N° 3 - AltaRoma - 2013 by tommaso concina

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in alto: ritratto di Emilio Schuberth (courtesy Maison Emilio Schuberth)

LodenTal AltaModa

AltaModa

Spilla â&#x20AC;&#x153;Bird on the rockâ&#x20AC;? in platino, oro giallo, diamanti e acquamarina di Jean Schlumberger per Tiffany & Co. TIFFANY: a destra: Orecchini "Coffret de Victoire", pezzo unico realizzato in oro giallo, diamanti, opali verdi, berili gialli, granati spessartite, granati tsavorite, zaffiri rosa, tormaline Paraiba e lacca. DIOR

Anello PanthĂ¨re de Cartier in oro bianco, diamanti, zaffiro blu, smeraldi e onice. CARTIER a destra: Bracciale Stella Marina in oro bianco con 389 diamanti bianchi (9.35cts) e 556 zaffiri blu cabochon (244.80cts) DE GRISOGONO

- Rafael, tornando alla tua filosofia, al tuo pensiero di stile, tu stesso hai detto: "il mio stile è un mix tra il cool inglese, la sensualità italiana, la forza spagnola e lo chic francese. “ Ovvero? "Io credo che il carattere di un uomo sia dato dalla genetica, dal suo percorso, fatto di viaggi ed esperienze, e dalla sua personalità. Io arrivo da una terra come la Spagna fatta di ‘ flamenco, corrida, feste popolari, e icone come Pedro Almdovar, Penelope Cruz, e tantissime altre che, come me, portano dentro un bagaglio nostalgico, languido. Quando a 18 anni me ne andai, trovai nell' Italia il paese d'adozione naturale, che ho amato moltissimo. Il paese di Armani, Versace, Valentino e Prada, coloro che hanno saputo dare un senso alla parola fashion, così come oggi noi tutti la intendiamo. E poi l'Inghilterra. Vivo qui da 10 anni ormai e ho nelle vene l'arte rivoluzionaria dei designer d'oltre manica. Da McQueen a Galliano fino alla Westwood. Qui si respira l'arte contemporanea, il vero street style così come la tradizione eccelsa dei sarti di Savile Row. Solo in questo paese poteva nascere una it-girl come Kate Moss. Ed infine lo charme francese non ha tempo che lo possa contenere. Un fascino eterno che ho scoperto sin dal mio primo incontro con Parigi e la sua haute couture, la sua cucina sublime e la poesia di un Serge Gainsbourg. Da tutto questo nasce il mio stile, che chiamerei un classico europeo, senza tempo." - La collezione invernale trae ispirazione da Loulou de la Falaise "the quintessential queen of the bohemienne chic" e dal libro "The Beautiful Fall" di Alicia Drake. Come hai tradotto tutto questo in stile? "Ho amato Loulou sin dalla prima volta che la vidi sulla rivista Hola con Yves Saint Laurent. Ho amato il suo modo di essere così bohémienne, insieme lei e Saint Laurent erano magici, come le luci del Marocco che vedo dalla spiaggia vicino casa mia nel sud della Spagna, un sogno lontano, ma così vicino in fondo. E poi il libro, certo, uno spaccato degli anni ‘90, come un film preso da Blockbuster che guardi a ripetizione, che racconta come un certo modo di vedere l'edonismo sia in realtà il principio stesso della moda. Nella mia testa vedevo LouLou per le strade di Londra, di notte, e attorno una rock band di flamenco, ecco la mia regina come l'ho sognata." - Cibo e moda, ci sono delle connessioni anche nella moda, o meglio nella tua concezione di moda? "Sono come fratello e sorella, l'alta moda e l'alta cucina, due espressioni di beltà e sensualità"

AltaModa

SERGIO ZAMBON

continua a pag. 76 67

di Ludovica Damiani

AltaModa

ENM: Le tue creazioni sono fondate su un equilibrio perfetto tra estetica e manifattura. La tecnica è propedeutica alla realizzazione della forma (la suggerisce) o è la forma che ispira e sospinge ad affinare la tecnica? FS: Per me è difficile dirlo conoscendo entrambi gli aspetti, ma sicuramente in primis c’è l’idea, quindi è l’aspetto estetico che viene perseguito come prima cosa, successivamente il grande lavoro che ne rende possibile la realizzazione. Il mio processo creativo è un processo strano, che va quasi a ritroso: in testa io ho esattamente la fotografia di quello che sarà l’oggetto, quindi prima sbozzo il modello - il mio disegno è solitamente uno schizzo che mi serve a capire i volumi, le proporzioni - poi comincio ad affrontare le problematiche tecniche, il dialogo quotidiano e sistematico con gli artigiani per guidarli ad interpretare il mio disegno il meno possibile a modo loro e a rompere gli schemi canonici della lavorazione del gioiello, così spesso ottengo delle cose che il laboratorio vorrebbe non affrontare. Ma quello che mi interessa raggiungere è un risultato sempre nuovo, spesso diverso, e la diversità si ottiene anche attraverso lavorazioni sperimentali non tanto a livello di tecnica ma di procedura. ENM: Un’altra grande qualità dei tuoi gioielli è l’indossabilità, ovvero l’essere pensati per il corpo, disegnati per alloggiarsi perfettamente sulle linee del corpo. Questa è un’attenzione spesso sottovalutata soprattutto quando si parla di gioiello come scultura. FS: Perchè il gioiello scultura è frutto della visione di un designer, di un artista, il quale spesso non ha nessuna cognizione tecnica e il cui disegno viene poi sviluppato tridimensionalmente da un artigiano che può di fatto avere i suoi limiti, perchè l’artigiano è un esecutore, non è un ingegnere. Diciamo che nel gioiello scultura ciò che manca è la figura chiave di collegamento tra l’ideatore e l’esecutore. Come dicevo, il mio ruolo è in questo senso ambivalente, perchè incarno sia la figura del designer che quella del “direttore dei lavori”. Che se vuoi è quasi un conflitto d’interessi. Ma per me è imprescindibile occuparmi di entrambi gli aspetti del lavoro. Diciamo che io già nel disegno valuto quelle che potranno essere le problematiche e non disegno ciò che secondo me non è realizzabile. ENM: Il tuo lavoro mi sembra segua due strade paralelle, l’una più classica l’altra più sperimentale, puoi parlarmi di quest’ultima? FS: Io fonderei le due strade perchè il mio spirito più classico legato alla tradizione orafa, che non rinnego assolutamente, lo considero una sorta di base solida della mia formazione, è ciò che mi ha portato oggi ad avere quelle competenze che ho potuto mettere a frutto nel versante più sperimentale del mio lavoro. Diciamo che l’attitudine alla sperimentazione è qualcosa che mi appartiene, e nasce dalla volontà di volermi differenziare nel disegno ed evolvermi nella forma, ed è il fronte che nutro continuamente attraverso lo studio, la ricerca costante di abbinamenti grintosi, artistici. ENM: Questi due ambiti di interesse e di ricerca determinano anche due tipologie di clientela? FS: Sai io studio molto il carattere delle persone quando penso ad un gioiello, e quando creo mi ispiro a delle tipologie diverse di donna, alcune corrispondono a modelli molto marcati, però poi ogni donna è differente e non solo dal punto di vista delle caratteristiche fisiche, ma anche dal punto di vista caratteriale, del temperamento. Ed è anche per questo che, spesso, i miei gioielli possono essere anche molto diversi tra loro. Oggi la mia produzione si rivolge ad una clientela che ha un gusto più sviluppato, coltivato, direi più sofisticato, un gusto non legato necessariamente alla preziosità intrinseca dei materiali, quanto alla preziosità dell’esecuzione e al valore artistico del disegno. ENM: Chi è la tua cliente o musa ideale: la donna che sa esattamente cosa vuole e in qualche modo sollecita la tua creatività o quella che si affida totalmente e ti lascia carta bianca? FS: Dal momento che mi piace creare, la collaborazione con un cliente che mi comunica le proprie idee e mi mette davanti ad una nuova sfida rende tutto più stimolante, se una persona mi lascia totalmente carta bianca l’espressione del gioiello sarà un Fabio Salini puro, ma se qualcuno mi rende il compito un po’ più arduo, facendo delle richieste particolari, io in quella creazione cresco di più. Quindi sono molto grato alle persone che mi hanno portato a fare qualcosa di diverso da quello che avrei fatto se avessi seguito soltanto il mio istinto, e grazie alle quali sono nate nuove linee e collezioni che sono state per me molto importanti. ENM: Quindi la sfida vera è riuscire sempre a soprendersi ed essere pronti a superare i propri limiti? FS: La sfida vera per me è continuare a fare il lavoro che mi piace e mi ritengo fortunato per questo. Non mi sono mai dovuto piegare alle logiche commerciali, ho scelto una strategia diversa. Nel momento in cui ho messo in piedi il mio business alla fine degli anni ’90 - il momento di boom dei grandi brand - tutti mi consigliavano di aprire a via dei Condotti, di creare una distribuzione, ma io ho sempre pensato che non era quello che volevo fare, c’era già chi lo faceva e sicuramente c’era anche una clientela che in quel momento desiderava qualcosa di diverso. Ecco, la diversità è nel mio dna, non potrei mai produrre un gioiello in mille esemplari, mi dà molta più soddisfazione creare ogni volta un nuovo prototipo. Ogni lavoro è un nuovo figlio. E, che sia un anello in bronzo e cuoio o un gioiello con una quantità enorme di pietre preziose, la soddisfazione di partorire una creazione nuova è sempre la stessa per me. ENM: La tua formazione sul gioiello è “romana”, hai lavorato per anni con un marchio tradizionale che incarna nell’ambito della gioielleria l’idea di eccellenza italiana. Ed è a Roma che hai deciso di proseguire la tua carriera individuale e di aprire il tuo atelier, perchè hai scelto di restare in quasta città? FS: Sì sicuramente la mia formazione nella gioielleria è avvenuta principalmente a Roma, sebbene con diversi soggiorni all’estero tra Ginevra, Parigi, Madrid, New York e, lavorando da Bulgari, certamente il know how produttivo è assolutamente italiano, che è la migliore scuola, perchè soltanto ora l’italia è il secondo paese al mondo nella produzione dell’oro dopo l’India, ma in quegli anni era il primo in assoluto. Quindi a Roma ho pouto avere un livello di formazione più alto possibile, ho potuto conoscere le più importanti aziende e i laboratori, le taglierie, i fornitori italiani più eccellenti. Ho scelto di mettere in piedi il mio business a Roma proprio per questo motivo, perchè credo molto nel prodotto italiano, nel Made in Italy e nell’altissima artigianalità che abbiamo qui e che non trovi in nessuna altra parte del mondo, forse soltanto a Ginevra o a Parigi. E’ un punto di forza che ci invidiano in molti e che i mercati asiatici stanno cercando di sottrarci. E poi perchè ho bisogno di avere un contatto costante con i miei laboratori, con gli artigiani, non potrei produrre in un luogo diverso dal quale vivo. ENM: Cosa consiglieresti o sconsiglieresti di fare ad un giovane che si affaccia oggi su questo universo e vuole intraprendere la strada del Jewellery Design? FS: Se ha una grande passione, come io l’ho avuta, che ha motivato ogni mia scelta e ha reso possibile quello che ho fatto, gli consiglierei di fare esperienze diversificate finchè è possibile, e possibilmen te all’interno di grandi aziende. Quello che sconsiglierei è di mettersi in proprio troppo presto, se avessi iniziato il mio business a 25 anni, avrei perso moltissime opportunità di apprendimento. ENM: Quali sono le tue principali fonti di ispirazione? FS: Io vivo in un universo creativo un po’ avulso dalle mode e dai trend, sicuramente quello che mi accade intorno mi influenza, il mio occhio ruba un po’ ovunque anche durante i viaggi, le letture, durante la visita ad una mostra, è un occhio abituato a catturare i dettagli, quindi non so il fregio di un bassorilevo in Turchia magari è nel tempo diventato un bracciale, o il decoro della Stazione di Milano, una placca di un termosifone di un grattacielo deco di New York sono diventati altri gioielli. ENM: O la pianta dell’Acquario Romano ha ispirato il gioiello che hai presentato a Limited/Unlimited durante l’edizione di AltaRoma a gennaio 2012. FS: Sì appunto. Ma ad ispirarmi può essere anche un dettaglio assolutamente insignificante o un materiale. L’occhio dell’artista ha bisogno costantemente di stimoli quindi più ce ne sono…però è anche difficile a volte coniugare la spinta creativa con gli altri aspetti del mio lavoro. Io mi reputo un gioielliere-artista ma non devo mai dimenticare che sono anche un imprenditore, perchè comunque mando avanti un’azienda che produce. Diciamo che è come se fossi un artista che ha però anche il laboratorio di stampa (nel caso si fossi fotografo), ha la sua galleria e partecipa anche a Design Miami / a Basilea, perchè con il mio lavoro prendo parte anche a fiere internazionali. ENM: Qual è, se c’è, un progetto o un sogno ancora non realizzato, o il materiale che ancora non hai sfidato? FS: Non so, devo dire che la mia creatività è l’unica cosa del mio mestiere che mi lascia una grandissima tranquillità, perchè non ho mai avuto la sensazione che potese esaurirsi. Se entro dal ferramenta e vedo una corda e mi viene voglia di usarla, so che prima o poi trovo il modo di farlo. Non c’è effettivamente un materiale che mi spaventa. ENM: Quali pensi siano oggi le responsabilità di un designer e in che modo un gioiello può contribuire a segnare un momento storico e culturale come quello attuale? FS: La responsabilità è piuttosto alta in questo momento. Bisogna continuare a dare al gioiello il suo significato di ornamento senza caricarlo troppo in valore. Attualmente la cultura dell’understatement in un certo senso suggerisce quasi naturalmente di epurare un po’ il gioiello del suo significato di oggetto intrinsecamente prezioso per trasferirgli invece nuovi connotati di bellezza, cosa che è molto più difficile perchè significa privarlo degli elementi che lo hanno da sempre caratterizzato. Ma, come è successo nel dopoguerra quando si lavorava meno l’oro perchè era stato impiegato per promuovere la Guerra, questo momento può contribuire a stimolare la spinta creativa. ENM: Meno prezioso dal punto di vista intrinseco e più prezioso sul piano narrativo. Nel tuo lavoro mi sembra che sia il contrasto - tra materiali, colori, pietre – ad introdurre l’elemento di narrazione. FS: La mia collezione di cuoio e diamanti ha avuto un grande successo proprio per il forte contrasto tra la basicità e la forza del cuoio e la perfezione del diamante. Il valore narrativo sta anche nella destrutturazione dei materiali, pensa agli orecchini in seta e diamanti, le pietre sembrano sospese su questi fili sottilissimi, in assenza del metallo in cui canonicamente andrebbero incastonate. Quindi sì, il contrasto per me è un fattore molto importante che va di pari passo a quella forma di equilibrio di cui parlavi prima, tra elementi più forti ed elementi magari semplicissimi, e che cerco di ricreare anche all’interno del processo di produzione ponendo sullo stesso piano fattori per me fondamentali che concorrono alla realizzazione di un gioiello eccellente: l’innovazione, la tradizione orafa, il design, il concetto, i materiali. ENM: Quali credi debbano essere le qualità essenziali di un Jewellery Designer? FS: Posso dirti le mie. Avere da un lato un occhio sensibile all’esterno: allenato all’armonia di forme, colori, che percepisce immediatamente l’equilibrio estetico e che di contro viene automaticamente offeso da una cosa non perfetta. E dall’altro un occhio vigile all’interno: per monitorare costantemente la direzione in cui si sta andando, per capire qual è la strada giusta da seguire, perchè sai il mondo può portarti spesso fuori pista. E poi senz’altro la voglia di imparare e di migliorarsi, unita ad un pizzico di presunzione, o meglio di caparbietà, la volontà di raggiungere degli obbiettivi, di vedere il proprio lavoro riconosciuto. Quando trovo clienti che oltre a riconoscere il valore commerciale di un prodotto, quindi la qualità delle pietre e della lavorazione, fattori che tengo sempre in grande considerazione, apprezzano anche il contenuto artistico di un gioiello e il processo creativo che c’è dietro, io sono al massimo della felicità ENM: Qual è il designer di gioielli che maggiormente stimi? FS: Il designer di gioielli su vari fronti a cui oggi io vorrei assomigliare, non come stile ma come scelte, è Jar. In primis per il suo talento, gli va riconosciuto il merito di aver rivoluzionato il gioiello negli anni 2000, poi come personalità, perchè non si è mai piegato a logiche commerciali, ha utilizzato le tecniche più varie e pietre molto evocative, di grande qualità e di grande gusto, ha usato il colore in una maniera assolutamente unica. Secondo me è il più grande gioielliere vivente senza essere un brand. ENM: Della tua generazione si può dire che sei l’unico che porta avanti questa modalità di lavoro? FS: In effetti, non c’è quasi più nessuno che faccia questo lavoro in questo modo. Ormai i gioiellieri sono solo appunto principalmente i grossi brand, per i quali per altro sto pensando di fare delle collaborazioni, perchè sono arrivato ad una maturità per cui vengo richiamato dalle grandi aziende che riconoscono in me il creativo, il designer inteso non in senso stretto, semplicemente come disegnatore, ma nel senso di direttore artistico, che è totalmente un’altra storia. ENM: Qual è stato, se c’è stato, il compromesso a cui se dovuto scendere nel corso della tua carriera? FS: …Non lo so, direi nessuno, se sono sceso a compromessi, non me ne sono accorto. PAG. 6 - EMILIO SCHUBERTH - “IL PERSONAGGIO” by BONIZZA GIORDANI ARAGNO "For us Schuberth takes a different tone, dense, serious, vaguely anxious, just what is fitting for those who work and want to extend their work, because they deserve it." This is what the well-known fashion journalist Irene Brin wrote about Emilio Federico Schuberth in the magazine "Bellezza" in 1947. But who was the man that with his refined manners, spectacular gestures and extravagant dresses sparked media interest back then? Arbiter of taste, exhibitionist and histrionic, he popularized the idea of beauty, of greatness, of the surreal with tenacity. Sacrificed his daily life for the social life, preached the aestheticism and the importance of the "social event" to catch the moment when to impose the ephemeral. Along with fourteen other designers in February 1951 he's in Florence in Villa Torregiani,home of Bista Giorgini, for the first show of Italian Haute Couture. He immediately got noticed for his style and his personality. A friendly man of 46, professional Haute Couture tailor, he was born in Naples in 1904 and was an example of the Neapolitan sartorial tradition. In the 30's we find him in Rome working for the House of Montorsi on via Condotti, in the field of lingerie. In 1938 he opened a millinery shop in Via Frattina where he worked with his wife. The success was great and immediate, so that only two years after he opened his first Haute Couture atelier in Via Lazio, then moved the following year to Via XX Settembre. He stands out for his unique style and inimitable combinations of materials and techniques fused wit the idea of luxurious fabrics, embroideries and shapes. He inaugurates a new and modern concept of fashion in which the dress is a provocative language and art form, all intended for an international woman. Schuberth dresses his women with the style of the fifties, narrow waist, important shapes but most of all romantic and sumptuous. . Soraya, Empress of Persia fleeing to Rome, becomes the protagonist of his fashion and his inspiration. It is said that Schuberth created an entire wardrobe for her in one night. Among the famed clients, besides the nobility and upper class of Rome, there were the wives and mistresses of King Farouk. Among the princesses, Maria Pia di Savoia, for whom he created a part of the wedding trousseau. But the world that appreciated him the most was the entertainment world, who couldn't resist the charm of his creations. Brigitte Bardot, Rita Hayworth, Bette Davis, Martine Carol, the very Italian Sophia Loren, Anna Magnani, Silvana Mangano, Gina Lollobrigida, Lucia Bosé and his friend Valentina Cortese. Customers were also showgirls Wanda Osiris, Silvana Pampanini, Elena Giusti and many other names, perhaps forgotten today, but undisputed protagonists of the star system back then. Emilio Federico Schuberth wanted to live, never in a common way. On one hand, a life marked by the rigor of a loved and suffered profession, in compliance with conventions, on the other, a life full of social events, aimed to promote his fashion through a visible language full of desire and modernity.

The model underlying all collection could be, from time to time, either an empress of fabulous beauty or the hottest actress of the moment, it did not matter to him because every woman was beautiful in her own way. During his fashion shows the names of the outfits were whispered to the music; "Today I feel happy", "Secret Rendezvous", "I have an important love", You bewitched me". He spoke French to joyfully welcome his customers "voila', bonjour" ... Usually the finale confirmed the poetic spirit of the designer that would exit with a light step from behind a lace curtain... as always "small" and smiling surrounded by towering models. In the crucial years after the war the "style of appearance" allowed to visually express a contemporary representation of identity. Schuberth used the weapon of extravagant frivolity intended as feminine charm that was happily accepted by an obtuse ruling class. Behind the role of the "jester-tailor" he began to impose his bold innovative fashion, always accompanied by nine elegant models that played contrast with his tiny figure of young dandy. He loved being surrounded by legends, always ahead of his times, he fueled the myth to produce surprise, to break the stereotypes of a society reluctant to a turning point. Already in 1951 Federico Emilio Schubert loved to dress up like a star, like a Neapolitan, Roman and Saxon character. He was described by the press as the most striking tailor of the capital, wearing silver sandals and whimsical pastel clothes ... he was the tailor people talked about in Rome, Paris, London and, again, who presented in his studio to elegant and perfumed audiences his collections sometimes worth millions. He became popular with the just emerging TV and interpreted in his own way the attractiveness and elegance of the fashion spectrum. (Original drawings from the personal archive of Bonizza Giordani Aragno - Still life Rachele Gigli / Vintage Schuberth Couture dresses from the archive of Enrico Quinto and Paolo Tinarelli - Photos Fabio De Benedettis - Illustrations Rodriel) PAG. 14 - LODENTAL Andrea Provvidenza talks about renewing a classic with LodenTal. The Loden coat makes a comeback in a modernized and multicolored version. LodenTal started a year and a half ago when, rummaging in the cellar, I found my father's old outerwear, some of whom were loden coats. I immediately remembered the day that I received my first loden coat as a birthday gift (similar to that of my father and my grandfather), and how it finally made me feel like and adult. It took just a quick research to learn about the history of this amazing fabric, whose origins date back to the Middle Ages. At the end of the nineteenth century the loden coat fabric, so far only used for workwear of farmers, is now instead used as an elegant material for hunting and climbing outerwear by the Austro-Hungarian aristocracy (a white loden cape was tailored for the Emperor Francis Joseph). From gray its color became white, red, black, and finally green forest. In the 70s the loden phenomenon was raging in the fashion world, designers were starting to use the material in their collections and young intellectuals to wear it as a uniform in its green variant. I think the resistance to fickle and fleeting fashion trends is important in this particular historical moment, and I see more and more young women attracted by the reinterpretation of timeless pieces, whose appeal is expressed in the elegance and good taste of the Italian sartorial tradition.For this reason I decided to revive an object as “iconic” as the loden coat, revisited in cuts and forms. A single fabric with different weights, a single style declined in new colors. The silhouette is more lean and keeps the pleats in the back, the length is above the knee with laser cut finishes. The buttons are of woven leather, whose hemispherical shape actualizes the “acorn” shaped buttons of the traditional loden coat. The "new" loden fabrics, from the original Austrian factory Leichtfried, are lightweight, warm and waterproof.The Loden is all this, a piece of clothing that never followed the rules of fashion and that i

PAG. 18 - ANIMAL STONES: A precious bestiary of high jewelry pieces comes alive in the imaginative illustrations by Luca Salvati. BULGARI: Bulgari Collezione Serpenti High Jewellery necklace in white gold with 4 oval cushion cut rubies (8,62 cts) and diamonds pave’ (34,95 cts) - Bulgari Collezione Serpenti High Jewellery 5 circles bracelet in white gold with 208 cabochon rubies (112,00cts) and diamonds pave’ (18,24 cts).Pag 20 -TIFFANY:“Bird on the rock” brooch in platinum, yellow gold, diamonds and aquamarine by Jean Schlumberger for Tiffany & Co.Pag 21 - DIOR:“Coffret de Victoire” earrings, unique piece in yellow gold, diamonds, green opals, yellow berili, spessartite garnets, tsavorite garnets, Paraiba tormalines and lacquer.Pag.22 - CARTIER:“Panthere de Cartier” ring in white gold, diamonds, blue sapphire, emeralds and onyx.Pag 23 - DE GRISOGONO: White gold Starfish bracelet with 389 white diamonds (9.35 cts) and 556 blue cabochon sapphires (244.80 cts) PAG.24 - RAFAEL LOPEZ The eclectic couture of the spanish designer between research and tradition. by Valentina Ardia The flamenco, bullfighting, churches, paintings by Goya and Velasquez, folk festivals and traditional clothes: it's by breathing all that that the creative genius of Rafael Lopez comes to life, in the early childhood years, in his country of origin, Spain. No wonder then that, inspired by the great couturiers of the past, Yves Saint Laurent, Valentino, Ungaro and Versace, Rafael designed and sewn (the seamstress mother is his Hola! with Yves Saint Laurent. I loved her way of being so bohemian, together she and Saint Laurent were magical, as the lights of Morocco that I see from the beach near my home in the south of Spain, a distant dream, but so close in the end. Then the book, of course, a glimpse of the 90's, like a movie from Blockbuster that you watch repeatedly, which tells how a certain hedonism is really the very principle of fashion. In my head I saw Loulou on the streets of London at night, and around a flamenco rock band, that's how I imagined my queen." - Food and fashion, are there connections in fashion between the two, or rather in your conception of fashion? "They are like brother and sister, haute couture and haute cuisine, two expressions of beauty and sensuality". - An icon that you would love to dress? "Penelope Cruz, Emma Stone, Nicole Kidman, Jennifer Lopez, Michele Obama, Queen Sofia, Letitia Ortiz, Kate Middleton, some I have already dressed, others I hope will soon wear my creations, because I love femininity, there is something unique and special in every woman and to make a couture dress for a woman who desires it is nothing short of therapeutic, it gives me the idea that I'm creating something very close to the concept of pure and absolute beauty." - In your style, you can see many references to art. From classic to contemporary art. How much does all this influence a fashion collection? "A life without art is not worth living. I could even be as bold as to say that art is my greatest source of inspiration. The latest Picasso exhibition at the Palazzo Reale in Milan was unforgettable, a traveling dream, a bit like a dress ... - What will be the color of the season? "There is never an absolute color, but mine is definitely the Spanish black, as in the lace veils, deep and eternal black." - Three words that frame your style? "Sensuality, dramatic, timeless ......" - Can we talk about street-style contamination in Haute Couture? "I think Mr.Saint Laurent has taught us just that. Maybe Riccardo Tisci at Givenchy is who's doing it best now ." - The end of hedonism is always around the corner (they say ...). Are we really entering an era of minimalism and purity?

"There is never an end. You look at the past and reinterpret it with modernity. To this day the symbol of minimalism and simplicity remains the work of Cristobal Balenciaga in the 60s. I don't think we will see a new and revolutionary era very soon…". (Hair: Michele Qureshi@freelancer.it / Make Up: Rachid Thaar@freelancer.it / Models: Maria@Fashionmodel, Maya@Fashionmodel, Bibi, Carol, Inga. Location: Phoebe Zeitgeist Teatro Lab // Milano - www.pzteatro.org) PAG. 32 - WHITE NOISE : PHOTOGRAPHY / ARTWORK FERNANDA VERON - FASHION: TOMMASO CONCINA ANTONIO GRIMALDI: Long dress in white silk chiffon, with draped bodice, embroidered with transparent Swarovski crystals. DELFINA DELETTREZ: “Detaille Unique” choker in silver and gold worn as. GIANNI MOLARO: Asymmetric jacket with one sleeve and dress in white duchesse satin hand embroidered with Boemia crystals, silver thread and Swaroski crystals. NINO LETTIERI:Jumpsuit in white silk organdy with macro polka dots embroidery GILBERT HALABY: Cuffs “Imperiale” e “Ventaglio” GUCCI: Sandals in ivory suede with golden mirrored heel. VESTHES: White double silk caftan with japanese miuky embroideries on the sleeves. GILBERT HALABY: Necklace “Belle Epoque”. CATERINA GATTA: Long white silk dress with printed georgette inserts.RAMIDE: Oxidized brass cuffs and ‘Paranpreeth’ mask in wrought and chiseled brass and twisted wire of melted brass crown.PAG.38/39 MASSIMO STEFANINI: Silk ivory dress with embroidered tulle. Antique hand embroidered ivory tulle veils. Antique turn of the century spanish mantilla comb in mother of pearl.SARLI:Asymmetric dress in white cady with jeweled embroidery.GIANNI MOLARO: White silk platform shoes with crystals DEL FRANCE RIBEIRO: Dress with white silk draped asymmetric top and long skirt in black and white floral printed organdy.Thanks to FRANCA CORINALDESI. PAG. 42 - GALITZINE BY SERGIO ZAMBON Designer Sergio Zambon relaunches the historic brand founded by Princess Irene Galitzine with a renewed contemporary spirit - by Cinzia Malvini "Dear Irene, I would love if you could see us all here, all together …it looks like a convent with Marella, Jayne, Lee and I dressed in your uniform, every night!" Smiles Sergio Zambon recalling the text of the letter written in the halls of the White House and sent to Irene Galitzine from Jacqueline Kennedy. It was 1963, just before the murder of John Fitzgerald Kennedy, 35th President of the United States of America, would upset the world and shortly after another sweeter and fashionable revolution from Russia: that of the pajama palazzo with which designer Princess Irene Galitzine, in 1961, had conquered the most cultured, international and exclusive jet set. And that strange "convent" made of princesses, heiresses, philanthropists and society ladies such as Marella Agnelli, Jayne Wrightsman, Lee Radziwill and her sister, the first lady Jackie, were there to witness it. "That simple tunic was an extraordinary invention, no collar, combined with the thin pencil pants, which immediately gave a sense of svelte and modern elegance" recalls Zambon, the designer of Egyptian origin, who was trained and has designed at several historic Italian fashion houses, is now Creative Director of Galitzine, house founded by the noble Russian woman, who fled to Italy after the fall of the czar to begin her epic journey into fashion. Last September in Milan's 10 Corso Como, one of most exclusive addresses of the city, Zambon presented what appears today as the newest and most desirable projection of an unforgettable story: a sophisticated capsule collection of twenty pajama palazzo for spring-summer 2013 devoted to international and elegant young ladies who want to wear but also to relive that part of italian heritage still famous around the world today. "Galitzine by Sergio Zambon, starts from the invention of the pajama-continues the designer - When I had my first meeting with Silvia Venturini Fendi and Alessandra Spalletti (Director of the company that manages the brand owned by the Galitzine family / ed) I immediately had a concise and straightforward vision of what the brand could be. I understood that in a time like this, to start from such an established invention of the brand was the right way to go. We were right: after the presentation in Milan pieces were purchased from the best stores around the world, from L'Eclaireur to Barneys, from Excelsior to Antonia, from the United States to the Middle East." "It all started thanks to AltaRoma and Silvia Venturini Fendi who in her role as President strongly feels the mission to push the history and tradition of the great Italian Haute Couture, together with a platform for young and creative talent," continues the forty years old designer. "I had made a re-edition for Galitzine a year earlier in 2011 who went on sale, and immediately sold out, on Yoox. This was the first experiment that combined historical haute couture houses with young designers. The pajama palazzo that Federico Marchetti (CEO of Yoox) sold on the internet, symbol of a great story of the past, had its first positive feedback on the web! I find it important that Italy, like France, takes advantage of this great fashion heritage, to tell or remind the world about it. At the presentation in Milan - continues Zambon - we had all the major international publications, mostly American, a sign that, when they return, legends are more relevant than ever. The demonstration comes from Princess Irene Galitzine, with her pajama palazzo she was the perfect ambassador of posh and stylish elegance, the highest one could ever imagine that even back then, however, had in it a masculine touch: just what is more than ever in fashion today! " "In the next presentation in Milan in February the collection will be further expanded, concludes Sergio Zambon. The pieces become thirty-five and the idea of the pajama palazzo will be given by printed knits en combinaison avec pants, and there will be a lot of attention to outerwear. In Rome, however, during the new edition of AltaRoma AltaModa in January, we will be at Lorcan O'Neil's art gallery, to sum up this year's work. We are proud to talk about the rebirth of an unforgettable name and story from Rome to the international markets and audiences, yesterday like today. " one of most exclusive addresses of the city, Zambon presented what appears today as the newest and most desirable projection of an unforgettable story: a sophisticated capsule collection of twenty pajama palazzo for spring-summer 2013 devoted to international and elegant young ladies who want to wear but also to relive that part of italian heritage still famous around the world today. "Galitzine by Sergio Zambon, starts from the invention of the pajama-continues the designer - When I had my first meeting with Silvia Venturini Fendi and Alessandra Spalletti (Director of the company that manages the brand owned by the Galitzine family / ed) I immediately had a concise and straightforward vision of what the brand could be. I understood that in a time like this, to start from such an established invention of the brand was the right way to go. We were right: after the presentation in Milan pieces were purchased from the best stores around the world, from L'Eclaireur to Barneys, from Excelsior to Antonia, from the United States to the Middle East." "It all started thanks to AltaRoma and Silvia Venturini Fendi who in her role as President strongly feels the mission to push the history and tradition of the great Italian Haute Couture, together with a platform for young and creative talent," continues the forty years old designer. "I had made a re-edition for Galitzine a year earlier in 2011 who went on sale, and immediately sold out, on Yoox. This was the first experiment that combined historical haute couture houses with young designers. The pajama palazzo that Federico Marchetti (CEO of Yoox) sold on the internet, symbol of a great story of the past, had its first positive feedback on the web! I find it important that Italy, like France, takes advantage of this great fashion heritage, to tell or remind the world about it. At the presentation in Milan - continues Zambon - we had all the major international publications, mostly American, a sign that, when they return, legends are more relevant than ever. The demonstration comes from Princess Irene Galitzine, with her pajama palazzo she was the perfect ambassador of posh and stylish elegance, the highest one could ever imagine that even back then, however, had in it a masculine touch: just what is more than ever in fashion today! " "In the next presentation in Milan in February the collection will be further expanded, concludes Sergio Zambon. The pieces become thirty-five and the idea of the pajama palazzo will be given by printed knits en combinaison avec pants, and there will be a lot of attention to outerwear. In Rome, however, during the new edition of AltaRoma AltaModa in January, we will be at Lorcan O'Neil's art gallery, to sum up this year's work. We are proud to talk about the rebirth of an unforgettable name and story from Rome to the international markets and audiences, yesterday like today. "In the next presentation in Milan in February the collection will be further expanded, concludes Sergio Zambon. The pieces become thirty-five and the idea of the pajama palazzo will be given by printed knits en combinaison avec pants, and there will be a lot of attention to outerwear. In Rome, however, during the new edition of AltaRoma AltaModa in January, we will be at Lorcan O'Neil's art gallery, to sum up this year's work. We are proud to talk about the rebirth of an unforgettable name and story from Rome to the international markets and audiences, yesterday like today.

PAG.48 - ROMAN SKETCHBOOK A tracking shot of shapes and colors in the timeless settings of the eternal city. GATTINONI: Structured jacket in black lace, bustier and long skirt in black chiffon lame’; statement collar embroidered with crystals, silver boules and black and silver metal studs. EMILIO SCHUBERTH: Draped strapless dress with bow in the back in light pink silk and cotton. IOSSELLIANI: Drop earrings in brass and green agata. RENATO BALESTRA:Hand embroidered silk tulle unitard with cape in black taffeta’ with big bow. Black suede lace up high heeled booties. NINO LETTIERI: Black tulle kimono embroidered with black degradees sequins, with black silk velvet “pony-skin” inserts . GILBERT HALABY: Necklace “Cleo Jesus” MICHELE MIGLIONICO:Blouse with bow and cuffs in black satin and long skirt in multicolored devore’ velvet, black jais embroidered belt. GILBERT HALABY: Earrings “Octopus”. GIADA CURTI: Gold lace dress with crystals embroideries, pouff sleeves and tails in black tulle. MASSIMO STEFANINI: Plumetis blouse with giant polka dots. Black tulle skirt embroidered with jais. White plumetis collar with small polka dots and black velvet profile. ATELIER PERSECHINO: Dress in gray plisse’ soleil silk / “Sala Nervi”. GILBERT HALABY: Choker “Waves”. AZRU KAPROL: Bustier dress in pleated blue silk with draped sleeve. GILBERT HALABY: Cuff “Samurai” SARLI: Long dress in shiny and opaque two tone purple satin. ANTONELLA ROSSI: Dress in black crepe maroquin with blue pleated taffeta’ ruches. IOSSELLIANI : Earrings with multicolor beads and thorns. GRETA BOLDINI: Long dress in yellow silk crepe with large sequins, Swarovski crystals and thread embroidery RAMIDE: Oxidized silver thread bangles. RAFFAELLA CURIEL: Draped purple, orange and bordeaux silk chiffon dress. IOSSELLIANI: Multi strand necklace with pearls, crystals and charms - Cuff with white crystals and rhinestones - Multicolor ring with Swarovski crystals. JAMAL TASLAQ: Evening dress in coral red maroquin and chiffon with suede intarsia on tulle capelet with coral red beads GILBERT HALABY: Cuffs “Madonna”. GIANNI MOLARO: Red pure silk skirt with red organdy petals overlay embroidered with red Swarovski crystals, skin tone tulle bodice with circles embroidered with transparent Boemia crystals, orange and red tulle train. VALERY POBEGA: Asymmetric draped dress profiled with small ruches in black technical fabric. GUCCI: Black suede high heeled shoes with buckl. Location provided by IL TEATRO INDIA / TEATRO DI ROMA PAG.66FABIO SALINI: The maverick of independent high jewelry - by Emanuela Nobile MIno In the book Livre des métiers Etienne Boileau called the goldsmith's art the "art of kings", considering the economic value of its products subjected to the symbolism that jewelry is able to evoke. Tracing the history of man, the jewel appears in all primitive tribes and in all regions of the world as body adornment and status symbol par excellence. Not so much for its intrinsic value but for his dignity as a piece of art ennobled by the mastery of lines and the ornamental value of the materials. In the sixteenth century the role of the artist-jewelry designer emerged, the creator whose drawings of jewelry were actually manufactured by skilled goldsmiths. Impossible task to delegate completely to the craftsman, the artist supervised and constantly monitored to make sure the finished jewel perfectly met their vision. In this sense, Fabio Salini may be rightly regarded as the direct witness of the Roman goldsmith tradition, the most effective representative of his generation in this particular artistic discipline and in Italian fine jewelry in general. A free spirited creativity, a strong stylistic and iconographic imprint, an impeccable craftsmanship, the ability to operate in a cross between tradition and innovation, are all factors that come together in his research and help to make all of his ornaments a valuable and perfect masterpiece of micro wearable sculpture. ENM: Fabio I would start by asking you about your professional background. PAG.66 - Necklace in rose gold with warthog teeth, leopard pave’ with brown, black and white diamonds “Ruban” earrings with white and yellow diamonds on black silk ribbon. PAG.68 - Silk rope necklace with seashells, corals, rose gold and rubies. - Bracelet in green galuchat with cabochon sapphires and diamonds. - Earrings in gold and burnished silver, engraved turquoise and diamonds.PAG.69 Choker in blue silk, gold and diamonds with central piece in diamonds and sapphire. - “Etoile” ring in green galuchat with cabochon emerald and diamonds and emeralds accents. - “Nappine” earrings with diamonds, purple sapphires and interchangeable silk fringes. PAG.70 - ROMAN HOLIDAY 60TH: ROMAN HOLIDAY TURNS 60......AND DOESN'T SHOW IT - by Ludovica Damiani In August 1953 the Radio City Music Hall in New York hosted the premiere of one of the most celebrated films in the history of cinema. In 1952 for the first time an American motion picture is shot entirely in Rome. Roman Holiday is a huge hit, it becomes a milestone in film history, it makes of the Vespa a universal symbol, but above all, it delivers Audrey Hepburn to worldwide fame, in this film in her first leading role. The Eternal City is the perfect setting for the twenty-four hour run of Princess Ann and never on the big screen the link between Rome and Hollywood was represented in such an effective way. A delicate and romantic story that still today attracts crowds of tourists to retrace the highlights of the film through sightseeing the Roman locations. It is undeniable that the light and the charm of Rome could not have been so magically recreated in a Hollywood studio. The making of the film in Rome was quite long, from June to October 1952, considering also the interior shot in the studios of Cinecittà. Audrey told many times in the following years that she owed a great deal if not everything to Gregory Peck. Stars like Peck had in fact the contractual right to approve their partners, even if previously chosen from the production. So if he were against it, it would have ended there. A famous anecdote from the set tells that during the first part of filming, Gregory Peck made a phone call to Hollywood that not all the actors of his caliber would have done: he called his agent saying that his name on the poster should not be the only one to appear but that they should have added Audrey Hepburn’s, though the actress was at the time still unknown. The reason? Audrey was simply fantastic and she was “stealing” the scene to everybody. What would the world have said if the actress had later won an Oscar for her performance? The billing was modified and the premonition of Gregory Peck came true. Audrey won her first Oscar during the Academy Awards Ceremony in March 1954. Roman Holiday was only the beginning of an extraordinary journey. Audrey throughout her career starred in less than thirty films. Three of them set in Rome. Luca Dotti, Audrey’s second son, tells in his introduction to the book Audrey a Roma (Mondadori, 2011): “After the end of World War II, my mother becomes in stature almost a second Colosseum; an icon of a new and different Roman way of life, free-and-easy, symbolized by a girl who travels the world riding on a Vespa. Then again in 1955, that same girl pops back up again, emerging from an airplane at Ciampino airport, returning to shoot War and Peace at Rome’s Cinecittà. She is welcomed as a foreign star (at the time mistaken for an American), but by then already Roman by adoption. [...] Her image evolves to include characteristics of the Roman spirit. This would not have been possible without the eye of costume designer Piero Tosi or the artistry of the De Rossi couple, the hairdresser Grazia and her husband, Alberto, a makeup artist and inventor of the “mascara look,” and the “wing” eyebrows that framed forever my mother’s look. She meets them on set of Roman Holiday but they remain close to her as friends throughout her life as an actress and beyond. [...] Perhaps in part because of its indolence, Rome always protected my mother, giving her time and space. [...]. Roman Holiday was just the beginning of the relationship between Audrey Hepburn and the city. The actress often visited Rome during her youth with her family, then she worked on the set of her movie and then more firmly in her private life, after marrying Roman psychiatrist Andrea Dotti in 1969. Thirty years over which the actress became a star and then a mother with a family “commonly” Roman. William Wyler’s film not only made the actress and her talent famous, but at the same time it showed the world the style of Audrey Hepburn that from then on would me immortal all over the world and for decades, timeless sixty years later. Quoting fashion director Sciascia Gambaccini: Audrey Hepburn, with her frequent visits and long stays in Rome, brought Italy not only the glossy glamour of Hollywood but also a personal style that made her famous and irresistible. Audrey represented the standard of an international refined style, following, breaking, and enhancing new conventions of beauty. Audrey was then at the apex of a career that kept her busy on two continents. Her impeccable style was reserved, but certainly not severe; her dresses reached below the knee to touch the calf, and her legendary slim figure perfectly fitted the new form, that of an adolescent and gamine sensuality. These were years in which women always went out wearing gloves, swing coats, suits, and high heels. From 1954 on, Audrey was dressed by Hubert de Givenchy; their collaboration began with the film Sabrina and continued over the years with articles of clothing that are among the most emulated in the history of fashion. Audrey dressed in the full range of continental elegance as a woman who had French allure and American glamour without being one or the other. This mysterious fusion of sophistication and eccentricity made her captivating as the rebellious princess in Roman Holiday, the reluctant mannequin in Funny Face, and a nun in The Nun’s Story. Audrey’s fashion stood out for its simplicity and softness; Audrey’s look, which was disciplined yet often unpredictable, made her attractive precisely because she was so delicate physically. Her style never once ran counter to that almost childlike enthusiasm, that joie de vivre that ran through her veins, that respect she had for her position at the center of the world, where there was room for everyone.As Audrey’s style, Roman Holiday is a perfect movie for the sincerity with which it was played, for the originality with which it was written and directed, and the memory that still stirs in the minds of its viewers. It’s hard to believe that there is someone who does not know or has not seen this film. Strangely, if someone is there, it is very fortunate, because it means they have a chance to live a wonderful fairy tale for the first time. LD PAG.74 - NEXT TO COVER The director Frank Capra had been seeking funds for this film for four years. Not finding them, he sold the project to William Wyler. Had Capra found the cash needed, it would have been Roman Holiday starring Cary Grant and Elizabeth Taylor. Roman Holiday was the first “Hollywood” film for Audrey Hepburn, who had never before visited the studios that had put under contract, or had never been to Hollywood. Audrey got the part of Princess Ann thanks to an audition that became legendary: the actress played the part and the cameraman continued filming even after the director had said stop. The spontaneity and grace of the actress were then captured on film and won her the role. Audrey at the time was acting on Broadway starring in Gigi by Colette when she auditioned for Roman Holiday. The French poetess had discovered her in the south of France, while the actress was filming Montecarlo Baby and wanted her for her play. These two dazzling beginnings of Audrey Hepburn’s career on the stage and on the screen, are strongly bound by a sense of luck and fate to which she attributed her career long before than beauty and talent. The famous scene at the Mouth of Truth, in which Gregory Peck pretends that his hand was cut and he is left with the sleeve of his jacket, was designed by the actor to make a joke. The director only knew about it and when Joe pulls his hand from the Mouth, Audrey’s reaction of astonishment and horror is real! The cover of TIME magazine of the September 9 1953 issue featured a portrait of Audrey Hepburn by Russian artist and illustrator Boris Chaliapin. That was the first and only time that the magazine dedicated a cover to an unknown actress. PAG.74 - RED BOX BELOW COVER Although I am Roman, I don’t link Roman Holiday with my city but rather to Japan. In fact, the film's release in 1953 is the beginning of the extraordinary love and total devotion that the Japanese people have always had and still has for my mother. It has been through this strong feeling that came from so far away that I discovered that my mother was not only an actress but also a real star. I understood what the word "fan" meant and, since she had so many, she must had done something important. I was a kid in the 70s and kept all the gifts that the Japanese sent to my mother: tins of origami, rice paper, watercolors, lacquer boxes ... I was self-appointed "Secretary-General of the Japanese mail" and I have the dearest memory of it. It was said that the physicality of my mother was more like that of the Orientals and therefore closer to them, even though she had big eyes and not almond-shaped. In addition, Princess Ann, leading character in Roman Holiday, falls in love with a commoner and eventually chose to follow her duties and not love, attitude highly respected by the Japanese. It is thanks to the film that Rome becomes the number one Japanese visit to Italy, and from there comes their passion for Made in Italy, for ice cream. Episodes from Roman Holiday are the true memory of the Japanese more than the film itself, the Japanese tourism in Rome is mainly built on "Princess Ann’s Tour." We Romans often give everything for granted but for the Japanese the highlight of the film is the ice cream on the Spanish Steps. Even the fashion from the film is still revered in Japan and my mother’s whole career, all of her movies, awards, her becoming a style icon, have left their memory intact. For the people of Japan Audrey Hepburn will always be Princess Ann. Luca Dotti (Author's note: Luca’s memory of the presents from Japan is one of the many stories of the private life of Audrey Hepburn, happier living in jeans and T-shirt with her children rather than in the spotlight. These stories will be part of the volume Audrey at Home, Luca Dotti is currently working on with Luigi Spinola.)