Capucci roberto biography of barack obama
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The power show consideration for creativity: combination art have a word with fashion sediment Florence
Tracce: dialoghi ad arte
Traces: dialoguing with art
Museum of Dress and Direction, Palazzo Pitti
19/12/ – 31/12/
Gucci Garden Galleria
Piazza della Signoria, Palazzo della Mercanzia
L’Italia a Hollywood
Italy shoulder Hollywood
Museo Ferragamo
Palazzo Spini Feroni
24/05/ – 10/03/
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FaSHIoN IS a DrInK
Campari Gallery opens its doors to a new exhibition celebrating the timeless style and elegance of an international icon of the Milanese beverage industry
Edited by: Fiammetta Cesana
Everything began in , when Gaspare Campari, fascinated by people’s drinking habits, invented the recipe of the famous aperitif bitter, which took his name. After the launch of the first bar, that new red drink was so appreciated and requested to allow him to open a second place: the historic Campari bar in the Galleria Vittorio Emanuele that, at the time, was just inaugurated as a new hub for high bourgeoisie socialites in the heart of Milan.
Then, in , when the reins of the company were passed down to his son, Davide, the production site and headquarter was established on the city’s borders. In those years, the successor demonstrated intuitive and avant-garde capacities by leading Campari product to be internationally recognizable not only for its taste, but also thanks to an exemplary development of image. Davide indeed was among the first to acknowledge the artistic potential, beyond the mere commercial one, of advertising creations. And so, collaborating with important fashion masters, designers and filmmakers, he gave his father’s drink a un
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She pulls out a quirky checkerboard coat with a scalloped front and a complementary pantsuit cut from the same bubblegum-pink satin. “It’s moiré, which is an old fabric that could be really classical, but we wanted to put in a bit more fun and make it playful,” she says. A subtle nod to Capucci’s beloved pleats appears on the fluted cuffs of that satin blazer, while his dramatic ruffles become the delicate hem of a modest, ankle-length dress. Then there are the large taffeta hair bows, shaped from boning wire. “Capucci was somewhat obsessed with bows,” Peduzzi says. “Everything is wearable,” Orsini adds, “and the shapes are really comfortable.”
It’s a liberal translation, to be sure, and purists may lament. Yet Orsini and Peduzzi’s goal is not to revive a couture house but to bring new life to it, and to employ the Italian craftsmen and artisans whose skills might otherwise languish from want of work. Take the collection’s key suit, of a very fine wool and dyed a brilliant degradé green that goes from lime to moss. It was entirely milled, cut, and hand-sewn by an Italian team, largely at the atelier behind the Piazza Venezia, in Rome, which is seeing its own fashion renaissance. “I feel that now there is something happening in Rome,” Peduzzi says. “It’s super-inspiring, and t