Vain Stylist issue no. 3°- ENG

S T Y L I S T

FEDERICA BRUNO GIANFRANCO FERRE’

New

PA S Q UA L E B O N F I L I O

Index

FEDERICA BRUNO P.11

OUR STYLE IS UNIQUE P.24

YVES SAINT LAURENT AND HIS STYLE REVOLUTION P.27 GIANFRANCO FERRE’ P.32

COCO CHANEL’S REVOLUTION P.41 OUR MAKEUP STYLE TELLS US WHO WE ARE AND WHERE WE COME FROM. P.42

THE ARGAN REVOLUTION P.46

PASQUALE BONFILIO P.49

www.harim.it

B R U N O F E D E R I C A

FEDERICA BRUNO COUTURE

By Angelica Grittani

Luisa Attardo

11

-When did you decide to become a designer?

It is a dream since I was a child, apart from a brief period when I wanted to become an archaeologist, I do not think I’ve ever wanted anything else. I have inherited the talent for drawing from my mother, while the passion for clothes has always been “in my blood.”

What was the first dress you made?

My mother was my first customer: I have made ​​for her some evening gowns she wore at some family weddings. For the catwalk, my first important creation was just a bridal gown. A different creation from the ordinary: a wool crepe Long Robe with an effect-fur fringed neck. It was handmade b ​​ y sewing hundreds of silk cord trims, one by one.

What did you study?

I first attended a vocational training institute of fashion in my origin country in southern Italy. For me, it was important to start from the beginning to acquire the knowledge of the necessary techniques. Then, in Florence I graduated in Fashion Design at the prestigious Polimoda Institute. This has allowed me to broaden my horizons by staying in contact with students and teachers from all over the world, as well as to enter the world of work within the fashion field in Tuscany.

Why did you choose London as a base for your business?

Indeed, I wanted to stay in Italy, but unfortunately at a certain point in my life I found it too narrow for me ... so after a sabbatical period, traveling in Europe, I found myself in London. Here is the perfect balance between tradition and innovation, and I fell in love with its diverse and eclectic environments.

In this work, how important are technique and experience?

The technique is crucial. That’s what allows you to distinguish qualitatively a gown from another. It is a garment that has been done well and, with the addition of the best finishes, it is definitely recognizable. The experience is important, too. I had the good fortune to work in different fields and at different levels in the world of fashion. This has allowed me to have a wide knowledge and to know how to incorporate the elements in the service I offer to my customers.

This is a craftsmanship where you still uses the canvas to make the model, what prompted you to get this way?

Knowing how to make something has always been more important than being able to make a beautiful drawing on a paper ... After a few years of working as a designer, I realized that something was missing, and I wanted more direct contact with materials and people. I think every dress is a work of art, and the creation of a garment with craftsmanship methods allows you to have the same approach as a painter with a canvas to be painted. So every dress I make is unique and different; I never get bored and my excitement and love for this job is renewed each time.

How do you recreate the vintage clothes that your customers bring to you?

I use the same techniques and the same approach that I have for the Tailored Made. I try to combine the ideas coming from my customers with my ideas as well as with the techniques of haute couture. This often involves of modifying the wearability of the dress to make it suitable to sizes or shapes other than those for which the garment was originally designed, or adding or removing items. In the specific case of vintage clothing, materials often have a lot of influence. Moreover, combining ancient with modern fabrics and embroideries is very fun, while preserving the charm and making the dress up-to-date and customized.

What is the most important moment when you have to make a wedding dress?

The initial consultations with the bride and the design of the gown on canvas are certainly the most critical stages. The consultation allows me to establish a special connection with my client, without which it would be impossible to figure out what the bride really wants, to understand her personality and tastes. The trial on canvas is a little bit as the “moment of truth”, a fundamental step to obtain the perfect fit of the gown and to understand what are all the possible changes to the model.

When the canvas is perfect, working on the final gown is much easier.

The perfect bridal gown, what women dream: what should not be missing?

Difficult question! Since I promote highly customized clothes, the concept of a single perfect dress would be contradictory for me. The most important thing is to choose a dress that represents you, whatever it is, without following trends or tastes of others.

This way only, the dress will look natural to wear and the bride will consequently feel more beautiful and self confident.

How do you transfer your customers’ desires in the clothes you design?

Establishing the connection I mentioned earlier is very important, that’s why I like to have several meetings with my brides before finalizing my style proposals. I try to understand my customers personality, their tastes in everyday life, their relationship with their body, their interests or job. I love listening to their stories, so I don’t limit myself to the ideas they may or may not have for their dress and their marriage.

There is always so much more to discover!

This process is not immediate but it gives effective results.

How do you understand that a bride is pleased with your work?

Having a very open and dynamic designer-client relationship is very important during the design process of a dress. I try to tackle each step gradually, making sure to finalize any choice very carefully. Being clear and trying everything over and over again is important to this. This way, even the customer who may not have technical knowledge will be able to make decisions and to “see” the dress during its evolution, so will be pleased with the progress we’ve made together. The final satisfaction then comes from very spontaneous actions, I often receive photos with thank-you notes or little thoughts from my clients. However, the greatest satisfaction for me is the “word of mouth”, making clothes for friends of brides’ friends that maybe I had a year before!

In addition to the development of bridal gowns, you take care of styling and accessories. How do you manage all these activities?

Accessories and styling are a complement almost mandatory.

A creative person is usually able to have a complete “vision”. I always say that you can wear the more wonderful dress in the world but if you do not have the right accessories and you don’t wear it in the proper context, all its beauty would be lost ... So I create handmade accessories for a particular dress and I can help a client with ideas, decorations, etc.. It is a natural evolution of my work. Managing everything is not easy, it requires a lot of time and a careful planning, but I like a life on the go!

What are your sources of inspiration?

My main sources of inspiration are my customers: it all starts with them. As for the creations from my collection, the inspiration comes from what I studied or what surrounds me: period costumes, paintings by artists I love, maybe a movie or nature. It sometimes comes from the most unusual and spontaneous things such as something that I happened to see on the street or from special materials that I find while doing research. I like looking at the work of the great masters of the past such as Dior or Balenciaga, Poiret and Chanel. On the contemporary scene, I think Lebanese designers are very interesting; they are able to produce beautiful gowns rather than necessarily and exclusively trendy. Indeed, beauty is a timeless concept and I agree with this kind of interpretation about fashion.

OUR STYLE IS UNIQUE

By Cristina Giannini Selena Magni

F

rom April the 5th to July the 27th, at Victoria&Albert Museum in London, there will be an exhibition to honour the Italian style: “The Glamour of Italian Fashion”. There are hundreds of creation, from clothes to accessories, that marked the Italian fashion from World War II up to the present days. An exhibition that wants to describe Italian glamour and its representation and icons, underlining the changes thanks to which Italian fashion has become the reference point for style all around the world.

This event covers almost seventy years of history (19542014) through drawings, items of clothing, jewels, bags and so on, all accurately selected among the various historical archives of the Maisons, all accompanied by pictures of celebrities who had chosen for several years to wear Made in Italy, favouring it for quality and style. The exhibition reexperiences the golden age, the great creations of the Sister Fontana, Gucci, Armani, Ferrè, stretching up to the new millennium, where videos and interviews to famous people of the sector tell us about this incredible fairy tail and future projects. A glamour that changed its meaning over the years, thanks also to the inception of prêt-à-porter, turning the sense of style upside-down, leaving aside the haute couture and preferring a style that suits everyday life.

Fashion talks about itself, not showing its changes but telling the story of Italian taste, through strategies that not only enhance femininity, but also promote the Made in Italy thanks to quality products, creating a real Italian Style. They enhance the great ability of Italian talents, that with the right choice of materials and deep fantasy dressed up the whole world for every occasion, from free time to special events.

24

YVES SAINT LAURENT AND HIS STYLE REVOLUTION

By Rossella Scalzo Mattia Vismara

F

ashion is the reflection of style, and style reflects in fashion. Fashion designers, through their style, can set some trends which can last for a long time; they bring in the world of fashion changes of the society

and the culture they live in, complying with a style, taking inspiration by another one or totally revolutionizing it.

The history of fashion is not unfamiliar with stories of inceptions and changes of style which rise against the society where they originated, regarded as weird, proper revolutions which nowadays seem almost essential. The life of Yves Saint Laurent and the style he brought in the world of fashion is an actual demonstration. The biographic film recently released in the cinemas, even though it was aimed to reveal most of the details of the designer’s private life at the expense of fashion, gives a clear point of view of the years in which the designer began, showing how his style brought a revolution to the fashion of those times.

Yves Saint Laurent was the first in the 60s to let the haute couture be inspired by the street, getting rid of that selfsufficiency which has always characterized it, to be intended as a world on its own with its own rules. He subverts this certainty by creating a style closer to reality, closer to how women wanted to feel. Starting from this aspect, the French designer makes his first revolution, giving his contribute to reshape the ideal of woman. He was the first, in fact, to realize what would have characterized the style of XX century’s women.

Yves starts to create a new style for a woman who wanted to demonstrate her being independent and sensual in every occasion, a woman who wanted to be well-dressed every time and not only during social and cultural gatherings.

27

Then, the designer adapted some items of the male wardrobe to fit the female one, like the blazer, the trench, the leather jacket, the suit with pants, even the kaban. The challenge for him was to turn this intems into feminine pieces of clothing. He did it and at the same time he redefined the concept of elegance.

Inspired by Marlene Dietrich, Yves Saint Laurent releases in 1966 his icon garment, the female tuxedo, that laid down the new power of women for once and for all.

The changes that his unique and unmistakable style have brought in fashion are countless and he was aware that his creation would have changed the world of fashion. Maybe not many know that the French designer was the first one to introduce in fashion the animalier fabric and to let black models hit the runways.

We have to remember that he was the first designer to take inspiration from the world of art. Yves Saint Laurent, in fact, was extremely fond of art and wanted to turn it into fashion through his creation, referring to Picasso, Matisse and many others. His art-inspired collections are colourful and often with colours opposed to each other, such as blue and black, and this is all to revolutionize the traditional spirit of haute couture of that era. Every item was a real work of art. In 1965, in the Mondrian collection, the French designer recalls the essential lines of the artist of the same name, creating iconic clothes, and it is impossible to forget the Pop Art collection of 1966, where he interprets the fashion according to Andy Warhol’s style.

Yves Saint Laurent and his creations wrote the history of fashion and created a style just like no others did. He knew how to dare, subvert the concept of woman and elegance, to swim against the tide and this is how he succeed to set a trend and a style that will be immortal.

F E R R E ’

G I A N F R A N C O

THE WHITE SHIRT ACCORDING TO ME. Gianfranco Ferre’

32

By Jean-Claude Poderini Selena Magni

O

pen to the public until the 15th of May “The white shirt according to me. Gianfranco Ferré”, the exhibition, organised by the Foundation Museum of Fabrics of Prato and the Gianfranco Ferré Foundation and supervised by Daniela Degl’Innocenti, is dedicated to the talent of one of the most significant personages of the international fashion.

Conceived with the purpose of highlighting the poetry and the creativity of the stylist’s design, the exhibition leads the visitor through different kinds of interpretations to the discovery of the white shirt, a real standard in Ferré’s style, enhancing the most innovative elements in the design and the infinite, fascinating interpretations.

A constant presence that runs along his career like a fil rouge, the white shirt was defined by the stylist himself as “mark of my style” or “contemporary lexicon of elegance”. Designed to give prominence to the various figurative languages through which the “shirt universe” has been read, broke up and reassembled, the course of the exhibition plays with the suggestion and the valorisation of different elements, that complete the items worn by the dummy: drawings, technical details, sketches, pictures, commercial and editorial images, videos and installations.

The beginning of the exhibition consists in hanging cloths on which slide macro images of Ferré’s original drawings, perfect flashes that outline his creative vision and represent the key to the universe hidden in every project. The heart of the exhibition beats in the second hall, where the twenty-seven white shirts, a small army of haute couture masterpieces, are the silent witnesses of twenty years of creative design and genius. Displayed in chronological order, the shirts are sculptures touched by a light designed to make the white light up of different shades and the shadows to follow, to obtain a plastic effect.

Taffetas, crêpe de chine, organza, satin, tulle, silk or cotton fabrics, laces and mechanical embroideries, handmade stitches, big and small details that follow one another in a crescendo of artistry and balance. Particular interest awake the original drawings that show the incredible ability to give life to every creation, summing up all the necessary elements for the creation of an item: silhouettes, volumes, details, light or solid matter, these are all already described in the line, more or less marked, elegant and quick. The displayed shirts come to life in the studied gestures and in the elegant movements of the models that interpret the sensitivity, the taste and the elegance typical of the poetical universe of the stylist Gianfranco Ferré.

It’s a fresh emotion the one that takes the visitors, overwhelmed by the interpretation of the creative vision and of the great ability of the brilliant architect-stylist.

With satisfaction, you can feel in the air the echo of the applauses that filled the hall every time that his pure white, incredible shirts appeared on the catwalk.

The legacy of his creative genius and his deep culture of design can be seen in the constant innovation of the materials and the volumes, that skilfully blend art and craftsmanship. But are we convinced that the white shirts of FerrĂŠ are only items of clothing or real works of art?

The stylistic colour of Gianfranco FerrĂŠ is a matter of discussion for anthropologists, critics and theorists of fashion. We are talking about an artist, an aesthete with the curiosity for searching who contributed to creating the foundations of the Italian style, that ruled worldwide.

We inherit a new Renaissance, that of a man who lived his time and was able to understand the creative impulses, directing them into a design that could, with a simple item of clothing, enhance and convey an artistic message of great culture.

The ideal of a great person is in front of us, turned into poetry, to be picked up with prestinge and respect.

C H A N E

C O C O

COCO CHANEL’S REVOLUTION

By Gaia Bregalanti Mattia Vismara

W

hen we talk about Coco Chanel, “class” is our key-word. This designer was a real revolutionary. Gabrielle Bonheur Chanel was born in 1883 and after the death of her mother she was raised in an orphanage, where she learn the art of sewing. In 1913 she opened her first hat shop. Her style was different from that of the Belle Epoque. Everything that Coco Chanel proposed was tested on herself before. What she searched for in a piece of clothing were practicality and comfort.

She started wearing trousers, sportive male jackets, pullover and exclusively male clothes. The rebel designer was defined as a genius, she always was successful in getting the best from what she loved. She was the first to launch the white large trousers trend during one of her sea stays.

But in her wardrobe party dresses were not missing, they were all rigorously black or white. Chanel was renamed “The queen of genre pauvre”, a very modern “luxury poverty”.

The designer set women free from corsets and elaborated hairstyles, giving them comfortable clothes and simple in the lines, in order to start a dynamic daily life.

In 1971 Coco Chanel died, leaving then the position of creative director to the fashion icon Karl Lagerfeld who carries on the main ideal of Chanel fashion house: elegancy and practicality.

41

WHO WE ARE AND WHERE OUR MAKEUP STYLE TELLS US WHO WE ARE AND WHERE WE COME FROM.

By Serena Secco

Luisa Attardo

T

?

he makeup of a woman is not just a set of lines and colors.

It is the result of the union of tradition and the features that we like, of classic products and small personal choices characterizing them. The style of a personal makeup helps to define who we are and to pass on our personality to others. Often, even by looking at the eye makeup you will understand about the background of a woman.

42

E WE COME FROM

The well marked and black line, for example, is typical of women in the Middle East. It is made ​​by using the “kohl”, as it is called in the Islamic world, one of the oldest cosmetics in the world. We can find the first traces of its application since the ancient Egypt, where it was used to emphasize the eyes of pharaohs’ wives. Ever since, this product has become part of Middle East culture. Today “kohl” is the denomination of the powdered type, which you can easily buy in the North Africa markets, the famous souks. Conversely, ‘kajal’ is the Indian version which indicates the same product but in paste such as the one used in the famous eyeliner pencil kajal.

Another nation which has focused on the eye makeup is just the Indian one. Colorful and magnificent clothes, and wonderful workmanship jewels are an inevitable Indian feature. Nevertheless, they risk to put the real feminine beauty on the back burner. Precisely for this reason, gorgeous make up as well as very bright and colorful clothes are inevitable in the important ceremonies; in addition to this, a black eyeliner emphasizes the eye depth, while false eyelashes enhance it even more. It is not a coincidence that the Bollywood divas are famous just for their splendid and colorful smokey eyes!

Naturally, nowadays everyone can find an eyeliner pencil kajal at local supermarkets, and the relationship between makeup and culture has been lost a little bit. However, the world of makeup is constantly changing and it could not be otherwise! There are new forms to be proposed, new products and applications to learn as well as new trends to experiment!

THE ARGAN REVOLUTION! No more oil, but cream for your hair’s health.

By Valentina Sorrenti Mattia Vismara

46

S

ometimes our skin is subjected to irritations, itches and sore scalp. The loss of skin balance is often due to our own physiological situation and when our lifestyle is threatened by stress and tension, skin can be affected. Just like it happens for skin, our scalp is covered by a protective layer which produces skin cells.

These cells are kept together by lipids, in other words the sebum. Stress can lead to a loss of lipids, strongly weakening the natural protective barrier. At this point an abnormal loss of hydration occurs and the surface protection runs out, and this allows to noxious agents to penetrate into the skin. This process irritates the scalp and can result in itches, redness, inflammation and dandruff.

For this kind of cases, Green Light research and development laboratories, through an exclusive technology, have created a revolutionary no-rinse moisturizing cream which guarantees a more efficient absorption of treating substances in the hair structure. This action allows to give brilliance, nourishment and hydration avoiding any weigh down. The Argan Oil turns for the first time into ARGAN CREAM and this transformation guarantees better performances than the oil, because: The active ingredients are more deeply absorbed thanks to their inferior molecular weight; The application is much more controlled and precise; It is perfect for every kind of hair, even for the thinnest structures; It is easier to use; it gives more possibilities of application; It does not grease nor stains; The line is made up by: Velvety Hair Cream (smoothing cream, no need to rinse), Velvety Hair Shampoo (smoothing shampoo), Velvety Hair Mask (smoothing mask, need to rinse), Velvety Body Cream (smoothing body cream).

Info: www.arganvelvet.com

B O N F I L I O PA S Q U A L E

PASQUALE BONFILIO

By Angelica Grittani Selena Magni

P

asquale Bonfilio is an Italian talent who uses matter to create artistic masterpieces that range from his paintings, which he has done since he was five years old, to sculptures, hats and bags. His working experience in Belgium in different ateliers gave him the opportunity to develop a passion for the less traditional item of accessory of all: the hat, an item that can distinguish ourselves. His work has been mentioned even in the blog of the famous journalist and designer Diane Pernet, who supports young fashion talents.

What was the most instructive artistic experience?

When I was a child I started painting. I painted with tempera and I could give vent to my will to communicate through painting. My paintings don’t need to be appreciated, I mostly do it for myself; my desire for painting rises from my desire of expressing beauty, taking inspiration from surrealism, magical realism and renaissance techniques. I attended a professional course of restoration of paintings and frescos, and I restored paintings for clients who trusted me; then I attended a make-up course and even one of cake design. I don’t think there is a great difference between the work of a painter on the canvas and that of a make-up artist on a body.

I lived in Bruxelles for eight years, where I worked for Materialise, a leading European company in 3D printing. I worked there for four years doing “master finishing” which means doing artistic finish on products.

3D print uses innovative plastic materials, like nylon and epoxy resins, to create object with a laser ray. In this occasion I had the idea of creating the first bag ever printed in 3D in a flexible material: the TPU21, a flexible pochette, unique in its genre which was displayed at the Fashion Biennal in Arnhem, Netherland.

What drove you to the creation of hats?

When I was eight I used to watch my elder sisters sew and I used to steal needle and thread to try to sew. I made a wig with iron thread and cotton for a Carnival costume in the fashion of the 18th century. My destiny was written by then, I used to paint and for me it was extremely important to communicate through art. When I lived in Bruxelles, I started working with several ateliers, among which the one owned by Elvis Pompilio, a famous milliner, where I learnt the job. In this period I worked at my first hats and at the same time I painted and sculpted. I realised that I had to come back to Italy and open my own atelier where to create my hats, original and unique, without following any rules or fashion but my own passion and instinct.

You are a versatile artist. Have you ever thought about making dresses as well as hats?

I did and it might happen in the future. Right now I want to focus on accessories, I started to make handmade bags with punto selleria like Maison Hermes. I am drawing sketches of dresses and I am planning a show with a young stylist, Daniele Amato, with whom I’ve already worked for a show in January, preparing all the hats in the collection.

How long does it take to make a unique item?

It can take two or three hours as a minimum but two or three days, as well. It depends.

There are wooden bases that are used to make a hat; to model felt you put it on the base, heat it with steam and the model it until it takes the shape you want, pulling and twisting it if needed. This is what it takes to make the shape, then you need to sculpt it with steam. Moreover, the most part of the sewing is handmade and if I want a peculiar finish, I need more stitches and this takes time. I want everything to be perfect without using glues or other things of the sort. I think this is a mental job, too, because you need to reason on the result and to what you need to do in order to make a clean, good job. Since each hat is unique, made of materials specifically selected, I take orders with some days’ notice. In case of orders for special occasions like weddings or similar I take orders months in advance. I don’t replicate my hats, each and every hat has its own history and design, my clients often let me decide (smiles) and I like having the possibility of letting my fantasy run free, without restraints. They usually give me instructions on the colour and the shape, the rest is up to me. I feel like, they trust me and I like this, because if customers are happy it means that I did a good job.

What are your sources of inspiration?

I usually take inspiration from the 50s, that revisited some shapes and fabrics of the 18th century, an epoch I really love and from which I take a lot of inspiration, especially for the large hats with plumes and ruffs. I made a batiste ruff, 13 metres long, all hand sewn and it was an exceptional experience. When a customer comes to my atelier, I usually make a presentation of my works, showing them my hats so that we can choose together the model they prefer. I let them try the hats on but I like showing them how to best wear them, basing also on their facial features. A hat worn in the wrong way doesn’t suit as it should. In my hats there is often a core of iron thread or brass on the rim, so that it can be easily bent without ruining it.

What occasions require a hat nowadays?

Hat should not be worn indoors but except from that all the others events and social occurrences can be the right moment to wear a hat. Personally, I always wear it, it almost tattooed on my head and if someone asks to try it on and takes it off, I get angry (laughs). What is important is how you wear the hat, you’re not born with it. If worn with ease, even a top hat doesn’t look eccentric, if worn with the right clothing, it look almost natural. I think any hat goes for any occasion, you only need to pay attention to bon ton: women can always have it on, even indoors, while men must take it off.

Are hats becoming popular among youths?

It’s easier to see youths wearing hats today than in the past years. The large black hat is very fashionable among girls, perfect even for casual clothing like jeans and sneakers. It might seem awkward to wear a hat, but it is an accessory with a long story to tell and remarkable charm, that suits the person who wears it. I expect the hat to become a common accessory, as it was once, when there even existed hat boxes and hat was a very important object.

What is there behind the creation of a hat?

I usually don’t take inspiration from catalogues but I think about how I want it to be done, I give it the shape and then I decide a stylistic arrangement. Each and every hat is unique, I don’t make hats in mass because I believe in uniqueness of what I create and most of all in the person that wears it. You can replicate such a personal object.

Moreover, I use materials and objects that I collect under time, things that I like and that I think may be of use to me, and this makes it difficult to replicate them. For example, a hat I named “Paloma” is a small model in the 20s fashion to which I added a lock on the front.

The hat I named “Bonfilio in Wonderland”, which has a clock on it and could be inspired to Alice in Wonderland, is in fact come out of my fantasy and not from the book, as one might think. I just added a clock and some feathers to a top hat made of jute, which is the material on which I usually paint, and I noticed the coincidence but I don’t notice these things before I create.

What are the creative steps?

To make a hat you start from a wooden base which like a tailor’s dummy, on this base I pin the fabric, I cut it and I shape it with steam. Finishes are the part that takes longer because they are all hand sewn with double stitch, I am a very precise person as far as my job is concerned. The majority of the materials I use in my work come from Italy and Europe, some very beautiful straws come from Ecuador, where they are specialised in working with this material. I prefer materials that come from my country even though this implies a higher cost, but I find the quality much superior. I prefer using materials whose origin I can test, that I can personally choose and that are suitable for my ideal of craftsmanship.

Is hat only an accessory for you or does it have a different meaning?

It’s an accessory that characterises the person like any other, it doesn’t have to shock and if worn with ease, it doesn’t seem excessive. It surely an accessory that goes along well with one’s character and attitude, because a hat can be the sum of a person’s characteristics and can be worn not just to show off but to feel good, too.

How satisfied are you when you see one your hats on someone?

I usually ask my customers to go closer to the mirror to see their expression when I put the hat on their heads. Often it is a surprised expression, I understand at once if a model is appreciated. I am the first spectator and when I see the smile that tells me they are happy and satisfied, this is the most beautiful moment for me. If they ask me to change it or modify it I am always helpful and willing to make modifications.

What are your future plans?

I’m working on a fashion show with Daniele Amato for the coming September, his shoes and bags and my hats. For nor it’s just a secret project but I can tell you that the theme will be fairy, so let’s give room to imagination and creativity!

STYLE IN FASHION AND STYLE IN LIFE. CONCEPT OF WIDE USE WITH A SPECIFIC MEANING, ABLE TO DEFINE SOCIAL VALUES. PHENOMENON THAT FOLLOWS HISTORICAL AND GEOGRAPHICAL CHANGES AND TRANSFORMS OPENING NEW PERSPECTIVES. STYLE BECOMES A SIGN OF SOCIAL IDENTITY AND TASTE, AND IT FORMS THE EXPRESSION OF A THOUGHT.

“Fashion changes, but style endures” Coco Chanel

In these six words by Coco Chanel is enclosed the very essence of style: it is immutable. Style can have different meanings and imply different concepts, it can deal with various subjects like art, design, architecture; its variables modify according to the topic they refer to. In fashion, it is linked to the stylist, who makes it mirror the social and cultural tendencies in which he/she lives, sometimes complying with them, sometimes opposing them. In the same epoch several different styles can coexists, each with their own identity and their own characteristics, and often these blend together creating new styles and perspectives.

All rights reserved to Vain Magazines