating Faculty: Kristen Gissom, Patrick Wagner.

Special thanks to: Salcheto winery - www.salcheto.it Zazzeri cheeses - www.zazzeripienza.com

FOOD

Apicius Professional Students Tip Off on Cooking Light with Seafood

STEPHANIE SCHNEIDER PAOLA CARRETERO Photos courtesy of the recipe authors

Lightness and balance are the key terms to upcoming meals in the spring and summer seasons. Fresh flavors, interesting combinations, and sparks of pristine vegetables and fruit will cool palate as the months move towards summer heat. Stephanie Schneider and Paola Carretero connect with the professional culinary and hospitality students from Apicius to collect unique recipes that can be replicated by Blending readers.

Recipe by TALIA EIDE

Recipes by ORKUN SOYAK

Culinary Arts Career Program Level II

Hospitality Management Career Program Level II

This recipe is inspired by a sunny day in Los Angeles, my hometown.

Cooking with fresh ingredients and combining savory and sweet flavors is instrumental in creating a well balanced dish. It is refreshing and full of tropical flavors. It is a perfect weeknight recipe for busy students and families alike because shrimp cooks within minutes and the pineapple salsa can be made in advance. The salsa is best on the first day it is made, but it can be refrigerated for up to 2 days. The citrus flavors, tropical fruit and mild spice given from the jalapeño make for an exotic and unique meal that is not commonly found in a Florentine trattoria. Try this recipe out for yourself or impress your friends with this exciting and flavorful dish!

SHRIMP

20 shrimp, shelled and deveined 1 tsp orange zest 2 tbsp extra virgin olive oil Salt, to taste

Ingredients 2 salmon filets 1 tablespoon mustard 1 ½ tablespoons mayonnaise

Ingredients

Combine all ingredients and set aside.

Salmon with honey mustard

Half tablespoon honey Salt 1 teaspoon lime juice 1 teaspoon lime zest

Prep time: 15 minutes Cooking time: 5 minutes

1 pineapple, diced 1 avocado, diced 1 green onion, sliced ¼ red onion, diced ½ red bell pepper, diced ½ orange bell pepper, diced 1 tsp minced ginger Juice of half a lime Juice of half a lemon Cilantro, chopped, as needed Minced jalapeño, to taste Salt, to taste

Healthy and irresistible source of protein:

(preferable light mayonnaise)

Shrimp with Pineapple Salsa

SALSA

Orkun hails from Istanbul, Turkey. Featured are his international interpretations of staple dishes such as salmon and salad.

Marinate shrimp for 20 minutes in oil, salt and orange zest.

Heat a pan and cook shrimp until they turn pink, about 5 minutes.

Plate shrimp and serve with pineapple salsa.

Option: Although the shrimp and salsa are a perfect meal on their own, for a more filling option, serve with quinoa. Enjoy!

Season the salmon with olive oil and salt.

Place into a pan and cook at medium-high heat with olive oil until it is pink.

Mix mustard, mayo, honey and lime juice to make the honey mustard sauce.

After it is ready, cover the salmon with honey mustard sauce and sprinkle lime zest on top. Enjoy!

A great green choice for lunch:

Shrimp & avocado salad Ingredients 1 avocado 250gr shrimp Rucola Handful pistachio 2 or 3 garlic cloves (crushed) Olive oil or coconut oil Yellow bell pepper Cucumber Rock salt Black pepper

Season the shrimp with some olive oil, garlic, salt and pepper.

Place the shrimp into a pan and cook at medium-high heat with coconut oil or olive oil until they turn pink.

Serve on bed of rucola, pistachio, bell pepper, cucumber and avocado.

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FOOD

TAKE SOME TIME TO GET TO KNOW SLOW FOOD Often times movements take place in the world and are easily recognizable for their names or slogans, yet how much do we really know about these movements aside from what we call them? The Slow Food movement is one you may recognize as it is one that spreads wide around the globe. But what can be said about this movement off the top of your head, and what can you do to be a part of it?

LAUREN FROMIN Photographs by the author

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FOOD

n a few occasions in the past, I had heard the term “slow food,” or seen it scribbled across various blog posts related to food.

This was before I moved abroad to Italy to study for a year. I knew little about why it was a movement or what contributed to being part of it. Italy in fact is the birthplace of the slow food movement and the name conveniently opposes one of the main reasons the movement started, fast food.

Only four years after the founder, Carlo Petrini established the movement in Italy, a dramatic increase of obesity in the United States took place from 1990 to 2010. One third of U.S. adults are obese and this disease also affects young adults and children. Much of the finger is pointed at fast foods and added sugar that crowd the streets and supermarkets found in the States. Though there are not nearly as many fast food restaurants in Italian cities as there are in the U.S., McDonald’s and Burger King still have a large presence as food options here, making it possible for western habits - and diseases - to slowly affect citizens.

There were two events that occurred in 1986 that motivated Petrini to plant the roots of the slow food movement. Though the opening of a McDonald’s near Rome’s Spanish steps was in fact a major platform, another event does not seem to get as much attention. A Piedmont wine distributor looking to cut costs produced wine with cheap alcohol. The result of the flawed product ended up killing 19 people and hospitalizing many others. It was at this point Petrini felt the need to combat these crises taking place in his own backyard.

Therefore, slow food is not just a protest against fast food. It is a movement promoting alternatives to fast food while striving to preserve regional, traditional cuisine by encouraging efforts to support local ecosystems through farming. It is one of the only movements that internationally incorporates all aspects of traditional factors including labor, health, animal welfare and the environment with a focus on real cooking, taste and pleasure.

Local traditions are usually lost once a fast food chain opens up, sometimes even taking the business of the local trattorie and ristoranti. Petrini mentions, when he is interviewed about the movement’s objectives, the importance of preserving the local traditions and relationships with the people who produce the public’s food.

Residents should know where their food, such as meat, comes from and how it is handled by buying from the local butcher and discussing their practices. Little by little, even before 1986, Petrini had seen these relationships and local businesses dwindle due to the “fast society” many of us partake in. Unfortunately businesses who tailor to “fast society” customers often times overproduce, because what would be worse than running out of double big mac’s before the end of the day? Yet, this has created a crisis in itself of overproduction and waste. Countries around the globe face deaths of people going hungry in the streets.

Clearly there is a problem when food is being tossed out but people are starving to death. One major point Petrini mentions about the slow food movement is coincidentally its pace. He understands in order to accomplish the movement’s goals, a lot of time and effort must be put in, patience must sustain, something he has been doing for 28 years. The slow food movement is proof that time can help heal or undo these effects as the word keeps spreading and gets louder and louder. Currently, the movement spans 150 countries with a network of 100,000 slow food members.

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Clearly there is a problem when food is being tossed out but people are starving to death.

WAYS TO BE PART OF SLOW FOOD START COOKING! AVOID PRECOOKED MEALS AND EXPERIMENT WITH FRESH INGREDIENTS.

BUY LOCAL, INCLUDING FRUITS, VEGETABLES, EGGS, MILK, CHEESE AND MEATS.

START A GARDEN AND MAKE SURE TO EAT/ GROW YOUR OWN FRUITS COOK ALL OF THE FOOD YOU HAVE LEFT IN FRIDGE AND VEGETABLES. TO REDUCE WASTE. JOIN A LOCAL SLOW MOVEMENT CHAPTER. AVOID GENETICALLY MODIFIED FOODS.

U.S. Obesity Stats found at: www.cdc.gov/obesity/data/adult.html

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Macelleria Falorni The flavor lies in the history

Most, if not all things Italian seem to have an impressive back story.

Italian cuisine is defined so much by its history. Thanks to her age, we are able to experience the “fruits” of Italy’s past. History lends its time and labor to define today’s enjoyments, my favorite particularly, Italian cuisine. But just like knowing something’s history makes the experience that much better, the same can be said of something you are about to eat. This is the story of Antica Macelleria Falorni, one of the oldest - and still known - butchers in Italy.

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LAUREN FROMIN Photographs by DAVID WEISS

ituated in Greve, halfway between Firenze and Siena, in the Chianti classico area, Antica Macelleria Falorni has been supplying top quality meats for nine generations - since 1806. Not only does the Falorni name boast multiple butcher shops, but a family farm, vineyard and wine museum are all part of the impressive family history. Thanks to a successful product and unique process, the macelleria expanded to include a location in the heart of Firenze, with plans to open a Milan location in the near future.

What is so easily forgotten for many of today’s food producers is one of the main elements for Falorni. But what makes this macelleria so exceptional? Their history is so important as it has established the optimum way for the shop to produce the most quality product. Making use of recipes literally handed down from generation-to-generation, Falorni maintains “artisan techniques” and “traditional methods” from centuries past. Thanks to the family farm, Falorni pigs are raised in a “free-range environment” and are passionately cared for throughout their lives. There is no doubt this process still works, because today, business is still booming. I was lucky enough to experience this famous brand at its Florence location.

Tucked away in Piazza di San Pier Maggiore, Macelleria Falorni could almost be missed if not intentionally looking for it. However, stepping inside provided a wonderful experience not noticed from the exterior.

Immediately, I was greeted by Antonio, a friendly employee seemingly ready to serve. As I made my way fully into the entrance, Antonio was

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FOOD

Antica Macelleria Falorni has been supplying top quality meats for nine generations - since 1806.

more than happy to explain to me the origin and process of the meats sold in the shop. He also told me the history of the Falorni family and showed me old photos of the members hanging on the shop’s walls.

Noticeably featured in the entrance were various salami and prosciutto on sale, each with its own unique flavor and preparation method.

Facing across from the shelves of meats sits the actual butcher area.

Tiled white like traditional butchers from the past, this is where Antonio and fellow workers prepare items off the menu such as cutting boards stacked with sliced meat or made-to-order panini.

Vino is available to sample direct from the the family’s patented wine dispensers, by the glass or even smaller portions, for cents on the euro.

These dispensers are found throughout the shop featuring red and white wines. As I made my way past the butcher area and into the back of the shop, more shelves of top quality meats were on display, surrounding a family style seating area. The long, marble table in the center of the sitting area matched with the wooden shelves of products emanated the illusion of a traditional Italian family kitchen surrounded by shelves of ingredients.

I was given the pleasure of sampling a few selections off the menu including salame toscano, finocchiona, salame di toro and prosciutto saporito. These are part of the tagliere Lorenzo and tagliere Stefano, named after the Falorni brothers. The presentation of the food was a great first impression. Sticking with the traditional influence, the meats were placed all in a row on a wooden cutting board, as if mama

or papa had just served you your favorite snack right off the kitchen counter. After Antonio took the time to describe each cut, I dove right in and first tasted the salame toscano. The meat had an enjoyable toughness without a fight. A bite into one of the pepper flakes sparked a burst of flavorful heat that stuck to the tongue, lasting to the slice’s very last bite. Next I tried the finocchiona. This meat was tender and smooth, and melted as soon as I placed it in my mouth. Up next was the prosciutto saporito. The light, delicate feeling was accompanied by a salty flavor that could be controlled by keeping the tongue placed on it, enabling a lingering taste. Finally, I tasted the salame di toro. This selection of salami was more subtle than the toscano. It had a pleasantly balanced, creamy flavor throughout.

Overall, the experience was one to remember. I almost felt like I was sitting in the original location thanks to great hospitality and detailed explanations of where the food came from and how it was prepared.

My hope is to make my way to Chianti and experience the location that started it all. It’s a beautiful thing knowing where your food comes from and that it was handled with care until the very moment you take your first bite. Macelleria Falorni proves what worked in the past still works today, and we can thank yesterday for providing a great tasting today.

For more information on the Falorni family and Macelleria Falorni, visit the website www.bencistafalorni.it.

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Places

Times and Faces at Santa Maria Novella The S.M.N. central train station in Florence is an important hub where people arrive, depart, or await others. This essential place in the heart of the city represents many faces, and not all of them necessarily have to do with the concept of travel. Travel writing students Jasmin Chacon and Katie Tolkowsky respectively explore, “diptych” style, the topics of “standing still” in the midst of the busy station and the station as a human library or catalog.

Photograph by DAVID WEISS

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Time Stops at S.M.N.

nxiety. That’s all I felt for the first twenty minutes or so that I was at the Santa Maria Novella train station.

I do not know how one wouldn’t feel such anxiety just standing there, observing the clusters of people and all the noise around. Just looking at all of the people, making their way through crowds in order to get where they needed to be made me feel as though I too had to be in a rush in order to get where I needed to be. If I didn’t do it now, at that exact moment, it would never get done. I shouldn’t be wasting my time observing what others are doing when I too had many tasks to be accomplished that day. Time is precious and there is not enough of it in a day.

And then it occurred to me, why am I in a rush? I had all the time in the world. Well not really, but I had enough time to do what needed to be done without causing myself to get anxious.

We add so much unnecessary stress to our lives, both physically and emotionally. I’ve always been one to believe in the idea that there is no need to rush.

Yes, some follow the idea of “Why wait until tomorrow to do what can be done today” but if that’s the case then there would never be time for us to just relax, take a breath, and appreciate our surroundings. Rushing may cause us to miss a time or a moment, and so much can happen at any given moment in time. A quote that comes to mind is, “All you have to do is decide what to do with the time that is given to you.” (JR Tolkien). Seems simple enough, take everything day by day, but it’s not that simple for us. Like the people at the train station, I too feel that at times I am rushing to do everything in the now in order to be where I need to be. I must rush in order to get things done, but that doesn’t always have to be the case. In fact, it shouldn’t be the case. I use to think I needed to have a to-do list for the day and felt like a failure if I didn’t get everything done at the end of the day. I should never feel like a failure at the end of the day. That’s nonsense. This brings me back to the middle ground of travel writing. The parts of travel that seem insignificant like the actual flight to Florence or perhaps train rides, but in reality these parts are just as important as the final destination of our travels.

That time period is there for a reason. I think of it as “me time” where I get to do the things that I enjoy, such as listening to music or sketching. It is a time to relax and reflect. Suddenly, the anxiety I was feeling at the start of my experience at the train station turned into relaxation and gratitude because I started to sink into “me time”. Before I knew it I had been sitting there for an hour listening to music and sketching. Gratitude. That’s what I felt as I was leaving the station. Something that had initially caused me so much anxiety had now given me a reason to be grateful, and that’s how I will remember my first real experience at the Santa Maria Novella station.

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JASMIN CHACON

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S.M.N. A Station and a Library

here is something strange about going to a train station with no intention of traveling anywhere. No one to meet. Nowhere to go. With essentially no real reason for being there, my empty bag weighs down just as heavily on my shoulder as that of a bank robber making away with the stolen goods. It’s as if everyone I pass knows that I should not be there, seeing right through my calm façade.

Yet at the same time there is also something freeing about being in a place you are not meant to be. Usually when I am at a train station I am are so focused on finding the right track and making my boarding time or looking for the person I am picking up that I miss what is going on around me. Your eyes see the faces around you but there is a disconnect between what you see and what your brain comes to understand. The thirty-something year old woman walking towards me is no longer just someone blocking my path, but rather a thirty-something year old woman with a story to tell. Where is she coming from? My eyes move down to the violet, hard shell suitcase she is lugging behind her. Is she returning home or beginning a mini vacation here? But just as my mind begins to delve further and further into her story she swiftly brushes past me just as quickly as she came into my life.

Suddenly I realize that the Stazione di Santa Maria Novella is more than just the central station in Florence for passengers to flow to and from the city. It takes on the dual role of the Biblioteca/Library di Santa Maria Novella, housing the biographies of each traveler. My eyes dart over to the homeless man slumped down on the floor by the farmacia entrance, resting against the black garbage bags holding his only possessions. Where I would normally feel pity is suddenly replaced by curiosity.

What happened to this man? Is he truly homeless or just a con artist trying to make a quick buck? Suddenly he glances up and our eyes lock. My fascination turns back to guilt as I notice his empty gaze morph into one of contempt. Maybe some libraries are filled with books that are not meant to be read. Maybe some train stations are simply filled with passengers waiting for their train.

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P L AC E S

Florentine Bridges: Past and Present Unite

VU NGUYEN Photograph by DAVID WEISS

Every year, millions of people around the world come to Florence to discover the beauty of Ponte Vecchio, one of the world’s most beautiful bridges. Today, the beauty of the bridge is nearly 500 years old and oversees the other bridges in the city used for commuting needs.

n war, destruction is often an end result of strategic goals, and Florentine bridges were not ruled out as an exception. In August 1944, the Nazis attacked many of the city’s characteristic bridges with landmines: Ponte Amerigo Vespucci, Ponte alle Grazie, Ponte Santa Trinita, and Ponte alla Carraia. Ponte Amerigo Vespucci was reduced to rubble. Ponte Vecchio managed to escape the cycle of history to become a symbol of Florence. It makes the Arno river even more special, with the bridge’s focal point where the values ​​of the past combined with the present and future converge together.

Eight bridges in Florence represent the city’s complicated history, the miraculous recovery of postwar, as well as contemporary architecture. There are few cities that compare to the mix of values found in Florence’s bridges. One needs to simply spend a few hours by bike along the Arno river to realize this.

The modern-day Viadotto dell’Indiano (completed in 1978), one of the largest Italian cable-stayed bridges from the last century, signals the first major city bridge on the western end of Florence. Ponte alla Vittoria follows eastbound, then Ponte Amerigo Vespucci, Ponte alla Carraia, Ponte Santa Trinita, Ponte Vecchio, Ponte alle Grazie, and finally Ponte San Niccolò. The story behind these bridges reflects the

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people of Florence, and the essence of mankind itself. Each bridge is the custodian of secrets, facts, and interesting connections to Florentine topography. Take Ponte Santa Trinita, designed by the great 16th century architect Bartolomeo Ammannati, who also designed the Fountain of Neptune in Piazza della Signoria. The bridge’s three arches are elliptical, and although seemingly light and very elegant, were planned specifically to battle the mighty wrath of the river.

After its destruction in the Second World War, it was completely reconstructed in the 1950s according to Ammannati’s original design, starting from the original elements retrieved from the river. The story of the bridges, their destruction, and rebuilding in different periods are an intrinsic part of Florence’s past and evolving present.

Ponte Vecchio stands silent amidst the destruction, having been spared in a critical moment of war history. Its beauty, value, and symbolic meanings have certainly been conserved, it hosts a part of the Vasarian Corridor that runs on top of it, yet it is also due to the sacrifice of the other bridges that have contributed to the continuous and unbroken “present” of Ponte Vecchio. In war, victory always comes at the expense of sacrifice, and the very idea of sacrifice is what it takes sometimes to (re)construct the beauty of today.

There are few cities that compare to the mix of values found in Florence’s bridges.

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In the spring of 1946, elections were extended to women voters for the first time in Italy. Blending Magazine had the honor of directly interviewing one of them from Florence who courageously answered the call to city duty after the Second World War. The following is the firsthand testimony of Luciana Sandrucci, who reflects upon the trailblazing experience and shares her hopes for the women voters of today and tomorrow.

Trailblazing Italian Women Voters Luciana

Photographs by DAVID WEISS

SUSANNA BAUSI

Sandrucci What do you remember from your first election participation?

I voted for the first time in March 1946, shortly after the Second World War. They were administrative elections, the first to allow for women voters in Italian history. I remember there being a great excitement stirring in the air, everyone strongly felt about expressing his or her personal vote. There were rallies, assemblies in town squares, meetings in factories and in just about every space imaginable for people to gather together.

Every wall was covered with manifestos and loudspeakers constantly gave instructions on how to vote. During those times I lived in a small town close to Florence called Lastra a Signa. Women, who finally earned the right to participate in Italian civic duties, saw this privilege as an important responsibility and a source of great pride. Everyone seemed to be giving instructions, even the priests who voiced their voting ideas during mass with the hope that congregations, especially women, would follow suit. I had clear ideas from the beginning regarding my voting choices but given my active belief in Catholicism, many of my acquaintances believed that I was led to follow the priest's instructions.

This certainly didn't go over well with me.

The common belief was that Catholics were to vote for Democrazia Cristiana (led by Alcide De Gasperi) whereas non-catholics were supposed to vote for the Communist parties (led by Palmiro Togliatti), but this strict divide wasn't so strict in the end. There were other parties in the running as well. The socialists, liberalists, fascists, to name a few.

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What was Italy like at the time?

Italy immediately following the closure of WWII was a nation that harbored a strong need for new hopes after the tragedies caused by the war. I myself spent two years separated from my husband who was sent to Germany, and I was certain that the future would change for the better through my vote. We felt that we could move forward, and that through work we would redeem ourselves. I had faith in politics, in freedom.

There was a strong sense of belonging to the Italy that we loved.

What were the personal motives behind your vote?

I have always believed in being an active part of society and being able to vote was a confirmation of this belief. I remember thoroughly informing myself of the ideals of every political party in order to formulate an independent and conscious idea of who and what to vote for. I also, believed in politics. I was not influenced by others. I will say that many women voted in accordance with their family or priest, which indicated a dependent way of thinking. However, it's important to note that women enjoyed a specific role within the family nucleus and were respected. I, for example, had a father who was an enlightened individual. After I learned how to sew, I opened a tailoring shop and worked from home. My father, in fact, who was aware that I excelled in school but didn't have the means to further my studies, told me: “If you can't become a schoolteacher, you will become a teacher of sewing.� And so it was. I loved my

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work and I believe that this love, this passion, has always mitigated the fatigue of work. My husband and I respected each other, our singular goal was to create a family and provide our children with a future full of opportunities. We would have accomplished all of this also through the expression of our votes.

What was the attitude of men towards women who were finally able to vote?

I saw a positive attitude. As mentioned before, men respected women, though many sought to influence the voting preferences of their wives, daughters, and girlfriends.

Can you describe the interaction between women prior to the upcoming elections?

We did not speak much amongst ourselves about politics. There was some fear regarding the possibility of being “labeled” upon expressing our political ideas and this was something that we wanted to avoid. I for example, never once spoke about politics to any of my female clients who would come to have dresses sewn.

...shed yourself of false myths, re-adorn yourself with healthy

desires and unsullied dreams...

How do you perceive the evolution of women's roles today and their role in politics?

I can definitely say that I'm happy about seeing women enter the political class system. In fact I think that women are capable of great things and can do them better than men for their increased sensibilities and practical sense. However, I do think that women, despite their evolution and how much has been achieved, continue to be penalized to this day.

Men have not taken the necessary steps to keep up with women and thus there's much confusion within the respective roles that doesn't help the situation. I also believe that compared to the past, today we are living in a “tragic” period. Malpractice has overwhelmed everything, we aren't able to distinguish between ideals and the mere fulfillment of personal and egotistical interests. We're never satisfied, we want too much, and there is little hope – the hope that I talked about before that lights up our lives.

What would you advise to women voters today?

I wouldn't know where to begin. Or perhaps yes. I would tell them: Begin by respecting yourself, shed yourself of false myths, readorn yourself with healthy desires and unsullied dreams, don't think about possessing things or that having the perfect body is your only life goal. Re-appreciate the values that you have perhaps forgotten. Re-appreciate your ideals. Vote in an informed manner, and vote with hope.

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Only a Glass of Water: La Misericordia

PAM BULLOCK Photographs by HANNAH JAKUBEK

The ambulances parked at the Piazza Duomo caught my attention. “Uh oh, somebody knows something I don’t,” was my thought. I stayed a very short time and would quickly skirt the perimeter if I had to go that way. I had signed up for the Duomo neighborhood City Walk offered by FUA’s SLD department and it was then I learned the purpose of the ambulances.

he ambulances belong to the Misericordia (Venerabile Arciconfraternita della Misericordia di Firenze), a brotherhood of volunteers whose presence in the city predates the Duomo. The legend starts with a brotherhood initially formed by a Florentine porter – a poor man who carried people on his back. Luca di Pietro Borsi was a pious man and, concerned by the misuse of the Lord’s name by his fellow porters, set out a basket for them to contribute coins for penitence. The coin collection grew and he used the money to have six baskets made to carry the sick for treatment and the dead for burial.

After a conflict between the Church and heretics in 1244, a Dominican friar, St. Peter the Martyr, organized the Misericordia who for nearly eight centuries continue the mission of transporting the sick. They are as relevant and vital to Florence in 2014 as they were during the Dark Ages.

In the second-story conference room, which overlooks directly across the piazza to statues of the prophets at the Duomo, Andrea Morino who serves as the Vice Segretario Generale kindly explained the organization and the services of the Misericordia. For 770 years, through plagues, wars and floods, day in and day out, Florentines have volunteered as brothers to care for the less fortunate among them. Until the last decade when the EU insisted that public safety required recognition of healthcare workers, the brothers maintained anonymity by wearing coverings

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over their faces (the buffa). Originally red, the color of medicine, the “uniform” of the brotherhood was a simple long shirt with a rosary around the waist, pants, buffa, and shoe covers. Red changed to black in 1470. All who volunteered, rich or poor, participated anonymously. This was charity, a gift one gave to the community. Recognition for service had no part in the transaction. By tradition, expressing gratitude was always limited to “Only a glass of water.”

The Misericordia is the oldest volunteer institution of this kind in the world. Even today, when Florentines see an ambulance pass they say, “There goes the Misericordia.” Over the centuries nearly every family has had someone volunteer service or received service. Volunteers have included Lorenzo de’ Medici and Amerigo Vespucci. The primary responsibility remains transportation but as the city has grown so has its needs, and the brotherhood has expanded its mission to include: five medical clinics across the city, family crisis support, assisting during civil disturbances, assisting the mentally and physically disabled, negotiate the public health bureaucracy, providing daily home visits to those unable to care for themselves, alimentary services with a supermercato and food delivery, providing an emergency contact support center, providing personal transportation devices such as wheelchairs and walkers, and supporting an assisted living community. Additionally they have archived public records of the city (since

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The Misericordia is as relevant and vital to Florence in 2014 as it was during the Dark Ages.

1407) and issue a quarterly Christian and regionally inspired publication, San Sebastiano.

Most impressively, this is all accomplished through financial donations, burial fees for the Misericordia-maintained private cemeteries, and the countless hours the Florentines donate to care for each other.

The volunteers are people from all walks of life and, of course, include physicians and nurses. For those who are not healthcare workers, there are two levels of training managed by another group of volunteers.

At the end of the 1970s, women were allowed to volunteer. In June 2012, the first woman was granted membership to the 72-member directory. New this year is Servizi Sportivi, a division formed to monitor a 3-hour run every Wednesday night from 6-9:00 pm, for 32 weeks.

Now when I pass the Duomo I go behind the ambulances and up the steps to drop a few euros into the donation box on the wall. I am encouraging everyone I know to take a tour of the museum in which you can see the buffa with the other clothes to assure anonymity, baskets, carts used to transport the sick and the dead, works by Ghiberti and della Robbia, and a statue of the patron, St. Sebastian. The museum is open on Mondays and Friday afternoons. And, as I think about it, I wonder if Thomas Jefferson knew about the Misericordia when he penned, “Of the people, by the people and for the people.� The most precious words of our country are demonstrated every day in Florence.

For additional information see: www.misericordia.it www.accentblogs.com/reaching-outvolunteering-at-misericordia-in-florence/

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Running for a Better Florence: Firenze Vivicittà

MIRELLA SARTI

Photograph by CASTAGNOLI FOTOGRAFIE SPORTIVE

The Vivicittà Half Marathon in Florence is a yearly event at its 31st edition and gathers professional and amateur athletes united by a passion for running. This year it was held on April 6th, 2014, and was themed to support women who practice sports. The event promotes solidarity and evironmental conservation through information campaigns and fundraising. Two versions of the race were featured, the half marathon (21.097km) and the non-competitive 10k run, and for the latest edition a FUA group participated, led by myself and my Environmental Conservation students.

Students Eileen, Claire, and Devin share their impressions about the experience:

Our participation originated from the idea of one of my former students from Fall 2013. Cassiah Sahl proposed to run to collect funds for the Community Garden activity that she was involved in. I immediately set out to learn how we could join, and received notice from Marco Ceccantini (USIP – Unione Italiana Sport per Tutti) that FUA could indeed participate and that direct sign-up fees would go towards sustaining the community garden goal. I was floored by this beautiful opportunity, as well as by UISP’s gracious response.

My personal response to the opportunity was that of taking on the half marathon challenge. I began training at the beginning of February and completed my very first run in exactly two hours. My timing was a complete suprise not only to myself but to my friends, fellow athletes, and acquaintances!

As the FUA group, we ran for the Community Garden cause. The funds raised by the sign-up fees provided by our participants (14 students, myself, and our collaborator, Giacomo, who represents the garden initiative) were utilized to further support our cause.

I was so happy to be running for a good cause. Personally, it was a great experience to be able to say that I ran a half marathon while I was in Florence. It is definitely a good memory to have about my study abroad experience. I felt it was a good way to get involved in my new community. The run was also a great way to see the city.

I thought it was so nice how the leaders of the run gave out water, tea, and fruit for the runners. I was also so impressed to see the competitive runners pass me as they neared the end of their longer run.

Overall, it was great way for me to be a part of the greater Florentine community and the Community Garden’s community as well.

Eileen Kemner It feels great for me to say that my first 10k was through the streets of Florence. I got to see parts of the city that I hadn’t really explored yet. This opened up a door for me to do more races in the future, and I already have one in mind to do when I get home. I also really enjoyed seeing how many people participated. I enjoy staying in shape, and it was nice to be surrounded by other people who take the event seriously too.

Claire Tocco The run made me realize I want to try and train for the New York marathon and run it with my dad in November.

Devin Cash

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n March 1st 2015, the EXPO in Milan will be dedicated to “Nurture the Planet. Energy for Life.” Amongst the slated subtopics and variations of the main theme, an important focus that will be presented examines how research can investigate and propose new, sustainable, and operational models for the practices of food supply, preparation, and conservation by increasing the competency levels of professionals in the field.

2014 also marks the year dedicated to the European campaign against food waste.

Florence University of the Arts has taken into account the aforementioned two opportunities for reflection. The institution, which is highly active in the training of culinary and wine professionals, proposes to partake in the debate by supporting research based on innovative competencies to adopt not only within its didactic activity, but also for a greater involvement extending to other Tuscan, Italian, and international educational institutions.

A specific point of relevance is Apicius International School of Hospitality at FUA, which features two academic subdivisions: the School of Food and Wine Studies and the School of Hospitality. Both are expressly dedicated to the training of food and hospitality professionals and their related fields. The School of Food and Wine Studies is composed of departments pertaining to Culinary Arts, Baking and Pastry, Dietetics and Nutrition, Food and Culture, Wine Culture, and Wine Expertise.

The science of gastronomy and hospitality at FUA is intended as an integrated system of disciplines that involve all forms of knowledge in terms of food as both a material and cultural element. When food is transformed – whether according to traditions or not, and recounted/analyzed scientifically or by other means – it also contributes to shape the hospitality approaches of a country and of a culture.

Given the reality of operating within a system that hosts extremely complex economic relationships and that is interdisciplinary, FUA is aware that there are spaces offering potential for industry growth if adequately

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equipped for the purposes of training processes.

FUA in fact sustains that the Culinary Arts segment of the industry in Italy is lacking in educators with high-level practical and scientific backgrounds, and that this fact conditions the growth potential by stunting development.

Traditionally, educational training is entrusted to professionals whose education consists mainly of didactic approaches of artisanal derivation as opposed to a proper learning system that includes appropriate and scientifically accredited curriculum.

Though the end results have often been praiseworthy, this type of education has in many cases failed to provide professionals with a utilizable knowledge that also acts as an instrument for developing new skills and abilities in tune with the challenges posed to the culinary field by current times and economic situations.

For this reason, FUA, the Italian state universities of Florence and Pisa, and a US-based institution have united in the aim to promote research related to determining the necessary knowledge and training curriculum to institute a master degree in education for the gastronomic field.

The establishment of such a program involves the identification of skills and capacities that a Culinary Educator must possess and communicate when training new culinary professionals.

Competency and skills can be divided into three principal groups: The first is strictly professional with regards to the general area of food preparation. The second has to do with teaching methods and techniques particularly underlined by the European 2020 strategy for education/development. The third consists of the scientific/cultural background of the Educator through which he or she develops an efficient academic presence.

This final competency group can potentially derive from disciplines such as food safety and quality, alimentary biodiversity, agro-alimentary systems, food technologies, food sustainability, enology, food culture, and several others that will be determined by the present research.

ELIO SATTI

FUA for the Global Community: Academic Research FUA has initiated a multi-university research project intended to develop an educational program for Culinary Educators, a much-needed figure in the educational field due to the growing demands of food-related industries.

SPRING 2014

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Voices PAM BULLOCK LOCAL CELEBRITIES: FLORENTINES TODAY

Marcel Proust’s name has been linked to this late 19th century parlor game, popularized as a way to explore personality. In the 20th century it has become a staple item of the last page of the American magazine Vanity Fair, in which a celebrity answers a list of questions about him or herself.

For this issue of Blending, focusing on YesToday, we thought it would be fun to ask three local Florentine celebrities the following questions.

Photographs courtesy of HANNAH JAKUBEK, CARLOTTA FORASASSI, PAM BULLOCK

The Food Expert

The Pianist

The Statue

Pino Palmiero, of Pino’s Sandwiches, Salumeria Verdi, kindly agreed to play along. I handed Pino a copy of FIRENZE su misura, RESTAURANT GUIDE, that I had picked up while staying the Hotel S. Regis in February and asked him for three restaurant recommendations from their list. I understood for a Florentine in his position, this was putting him on the spot, but persisted. He explained that he prefers to dine, “with warmth and color.” His recommendations in alphabetical order are: Cibreo, Cammillo and La Giostra.

Our second local celebrity is Pianist, Carlotta Forasassi, who has a degree in Ancient Near East Archaeology and is currently a FUA instructor for the Music Studies department. Carlotta took time from teaching and her fourhand piano projects (Mad Emoiselle Sarabande) with her piano partner, to answer our questions. I handed her a copy of the restaurant guide as well and asked for three restaurant recommendations from their list. Her recommendations are: Targa Bistrot, Ristorante del Fagioli, and Olio & Convivium.

Known all over the world, our third local celebrity is David, who currently resides at the Galleria Dell’Accademia.

David agreed to this interview in the middle of the night when no witnesses were present. I asked for three restaurant recommendations but he said he didn’t get out much, and declined.

My French bulldog, Oliver

Gumby

To earn a living with music, to have three bulldogs and live in the country some place sunny but not too warm, surrounded by the love of my family, and just good friends, including Elettra Capecchi, my piano partner.

To be able to walk

To be independent

Longevity

To break one or both of my hands!

An earthquake

The ability to fly

To dance

The Steinway grand piano my father gave me when I was ten.

My slingshot

WHO IS YOU ALTER EGO?

Elvis Presley WHAT IS YOUR IDEA OF PERFECT HAPPINESS?

To wake every day and always say, “Today is going to be a good day” WHAT IS YOUR GREATEST ACHIEVEMENT?

My family WHAT IS YOUR GREATEST FEAR?

Snakes WHAT TALENT WOULD YOU MOST DESIRE TO POSSESS?

To sing opera WHAT IS YOUR MOST TREASURED POSSESSION?

A 1978 Pepsi Rolex

WHAT QUALITY DO YOU VALUE MOST IN YOUR FRIENDS?

Sincerity

The ability to be my accomplices

Philanthropy

To be funny and never boring

A weak spot, right between the eyes

To be able to listen and “get me”

Poise

Sadness

Rigidity

My wedding day

When I was liberated from this marble by Signor Buonarroti

WHAT QUALITY DO YOU VALUE MOST IN A MAN?

Spirit to adapt WHAT QUALITY DO YOU VALUE MOST IN A WOMAN?

Intelligence and perspicacity WHAT QUALITY DO YOU MOST DEPLORE IN YOURSELF?

Too positive and too trusting WHEN AND WHERE WERE YOU THE HAPPIEST?

When my daughter was born

IF YOU COULD CHANGE ANYTHING ABOUT YOUR FAMILY, WHAT WOULD IT BE?

Niente WHO IS YOUR FAVORITE WRITER?

Jack London WHAT IS YOUR FAVORITE MUSIC?

Elvis, Pink Floyd, the Beatles WHAT IS YOU FAVORITE MOVIE?

All of the “Star Treks” WHAT DO YOU COLLECT?

Watches, wine, whiskey, Star Trek DVDs WHAT IS YOUR MOTTO?

Sempre avanti

For my mother not to worry so much about me and my brother, who is a pilot and is in the air more than he is on the ground

My birth order

Sandor Marai and Simonetta Agnello Hornby

Samuel, Jack Kerouac, and Malcolm Gladwell

Classical: Mozart, Brahms and Ravel.

Jazz: Enrico Pieranunzi

Hip Hop

The Wes Anderson films

“Under the Tuscan Sun”

Nothing

Stares

Don’t have one

Another one bites the dust

Always emotional, up and down

Stoic

WHAT IS YOUR CURRENT STATE OF MIND?

How to balance work and life in the future

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VO I C E S

The Classroom, Revisited I sit down in a wobbly dining chair outside Osteria Dei Benci, across from Pamela Bullock, a petite 60-year-old woman with endless energy who has decided to study abroad this semester at Florence University of the Arts. fter completing her residency in Pathology in 1986, Pam recently decided to go back to school at the University of Tennessee in January 2013 for a degree in Communications. She felt the demand for well-trained physicians who also knew how to speak and write well. In a conversation with a pathologist she was mentoring in California, the woman had mentioned the best thing she did as an undergraduate student was study abroad in Florence. Pam immediately thought, “I could do that.” This has been her philosophy on life, as she labels herself “Doctor Death.” As a pathologist, Pam delivers the most relieving or fatal of news to her patients on a daily basis. However, her job only gives her an enhanced perspective on life: “While you’re alive, do it.” It is this courageous and curious attitude that has brought her to Italy for the sixth time since she first visited in 1994. Except this time, she proudly claims, “I can get the senior and student discount!”

At FUA, Pam enrolled in Elementary Italian, Iphoneography, Travel Writing, and Contemporary Italian Cooking. She says when people ask her why she goes to class, she replies, “Class is fun for me!” Now, as Pam finds herself a student at FUA, among the many younger students she calls her classmates, I wonder if she feels as though she sticks out. When asked if she feels set apart or equal to the other students in her classes, she responds, “both.”

As a 60-year-old coming back to school, Pam has a broader perspective on life compared to most of her contemporaries. She understands that she has “already done the real world.” This has given her a better self-awareness that only seems to come with life experience, which she feels sets her apart from most of her classmates. She says, “I’ve been the student, I’ve been the teacher. I’ve seen it all. I’ve done everything.” Yet, a moment later, she claims, “That’s not true.”

In returning to college, Pam feels she wants to receive all the knowledge she possibly can, which sets her as an equal amongst her peers.

However, Pam returned to a very different classroom of students than she had left thirty years ago. “Technology is probably the biggest change,” Pam admits. She notices how libraries have essentially gone out of fashion, since books no longer need to be checked out but can be downloaded instead. She is also surprised at the several new software programs that are created, especially those that can detect plagiarism. She states that cheating was not as big of a problem when she went to school.

Pam also noted that in writing papers, how much simpler it is to physically write a research paper on a computer today. She cringes at the thought of writing down every quote and source on index cards and organizing them in order before sitting down to write her papers. With the increase in the accessibility of resources since she was in college, Pam believes this has allowed for papers to become more creative. An inquisitive learner at heart, she claims, with so many sources to draw from, research becomes similar to an excavation of a tree: digging and digging until every root is exposed.

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EMMA BRYANT Photograph by HANNAH JAKUBEK

While she used to hate how boring essay writing could be, she finds freedom in the creativity that has manifested through the abundance of resources in technology. Group projects are also new to Pam, who comically explains the frustrations of working with other students for a grade, since “there is always someone who doesn’t do the work.”

Pam is also shocked at the sight of students asking to go to the bathroom, usually with their cell phones in their pockets. She perceives this as rude, recalling that when she was in college in the 1970s, no one thought of going to the bathroom during class. Class participation is Pam’s specialty. “I always have something to contribute” she confesses, “but I have to sit on it, tolerate the silence and let someone else talk.”

Despite the differences she has with her peers, Pam has made many friends. “I feel like I have to watch my language – that I need to be a role model,” she laughs, “but mostly I don’t.” When asked how she perceives her classmates, she observes, “Everyone is so sincere and serious. I want to say, ‘Look, guys. You’re flying around on a rock. So you blew a class or you did this or you did that. You have the rest of your life! So have some drunkard pasta.’”

This playful, carpe diem attitude Pam exudes is refreshing. She says she owes this to her position as a student: “The mindset of the student is to the future. People my age are focused on the past. Have you talked to a 20-year-old lately? I’m not nearly as pessimistic as I would be if I just watched TV.” When I ask her about Florence, she replies, “It is the perfect place for me to study.” As a pathologist, Pam is very visual and claims Florence is the same way.

“I see the big world and I see the microscopic world,” she says, “and they are the same.” However, she claims her job is so science-oriented and cut and dry that the opportunity to be creative in her classes at FUA and part of the writing staff for Blending Magazine has opened up a side of her she never knew she had. “Isn’t that amazing,” she reflects, “I discovered this before my time was up?”

Pam is a firm believer in alter egos. “Who are you on the inside?” She asks. “I’m Dolly Parton.” Pam’s lively spirit and sense of adventure contradicts the stereotype of her age. She happily recounts a conversation she had with an Italian when she stopped for an espresso and bathroom break on a weekend trip a few weeks ago. When he asked her what she did, she replied, “Sono una studentessa.” He automatically replied, in English, “But you’re old.” As we finish our meal with an espresso and a cappuccino, I am inspired. Despite our ages or where we come from, I have found a commonality with Pam: I couldn’t agree with her more that studying abroad in Florence was indeed “The best decision I’ve ever made.”

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VO I C E S

Sports: A Combination of Passion and PAOLA CARRETERO Management Photograph by HANNAH JAKUBEK

Behind every goal, there is not only a great player but also a great manager. The world of Sports is certainly of big, or should I say “abbastanza,” importance here in Italy. took this phrase from an Italian author, which describes exactly how Italians feel, and act towards Sports:

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“C’è però una cosa, nel calcio, che non cambia mai: la passione. Una passione che accomuna tutti, uomini e donne.”

- Darwin Pastorin, Lettera a mio figlio sul calcio Translated to English it means: “There is only one thing in football that never changes: the passion that unites everyone, women and men.”

So as we can see, “passionate” is the word that connects Italians and sports. But not only in soccer do we see this passion in the eyes and expressions of the Italian people, we see it in every single aspect in the greater sporting world.

It’s true that just as everything else, sports have changed over the years but the Italian commitment and passion is something that remains constant. Another factor is that nowadays, everything is more approachable and more people have access to sports media thanks to technology. But when we talk about being passionate about sports, we also mean the adrenaline that people feel when seeing the soccer forwarder striking a goal, a basketball player scoring, or a famous runner crossing the finish line. But what about the people behind all of this?

The managers, the directors, the coordinators?

Going back to the 70s and 80s, those who stood out were not only the athletes on the field but the figures in charge of leading a team or groups of people who share the same interest for fitness and sports.

The 80s were a time of leotards, lycra, and aerobics lead and taught by women with attractive silhouettes that appeared on every TV spot and magazine, while men were also heavily involved in physiculturism and training. The business of creating GYMs (Gymnasiums) and leading teams was something that the diverse icons were making more and more popular. Sports Management itself had a big influence in those years and today the individuals in the sports business are not only passionate about the game but the management of it. In fact, I had the pleasure to meet and work with a young woman who is a former believer of this statement.

Jasmine N. Robinson, a student from Columbus, Ohio, USA, has been involved in the world of Sports for a very long time. Jasmine’s college education is based on sports. She studied Sports Medicine and has a Minor in Athletic Training from the Kentucky State University in Frankfort, Kentucky. During her undergrad years, she played collegiate softball for the full four years; now she’s planning to attend a graduate school for International Sports Management.

Jasmine came all the way from the US to Florence, Italy, to participate in an internship at FUA’s gym, “La Palestra.” Committed to her devotion for sports management, this semester she has been the main coordinator and manager for La Palestra. Since I am a volunteer dance instructor at La Palestra, I took a few moments to meet “Jas” and ask her a couple of questions.

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SPRING 2014

Jasmine, tell us about your experience in the world of Sports and Fitness.

I have always played sports ever since I was a kid. There would be nights when me and my younger brother would stay out all night playing basketball until our mother would make us come in. Sports really has played a big role in my life, from knowing how to deal with pressure, how hard work really pays off, how to work with others even if they are to your favorite person in the world. To me, sports really shows you the way of life, the good and the bad, the happy and the sad. Also, being on a sports team makes you forge friendships, friends who turn into family. Most of my closest friends are the people that I have met while I was on a sports team, and I wouldn’t trade them for the world. When it comes to fitness, it’s very important. In the US, there are obesity issues due to fast food and the lack of working out.

What is your position at LA PALESTRA? I am the intern at La Palestra. My role is to put the gym classes together, check and meet with all the instructors, and make sure that classes are up and running for the students to enjoy. Also, if the students have questions about working out, sports events, or anything sports-related I do my best to help them out in any way that I can.

What can you tell us about the history and importance of Italian sports in the 80s?

One thing that really stood out to me is the technology. When it comes to technology over the last 30 years, Italy has been really making a lot of progress to use more technology to improve the industry.

For example, in the early 80s, soccer had only three officials to referee the games. Nowadays, there are six officials on the field to keep a better eye on the game and they all wear ear pieces so that they can communicate with one another. There are now cameras on the game field. The human eye can’t catch everything that happens, but a camera can. If there is a problem with reading a goal. Without this upgrade, there would be many issues for the officials and the sport would not be as fun to watch if everyone feels like the game is unfair.

Why did you choose Italy for your internship?

I choose Italy for my internship because I wanted to try and get out of my comfort zone. Go to a place where I wouldn’t know anyone, the language, and try to get accustomed to it all. Italy is very big on soccer, so I was wanted to get more exposed to the sport since it is less followed in the US. One thing that really stands out to me is the role of females in sports. There is a movie called “A League of Their Own” that was what really got me into playing softball in the first place.

During World War II, the Major League was shutting down because the men had to go to war. The idea came about to let females play pro baseball. At first, everyone thought it would be a joke since “girls can’t play ball” but the ladies showed them otherwise. I truly admire how far women have came in sports, and can’t wait to see what else will be accomplished.

VO I C E S

GETTING OVER THE RENAISSANCE T

he room was the same. The view was the same. The location was the same. The statues stood, erect in the lush Boboli Gardens, the same. From my position in the Pitti Palace, I contemplated how different life must have been years ago in Florence, Italy, but to my eyes, it seemed as though nothing had changed. What, then, was the difference? Was there one?

The Florentines of late were hard workers and craftsmen; they were artisans of the Renaissance attempting to rediscover an inner beauty. It was a time of great cultural change. It was a period named “rebirth,” and people all over the city were becoming enlightened.

Words often associated with the time include wealth, luxury, prosperity, and poise. Standing in the old palace, overlooking the gardens that had not seemed to change, I realized that the same was true for the city. The days of yesterday in Florence were just as those of today.

Twenty-first century Florentines have a reputation equal to that of their predecessors. Trailblazers for global fashion and masters of cuisine, the people of Florence continue to strive for innovation, drawing inspiration from a rich, cultural past. The city preserves and touts its masterpieces, and invites the world to witness unprecedented culture. However, the Florentine culture is not simply a fabrication of times past, but a celebration of the transition into modern times with ongoing innovation and artistic ingenuity.

As a current resident of Florence, I find myself experiencing my own

ELIZABETH PATALITA

type of Renaissance. I have been living here for almost three months and have experienced an awakening within myself. I came to discover a new part of the world, but have succeeded in uncovering a previously hidden portion of myself. However, I am not entirely detached from my roots. Florence encourages development, personal and professional, as can be seen in the very apparent tie to its past and heard in its loud personality of the present.

Technology may have provided speed for the Florentine lifestyle, but the character of the city remains the same as it has been since the “glory days” of the Renaissance. Designers, jewelers, craftsmen, chefs, and restaurant owners labor painstakingly over their respective trades every day, and it is visible that they take zero short cuts in achieving the greatest of quality. There is a true work ethic (even if it is not necessarily timely). Maybe this is how the rest of global society should view work: as an art form, not a task. If we all reached for perfection in our respective talents with the goal of personal achievement, and took the time to rejoice in the “art” we create in the process, perhaps we would not rely so heavily on technology and machines. Perhaps we would not become them ourselves, as it often seems today. There is art and beauty in even the simplest of things, and this is what the Florentines of today continue to profess to the world. I think it is time we listen to the Florence of yesterday, to the Florence of today.

In this second “diptych” series developed by the Travel Writing class at FUA, the city of Florence yields to the pens of Elizabeth Patalita and Danya Migdali.

How can Florence “get over” the Renaissance or coexist with the weighty presence of its past? Or in the overwhelming beauty of Florence experienced in each single moment, can we imagine her life before and after us?

Yes, Florence DANYA MIGDALI

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ometimes it’s hard to remember there was life before us. That before we were born, before we came to Florence, people still gazed into the churning waters of the Arno, still walked past the Duomo, awe expressed on their upturned faces. Their feet still carried them through the dewy grass of the Boboli Gardens, stomped up the hill to sit with David’s copy and gaze at the undeveloped city, still strained and stumbled as they moved heavy statues to their proper places.

Sometimes it’s hard to remember. That the brightly colored shops shocking the dreary streets like wine drops along an old tablecloth are new. That the exquisite dresses reflected in our longing eyes show our invasion of this historical city, the heels clicking along the pavement mimicking the medieval horses clattering steps.

Sometimes it’s hard. The posters and pictures adorning the insides of our rented apartments have nothing on the cased paintings lining the city streets. They stare down at you, as your feet fight the cob-

FLORENCE, SOMETIMES blestones for balance, with knowledge of all the previous years. They remember the families joining together for meals, each member with a specific role to play. The interiors of homes, some not big enough to squeeze in all the brothers, sisters, aunts, and uncles, not to mention the extraordinary food spilling onto plates.

Sometimes it’s hard to remember that there will be life after us. More footsteps will wear the cobblestones away and the scaffolding covering the city will finally be removed, shining sights gazing down at the newcomers. Fresh-faced children will pick flowers in the gardens, daisy chains crowning their small heads. Shops will come and go, new fashions replacing ancient history. Meals will get simpler and smaller.

The sunrise will bleed into the sun setting upon this marvelous city.

Students, tourists, workers and families will grow as the city does – getting taller, brighter, years aging the many faces, until today becomes just another grafittied picture coloring the already vibrant Florence.

SPRING 2014

Photograph by Silvia Mancini

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Alumni JESSICA VOLPE Photographs courtesy of the interviewees

FUA Alumni: Graduate Voices Echo into the Present

Spring is upon us here at FUA and with it comes a sense of renewal intertwined with nostalgia. We are different this year, much as we were the last and yet, it is almost as though nothing has changed. Florence is still the same beautiful city that it has been for centuries, palaces standing, tourists abound, the FUA courtyard with its wisteria, flowers in bloom and vines outstretched, almost as if to tap lightly on the shoulders of curious passersby and students alike, its sweet scent a whisper reminding us of semesters and students past.

So in the spirit of seasons that have come and gone, students who have thrived and taken memories of FUA with them, tucked safely in their pockets as they extend their gaze toward all that awaits, we proudly share their words, their joys, and their accomplishments with you all.

PEIGON: FASHION-FORWARD ACCESSORIES

Julio Gonzalez and Maria Pei met in Spring 2013 during their Handbag Construction Techniques course at FAST. Julio was spending a semester studying abroad at FUA and Maria was completing her professional career program in Accessory Design and Technology. Since then, they have started PeiGon, their independently owned leather handbag and accessories business based both in the United States and Taiwan.

Tell us about your background and your time at FUA? We both come from a fashion background. I (Julio) have worked in luxury retail for nearly 6 years and it has always been something of interest to me. Maria has always been passionate about fashion and during her studies in college she entered a handbag design competition which landed her at a top 10 spot in all of Taiwan. With 62 *

SPRING 2014

For more information about the FUA Alumni Association, please visit alumni.fua.it To share your Alumni story, please write to alumni@fua.it

both of our stories, it essentially led us to broaden our horizons and seek an opportunity to study abroad. Our mothers coincidently are great seamstresses so we were brought up appreciating fashion, fabrics, and irregular designs on two separate continents of the world.

Maria is an accessory designer with a BA in Industrial Design in Taiwan. I studied International Business and Fashion and Accessory Design. The rest is FUA history. We enrolled in some fashion design classes, which then lead us to unintentionally meet in a leather construction class. FUA was the gateway to using all of our creative abilities. Firenze was so inspirational and full of life that it really brought out a side of us that we wouldn’t have dared to expose if we had stayed home.

What have you been doing since your session abroad ended?

Since my training in Italy, I have been working full time as well as dedicating a lot of time to a business I started with Maria. Our company, PeiGon Leathers, is based out of the US but we offer pieces made in both Italy and Taiwan. Maria and I have been building our luxury fashion brand to promote an edgier and more artful side of fashion. The fashion in Italy is unique and original but we also fell in love with the imperfections of personal styles. There is beauty in originality and Maria and I have the nerve to push the limits to introduce something completely different than what you see today.

How has your experience at FUA constituted an important part of your “recent” past?

We believe that socializing and experiencing how Italians live their daily lives constitutes what we do today for ourselves as well as our brand. We were equally inspired by the way Italians dressed and interacted with each other. We noticed most if not all Italians had a way of dressing for themselves. Fashion came naturally to them day after day. They had a different way of portraying themselves on the street; they were moving pieces of art. Disregarding climate or occasion, everyday seemed to be a festival.

A LU M N I

In what way has contemporary Florence impacted your current professional undertakings?

There must be something in the water in Florence because we believe contemporary Florence has really changed us for the better.

Fashion was a way of life in Florence and we believe that this fact was a huge chunk that we took back with us. We have the whole world ahead of us and Florence has shown us there are no limits to what we can achieve with our business.

Tell us about your recent trip to Taiwan, are there any exciting and upcoming opportunities you can share with us?

Working on two different continents can be hard and Maria and I work so well together that we didn’t want to interrupt our flow by letting distance stop us. During the summer Maria spent a few months in NYC and it was my turn to come to Asia. The biggest reason for coming to Asia was to find out the tastes of the Asian market. We needed to research which products Asian consumers like/ need because they are part of the biggest market in the world, which is also very competitive. We believe that if we can conquer one of the largest markets out there, the rest will come naturally. We are trying to expand and be more of an established Fashion House. So there will be clothing featured in the near future, but that’s just our little secret! *wink* Where do you draw your inspiration?

Let me begin with explaining our brand name PeiGon. We used our family names, Maria Pei and Julio Gonzalez, to be symbols of how personal this brand is to us. The underlining meaning is also in the pronunciation “pagan,” which has a rebellious but symbolic meaning to it. Maria and I are not the traditional fashion designers but designers who want to change the world of fashion, in the best way possible. As far as our inspiration, it is a very difficult question because it is probably one of the only areas where Maria and I are not in sync. We come together simultaneously and decide what fuses best. Maria is mainly inspired by architecture, animals, furniture, and the famous night markets in Taiwan. I on the other hand draw inspiration from family and friends, travels, and most importantly the new people I meet.

Has an aspect of Florence or the FUA atmosphere influenced any of your pieces?

We learned that a big part of handbags or luggage is really how utilitarian they are. Living in Florence you need to be prepared to carry around books, an umbrella, water, clothing, and sometimes even groceries. Most of our bags, although fashionable, are very useful and functional to carry around for everyday use.

What are your goals for the future?

We are focusing on brand recognition and quality control. We really want to emphasize craftsmanship and unique pieces. We are not a trendy brand, we are more about marketing our own classic styles but keeping pieces intimate and handmade.

Will you be returning to Florence anytime soon?

Yes! We love Florence and hope to return anytime as soon as within a year. It will be beneficial for us to revisit where everything started, at FUA. We are very proud to be a part of the Alumni Network at FUA and to have had the opportunity to work with such a state of the art university, which features some of the best instructors that Italy has to offer.

Where can we find your work?

At the moment we are focusing on our e-commerce online store.

Shopping online is convenient but we really encourage our admirers to come into a location that will have a supply of our products.

More information can be found on the web at www.peigonleathers.com

THE SENSES AND THE NEWS: A CONTEMPORARY PAIRING KATHERINE BRANTLEY

Wine Career Program alum Katherine Brantley is embarking on a journalism career after spending a year of intensive wine and enology studies at Apicius International School of Hospitality.

“A sensory proposition to a contemporary challenge.”

No doubt we live in an age of exciting times. The present moment has never before had so many options. Technology allows us to tap into vast webs of social media where anyone can post their opinions, faces and new ideas for the world to see. We are able to choose any version of news media that suits us best — from preferred networks to even flavor of format — be it iPhone, iPad, web or even the traditional newspaper. Our gustatory world is exploding with creativity and opportunity — fusing cultural senses, rediscovering past ones coupled with the increasing ability to move our best products country to country.

It is with privilege I find myself alive in this window of time, yet I recognize its challenges. I also perceive many ironies and juxtapositions within it. Our world is exploding but also shrinking. Our outside voices are loud but we could be losing the most important one inside. Everyday we are met with a bountiful table of tasty items to fill our minds, ears, mouths and souls. We take and then hope to add our unique flavor to it. The options are endless but can also be overwhelming.

I’m finding the biggest challenge is learning to sift through the plates, much less find my own palette and expression to add to its enormous spread. My proposition to this contemporary challenge is a simple one. It involves my story of how I stopped, unplugged and devoted time to sensory study. Not everyone has the opportunity to leave their country to pursue their senses for an entire year in Florence, Italy. But I hope telling it may help others participate in this beautiful, diverse but also immense buffet of senses that the world offers.

--Last month I was in Oxford, England and heard Alain De Botton lecture on his new book: The News. For about an hour he enlightened us with his opinion on how to wrangle this age of information while peeling back the layers into why our psyche continues to crave more of it. For me, yet again, it evoked this picture of the increasing and alluring social feast we live in today. In regards to its invasive strength, he states: “Modern Societies are still at the dawn of understanding what kind of news they need in order to flourish. For most of history, news was so hard to gather and expensive to deliver, its hold on our inner lives was inevitably kept in check. Now there is almost nowhere on the planet we are able to go to escape from it.”

I found my escape in Florence Italy. And it is here that I discovered what I believe is the greatest, most authentic and soon-to-be lost tool of understanding the world around us: our senses.

Merriam-Webster defines SENSE as “one of the five natural powers

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(touch, taste, smell, sight and hearing) through which you receive information about the world around you.”

It then defines NEWS as “New information or a report about something that has happened recently.”

According to Massimo Coppetti, a Sommelier and Apicius professor, there are four classifications when conducting food and wine pairing analysis: Traditional, Seasonal, Technical and Emotional. As I investigated this pairing, my curiosities increased with its validity. In gustatory classrooms, I would not classify this odd pairing as “traditional,” but rather “emotional” and even “scientific.” Just notice the most pivotal word shared in the definitions above: INFORMATION. Each acting as a tool to receive information in order to better understand the world around us.

Any good pairing requires each part to be equal in strength and also complement their weaknesses. In essence, their components are best expressed together than apart. Therefore, if we are to pair our senses with the hurricane strength of the media today, we need to come to the table with a highly complex set of them. This is the challenge but an achievable one indeed, simply by its definition.

The true question is how do we discover and even develop our most natural tools and core identity when we are constantly bombarded from the outside?

Unplug. And this is what I did two years ago.

--If there is one city in the world where someone could escape from the incessant daily news stream and the reel of social media, it is Florence Italy. And I believe that this escape was a key part to my euphoric experience throughout my first year in this cultural mecca.

It is also a city and country that inherently understands the importance of our senses and filters everything else through them.

Two years ago I had the seemingly impossible opportunity to “rip chord” out of normal life. As a 35-year-old with an established career and life in the US, this was not an easy task but one I must do for reasons I thought I knew. But what I didn’t know was the education acquired not just in wine but a much deeper, more complex one with far wider implications.

Moving to another country obviously involves drastic change. And it is our basic routines that usually are the most difficult ones. Some are forced and even unwelcomed while others require deliberation. I remember a day early into my first semester that I decided to let go of a very coveted habitual routine: the news.

Dropping this addiction of the daily newsreel for 9 short months seemed almost impermissible, yet at the same time logical. And so it was, I reluctantly decided to replace my usual fill of current world affairs with an education on global senses. It also seemed appropriate and somewhat an honorable decision to this rich city that was now home and the sacrifices it took to get here.

--Upon arrival, one can’t deny the tidal wave that explodes the senses.

Those first few weeks were just learning how to swim in it. Massimo’s voice comes to mind after an entry-level lecture. “Katherine, 64 *

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you must learn how to walk before you run. How can you possibly smell if you’re always running?” To simply unwind my usual attack of information and knowledge in this different framework was completely unnatural, especially for someone from the other side of the world.

How do I wrap my head — much less my nose — around this glass and the endless ones coming? (At one point I counted on average about 17 wine varieties tasted and evaluated each week.) The wave kept coming, but I started to let it take me and also learned how to slow down, walk and then smell. The schedule became full on top of the daily lectures. Internships and excursions had me meeting the who’s who of the Italian wine industry, cutting grapes at harvest, serving top experts in the field, even developing market plans for a distinguished Tuscan winery. Then there were the token gustatory events scattered throughout Italy. I was taken and the world outside disappeared. At one point I wrote in a journal, I am learning to experience life through the study of my senses.

Make no mistake — I knew that this experience was something special and one that many do not have the luxury of having. But life takes us to unexpected places and this time, it was a good stop. For nearly one year, my senses were isolated and became my way of understanding. And meanwhile, I had washed myself of the news addiction without any idea of how valuable a decision that would be.

I returned to Florence after my year at Apicius and have lived out a completely different story this time. With my NY Times loaded onto my iPad, NPR bookmarked on my web browser and CNN app uploaded on my iPhone — I came ready to jump back into the world of information within my context of Italy where my senses became most developed. I was unsure with my newly acquired palette what side of the table I would join, but I knew I wanted to find it in Florence.

These two contrasting years have been a perfect pair — one would not be as valuable without the other. Together they have taught me how to meet this wave of information with this newly acquired set of senses. The once overwhelming nature of the buffet table seems more intriguing and approachable. Now, I am more inclined to taste and even contribute to it. But first I had to unwind and learn how to walk again, and eventually develop my most powerful, natural tool of understanding.

This did not come without discipline, patience, and even frustration.

Not to mention defending its “unproductive” appearance it had to outsiders. However, I strongly believe that in order to properly participate in this contemporary world of information and opportunity, we must know and use, according to Webster, “our most natural powers” to the fullest. I find it ironic and tragic that this most innate tool to understand the world is most likely the least developed. Our core senses are easily overpowered by the strength of today’s media.

And this implores me not to run but to pull up a chair and help others do the same.

It is not surprising that a career in journalism is on the horizon and only fitting that the time is now. Anything before would have been premature. I am confident and hopeful that this invaluable discovery I found here in Florence will be one of my strongest tools and voices going forward in a big and exhilarating sea. For it is now that I feel ready and eager to meet the intensity and strength of the media world today with a most rich, complex while also elegant and refined pairing: my senses.

Florence University of the Arts

encourages students

to keep

a MIND & BODY

balance.

LA PALESTRA OFFERS FREE CLASSES WITH GYM EQUIPMENT/MACHINES FOR STUDENTS

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