Anna Dello Russo normalmente ammirata sul web in abiti stupefacenti ed esclusivi, colorerà di mondanità Milano con la presentazione del suo libro “ADR Book”. L’entusiasmante esperienza, la sua carriera e il suo successo mediatico partendo da Bari Palese per approdare a Vogue Japan. Tutto accadrà il 24 Febbraio nel cuore pulsante della fashion week milanese. ADR darà vita ad un asta benefica. 30 abiti esclusivi e 150 abiti iconici con cena di gala e gran festa, vip, celebrità e stilisti famosi. Lo scopo è nobile, ambizioso. Il tutto sarà devoluto alla Swarovski Foundation Scolarship Program per il sostegno e lo sviluppo dei futuri fashion talent. Quando le hanno chiesto perché Milano? Lei sicura ha risposto “Io a Milano devo tutto”.
Dopo aver lasciato la grande mela, un grande brand come Tommy Hilfiger sceglie la città della Madonnina per il suo grande show.
Moncler il 20 Febbraio presenterà in Piazza VI Febbraio il suo nuovo progetto Moncler Genius Building con un’evento “tecnologico e sorprendente” che aprirà la prestigiosa Fashion Week milanese. Il grande successo lo deve anche al suo sapersi reinventare di continuo, restando però sempre fedele a se stesso. Ci vuole coraggio e ampie vedute per superare il miliardo di euro!
La Camera della Moda compie 60 anni e festeggerà alla grande con una mostra a Palazzo Reale che illustrerà il percorso della moda dell’ultimo trentennio. Il Presidente di Camera Moda Carlo Capasa, ha sottolineato, che se oggi il Made in Italy è una delle carte vincenti del fashion mondiale lo si deve anche al lavoro della Camera della Moda. Anche le istituzioni hanno capito quanto sia importante la moda, seconda industria del paese.
Milano è pronta, preparata ad affrontare una “settimana pazzesca” e ….pronti, partenza si sfila!!!!!!!! Tutti i big scenderanno in campo, le luci saranno ancora più sfavillanti con i party esclusivi, i cocktail, gli eventi aperti al pubblico. Una settimana in cui Milano sarà la regina indiscussa della moda, del glamour e del fashion.
Dr. Seuss once said:” You know you’re in love when you can’t fall asleep because reality is finally better than your dreams!” . The most discussed day of the year, Valentine’s day, is approaching: a celebration of romance and love in all over the world.
You can definitely feel the love in the air in Via Montenapoleone! Like many stores in this prestigious street, also Gucci showcased some love in its window: blind for love! That’s what you can find in one of their breathtaking windows in via Montenapoleone. And I can tell you… I’m totally in love with this velvet bag! This chain shoulder bag is embellished with embroidered flowers and a lovely appliqués. Moreover, it’s part of the 2018 Cruise collection.
And if you’re still looking for an amazing idea for a Valentine’s gift…this love-themed window it’s not the only one you can find in this glamorous street: come and take a look at Hogan’s window! You’ll find a wall full of shoes which say “love me”! Also Devi Kroell, a luxury handbags shop made in Italy, decorated its window with some hearts all over!
Uniqueness, elegance, glamour… all these words describe perfectly via Montenapoleone, one of the most prestigious streets in the worldwide recognized fashion capital Milan! Walking in this streets also means to encounter the unexpected: it could be a very fashionable person, a VIP or a particular car! This time I saw this amazing Mustang parked in front of Bulgari’s window! Everyone was admiring and stopping in front of this fire-red car: it doesn’t happen every day to see such a beautiful masterpiece on the streets!
10 June 2007 the British artist Glenn Brown exhibited in Milano at the “Triennale Bovisa”. The artist, inspired by popular tradition, has given life to an art that will transcend conventions. Its Mannerist drivecame “to fill” all the works in view of a new life form, defying time limits. Driven by the work of others, he made his various paintings. It is for this reason and for his great notoriety that we have put some of them questions that we will communicate.
How did you come up with the idea of transforming paintings by other artists?
I do not like starting with a blank canvas and I love dialogue with other artists, living or dead. I feel like an eternal student, who always studies art in detail. I learn and constantly and I see my expectations of what makes something beautiful .
Did the accusation of plagiarism hurt you?
I have always been very clear on the fact that my work uses elements derived from other artists. Their art becomes the subject of my work, a subject that I comment, modify and adapt to tell my story. Other artists that they take possession of them – Sherrie Levine, Richard Prince, Sigmar Polke, Gerhard Richter- have had a great influence on me. I almost always tell the truth
He has exhibited all over the world, at such a young age; which audience was the most welcoming?
My job involves many complex references to art history that is at the same time r culture it in. It is always gratifying to know people with a vast knowledge of art history and who appreciate the playful connections I create. Yet I love conversing with those who feel the emotional charge of a painting and who do not need, or want to know, the references .
Did you study at a young age, do you think our artists are better than studying and specializing at this age?
Yes. I loved being an art student.
How do you consider the judgment on his work by Michael Brace which states: “In his paintings, he is less concerned with the historical-artistic state of the works he appropriates, than with their ability to serve his purpose, namely his age: explosion of truth and painting “?
I do not think I’ve ever disagreed with anything Michael said. An epic exploration of painting and a painting is exactly what I want to do. I do not want to take art history too seriously. Misunderstandings can lead to glorious creative moments. Good art, bad art, high art or less – what matters most is the emotional impact .
Do you find that current art history is going through a difficult period?
No, the more I observe and appreciate the art of the whole world, and the more I understand that the canon of Western art is not the only significant of culture. Art history is now becoming much more complex and difficult to read and judge, but it is even better because of its complexity and confusion .
How do you judge urban graffiti in 2000?
I have seen many funny, stimulating and very beautiful graffiti. But there are also many that are irritating .
He also worked a lot on sculpture. Do you consider painting or the latter as simpler as an art form?
I tend to combine and confuse them
It was also inspired by Rembrandt and Urs Graf: what brings you to these inspirations?
The Renaissance in Italy was not the only thing that was happening. Even more to the north things were going to be very interesting. Probably not beautiful in the conventional way of Italian masters, but their strange darkness can be very attractive .
Which artists did you prefer?
I have always looked at many artists. How do you choose one. Even when I’m working on a work inspired by Fragonard , I’m still thinking of ten other artists at the same time.
These are the answers to the various questions of Glenn Brown and we feel a great spirit and great truth in these words.
In Rome, at Palazzo Barberini, some paintings by Filippo Lippi are on display. It all began with the reproduction of the telegram of the discovery of the Madonna of Tarquinia, which took place on April 10, 1917, by Pietro Toesca , marking a new “epoch” for the history of twentieth century art. Together we find and also show the report of the discovery of April 12 of the same year. In addition, the reply of Corrado Ricci to the telegram of Giuseppe Cultrera (20/4/1917) and the authentic photo of the painting, taken on May 2, 1917. Let’s see then, the frame found 6 years later, 17/7/1923 . Thus, Professor Pietro Toesca a victory was credited for the history of world art. The probable commissioner of the Madonna of Tarquinia was Giovanni Vitelleschi ; later Pietro Toesca recognized it in a panel assigned by them to Filippo Lippi. Around the Madonna are recognizable, in the hall of Palazzo Barberini , many paintings of the painter who express his artistic journey in the Renaissance.
From these works we derive the importance that Maestro Masaccio had with regard to Filippo Lippi, in addition to his relationship with Donatello and the following Flemish painting, (of which Lippi was an eminent “witness”). His style is elegant and the sensual color; in particular, it is noted : “The annunciation withdonors “ that best expresses the mature season of the fifteenth century Fiorentino. In fact, we remember that Lippi was born in Florence in 1406 and died in Spoleto in 1469. He entered very young in the Florentine Convent of Carmine where, under the shadow of the Brancacci Chapel, under the guidance of Masaccio and Masolino (1424-1425), his pictorial training. His work, considered most significant, is: “The Frescos of the Cathedral of Prato “ (1452-65). He founded a Bottega in which Sandro Botticelli and his son were formed: Filippino Lippi. On his private life he also wrote the English poet: Robert Browning .
Instead, Giovanni Vitelleschi (Tarquinia 1395, Rome 1440) who worked under the Pontificates of M Artino V and Eugenio IV, was the mediator of the return from the exile of Cosimo the Elder, fell into disgrace and was arrested treason and taken prisoner at Castel Sant’Angelo. Still remember that Pietro Toesca (1877-1962) was a celebrated exponent of twentieth century art history and one of the best scholars of the Middle Ages. He worked at the Soprintendenza di Torino and at the Accademia di Brera and in Milan; he taught at the Universities of: Turin, Florence and Rome. He also “explored” the painting and art of the ‘400 and the Renaissance. Among his students are Antonio Gramsci, Roberto Longhi, Giulio Carlo Argan and Federico Zeri. You get to enjoy at least 4 paintings of Lippi at Palazzo Barberini , starting with : “The Annunciation with donatori “, where the radical change of style of the artist is expressed with respect to his first works. The architected frame is slightly asymmetric and the construction of the space deviates from Brunelleschi’s perspective rules.
The painting comes from the surroundings of Florence, where it was bought at the end of the 19th century, but the identity of the donors is unknown (however, certainly: Florentines). Following an “Annunciation” dated 1435 in the diptych, and its perspective box, inside which are: the Virgin and Gabriel, insert the painting in the true tradition of Masaccio and in the frescoes of the Brancacci Chapel at the Carmine in Florence. Moreover, continuing the visit, we find: the “Madonna with the Child and donor with the saints Giovanni Battista or Ansano and Giorgio” which is a painting of various elements, including the Sienese painting, that of Donatello and Gentile da Fabriano. In the representations of the donor (where the face prevails in his profile), the imprint of Masaccio r itrattista is traced . Then follows the picture: “The Madonna with the Child, seven angels and saints Alberto from Trapani, Michele Arcangelo and Bartolomeo “. The table, originally a tricuspide, is certainly linked to the Carmelites, (as evidenced by the presence of a saint of that order, on the left).
The face of the Archangel and the whole compositional system are very mas- sive . Not least, but certainly the most important: “The Madonna of Tarquinia” (1437), which, compared to his early works portrays a relationship with Donatello, in the foreshortening “insisti t o ” and in the energetic movement of the Child, from which emerges a powerful dynamic element. The spatiality and the domestic setting of the scene, makes this painting a painting of mediation closely linked to the Flemish experiences. The frame, (with small additions of restoration) is original. With the painting “S. Paul “ we note a movement of the abrupt rotation of the head of the saint, underlined by the movement of the beard, in which we still note an energetic dynamism expressed through the asymmetrical position of the apostle . In the severe face, in the shadows and in the clean cut of the folds of the drapery, the “pure style without ornament” emerges or even in the sculptures of Donatello. This exhibition is recommended to “fans” of Renaissance art, but also to users of current not purely contemporane and to see not, even in the ancient passage to the classical painting in general. It is worthwhile to become spectators of Lippi’s poetics because it narrates a period that goes from the ‘400 to the study that this century did in painting , the “novecentisti”, period of art, perhaps among the most profitable and generous.
With 64 shows, 92 presentations, for a total of 156 collections, opens next week , at Palazzo Reale in Milan the “demonstration” of a timeless Italian fashion . And on this occasion we would also like to mention the birth anniversary (February 11, 1921) of a “great” Italian fashion: Missoni, who left us , about 9 years ago , at the age of 92: with her death , she was certainly “open a wound” for the Italian brand and culture . But not only, during the fashion show , the National Chamber of Italian Fashion will celebrate the 60th year’s milestone with: “Italian. Italy seen from fashion 1971-2001 “, an opportunity to bring the time back and give vent to our memories of a time that” was “and that certainly gave prestige to our country more than to many others. This space will be curated by Maria Luisa Frisa and Stefano Tonchi , and this event will open the Milano Moda Donna event on 21 February next.
In addition, in the program schedule will be added the meeting with Chiara Ferragni the February 25th at 2.00pm in We Are Stardust, in Corso Garibaldi 22. Among the places that will be “used” for the parade: the Caryatids Hall of the Royal Palace, a magnificent framework for any type of event (which, rammentiamol or even hosted the exhibition of Caravaggio, a little ‘ months ago): the Visconti Pavilion in Via Tortona 58 and the Spazio Cavallerizze of the Leonardo da Vinci National Science and Technology Museum. This fall / winter 2018/2019 edition will show for the first time on the calendar the skill and creativity of designers such as: Erika Cavallini, Francesca Liberatore, Christian Pellizzari and Tiziano Guardini : a good opportunity to enjoy the beauties of clothes belonging to a new style and a fashion witness of the next decade. Among other things: Guardini is the winner of the Franca Sozzani Award GCC Award for Best Emerging Designer).
For winter enthusiasts, you can also attend the opening of the event with Monclear , to “get” to Emilio Pucci , among the protagonists of this season, (name that will come back, of course). The fashion shows of Milan Fashion Week and will be seguit on the web site: milanomodadonna.it in streaming, with video and photogalleryof the collections, through the App of CNMI and on the social profile Instagram (@ cameramoda ), on Facebook and Twitter with updates in real time as the show continues. But it does not end here: the videos of the entire event, with special contents, will also be broadcast on a large screen located in Via Croce Rossa. All this to remind you that Italian fashion is an international fashion and that contains in its collections and the names of many designers such as, we remember, the same Missoni, all a “boundless landscape” of opportunities to dress and use the best leaders of the Italian scene in terms of fashion, more and more with a capital “M”.
But we would like to remember on this occasion the figure of Ottavio Missoni who in 2013 , May 9, left us and left “orphan” a field now considered Italian “artistic” that helps to dress and accessorize many people, a disproportionate people of sympathizers belonging to every part of the globe. Ottavio Missoni was born in Ragusa and in his youth he was also an established sportsman. He began his “career” in fashion in 1953 with his wife Rosita Jelmini, who inherited a factory of embroidered shawls and fabrics, and offered him the opportunity to open a knitwear workshop in Trieste, which he soon saw ” baptism “also in Gallarate in a rented shed. But the real fame began in the ’60s when Missoni with her clothes (pullovers in particular) began to appear in fashion magazines. In 1966 he reported his first success at the Palazzo Pitti in Florence, a fashion show that had followed that at the Teatro Gerolamo in Milan. Everything is “consolidated” with the space given by the US magazine:“ Woman’s Wear Daily “ who dedicates his opening page, and here his style will be consecrated with the inclusion, in the Bloomingdales stores in New York , of a Missoni boutique. From now it will not stop anymore, and the classic style of collecting with “lines” and “stylized embroidered” most of his clothes (which the Americans called: “put together “ ) will accompany his entire career that is consolidated even in Milan (with the birth of a boutique) in 1976. A Milan that in ’79 will also confer the gold medal to civil valor.
He never took it too seriously Ottavio Missoni and was a shy person, after all, he did not stir for his life: always with the same woman, not “abandoned” never much to the tabloids, but certainly had intense life and, if we want, adventurous. We remember, however, that his best “fashion” was the winter one: famous the pulloversthat Nino Manfredi wore , for example, to remember only one of the many well-known characters who wore this brand. His clothes, especially in winter, have always matched the most successful colors in the chromatic effect that “returned”. Often lines or creation of oblique or parallel drawings, associated with various constantly repeated patterns, characterized his trend . Everything can also be re-appreciated in clothes, especially in winter, of this fashion show of 20-26 February 2018 at Palazzo Reale in Milan. This is a step that we recommend to do for fashion lovers.